The POWER BEHIND The STARS.

No one does it alone!

If these professionals didn't handle their business, our favorite entertainers wouldn't shine so brightly

SINCLAIR JONES WAS A frustrated New York lawyer with a penchant for the entertainment industry. "I pretty much hated being an attorney," says Jones, who took solace in offering career guidance to his firm's small clientele of artists and performers. Although he didn't represent any of the entertainers at the general-practice law firm, the informal counseling was enough to keep him there. Besides, the job had other perks--like tickets to Amateur Night at Harlem's Apollo Theater--that he gladly accepted.

"One night in 1987 I saw a comedian do a minute of material and said to myself, `My God, this guy's incredible,'" recalls Jones. He couldn't get backstage to meet the young talent, but days later caught the wiry comedian's full act in Washington, D.C. Eager to manage the comic, Jones suggested they check out career prospects in Los Angeles.

After a whirlwind week in Hollywood, culminating in an appearance at the Comedy Store, Jones made his proposition: "This is where you need to be, and I want to be your manager." Two weeks later (time enough to give notice to the firm), the pair embarked on a cross-country road trip with Jones behind the wheel. In the passenger seat, eager to get on the fast track to stardom, was comedian/actor Tommy Davidson.

Personal managers are just some of the behind-the-scenes players in an entertainer's career. Attorney's, business managers and agents also play supporting roles. They find work, negotiate deals and manage the finances so the stars can concentrate on their craft. These professionals handle everything from signing checks to reading scripts to even appraising real estate. However, not every entertainer retains all these services. Some managers pull double-duty as attorneys and agents but, that is the exception rather than the rule.

Traditionally the domain of whites, these positions are increasingly being filled by African Americans. But it's slow in coming. For those who do break through, it's not a life full of glamour and glitz. "This business is also a lifestyle choice because the divisions between your personal and professional life disappear," says one agent. Being on call 24-7 is just part of the job.

BACK TO THE FUTURE?

There've always been African Americans on the creative side of music, television and film production. It's on the business side where representation is scarce. "In general, the first point of contact for an actor is the agent, who is most likely white. That agent would recommend an attorney and a business manager who're also white, so the chances for black representation are diminished from the start," says Gary Watson, a 15-year veteran of entertainment law and a board member of the Black Entertainment and Sports Lawyers Association (BESLA) in Mitchellville, Maryland. "Very few, if any, of the A-list black actors in Hollywood have black attorneys."

Yet some see a change on the horizon as a new generation of stars enter the scene. "Most young black artists aren't seeking out only white managers," say Benny Medina, co-owner of Handprint Entertainment, a Los Angeles-based artist management company. "Today's artists are going to those who accept them and then challenging the establishment." However slowly, competence, not complexion, is becoming the barometer of change for African American actors, singers, writers and producers seeking professionals of color to chart their careers and handle their business.

But who are those people behind the scenes striking the deals? Picture a corporate hierarchy with the star as CEO, and under him or her are four division heads. The personal manager is akin to president and plans the career path. The agent is a sales director trumpeting the services of the client while the attorney acts as general counsel and handles all the legal issues. Finally, there's the business manager, who, like a CFO, handles all the money. All wield power in their own right, yet they all report to the CEO.

There is no average salary for these positions. "You can do the same amount of work for your client and make a million in one year and zero the next," says Medina, who manages Sean "Puffy" Combs, Babyface and actress Jennifer Lopez. Because agents and personal managers are most responsible for finding work for clients, they typically earn 10% of their client's income. While an agent's ceiling is legally limited to 10% of an entertainer's income, for personal managers the sky's the limit, with some receiving 15% or more. Lawyers and business managers recede 5% of the deals they broker or assets they have under management. All of these roles are crucial to an entertainer, but perhaps none more so than the personal manager.

