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The article profiles talent agent Ari Emanuel, co-chief executive officer (CEO) of William Morris Endeavor Entertainment, who served as inspiration for the character Ari Gold on the television program "Entourage." Emanuel is the brother of Chicago, Illinois mayor Rahm Emanuel and is considered one of the most powerful men in the U.S. entertainment industry. Topics discussed include Emanuel's education and how it led to his career as a talent agent, how he started talent agency Endeavor with co-CEO Patrick Whitesell, and how he is diversifying the business in 2013.

An interview with manager and booker John Seine is presented. Topics mentioned include the managing of The Kjoe band by Japie Pas, the start as a singer with guitarist Mac Granaat and drummer Danny de Leeuw, and the managing of singer and drag queen Divine who died of sleep apnea in a hotel in Los Angeles, California.

The article focuses on talent managers of celebrities taking care of their shows and careers. It mentions two biggest management companies in Australia including the Robyn Gardner Management (RGM) firm and Shanahan's headed by Ann Churchill-Brown. It also notes other celebrity agents including Nick Fordham of The Fordham Company, Mary Farmer with her own public relations (PR) company and Victoria Buchan of the Lantern Group.

The article presents an interview with several women talent managers from the country music industry, including Virginia Davis of G Major MGMT, Ann Edelblute of The HQ, and Kerri Edwards of KP Entertainment. Topics include the lack of female managers within the country music industry when they started, their involvement in the production of music albums by artists they represent, and their response to the Route 91 Harvest Festival shooting in Las Vegas, Nevada and sexual misconduct allegations within the entertainment industry.

The article offers tips on becoming a celebrity. According to Brent D. Taylor, author of "The Creative Edge: Insights From the Lives of the World's Most Famous Outsiders," being famous is not all about talent since success in show business is reliant on what other people think. The manager gives guidance to their clients and takes care of business matters that could affect their career, while an agent finds work for them and makes deals on their behalf.

The article profiles several women agents and managers in the entertainment industry. They include ICM Partners partner and co-head of talent Lorrie Bartlett, WME partner and talent agent Michelle Bohan, Creative Artists Agency (CAA) motion picture agent Maha Dakhil and Rise Management partner and manager Julie Darmody.

The article offers tips for actors on acquiring talent agents. These involve research, professionalism and referrals. It mentions that personal managers can be alternatives to agents who guide and prepare actors to start working. An overview of the perspective of acting teacher Mae Ross on the difference between managers and agents is also presented.

The article features several women agents and managers in the entertainment industry. Bonnie Bernstein of ICM Partners says that life and work balance involves creating boundaries. Suzan Bymel of Management 360 advises searching for internships during the first year of college to gain a variety of experiences to land a job post college. It adds that Lisa Jacobson of United Talent Agency Inc. is a pioneer in guiding talent agencies toward branding and creating licensing programs.

The article reports that having an agent or manager is by no means essential for young people dreaming of performing onstage. Getting cast in movies, TV shows, and commercials is much more problematic for those without representation. But the situation is not hopeless for unrepresented young people who yearn to see themselves onscreen. Sharon Chazin Lieblein, vice president of talent and casting for Nickelodeon says that they contact teachers for recommendarions and put breakdowns out on websites which makes this information accessible to anyone who is interested.

The article presents an interview with Keith Granet, the agent of top interior designers. Granet said that the purpose of establishing the Designer Speakers Bureau is to raise the profiles of interior designers outside their own community by booking professionals for speaking engagements. He said that the agency is targeting high-end clients.

The article offers the author's thoughts about imposing rules in acting auditions, especially rules on manager and actor relationship. The author emphasizes the importance of being flexible in establishing rules when booking acting gigs, and to avoid missing out on an opportunity because of a self-imposed restriction.

The article provides an answer to a question of what's the protocol for trying to find a manager and what comes first for an actor, an agent or manager.

The article presents the suggestions for the artists' agents for new year resolution, discussing the hiring of personal managers by the actors and actresses in the industry. Topics discussed include need to educate about all the new streaming services; need to sign up for every sexual harassment workshop; and need to stop telling assistant to print out hard copies of scripts.

The author discusses the role of a tour manager, agents, and the band in the production or staging an event. The author cites that the lack of knowledge and procedure is the main challenge in providing audio for shows because bad events are blamed on those who are involved in the production. The author emphasizes that booking agent and the band should bear some of the responsibilities because conflicts between them puts the audio company in between.

