Concert Ideas Event Planning Guide

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Harris Goldberg, Adam Tobey, Mike Russo, Adam Taylor, Dave Stevens, Amanda Campbell Copyright 20 Concert Ideas, Inc.

CONCERT IDEAS EVENT PLANNING GUIDE. Copyright 20 by Concert Ideas, Inc. All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission from publisher. For information contact Concert Ideas, 73 Ratterman Road, Woodstock, NY 12498 www.concert ideas.com.

Book design by Mike Russo First published 2004 Updated 20 Copyright 20 ISBN 1-4243-1146-2

I am dedicating this book to the memory of my wife, Nancy. Her spirit will live forever in me and our sons, Jesse and Eric. Her love, help, and support will always be appreciated. - Harris Goldberg

TABLE OF CONTENTS
Dont Take This Too Seriously Some Important Words Questions You Should Be Asking Concert Checklist and Organizer A Simple Timeline For Producing Your Event Concert Advance Sheet Production Rundown and Advance: Show Day 101 A Sample Day of Show Schedule The Guts Of It All Some Expanded Tips To Help You Publicize Your Show Ticketing Show Day Paperwork Insurance Staffing Production Concerts: What Weve Learned In Summary, What You Need To Produce A Great Show The Truth A Brief Day of Show Letter How We Make Life Harder Than It Needs To Be Notes 1 2 7 9 10 14 16 18 19 24 26 27 28 32 35 39 43 46 49 50 51 60

DONT TAKE THIS TOO SERIOUSLY

There are two vital pieces of information that every concert chair and activities advisor should always remember: 1. No one is born a concert planner 2. Have as much fun as you can With this in mind, remember that nobody automatically knows if a building can fly lights or the best way to configure a room. Furthermore, it is very easy to get overwhelmed (whether you are student or a full time staff advisor) by the amount of work involved in producing a successful show. The concert business is ever changing, and no one, regardless of how long he or she has been involved, can know it all. Delivering a concert to a school is not as easy as saying Wed like Band XYZ to come play at our school in a few weeks. The process of bringing a concert, a comedian, or any sort of talent to a college campus is far from simple. Yet with the proper planning a school can have a wonderful show, and in the end everyone will have a fantastic time. Insights about the nuts and bolts of working a show. A lot of time, work, and effort are required to get a show confirmed. Offers and counter offers, date changes, and venue availabilities are just a few of the concerns you have to contend with. However, the real work starts once your date is confirmed. There are a myriad of responsibilities and details, and hopefully these notes will help you prepare for your show day. Most of what is discussed here should be taken care of well ahead of the performance date. But remember that everybody works the show, regardless if their job has been completed weeks ago. You can never have too much help.

The key is to learn the concert game and to have fun doing it. Hopefully Concert Ideas can help. This booklet is designed to help you navigate through the jungle of major event planning. It does not have the answers to every question and aspect of concert planning: nothing really could. Our goal is simply to help you on your way. We hope that this information will help you make your event a memorable one. Very truly yours, The staff at Concert Ideas Harris Adam Dave Mike Taylor Amanda 800-836-2000 www.concertideas.com

SOME IMPORTANT WORDS

Here is a list of terms related to producing comedy, music, and theatrical shows. This list is intended to help you through not only the pages ahead but the entire concert process. Although this list does not cover every possible term you will encounter, it should serve as an excellent starting point. Advance - As in advance the show. This is when someone with the act calls you to discuss show details, such as arrival time, production changes, etc. All Access Passes - These get you anywhere, anytime. They should only be given out sparingly. Backdrop - A large curtain that is sometimes hung behind the stage to give a warmer feel to the show. Backline A bands musical equipment requirements. Sometimes (such as when a band flys to a date) acts need you to supply drums, amps, keyboards, etc. when they cant bring their own. Any production company should be able to supply you with backline. Backstage Passes - Allows access backstage. Generally given to the entire working crew. They do not allow dressing room access. Barricade - A barrier between the stage and the audience. This is usually manned by security. Bonuses / Overages - Extra monies paid to an act depending on number of tickets sold and / or revenue generated. Bid / Offer - What you offer a performer with the hopes that they will come perform for you. Bids should be made in writing and spell out all the details of your proposed show, including date, location, and money offered. When you make an offer remember the following: (1) They are binding - do not make an offer unless you are certain you want to pursue the act, and (2) Just because you make an offer does not mean the act is going to accept it. Box Office - Where tickets are sold, usually in the venue where the show is being is held. Box Office Statement / Ticket Manifest - A report of how many tickets were sold, and at what value. Break Even Point - The point at which the amount of revenue generated from ticket sales equals the amount of money spent to produce the show. Catering - Food for the band, the crew, and everyone involved. The caterer should have beverages available around the clock. Checks - What you absolutely, positively, no way around it, must have the day of the show for the band.

