While the aesthetics of consumption (photographic or otherwise) requires a heroicized myth of the artist, the exemplary practice of the player-off codes requires only an operator, a producer, a scriptor, or a pasticheur.
If you've had a bad experience with an agent, you have to move past it. You are bound to want a player at some stage who is represented by this guy and you will have to try to work around the personality of the agent. You tend to work out what makes them tick, what they respond to. You have to have tactical plans to get a deal over the line.
The best chess-player in Christendom may be little more than the best player of chess; but proficiency in whist implies capacity for success in all those more important undertakings where mind struggles with mind.
There is then no analogy whatever between the operations of the Chess-Player, and those of the calculating machine of Mr. Babbage , and if we choose to call the former a pure machine we must be prepared to admit that it is, beyond all comparison, the most wonderful of the inventions of mankind.
It's always really challenging trying to go from player to player/coach. You have a kind of friendship basis of relationship with all of your teammates and now you go to this power position where you have to make decisions that might hurt people's feelings.
I was an accomplished junior tennis player up to around fourteen years old. At fourteen or fifteen I made the decision to venture off to make my life 100% music.
I have to be involved in negotiations because players have to buy into me and what I want from them if they join my club, so all managers need to be fully involved in transfers, that's for sure.