IDOL MAKERS

"I sit down with the artist, and we cover the overall game plan for their career and work backward to plot the points to achieve that goal," says the 39-year-old Jones, who heads Sinclair Entertainment Group in Los Angeles. The New York native began representing Kim Coles in 1993 after she left In Living Color. "Kim wanted to be involved as a producer and creator, not merely an actor, so we devised ways to make that happen," explains Jones, who also manages actor Cress Williams, who has had recurring roles on Living Single and ER. (Jones no longer manages Tommy Davidson.)

The first step was to get her back in television, and Living Single was the perfect vehicle. Created with Coles and co-star Queen Latifah in mind, the show capitalizes on Coles' proven comedic talent with a character ironically named "Synclair." "We didn't want Kim to be typecast as the ditzy girl-next-door," confirms Jones. As a result the pair looked for other ways to demonstrate Coles' talent.

In her spare time Coles wrote, produced, directed and starred in Homework, a one-woman, off-Broadway play that showcased her ability to be serious as well as funny. Coles' monthlong performance ended to rave reviews in June 1997 and changed how Coles was perceived in Tinseltown. She went from being a comedic actor to an actor and producer with depth and range.

Still, there was more to be done to solidify her status as writer and producer and, for Jones, writing a book was the next move. "Sinclair is the only manager I've ever had who actually pitched an idea to me," states Coles. Jones believed that she had a story to tell, so he prepared a book proposal. She was pessimistic at first but soon got behind the idea. After shopping the proposal for several months, it was finally accepted by a publisher.

The book, I'm Free But It'll Cost You (Hyperion Books, $18.95), about life as a single woman, proved that Coles could write and produce (she has since sold the film rights for Homework to Fox 2000). Currently, Coles is developing an animated children's series entitled Kimmie's World and her own talk show. "Because of the play and book, people in Hollywood started coming to see what else she had," beams Jones, whose vision was validated by the changing perception of Coles in the entertainment industry.

Lita Richardson has not only had to change Hollywood's perception of her clients, but of herself as well. Just last year, she represented clients such as Regina King, Vivica A. Fox, John Singleton and Vanessa Bell Calloway as an attorney. But in January 1998, Richardson closed the practice to become entertainment vice president of the newly formed Magic Johnson Entertainment Group in Beverly Hills. "The management mindset is a lot freer," says the 34-year-old Richardson. "Negotiating deals is only one part of the process. Now I'm involved from the beginning to the end."

In just under a year, Richardson and her four-person staff have landed clients as diverse as comedian Adele Givens, former model Beverly Johnson, Carl Anthony Payne (Martin) and Michael DeLorenzo (New York Undercover). Richardson's hottest client today, Vivica A. Fox, made the switch with her. "I jumped at the chance to have her as my manager especially since producers had already begun to approach me and Lita with deals rather than my former manager," says Fox, who credits Richardson with tripling her salary in the past five years. "In fact, she went out and got the role in Soul Food for me when my former manager and agent weren't encouraging enough."

Being a manager isn't only about getting the right deals for your clients, it's also about helping them steer clear of the bad ones, says Richardson, who's still Fox's attorney. That means she must cultivate relationships with executives at the various studios to stay abreast of upcoming roles. It's a time-consuming job that exacts a high price on a manager's personal life. "My clients can call me at home, on the weekends or any hour of the night, and I have to be able to help them," states the University of Houston law-school graduate.

It's not unusual for managers to be drawn into their clients' personal lives and take on the varied roles of confidant, critic, protector and counselor. To Fox, Richardson is like a sister who'll always look out for her and not just tell her what she wants to hear. Coles considers Jones a big brother and knows that she can call him at any hour with any problem. In fact, when Coles needed a new attorney, Jones made sure he put her in touch with one of the best young lawyers in town: Matt Johnson.

LEGAL EAGLES

"Once the deal has been set, it's my job to make sure the client gets everything that he or she was promised during the initial negotiations," says Johnson, from his office at the Los Angeles-based entertainment law practice of Ziffren, Brittenham, Branca & Fischer. Often, the 30-year-old gets clients even more than they bargained for.

