Free Me, Inc. by Mr. Gene Simmons

another, and before long, Paul and I were offered a chance to buy into the team, along with Doc and Brett. We jumped at the chance. Doc suggested we call the team LA KISS. And Paul designed the logo.
    I have done about fifty speaking engagements around the world, under my brand, Gene Simmons Rich & Famous Expos TM . I own the trademark.
    The reason I’ve always wanted to speak to people is that the education I received in public schools didn’t prepare me for what life was really like, and, more specific, how I was going to pay my rent. I wanted to connect with people, share my experiences, and show them how they could improve their lives immediately. And in some cases, how a few of them might become ultrarich. It has happened, more than once.
    I had initially wanted Creative Artists Agency to book me on speaking engagements, but I was told that my speaking fees could only fetch around $15,000 to $25,000. I didn’t agree with that assessment, so I decided to book the speaking engagements myself.
    So I spread the news. It didn’t cost me a dime, and I never hired a PR agency or manager or booking agent to do so. I simply mentioned it when I did interviews on TV or radio, and presto, my first speaking engagement was offered. They made an offer, I countered, and we settled on $100,000. Since then, that’s been my minimum speaking fee.
    Multiply that by 50, and you will see why professionals can’t always help you where you want to go.
    Incidentally, handling things myself is something that I invariably wind up doing. If you want something done right, do it yourself. I didn’t come up with that phrase, but I do live by it. The first time you try to do something yourself, it will—admittedly—be very difficult. As you gain success and traction, and you prove yourself on the battlegrounds, people will trust your ability to sell. At my level, doing things yourself is simply easier. And if you’re committed to being your own boss, it’s preferable.
    Speaking engagements come at me from all directions, but hardly ever from a talent agency. Corporations usually contact me directly. And what I do is a hybrid autobiographical and hopefully inspirational and motivational speech. I never step up there with notes and I am never prepared. I simply start talking. By judging the makeup of the audience, I can steer my talking points and hopefully some of them will “get it.” “Getting it” has to do with a mind-set: the idea that you can do almost anything, given the right place, the right time and the right thing. And plain old hard work. This is the reason I don’t use notes—because I didn’t use notes in my career. Sink or swim, you have to jump into the deep end. If you wait until you are ready, as the saying goes, you will wait forever.
    It’s one of the reasons I’m writing this book, and not someone else. There are acting teachers who don’t know how to act, but they will tell you what you’re doing wrong. There are football coaches who will tell you what you’re doing wrong in football, although they may actually never play football. I’m a hybrid. I’m in front of the camera. And I’m in back of the camera. I’m onstage. And I’m backstage. I work in business, and I have a sense of the structure of business. Not all businesses, mind you. No one has that.
    But I’ve cultivated enough business common sense to be able to apply it, and—make money.
    My point in recounting all of these endeavors is that you shouldn’t be afraid to try your hand at different things. You may need good partners—good writers, good production companies, investors, and stakeholders who can fill in the gaps of missing knowledge and experience—to help you get your venture off the ground.
    But don’t let the fear of failure keep you from trying in the first place. Most baseball swings sound like this: “Swoosh.” But, if