@REHawk
Thx for the good thoughts.
First Big Shoe.
Next Big Agent? :-)
There is a long legacy between talent and agents across all professions that act in fields that drift wholly, or partly into the "entertainment" bidness.
The agent industry, and its interfacing alter ego, PR/advertising are reputedly pretty slick in the music business and the movie industry. Some have kind of unsavory reputations. But every profession has some members with unsavory reputations.
I would like to learn something about the agent-PR complex. I havenāt read any books focused on it yet. Maybe some on KUBuckets.com can fill me on some good ones.
The agent-PR complex is in the business of image management and marketing. To do that effectively, the agent-PR complex has to deal not only with the business of celebrities (client's professional work contracts, plus client's endorsement deals), but also their peccadilloes. These are areas that unfortunately occasionally involve the less savory aspects of life from time to time. Players are human just like musicians, movie stars and leading political figures. They make mistakes that have to be managed to minimize the damage to their careers.
Consider the agent-PR complex's jobs of negotiating professional work contracts and endorsement deals. They occur in a world of entertainment. The world of entertainment, though it seems rather glamorous to us today, because it has invested heavily in sprucing up its image, has a long seedy legacy tracking back to the old notion of "show folkā over many centuries. Show folk ranged from traveling acting troops, to musicians, to magicians, to carnival performers, to circus performers. I reckon they all grew out of a tradition of magical, pretend entertainment for poor folk, or for a few at the high end in the kingās court. The show folk brought not only entertainment, but knowledge of the outside world and some vices to the locals where they performed.
Overtime agents and talent agencies and booking agencies emerged to find and channel talent to those producing the magic shows, plays, musicals, bands, etc. Entertainment for many centuries was a small time, carney-like business with so-so margins from the gate that had always had to involve itself in sideline activities to make ends meet. As cities grew in size venues like theaters and opera houses grew in size and proliferated. Celebrities began to be a phenomenon. But it was later with the industrial age and now the digital age that it became highly profitable to be a star in some realms (e.g., movies, recorded music and/or large venue rock and orchestral concerts, TV, internet).
Sports are a fascinating subset of entertainment. Even in classical antiquity, sports could draw huge crowds (e.g., the Coliseum and Circus Maximus in Rome) and become spectacles in huge stadia. But modern sports, including basketball, began to attract large stadia crowds in the industrial age and then huge remote viewerships through radio, then TV and now the internet. So: sports, like basketball have always had an entertainment component, but modern media and modern public relations and advertising have elevated the entertainment aspects of sports.
Interestingly, there is another side of early entertainment that is often not discussed that adds some to its shady legacy: intelligence gathering. Entertainers have long been a group of persons engaged in an activity that traveled around the interior of states, and across state boundaries with very little state regulation. Further, entertainment has always had a sizeable component of illusionists by training. Actors and magicians are performers that create illusions to entertain people. They were traditionally very transient. They traditionally not only played roles on stage, but also tended to create new, more marketable identities for themselves off stage. This tolerance for illusion in the entertainment industry has long ago made it okay for persons to change their names, to reinvent their pasts, and so on. The tradition continues to this day.
This group of "show folk" often with largely untraceable pasts and often moving fairly freely among regions and among states where formal officials of governments and corporations may not be able to move freely, and where formal intelligence operatives may not be able to operate, has long been an ideal supply of potential informants for intelligence organizations to recruit from. Its been that way for many centuries. Harry Houdini, the great magician who was invited to put on shows all over the world, was reputedly an informant from time to time for American and British intelligence. John Wilkes Booth was reputedly one of many "show folk" used as informants during the US Civil War by both sides long before he reputedly decided to assassinate Abraham Lincoln in Ford's Theater as part of a sizable conspiracy. And magicians of course attract their share of occult types into the profession of magicians and certain of these occult types in the long history of entertainment have also straddled the worlds of the occult and intelligence.