Comps or Complimentary Tickets - Tickets that the band wants held for their friends, business associates, etc. These are free tickets that you give away, but that count towards your total room capacity. Configuration - How the room is set up. Do you go for 2000 seats or 4000 seats? Contract - The legal piece of paper that details the specifics of your show. If your bid / offer is accepted, a contract will be issued to you. Contracts are legally binding and can only be changed in writing if both parties agree. Crew - The people who work at your show. You can never have too many people on your crew. Deadwood - Tickets that are not sold due to various reasons, such as security concerns or production obstructions. Disclaimers - Warning statements, usually printed on tickets and/or posters. Items such as no refunds and no recording devices of any kind are common. Documentation - All the papers relating to everything. Keep big thick folders of everything you do, and always put everything in writing. Doors Open - When you let people into the show. Normally an hour or so before start time, but this can change. Drop - The ripped ticket stubs. These are especially important when bands are being paid bonuses. Entertainment Tax - A tax paid for performances, which varies from state to state. Some states withhold taxes, others do not. Facility - Where the show happens. Floor Seating - As opposed to bleacher seats. Floor seats some times cost more than bleacher seats. Front of House (FOH) The area of your venue designated for an acts mixing and lighting boards. Most often set up in the crowd (and possibly requiring some seats around it being left unsold), this setup controls the show in relationship to what the audience sees and hears. Fly - This relates to sound and lights; to fly means to hang sound and/or lights from the support beams of your venues ceiling. If you do not fly, you use ground support, such as towers and lifts. General Admission - This means no assigned seats. First come, first serve. Generator - A device that provides electricity. Many venues require additional power. For the most part, you need 400 amps three phase for lighting and 200 amps three phase for sound. Gross Potential - the maximum amount of revenue a show can produce. Multiply the

max ticket price by the number of seats. Important when determining bonuses. Handicap Seating - Special seating reserved for handicapped patrons is required by law. Hospitality - Food and all that good stuff. May also include laundry detail, and other running duties. House Policy - Particular rules set down by the venue. A good example is no smoking policy. House Staff - Employees of the venue where the show is going to happen, usually part of a union. This staff may include everyone from ticket takers to stage hands, and you often have to pay for their services. In-House - Applied to materials and or personnel supplied by the venue. For example, some schools have their own in house staging. Intermission - A break in the show, normally somewhere in the middle. Intermissions are not very common in contemporary music and comedy. Manifest - An exact and detailed account of seating and available tickets. Market - Who you try to sell to ( target sales audience). Merchandise - What the band sells. Can include T-shirts, posters, CDs, etc. Merch Rate - A percentage of the revenue generated by the sale of merchandise that the school gets. A split of 85 percent to artist and 15 percent to school is common, with 100 percent of CD sales typicallly going to the artist. Middle Agent - People who work for schools. They do not represent acts or manage bands. Their job is to help you produce a show. Mixer - A control system for lights, sound, and monitors. Each group/act will typically require its own mixer console. Opening Act - The performer who starts the show. Artists often bring their own opening act. Outlets - Where you sell tickets. Normally, the more outlets the better. Passes - Everybody who works the show needs one. There are different types, such as All Access and Backstage. Permanent Seating - Built-in seats that cannot move. Petty Cash - Money you have the day of show to pay for unexpected things. Its always good to have petty cash. Photo Passes - Access passes given to photographers. These always have to be approved by the performer, and each act will have their own photo guidelines.

Press Release - Information you release to papers, magazines, radio stations, etc. that spells out the specifics of your event. Primary Agent - The person who represents the band. Their responsibility is to the act, not the buyer ( i.e. not to you). Production Kills - Seats that are lost due to production. Often mixing boards force seats to be lost. Production - The physical aspects of the show: sound, lights, stage, power, barricades, etc. You generally have to rent production for your show. Production Company - The firm that you hire to provide your production. Production Manager - The individual responsible for the bands show. They handle the technical aspects of the show for the band, and report to the tour manager. Production Personnel - The staff that handles your production. You may have some staff on campus, but usually they come with the production company. Promotion- How you advertise your show. Posters, flyers, radio ads, you name it. Promotion can also include ticket giveaways. Proscenium Staging A permanent, curved stage often found in theaters. Public Relations Office - Most schools have one. This office is specifically designed to let people know what is going on at the school. A valuable tool to be utilized when promoting. Publicity - See promotion. References Recommendations - You should get references on all the parts of your show: the act, your agent, your production company, everything. Some schools require that you get references, especially with regards to security. Reserved Seating - Usually applies in theatres. Seats that are held for a specific reason or when seating is assigned, i.e. by numbered seats. Rider - A rider accompanies a contract and spells out the specific requirements of a show. A rider will tell you what type of production you need, what sort of food the band wants, and various performance requirements. Like a contract, riders can only be changed in writing if both parties agree. Remember, however, that riders are wish lists and are not cast in stone. Rigger - The individual who climbs around your building and hangs equipment. Rigging - Suspended equipment used to fly sound and lights. Runner - A person who runs around all day taking care of errands. Almost every band demands that a runner be available with a vehicle onhand. Scaling - Varying groups of ticket prices, usually separated by their proximity to the

