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. 

Artist Management

Artist Management is a touchy subject many independent artists shy away from because it requires the artist to give up their rights of doing everything in their career. We often see up-and-coming artists being the manager, cd duplicator, engineer, marketer, and etc. Trusting a person with your career (life), is something that is not easy to take in because many questions arise: Are they honest? Are they experienced? What do I look for in a manager? These are some of the common questions that come to mind and are crucial in the process of selecting a manager.

Artist Manager Chris Ayears gives great insight on what skills you should look for in a manager as he explains his expertise of being in the music industry for many years. Ayears first started in the industry as an intern with Virgin Records in the radio department with Lou Calhoun. He soon figured out that he did not just want to do radio, but he fell in love with the process of getting records on the radio. Therefore, this led him to artist management. After being asked what interested him in artist management, he stated he was a behind the scene helper by nature. When he was young, his friends from the neighborhood established a rap group, and instead of being in the group, he wanted to be the manager. Keep in mind, he was only about 12 years old. Because of his efforts and minimal connections, the rap group was the first black crew on American Bandstand, which started giving them visibility. This sparked something on the inside of him.

Ayears stated that in management, you have to be a great listener because you have to listen to the artist and know the vision, and then take that, put it to paper and action. Also, the individual must be a major problem solver, negotiator, and salesman because you have to sale the artist. If the manager cannot sale you, he or she is not a great match for you. The manager should be the most knowledgeable person about the artist by knowing his or her strengths and weaknesses. Integrity is a major determining factor for a manger because in this industry, your word is BOND. Be really persistent because everything is not going to be easy, and success depends on the manager and artist’s determination.

What should an artist look for in artist manager?

Look for someone who is genuinely passionate about their project. They must have experience and know what they can do for the artist’s career. Examples should be presented of what they’ve done. The person must have a great reputation and be able to call people to be able to ask them how they do business. This person should be a hard worker who is willing to go the extra mile and stay up late, and really represent them. You want them to know more about the business more than the artist.

What are the biggest mistakes artists make in hiring a manager?

They just hire their friends or relatives or just someone who isn’t knowledgeable about the business.  When you hire a person close to you, the person is a YES person. You need someone who will tell you the truth and say NO. They become executive assistant. The manager must be strong enough to tell you about your career and make sure it is on the right path to GREATNESS.

How much should an artist manager be paid?

The industry standard range is 20%. The more established the artist, the lower the rate. If they come to you with 30% or 35%, YOU SHOULD RUN. 25% only comes when they are going to put money in your project, and should operate on a deescalating scale. Also, the person is very well connected and can get you out there by building you from the ground up.

What are some the greatest highlights of your career?

My greatest highlight was having Le’Andria Johnson say my name on the stage while receiving her Grammy. There was a lot of work put into it: airplanes, sound checks, early mornings, and etc. So, to hear my name was a great feeling. Also, having conversations with all the Music World artists Brian Courtney Wilson, Amber Bullock, Trin-i-tee 5:7 were great.

What encouraging words do you have to give to artists?

Artists, it is very important that you get a manager that you TRUST. Artists never let a manager outwork you. It’s your voice and livelihood. Managers just know that it is a blessing to manage a career. Don’t take it lightly. Learn everything there is to know about the artist and business. Subscribe to Digital Music News, Billboard, and know industry trends, no matter what industry. Always make connections and don’t be a tired worker. It’s great to mold an artist and bring the music to the masses. Take it seriously and have fun with it!!

A Great Resource

Education has become the center of national attention lately because employment opportunities are not available for recent college graduates. Not only do these individuals have an unusable degree, but also massive amounts of debt. According to the Associated Press, one of two college graduates is either unemployed or underemployed. Usually, people who only had a high school diploma were out of work, but in today’s economy, some college graduates are out of luck.

How does this information correlate with today’s independent artists? Many artists have a talent that is remarkable, but he or she lacks the business knowledge to secure legitimate deals that keep them with work. The artist, at the present moment, cannot afford a personal manager to negotiate deals, so he or she is forced to do the work alone. Because the artist has no work, then the individual accumulates debt that forces them to live in the car.

If an independent artist cannot afford to go to college or does not have the desire to, he or she can use Artist House Music as a tool to learn about the music industry. Here, many interviews with industry professionals are available for the artist to learn about current trends, how to market an album, legalities, and everything you need to know to succeed in the business. For instance, an artist wants to learn how to record music on Pro Tools. He or she can go onto Artist House Music and receive tutorials about the recording program. There are also other links to related articles based on the search results. This site is an aspiring artist, musician, or producer’s dream place of free information.

However, the ONLY downside to this website is that it has limited full videos available. When you are getting great information, the video cuts off as your write the new material. However, the many articles make up for the lack of longevity of the videos. Nevertheless, this site is one of the best instruments an independent artist can use to gain knowledge about the music industry. An artist increases his or her chances of being successful by gaining the necessary knowledge to negotiate deals and make hit songs at home. Without further due, go use this great resource!