"I cried when he told me how much money he got," recalls Kim Coles of her contract renegotiations after the second season of Living Single. "I didn't even think there was that much money to be had." Coles and Johnson declined to divulge the exact amount, although industry insiders put the figure over $1 million per year for the final four years of the contract. Johnson maintains that he performed no magic tricks in the negotiations, but simply used common sense. "At the time, Living Single was the No. 1 show in black households, and its demographic of 18 to 39-year-olds is one of the most sought-after by advertisers," explains Johnson, the youngest attorney and only African American at his firm.

Attorneys must also protect the interest of their clients. "With high-profile clients like Tyra Banks, I have to be very protective of their image so it won't be exploited," says Johnson who recently negotiated two Showtime movie deals for Banks--Love Stinks, starring Bill Bellamy, and Apartment Complex. "Because of the value of her image, I had to build in protections so the studios can't release photographs of Tyra without prior approval." Guarding against the improper use of a star's likeness is just one way attorneys protect their clients' interests. Preserving their ability to have multiple income streams is sometimes more pressing.

Attorney Darrell D. Miller has developed a knack for creating multiple streams of revenue for his clients. "Cross-promoting artists among television, film, music and even the Internet is the wave of the future," asserts Miller, who deals primarily with television and film clients. "With all of the consolidation, many studios have the capacity to offer a wide variety of opportunities to exploit your clients' talent across the board," states the 35-year-old Georgetown University law-school graduate and BELSA member. "The key question is how do you franchise your clients as entertainment properties and maximize their potential?"

Miller negotiated Rocky Carroll's contract with CBS so that he could appear in Chicago Hope without affecting his development deal with the network. Carroll can expect revenue from the new show he's developing, as well as receive a salary for his role in the series. The deal also allows him to produce and star in the network's "movies of the week."

Attorney Susan C. Adamson has inspired such confidence in her clients that some, including comedian Chris Tucker, don't require an agent or personal manager. "I'd rather just deal with one person instead of an agent, manager and lawyer," claims Tucker, who says the arrangement has worked out well. "I have always been very involved in my clients' careers, from reading scripts to critiquing performances," says the 42-year-old lawyer, who makes sure to catch Tucker's television appearances. "I watch to see how he comes across to the audience and also to listen for anything he might say that could affect present or future deals." Still, Adamson can't do it all. And the finances are best left to a business manager.

THE ANCHORED BANKER

"We're involved in the clients' business and financial transactions from negotiating contracts to paying their bills, but we're mostly there to safeguard their future assets," says Vernon Brown, owner of V. Brown & Co., a New York-based entertainment business management firm. Serving primarily the music industry, in just six years V. Brown & Co. has become one of the most successful black-owned business management firms in the country, with an office in Atlanta and plans to open another in Beverly Hills.

"In this world there are only two ways to make money," declares Brown, from the dining room of a posh Beverly Hills hotel. "Money at work and people at work."

For the most part, his clients have it both ways. His client roster includes Erykah Badu, Sean "Puffy" Combs, D'Angelo and Usher. "With my clients I insist that all of the revenue from the various sources comes through the firm first," confides the 37-year-old Brown. "Otherwise we wouldn't be able to keep an accurate account of their finances."

Brown is responsible for paying all of the clients' bills including the fees paid to agents and attorneys--even the clients themselves. Business managers typically assist their clients in setting up corporations to lessen tax liabilities. A client can have several accounts with each corporation dedicated to a particular aspect of the client's career. "With the money I make from touring, Vernon helped me set up a corporation that pays the musicians, singers, management and myself from an account that is separate from my other income," says songstress Badu.

"On a daily basis I try to accumulate enough wealth for my clients so their assets generate enough income to maintain them for life after their careers are over," says Brown, who's a CPA and an attorney. "That could be in the form of real estate, CDs, bonds or other investments that make sense for my clients." He's helping Combs purchase a $4 million apartment building on New York's Upper West Side.