stage. For examples: 400 seats at $10 and 200 seats at $15. Seating Capacity - The max number of bodies you can fit into your venue. Seating Diagram - The layout of the seats in your venue. Security - Comes in all different forms: campus security, off duty police officers, rented security. Essential for any show you do, and each school and band have their own specific requirements. Settlement Sheet - A detailed form that spells out all expenses and revenue. Essential when bonuses are being paid. Showtime - When the performance begins. Stacks / Racks - Relates to the rows of sound and lights at shows. A stack of 24 speakers. Stubs - What you rip off and keep from tickets. Important for settlements. Three Phases - Describes the electrical requirements needed for sound and lights. A 4 wire system, with 3 hot legs and one ground (as opposed to Single Phase, with two hot legs and one ground). Ticket Takers - People who take tickets ( this was an easy one). Tour Manager - The person responsible for every aspect of the tour from the bands point of view. The day of the show, the buck stops with the tour manager. Track Act - An artist who sings to prerecorded music (often requiring a DAT machine from the production company). Ushers - People who help patrons to their seats. They also sometimes help with basic security. Venue - The physical location of the show. Will Call Window - At the box office, where reserved and pre-ordered tickets are held. For examples, complimentary band tickets are usually kept at the Will Call Window. Wings - Small additional stage sections that are used to hold sound speaker stacks.

QUESTIONS YOU SHOULD BE ASKING

Producing a major concert at a college or university is a very long and involved (yet interesting and challenging) process. It is without question a lot of work. But the right concert at the right time is an exciting way to bring the campus together and should also be a fun and memorable night for everyone involved. Producing college concerts should be viewed as a learning process. Many of the skills employed by the typical concert committee are very useful after graduation, no matter what profession you choose to pursue. Remember that you have been entrusted with a very large sum of money and given the power to spend it. You must be careful to make intelligent decisions that will provide the most benefit to the entire school, while achieving the committees desired goals. You need to define your goals, plan how to achieve them, research the possibilities, and implement your plan. A pretty tall order for someone who is carrying 18 credits and still trying to seek out a social life! With this in mind, Concert Ideas has put this together to help guide you through the process of producing a major concert. Read it over, and if you have any questions do not hesitate to call us at 845-679-6000 or 800-836-2000. Hopefully this will help to insure that your next concert is a success and goes off without a hitch. To begin, ask about: THE PURPOSE Most college concerts are produced with one or more of these things in mind: 1. To entertain the student body 2. To educate the committee about producing concerts 3. To sell tickets and reach a break even point Knowing which of these are your primary and secondary purposes will help you to know what acts to book and what money to spend. THE NATURE OF THE SHOW (Your Goals for the Event) 1. Will this be a free show, or will you bE selling tickets? 2. Will the concert be closed to students only, or open to the public? 3. Is there a need to make money back, or is revenue not a factor? 4. Is there a need to do a certain type of show (comedy, rock, rap, etc.)? 5. Is there a need to appeal to a certain student demographic? SELECTING THE DATE 1. The more dates you can do, the better chance youll have to get the act you want. 2. Go over potential dates with your advisor 3. Get every date available and get it in writing to reserve the facility. 4. Make sure there areno potential conflicts (athletics, other programs, school vacations, facility renovation).

QUESTIONS ABOUT THE FACILITY 1. Is there a stage, or will you have to rent one? What size will you need? 2. Is there adequate power, or do you need a generator? 3. Who is the building electrician, and will be be available at the show? 4. What is the maximum capacity? 5. Is there permanent seating, or will you set up chairs? Are there bleachers, or does everyone stand? 6. Are there reserved seats, or is it all general admission? 7. Can you hang sound / lights, or will you need ground support? 8. What do you do about dressing rooms? 9. If the show is outside, is there a rain location? THE BUDGET Make sure you take into account the following expenses: 1. The artists fee. 2. The middle agents fee. 3. Production: sound and lights and rider requirements. 4. Catering. 5. Advertising. 6. Security. 7. Ticket Printing. 8. Hall rental. 9. Your schools internal expenses. 10. Any other expenses you may incur. 11. If you are uncertain about your ability to afford the show, obtain an advance copy of the rider.