Living Beyond Limits

Comfort zones are all too often familiar to us because of its sense of security, but this state is DANGEROUS when an individual is a DREAMER. Picture it, when you are asleep at night, your imagination takes you to places that resemble an Avatar scene or allows you to see yourself LIMITLESS.  However, reality sets in like a bad case of morning breath when you wake up the next morning aware of the “I CAN’Ts” and “DON’T HAVES”. This then paralyzes the individual’s thinking to believing greater heights are unachievable because of his or her current circumstances. The result is the person being “stuck” in a place that is unfulfilling and depressing.

Sometimes, life’s sudden turns, deaths and illnesses push a person to realize life is too short and precious NOT to obtain the desires of the heart. While researching TED, a site that offers free viewing to inspirational keynote speakers, I was immediately drawn to the story of Amy Purdy “Living Beyond Limits”. Amy had always dreamed about being a professional snowboarder who traveled the world, but a certain illness when she was 19 put a halt on that dream. Because of this illness, she lost both legs and became saddened that her dream may never come true. After realizing that she could live life limitless with her current circumstance, she reached her dream of being a two-time World Cup Gold Medalist. She also went to South Africa to supply 1000 children with shoes for school, and co-founded Adaptive Action Sports that is dedicated to introducing individuals with physical challenges to action sports.

This powerful story captivated her audience and inspired each individual not to make excuses for why he or she cannot accomplish a dream. Adversity is just a building block that pushes you closer to the dream, and it prepares you for longevity while you are there. She lost both of her legs, but she is a GOLD MEDALIST and continues until this day. I believe we all can learn a valuable lesson from “Living Beyond Limits”. The only limits that keep us from our dreams are the ones we allow to be powerful in our minds. 

Meet Your Representative

Did you know when an independent artist releases an album, he or she is running an independent record label? Think about it, you wrote songs for the album (copyrights), took pictures (imaging), placed the album in your Grandma’s store (marketing),  begged the local radioman to play your song (radio promotion), and performed at a local venue with five people in attendance (touring). Major record labels usually complete all these tasks for a signed artist. Usually, independent artists use the major record labels to distribute their albums for national and international exposure. What happens when a major record label try to get over on the unknowledgeable artist?

Many industries like production, NBA, and education have unions that serve as the voice for their many workers or players who are being mistreated by an organization. In the independent’s case, The American Association of Independent Music is a trade association that represents independent record labels in the United States to ensure equity and fairness for these entities.  A spokesperson is needed for the individuals who make up 30% of the music industry’s market share according to the Association. The A2IM best represents the independent labels in the areas of: Fair Trade, New Technology and Distribution, Branding, Access to Media, Legislative, Advocacy, International, Purchasing, and New Business. 

Many independent artists are eager to hear about the Access to Media. Let’s face it, if the music is not being heard on the radio or television, then there is no money being made. A2IM acknowledges that independent music is underrepresented in the mainstream media, and they promise to remind the media that the United States is a diverse culture, and it should be heard and seen through media. This is done through the New Media Committee whose mission is to ensure that the label is educated about the different opportunities for indies who look to make an impact in the industry.

If you are an independent artist or label, this would be a great association to join. The American Association of Independent Music serves as the spokesperson for YOU, make sure they are doing it well.

How's Your Image?

Reputation is a word that should be incorporated into every aspiring artist’s decision-making.  This is one of the most important aspects of a career in the entertainment industry because it serves as the individual’s “credit report”.  A great image will profit the artist in the long run because he or she is identified as someone who is easy to work with and produce great results. Let’s be honest, no one wants to work with an artist with a bad reputation due to its ability to define who you are as an artist or businessperson. Therefore, it is important to integrate Public Relations to build the artist’s business and personal brand.

According to Public Relations Society of America, Public Relations is a strategic communication process that builds mutually beneficial relationships between organizations and their publics. In simple form, public relations serve as communication between the artist and his or her audience, liaison to the media, coordinate performances and media appearances, and improve the artist’s social media presence. Most importantly, public relations help with Crisis Management. Crisis Management is needed when an artist has been publicly humiliated because of behavioral issues or certain unforeseen circumstances have occurred like death. Because of how quickly news spread throughout the media, it is important that an artist releases a personal statement to answer all questions surrounding the problem to avoid any further confusion.

An artist must hire a publicist who is able to handle his or her image in the uttermost respect that portrays them as a model citizen. Even if the artist is jerk, a good publicist makes the artist seem like an angel who cares about the well being of the world. Not only should the publicist be strategic, but also he or she must be well connected in the chosen industry. Many performances and media opportunities are made available because of the work of the publicist. Publicists work 24/7 to ensure press kits and releases are sent to media outlets, coach the artist on what to say on television or radio, and develops rapport with people who will benefit the artist.

A great example of a publicist is Andrea Williams of Tehillah Enterprises, LLC. She has over 20 years of experience in the Gospel Music Industry as a singer and publicist. Tehillah Enterprises, LLC. is a company that specializes in public relations, media and advertising relations, and event management for gospel and Christian artists. Andrea has represented the industry’s best who have been awarded Grammy’s, Dove, and Stellar Awards. These artists include Donald Lawrence, Martha Munizzi, Byron Cage, Marvin Sapp, and many others. I had a chance to sit down and speak with Andrea Williams about the importance of public relations. Take a listen to the wisdom and knowledge she gives to aspiring artists.

Remember, your image in the public’s eye is very important. Be mindful of your decisions and whom you associate with in the industry. It takes ONE bad decision to taint a life-long dream.