Certain categories of performance in entertainment have also reputedly attracted intelligence organizations. Mesmerizing people grew out of the occult and out of entertainment. Mesmerizing became hypnosis. Hypnosis was an early form of mind controlāa skillful, controlled planting of suggestions. Also hypnosis could relax a subject into being willing to reveal things about themselves that they might not reveal without hypnosis. Skillful hypnotists and magicians could create illusions and extract information from their subjects. Same with fortune tellers. Fortune telling is another facet of the occult and of early entertainment. Fortune tellers could bring subjects into dramatic seances and elicit all kinds of information from them in seances that could not be gotten other ways. And those in the intelligence rackets have long recruited informants and spies from these fields precisely because of their potential access to information from certain persons.
My point here is that the entertainment field ranges from "show folkā that are legitimate performing artists, to con artists and everywhere in between. And across this spectrum from time to time intelligence organizations make appeals for assistance in gathering intelligence that entertainers from time to time comply with. Throw in the occasional spy posing as an occult shaman that also performs and you get an idea of the wide, occasionally bizarre range of entertainers that agents and PR firms have to deal with.
As a result, agents, PR types and booking organizations, quite literally have been for a long, long, looooooong time involved representing not only the nice conventional artist craftsmen in the entertainment bidness, but also the con artists, occult weirdoes, and spooks, too. Thus it should not surprise that perhaps a few agents and agencies could themselves become partially, or completely, drawn into these unconventional activities.
Now, if you fast forward to the present day, when show folk have become admired, even worshipped entertainers and artists and producers and distributors in a vastly profitable complex of entertainment industries, and when their value as product endorsers (i.e. merchandize movers) has sky rocketed along with their stardom and cultural esteem, you can see that agencies and PR firms have moved up town right along with these former show folk in their outward trappings and in the amounts of monies they make from doing their age old jobs and taking their age old cuts.
But somethings never change in the entertainment business.
Work contracts have to be negotiated.
Clients images have to managed and marketed.
Their peccadilloes that occasionally surface in the eyes of the law, or tabloid dumpster searchers, have to be "handled."
And, though I have no specific proof to point to, right now, by extrapolating past to present, it seems reasonable to suspect that given the vast range and access to upper levels of society that many entertainers achieve, that some act as informants and spooks from time to time for the intel world.
And of course we know in the current age of full spectrum dominance that all branches of the military ARE budgeted funds to pay for the production of movie, TV and internet content that some how serves the interests of those particular branches of our military, which have as their purpose the maintenance of our national security. This at least suggests that the entertainment industry may be more involved with the military and intelligence worlds now than at any other time in our history save maybe during World War II.
And if the enterntainment industry is more involved than ever in this sort of national security related content production, then we can assume that lots of talent and their agents and PR representatives are in on this gravy train, too.
All of which brings me to my hypothesis that there is a PetroShoeCo-Agent complex that has for probably a wide variety of legacy and emerging reasons gotten itself involved in recruiting for the greatest game ever invented.
The agent element of the complex has so far been covered in a rather sketchy way. We donāt really have recent indications of agents being anything but honorable professionals helping young men negotiate employment contracts and endorsement deals. At the same time, I donāt recall any recent investigative reporting of what they do for high school, college and professional basketball players and how they do it. As a fan, the world of agents and agent runners remains not very transparent.
As I have mentioned a time or two before, it would be nice if some professional sports journalists would dig in to the world of sports agents and public relations persons for basketball players and give fans an understanding of what is going on.
I wonder if agents that handle basketball players are some of the same agents that handle rock stars, or movie stars, or what have you.
Or are they separate segment of professional agents that only handle athletes.
Some of the agents and PR firms and talent booking firms that handle rock musicians and movie stars are reputedly stellar folks. But others have reputedly had some rather unsavory connections.
So: hey, pro sports journalists, how about a few new books on sports agents and public relations firms serving basketball players? Show us what they do and how they do it and if they are keeping their noses clean, or not.
Rock Chalk!