A Manager's Dream

Talent is a key ingredient that catches the eye of many managers in the entertainment business, but this has proven not to be enough. Oftentimes, managers are looking for those artists who possess many talents that ultimately bring in multiple streams of income. With the recording industry experiencing a decline in CD sales, record labels are only interested in 360 artists where the label is able to make money from CD sales, touring, merchandising, and other aspects of the artist’s career.  

        Simeon Henderson is an artist who understands the importance of being multi-talented in the theater/film industries. He holds the title as an actor, director, producer, and author. In our conversation with him, he began to explain the importance of management and hard work to reach your dreams.

Mr. Simeon, could you talk about what you do in the entertainment industry?

In the entertainment industry, I am an actor, producer, director, and now I’m an author.

What are some of the shows you’ve been apart of?

I’ve associate produced several films which includes Tactical that went to Redbox and Blockbuster.  Also, Caught in the Game, Party Line and Comatose are among my other roles. I also produced several stage plays, and I’ve made appearances in Barbershop 2, Toured with Tyler Perry’s The Marriage Counselor, and I just recently filmed an episode for Season Two of Kelsey Grammar’s T.V. Series Boss. I’ve just been working and grinding.

In production, that is similar to being a manager. Oftentimes, people see the show but don’t see what goes on behind the scenes; can you tell us about being the producer?

I love being a producer; you have to make things happen. Pretty much, you’re making your dreams come true. It’s cool because you are directly involved in the creative process. I should say it’s like a woman being pregnant because she has to nurture the baby while in the stomach and when the baby grows up, she has to raise it up. Producing a project you get to watch it from conception, to birth, to growth, and I love being behind the scenes and making things happen. I love helping people make their dreams come true by working with music, acting in a movie, or stage plays. It’s also a must that you stay professional, you don’t have to be a jerk, but you have to be PROFESSIONAL.

In this industry, how important is it to have management?

It’s a necessary evil. When I say this, no one should be able to promote you better than you. You have to push your product and what you do. You need a manager because he or she can be the buffer. The people you don’t want to talk to, they can do it. It gives you a sense of relief because you don’t have to do everything yourself. Even I have a manager now, but I am still very hands on. If you don’t have a manager, you can work hard for yourself, and that makes people want to work with you.

You spoke about necessary evil, what tips do you give aspiring artists because there are some sneaky people in this industry?

Listen, find somebody that you can talk to, someone who can help, someone who has your best interest at heart. YOU MUST LISTEN and be willing to work hard. A lot of people are not willing to do that because they think they know everything. Listen to the people that have been there. I know you have to open your mind and work hard to persevere and you must have that tenacity and drive to be the best. But when you’re striving to be the best, you have to be humble, focused, grounded, and you have to keep your ears open. I remember when I was working on Barbershop II and I was a stand in. I got to do everything Kenan did first before he came on set. The director told me I was good and asked if I auditioned for this. The thing was is that I was so in tune and dedicated to it that it stood out.

You recently wrote a book, and it’s a manager’s dream to manage someone who has multiple talents. Can you tell me more about the book?

The book is out. It is called the Truth Series. I’ve always wanted to write a book and I wrote it. This one was for the people, but the next one will be for me. People often talk around things and talk about things to one another, but they don’t say it out loud. I wanted to give people an outlet and voice to say it, and do it anonymously. My pseudo name is William Truth, and they can go to www.williamtruth.com. You can see video trailers and voice over trailers to see how it’s done. It’s just one of those things that if you want to do something, you have to go for it and DO IT!

Deal or No Deal

Have you ever watched the television show, “Deal or No Deal”? This show was very interesting because it was such a gamble to choose a brief case, hope for small numbers, and wait for the negotiator’s offer. I could only imagine the nerves of the contestants. Similarly, negotiations for independent artists are a gamble because many record labels take risks with many artists who are unknown, similar to the briefcase. As artists, you must be able to negotiate deals with many of the bookers and promoters who will give you the opportunity to showcase your music.

Jeremy Swearin is all too familiar with negotiations as a booking manager at a record label in Houston, Texas. He was able to gain experience as a student at Full Sail University. We were able to sit down and ask Jeremy a few questions about negotiating.

In booking, how is negotiating associated with your job?

“My job as a booking agent is to make sure that we are looking for the best opportunities for our clients and the best exposure. So we look at the markets that are interested in booking them but also the places they’ve gone. We try to our booking form to get all details about event, what is being asked of us, and the budget. After gaining this information, it goes from there.”

Oftentimes, artists are expensive and people don’t want to pay the performer’s fee. What do you do to make sure the company comes out on top?

“Yes, one of our biggest problem is that the industry is so small. We often do customized price packages based on the information given. We then run into someone hearing about the price we charged another client. We let everyone know that each opportunity is different. We are a booking agent and management company, so we are looking out for the best interest of the artists.

Do you look for mutual benefits in most cases? Why or why not?

“It depends, if it is a promoter or an organizer who we’ve done consistent business with, we try to make sure that happens. Also it really depends upon the opportunity, especially if this opportunity can lead to another opportunity for our other clients.”

How do you deal with negative emotions?

“Well, it is a difficult subject because no one should discuss the contract since each opportunity is different as previously stated. For the most part, we are pretty consistent with our fees, and we don’t go down too much on the price. However, if a client is not getting much work, then there is flexibility in the price. I just try to explain to them in a calm manner that separates the people from the problem. If that doesn’t work, we have the upper hand because they are demanding our artists, and if the artist has a major following, then they are able to make greater demands than others. We also use objective criteria, but it really depends upon the present situation.”

Have you ever been caught in a negotiation when someone tried to use dirty tricks?

“We’ve had some, and we didn’t do business. I’ve had that happened to me recently. I’ve had promoters try to go through another booking agent and then come to me, and then try to under cut me. However, me and the other booking agent has a great relationship, so we talked. I’ve also had promoters who have tried to book our artist, not sign a contract to advertise, and destroyed the client’s name and brand. We call them out about it and don’t do business with them.”

How do you approach a negotiation?

“I’m doing both, looking for opportunities for artists and receive requests for the artists. If I am looking for an opportunity, I am pitching through a cold call. Our negotiations are built upon relationships, so I just call to see if any opportunities are available for the artists. If there are, then we go from there trusting that each one will do good business.”

We see firsthand that booking managers have a major job that requires much negotiation. These individuals are the first contact between the potential clients and record label. Mutual benefit, in some cases, is the main goal if it is beneficial for the company. However, status will play a major role because these individuals are calling the record label for the artist. Therefore, they can demand high prices without feeling bad if a negotiation does not go through. In the end, we learn that each negotiation is different and should be approached as such. Research your potential negotiator’s company and background to understand more about the negotiation on the table.