Real estate, while an attractive investment, can also be a money pit. "Often I have to intervene with real-estate agents on behalf of my clients because they've been quoted a price that's out of line with the property value of the area," says Steven Temple, a Beverly Hills-based business manager. A large part of Temple's job is helping his clients to just say no to bad business deals. "Entertainers typically get a slew of requests for money from friends and relatives," says Temple. "I tell them to send the requests through me so I can refuse and the client won't have to." That may hold true for business managers, but when it comes to getting work, no is the last thing his clients want to hear.

SUPERAGENTS

"It's my job to convince the network, studio, producer, director, casting director and any number of people that my client is right for their role," explains Jenny Delaney, a talent agent with the William Morris Agency in Beverly Hills. "Once they say yes, that's when I get to kick ass and negotiate the best deal." Negotiations usually come down to three things: money, marquee name placement and creative control. Delaney usually gets a reasonable amount of all three for her clients who include RuPaul, Bernie Mack, Olympia Dukakis and Patrick Swayze.

Information and personal relationships are the main currency in Hollywood. And an agent's ability to use them is crucial. "If I know the daughter of an executive at one of the studios, I'll use that relationship to get my client considered for a role," explains Delaney, a 20-year entertainment industry veteran. An important part of leveraging those relationships is knowledge of upcoming projects--ideally before anyone else knows. Like most other agents, Delaney relies on the resources of her full-service agency--which also represents producers, writers and directors--to get the jump on upcoming roles.

Of the more than 1,000 agents in Hollywood, fewer than 10 are African American. "Hollywood is a closed shop and always will be, because the crux of the business is white," she says. "I can't tell you how many people I've had phone relationships with who, when they finally meet me, are surprised that I'm black."

In June, the loosely formed coalition of black entertainment executives convened the first in a series of breakfast meetings for black agents and other creative professionals at Georgia restaurant in Los Angeles. "We started because there were very few black people we could turn to for advice in the industry," says meeting organizer William E. Yarbro Jr. The networking forum is the brainchild of Yarbro and Brad Johnson, co-owners of 95th and Columbus, a Los Angeles-based production company. The breakfast meetings are designed to encourage networking and mentoring among black professionals in entertainment. Going forward, the group plans to meet with black lawyers, business and personal managers. Referrals are the primary way most entertainment professionals get their clients, so a strong network is crucial to spreading the wealth.

"We're growing out of the habit of appeasing the establishment to get things done," says Medina. His is one of several black-owned management companies to open their doors in the past three years. Magic Johnson Management Group and Edmonds Management, owned by Kenneth (Babyface) and Tracey Edmonds, were both launched this year.

Black lawyers and business managers are also emboldened by the changing climate and have left large white-owned firms to open their own practices. With both black and white clients, it's dearly quality not ethnicity that is filling their coffers. As more entertainers put their faith in professionals of color, we can expect to see a new black aesthetic--both in the spotlight and behind the scenes.

Professional Associations

Black Entertainment and
Sports Lawyers Association

1502 Fairlakes Pl.
Mitchellville, MD 20721
301-333-0003
301-333-0013 (Fax)
www.besla.org

The Managers Alliance (Black and
Hispanic Entertainment Managers)

P.O. Box 1075
Chelsea Station, NY 10011
212-726-3787
212-591-6108 (Fax)

National Conference of
Personal Managers

964 Second Ave.
New York, NY 10022
212-421-2670
212-838-5105 (Fax)
www.cybershowbiz.com/ncopm/

Association of Talent Agents

9255 Sunset Blvd., Suite 930
Los Angeles, CA 90069
310-274-0628
310-274-5063 (Fax)

ABET (Alliance of Black
Entertainment Technicians)

1869 Buckingham Rd.
Los Angeles, CA 90019
323-933-0746
323-934-7643 (Fax)
www.abetnetwork.com