Operations & Events

On July 13th and 14th 1996, the popular alternative rock act, the Smashing Pumpkins, were to play two sold out shows at New York’s Madison Square Garden. The shows never happened. On July 12th 1996, the New York headlines told the story: Jonathan Melvoin, the keyboardist, was found dead in his hotel room of an apparent drug overdose. In addition to the tragic personal loss suffered by the family, friends and acquaintances of the performer, Madison Square Garden, the surrounding economy and nearly 50,000 fans were deeply affected by this sad event. The financial toll for the venue alone exceeded $1.5 million.

TAKE HOME POINTS

• Whether the performer is a
recovering or struggling addict
or alcoholic, on a regimented
medical regime, facing legal
restrictions or conditions or a
recovering gang member, the
seamless production of an event
is a responsibility shared by both
the artist’s representatives and
the venue.
• As this intriguing area of artist
management and relations gains
wider use and acceptance, it is
surely something that will increase
insurability, and enhance
community relations among
facilities and their neighbors.
• It is always exciting to encounter
a new and positive solution to
problems, especially when they
are subtle and touchy issues that
are often ignored.

In the corporate climate that has successfully taken over the operations of most major performance venues, these personal performer and client issues are often overlooked or denied in order to preserve the image necessary for continued venue success. This denial can have a strong effect on the bottom line. A strong manager, in order to achieve his performance goals, must consider the implications of and the possible solutions to this sort of unfortunate reality. Although these problems can occur in any industry, they are most prevalent and noticeable in the entertainment world, and it is time to put them on the table and seek new and effective approaches to their solution.

The instant reaction of many seasoned managers is to seek extra law enforcement presence and additional security personnel. However, experience has shown that this approach is both heavy handed and unappealing to the needs of a higher profile clientele.

A recent show at The Vault, a medium size theatre in Long Beach, California, further illustrates the problems inherent in this remedy. The Game, a rap sensation with admitted gang ties, was scheduled to perform. Both his entourage and the increased police presence only served to create an extremely tense atmosphere.

Thanks to the professionalism of the venue staff the show went smoothly, but any wrong choices on the part of the performer could have spelled disaster. Although a certain dangerous image is courted in this world, the plain truth is that the venue manager, the artist representatives and all those involved in the presentation of any live event are ultimately interested in having a trouble free, successful and potentially repeat event. Mr. Bobby Sepulveda, the stage manager, summed it up, “At that show, and others, it is our professional duty to provide as safe an environment as possible not only for the house, but also the audience and the performer.”

Whether the performer is a recovering or struggling addict or alcoholic, on a regimented medical regime, facing legal restrictions or conditions or a recovering gang member, the seamless production of an event is a responsibility shared by both the artist’s representatives and the venue. All parties must work together to avoid the pitfalls of which headlines are made.

Dealing with artists or public figures whose reputation precedes them is fragile territory, but a new and innovative approach to these problems, which grew out of the personal needs of many of the artists, has developed, is beginning to spread into their professional lives, and is showing great signs of success.

I spoke recently with the front man of a very successful internationally known musical act, who is now clean and sober and he explained the concept to me. “In a joint effort between my management company, my label, my tour manager and the venues,” he said, “the decision to hire me a personal recovery assistant was reached.”

Nanette Zumwalt, the director of private staffing at Hired Power, an exclusive treatment support firm located in Seal Beach, California, elaborated on the concept. “A personal recovery assistant is a well trained professional assistant hired specifically to work behind the scenes discreetly with a client to help them navigate the problems specific to any life situation from which they are recovering, or any issue for which they need direct personal support. Although these individuals are well trained in the discipline that applies to a specific client, they are not doctors, psychiatrists or policemen, but operate more on the lines of role models who offer choice direction and assistance, as clients navigate the difficulties that sometimes accompany stressful events such as performances, tours and events. They are unrelated to the security needs of an event, but their discreet behind-the-scenes presence can have a deep effect on all the other departments involved in a show.”

Zumwalt’s company recognized the need for a well referenced and respected source for this type of professional and formed Personal Recovery Assistants. “These individuals, who can be thought of as specialized assistants, offer an innovative solution to a problem that has long troubled many areas of the entertainment industry. This new component of artist relations will eventually become as indispensable as the personal chefs and hairdressers who form part of the entourage.”

Further evidence is showing that this emerging trend is rapidly becoming an important tool in successful artist management.

“It is something to be dealt with in the open, honestly and yet discreetly,” Zumwalt said in discussing how facility managers could utilize these resources. “We are the only agency in the industry who arranges such services, and are equipped to handle all the details, including background, criminal, personal, and educational screening. We sensed the need, which is why, at our industry clients’ suggestions, we founded Higher Powers’ Personal Recovery Assistant division. We can now provide one of these assistants for any amount of time from a one-shot award show to a full summer tour.”

The financial rewards of having stable talent are obvious. As this intriguing area of artist management and relations gains wider use and acceptance, it is surely something that will increase insurability, and enhance community relations among facilities and their neighbors.

The lead singer mentioned earlier agrees. He explained that the use of these services not only allowed him to have an artistically and financially successful summer tour, but also exposed a strong role model to the band, one who has definitely been a factor in their continued success and marketability. He went on to mention how his Personal Recovery Assistant allowed those who did not accompany him on the road, such as his family and loved ones, his booking agent, facility managers and others, to stay “in the loop” and remain confident in his continued success.

It is always exciting to encounter a new and positive solution to problems, especially when they are subtle and touchy issues that are often ignored. Unfortunately it was too late for Mr. Melvoin, but concerned managers can learn from tragedies such as these and develop new strategies that will not only enhance venue desirability and marketability, but also the lives of those complex gifted individuals they are privileged to work with.

Stephen Uys is a Southern California based freelance writer. Nanette Zumwalt is the director of private staffing at Hired Power and may be contacted at 800/910-9299.