The article profiles Liz Bell, a talent manager for actors and models in British Columbia. It offers information on her interest in accessorizing outfits and travelling. It discusses the experiences of Bell when she worked at Bisaro's restaurant in Vancouver, selected by a talent scout to model overseas and establish a network of connections for her agency. It focuses on her philosophy on delegating work to help her grow the business.

The article offers tips for actors on how to find a good manager. It suggests to determine the background of the manager. Actors are advised to question the manager how many actors are on his list and find out which actors he represents and what they have done. It stresses the need for actors to know which agencies work with the manager.

The article discusses the basics of finding and keeping a talent agent or manager. It explains that actors should be familiar with the different types of representation. Talent agents, who are licensed by the state, are the only ones who may legally procure work and negotiate contracts while managers typically assist in shaping the overall arc of one's career, offering counsel on elements from acting classes to marketing methods. Finding agents and managers could be in the form of blind submissions or via referral.

The article relates an actor's decision to change agent. The actor's decision to let go his agent are based on many factors such as not being available, lack of communication, and not sending him out to work. Coralie Jr. is offering a one-year contract for theatrical and commercial representation. After weighing his options, he accepted the offer and embraced the transition. The actor talks about his film "Set Apart."

A personal narrative is presented which explores the author's typical day as a talent agent.

The article features talent manager Seth Greenky. He describes himself as a one-on-one, hands-on manager. He keeps his roster relatively small-about 14 clients--and is highly selective when it comes to taking on actors. He has been operating the New York-based Green Key Management for more than two decades. Greenky believes in taking on actors who are in that developmental stage. It relates the qualities that Greenky looks for in a potential client.

The article presents information on personal managers of entertainers. It takes the example of Rick Siegel, who has dedicated his life to fighting a law that has allowed actors, comedians and other entertainers to cut and run without compensating the managers who have brought them to the precipice of fame and fortune. It discusses the case Siegel's Marathon Entertainment vs. Rosa Blasi, an actress who was represented by Siegel until she fired him and refused to pay his commissions of $600,000.

The article offers tips for aspiring actors in the U.S. on avoiding getting scammed by a talent agent, talent manager or service. The difference among agents, managers and advance-fee talent services is outlined. Actors should be wary of a manager who asks for up-front fees. Reputable managers charge no more than 15 percent commission for their services. Advance-fee talent services are legal in California, though they are illegal in New York.

The article presents questions and answers related to acting. One reader asked about things that an actor should take into consideration when finding a manager who can help him with motion picture or television castings. Another reader asked for tips in making the best presentation of online reels to casting directors.

The article presents the different views of notable talent mangers regarding the decision to take or not take a client. According to Daniel C. Abrahamsen of DCA Productions, it depends on whether he feels he would be able to help the artist in their career. Paulo Andrés of Link Talent Group stresses that it will always be a matter of talent. Sarah Lum of Leverage Management shared that all her clients are referred by existing clients or industry colleagues.

The article presents tips for actors on the selection of an agent or a manager. The agent acts as a salesperson for the actor. The actor needs to have started his career before an agent can represent him. Managers deal with mailings, bookings, transportation and promotion. Agents and managers are primarily concerned with making money.

The article focuses on the general service agreements (GSA) included in the contract of stage actors in the U.S. It refers to the commissions owed by a talent agency to an actor's agent for various kinds of residuals. It is legal and binding but not negotiated by an actor's union like the Screen Actors Guild (SAG).

The article presents the views of several talent managers on helping typecast actors transition into other types of roles. Paulo Andres of Link Talent Group believes that the biggest obstacle actors have is getting into the business--first being seen--and then being remembered. Physical changes of weight, hair length, and color can help, but it most likely will be done with the depth and quality of the actor's talent. The key, according to Seth Greenky of Green Key Management, is that as a manager you exhibit persistence, patience and fortitude.

The article discusses how several managers in the U.S. work with an artist's agent. They include Horacio Blackwood of Blackwood Entertainment, Seth Greenky of Green Key Management and Darryl Marshak of The Marshak/Zachary Co.

The article presents answer to a question on topic related to get a manager before talent agent by an actor as he helps to give strategy to gain foothold in the industry.

The article presents the characteristics of an actor according to the author's views. Topics covered include why an actor must have the willingness to miss important events to go to an audition, the inability to turn down any opportunity, and the burning desire to express oneself as a performer. It also discusses why actors must have an agent, must be willing to be a local hire in every city in the U.S., and must send submissions to talent agencies during holidays.

