In professional wrestling at the independent level, we're not dealing in guaranteed contracts and incentive-laden profit sharing deals. Nope. By and large business is done on handshake agreements and as such, a man's word is his currency. How successful someone becomes lies largely with their demonstrated commitment to proving true to their word.
As wrestlers, we have a responsibility to the promoters to deliver a product which will generate business for them. Whether through a picture on a poster, an interview with the local media, or through the event's promotion -- we will attract attention from the ticket buyers. But our commitment doesn't end there, and it continues from the time you arrive in the town, through making your appearance in the ring, and getting your money. Did you deliver? Did you live up to your end of the agreement? Did your performance on this night encourage fans to buy a ticket next time?
I have always considered this during my career - even when disputes have arisen from time to time. I think if one was to ask any of the promoters in my history, whether their overall experience was positive or negative, they would tell you that I always honored my commitments. In some cases, I gave notice and fulfilled dates for the following eight weeks in order to conclude an issue accordingly that had been advertised on television. This is, after all, a business.
I have seen a number of wrestlers pass through the business whose careers will largely be forgotten over time simply because they failed to honor their commitments. But what of promoters? Who is holding them accountable? Who is ensuring that their actions are honorable?
Over the past week, I witnessed something that disturbed me so greatly that I had to step back and really think about how to approach this. After all, nobody likes a stooge ... but I'm hoping that I stand on solid ground by approaching this as an ethical issue. Consider this scenario:
Joe Potatohead is a rock concert organizer. He has scheduled small concerts across the prairies in rural settings for a number of years, gaining a little notoriety here and there, presenting some good acts, but never really making any money. In fact, if not financed from an outside source, would probably have declared bankruptcy seven times over. Potatohead isn't generally respected by his peers in the music industry, but is considered pretty harmless, so other concert promoters pretty much leave him to do his thing. He even fancies himself as a great lead singer -- though his vocal skills are lacking.
Jack O'Lantern has played for a few bands over the past few years and identifies a market for some new acts. O'Lantern has some connections with other musicians and has lined up venues, but in order to move forward in uncertain economic times, looks to lease equipment, and in turn support other people within the business. Jack calls Joe and proposes that if he can rent Potatohead's equipment, and even put some of his musicians to work (including Joe himself), perhaps the two could co-promote in an effort that allows for cost sharing. Potatohead will continue to market his product to the rural market, while O'Lantern will focus on a select urban client base. No toes get stepped on, the deal is financially beneficial to both parties, and there is more work for Canadian musicians. Both parties agree and the acts are advised of the new partnership.
Upon arrival for O'Lantern's premiere concert, Potatohead is surveying the crowd, noting that the maiden voyage of the novice promoter had drawn a gate five times larger than his event from the previous night in a community where he has worked hard to establish his brand. Before the opening act even hits the stage, Potatohead approaches two musicians who are at the concert just there to enjoy the performance, and inquires about their availability to perform for a date in O'Lantern's market two months later.
WHAT!? Where did this fall off the rails?
This scenario, in a wrestling context, really took place and is the main reason why, after only three appearances, I will not be returning for one promoter in Alberta. If this is the manner in which he is approaching his business dealings, cutting the throats of his own allies, then I can only imagine what other crimes against the business and common decency are being committed on a regular basis. Why would you bite the only hand that has been extended in friendship over five years? I don't understand this. It sheds new light on proposed events in other markets as well which would negatively impact the efforts of other long-term performers that have worked for him.
In my view, promoters have a very important role. It's a high pressure position, no doubt. They have to honor their agreements (and financial promises) with talent, they need to foster relationships with the media in their markets, they need to instill confidence in their venue managers and sponsors, and they need to be cognizant of their position within the realm of wrestling among other promoters and wrestling afficionados. Anything short of this represents a failure on their part.
Don't misunderstand ... there are some great promoters out there. I have had the distinct privilege to work with many of them. They are focused on their business and are articulate in their passion for the wrestling industry and their commitment to their own product. I appreciate the hard work of those promoters whose names or company brands are synonymous with their market:
Regina - Charley Hayes, High Impact Wrestling
Lethbridge - Tim Strom, Power Zone Wrestling
Prince George - Stuart Brown, Maniac Wrestling Alliance
Edmonton - Kurt Sorochan, Prairie Wrestling Alliance (even though he doesn't book me)
Vancouver - ... well, I don't know that there's a wrestling politically-neutral answer on this one
In this business, while there is a significant trust factor among wrestlers to ensure (to the best of our collective ability) that nobody is seriously injured in the ring, I would argue that the relationship of trust between promoters and talent is equally important. Consider that talent is, by default, associated with the trespasses of the company. If the promoter of XYZ wrestling commits an action that screws over the promoter for ABC wrestling -- the ABC promoter and his roster are going to label that under the category of "Those fucking XYZ guys!" A promoter's reputation can have both a positive or negative affect on their talent and their relationships with other people in the business. Scary, when you consider that in just getting a match somewhere and trying to make a go of your career, you can do more harm than good for yourself -- even if you barely know or talk to the guy paying you.
Talent puts their faith in the promoter that they are working with the talent's best interests at heart. If the promoter is taking their attention off their own business and deliberately striking out in all directions to kick other promoters in the nuts ... how does that really help his own business? How does that affect his talent? And more importantly of all -- TAKE ANOTHER BIG STEP BACK FROM THE ISSUE -- what does this do to the credibility of our business among the ticketbuyers?
"When we cut each others throats, we all bleed to death" - Earl Black
Focus on your business, contribute to the on-going legacy of our industry, and consider your reputation among your peers over your own self-professed superstardom in the ranks of pro wrestling. If you can't conduct your business with honor and dignity, please step aside. Go buy some DVDs and enjoy wrestling from the comfort of your own home where you will only aggravate your cat -- not impact the livelihoods of dedicated professionals.
Vance Nevada