A personal narrative is presented which explores the author's experience of being a Hollywood talent agent, and how he built a wall around himself in order to do his job, which is servicing and selling the actors on his list.

The article focuses on the new business opportunities in the music industry amid the problem of illegal downloads. Due to decline in sales and profits, Wonderlick entertainment managing director Gregg Donovan says that the emphasis shifts to live performances. Manton Management managing director Tim Manton adds that managers assume the roles of artist and repertoire managers in record labels. Cherry Rock managing director James Young advises Australian music marketers to exploit the cultural impact that has became a trend in the U.S.

The article reports on the decision of California Supreme Court concerning the provision of the Talent Agency Act. It prohibits the deregulated managers from securing employment for their clients, however, they can be paid despite isolated procurement acts according to the Labor Commissioner. The law only allows regulated managers to arrange employment for their talents.

The article presents information on the views of actors about their triangular relationships with both an agent and a manager. It informs that actor Erin Matthews prefers to concentrate on the artistic side of her career and leave the business details to others. Matthews says that her manager Arlene Forster even feedbacks about something that was not so good. It is stated that actor Paul Sparks regularly meets or speaks with his representatives individually but seldom sees them together.

The article reports on developments concerning management contracts signed by film actors and directors with various talent agencies in the U.S. in 2007. Matt Lanter, a regular cast member on the ABC show "Commander in Chief," has signed up with Endeavor. Film director Simon Wells has signed up with APA.

The article presents the author's suggestions for new actors on growing their careers. The author suggests looking for a suitable agent or a manager who can help prepare for representation. According to the author, managers and agents have the talent to negotiate deals for actors and they can help get a better deal. The author suggests hiring a business manager after becoming successful as an actor to help with investments and retirement planning.

The article talks about the perks of being a talent agent. The author reveals that an agent always gets free tokens or gifts and invites, acquire complimentary tickets for plays or comedy shows, and has the privilege to see free shows in other parts of the U.S. He admits that an agent also is given a lot of gifts including presents from aspiring actors who think that they can bribe their way into his office.

A personal narrative is presented which explores the author's experience of being a talent agent and manager.

The article focuses on the criticisms raised against the new code of ethics and conduct released by the Screen Actors Guild-American Federation of Television and Radio Artists (SAG-AFTRA) in 2014, based from the results of a survey conducted by the National Conference of Personal Managers Inc. (NCOPM). According to the survey, 98% of personal managers will not apply to sign on the SAG-AFTRA Code.

The article focuses on George Strompolos, founder of the talent agency and marketing consulting firm Fullscreen. The company represents performers who have become celebrities due to their Internet videos posted on the Web site YouTube, a company of which Strompolos is a former executive. Strompolos states his goal is to increase Internet advertising sales linked to his clients' videos.

Two letters are presented related to acting which includes the appropriateness of accepting an acting job even without an agent, and the rule on the exclusion of nonunion actors from auditioning.

The article explores the response of various talent managers including Brian Liebman, Bruce Smith, and Rosella Olson regarding the relationship between the manager or agent and actors in the U.S. Liebman cites the responsibility of the manager on pushing the actor's career to stardom. Smith states that the manager will navigate the career of the actor in the entertainment industry. Moreover, Olson mentions that talent development is the manager's function.

The article discusses the author's five simple practical resolutions to improve career and state of mind in the U.S. The author mentions that actors must forget about the auditions when leaving the casting office, carry simple wardrobe and take the agent, manager and mentor to launch. It addition, he mentions that he keeps track of auditions and costs and calling oneself as an actor without shrugging and rolling eyes.

The article presents information on some clarification related to questions raised by upcoming actors related to their profession in the U.S. One of the common problem among actors is related to finding an agent. The author informs that many actors land agents through referrals through clients. Other common questions include how to join the Screen Actors Guild and how to find good acting class or workshop.

The article reports on the charitable activities and programs of talent management companies in the U.S. compiled as of July 2007. The ICM Foundation has pledged $500,000 to the renovation of the Dorsey High School auditorium in Los Angeles, California. The Endeavor Foundation has partnered with Los Angeles schools to mentor students at Carver Elementary School for the Compton Unified School District testing.

The article presents news related to talent managers in the motion picture industry in the U.S. compiled as of July 2007. Producer and director Jonathan Glassner has signed with the Kaplan Stahler Gumer Braun Agency. Screenwriters Josann McGibbon and Sara Parriott have signed with WMA. Actress K.D. Aubert has signed with APA.