CONCERT CHECKLIST AND ORGANIZER

PREPLANNING STAGE: 1. Select your date(s). Whenever possible, obtain alternate dates. Reserve your facility (in writing) for each possible day, and make sure you have the location for the entire day. 2. Check your budget and confirm your funding with the appropriate people. Allow several thousand dollars for ancillary expenses such as sound, lights, catering, etc. See our production notes for a more extensive discussion of this topic. 3. Select artists in order of preference. Based on your knowledge of your facility (stage size, electrical service, clearances, etc.) determine any problems in meeting the technical rider. 4. Make a firm offer, in writing, for the act you want. Be aware that a written offer is a binding commitment. Add any University-specific paperwork to it. 5. Get an official confirmation that the act has accepted your offer. WHEN YOUR DATE IS BOOKED: 1. Plan your promotional campaign. Use every resource at your disposal and plan an intensive, long term strategy. 2. Select and organize your staff. Make sure you have a competent and well sized staff. You can never have too many people loading equipment in, hanging fliers, etc. 3. Order tickets and arrange sales outlets. 4. Make arrangements for security with campus and local police (if necessary). 5. When contracts arrive, call your middle agent to discuss the necessary amend ments and changes to the rider and contract. If necessary, re-attach your university rider. Negotiate any remaining details. SHORTLY BEFORE THE SHOW: 1. Check on tickets sales regularly and adjust promotions as needed. Make notes of them for band-requested ticket counts. 2. Make sure that arrangements have been made for the opening act. 3. Confirm that checks have been ordered and will be available the day of the show. 4. Advance your date with the road manager and make sure that a schedule is established for the day of the show. Make sure that stagehands, box office people, electrician, spot operators, security officers, and the rest of your personnel will be on hand at the scheduled time. 5. Hold a detailed organizational meeting of all your staff. DAY OF SHOW: 1. Brief your staff and distribute ID materials. 2. Close ticket outlets in time to collect cash for deposit and return any unsold tickets to the box office. 3. Keep track of the progress of set-up, hospitality, and arrival of the artists to make sure that everything is on schedule. 4. Be prepared to adjust your plans to deal with unexpected surprises. 5. Be sure that the stage crew and clean up crew are on hand at the beginning and the end of the concert. Make it a point to thank everyone who worked hard on the concert.

A SIMPLE TIMELINE FOR PRODUCING YOUR EVENT

4 MONTHS OUT Determine what type of show you want to do Determine why you are doing the show 3-4 MONTHS OUT Survey your committee / campus for style and names Reserve venue - GET IN WRITING Generate Budget TALENT COST PRODUCTION COST-Sound,Lights, Barricade, Backline MARKETING COST-Newspaper,Radio,TV, Misc. CATERING COST-Band and Local Crew STAFF COST VENUE COST RUNNER COST TICKETING COST MISC COST TOTAL COSTS
Compare cost to budget Is the show financially feasible? What would your ticket prices be? What happens when you sell 10 tickets? Do you have the money in the bank? Compile survey / determine wish list

3 MONTHS OUT Determine committees and assign responsibilities Who is responsible for what and when 2-3 MONTHS OUT Begin planning for offer Reconfirm venue and budget Start to develop marketing plan based on genre I.e. this is how we market a comedy show, this is how we market an urban show, etc
Contact potential print media Contact potential radio Contact poster printer Contact school paper Develop internet marketing plan Consider "non-traditional" source - youth organizations, Community centers, etc Contact other schools Determine ticketing procedure- online? outlets? Etc.

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MAKE BID Have top 10 choices, in order, ready to go Include any and all details in the offer Show time Ticket prices Radius clause Merch rate Include school paperwork - school criteria / rider / contract Venue restrictions Curfew Support Act ideas Deadlines for Paperwork return due to school policy!!! THE MORE YOU TELL THEM UP FRONT, THE LOWER THE CHANCE OF PROBLEMS ONCE BID IS ACCEPTED Tell venue Tell staff Alert media, campus PR office Alert catering IMMEDIATELY begin marketing - radio, print, flyers, table tops, email blasts Speak with record label contacts acquire available promotional materials Bulletin boards, door hangers, etc Continue marketing until show day Continue to evaluate and change marketing to suit needs Assign rider sections to responsible committees - I.e. catering, production,marketing Begin paperwork review/editing - BREAK OUT THE RED PEN Talk to all involved parties-campus lawyers, agent, etc. Create "working copy" of paperwork with changes Sign and return contracts ASAP WITH ALL NOTATIONS Send contracts in a form that be tracked, I.e. FedEx HIRE PRODUCTION COMPANY - Do you have one you have used in the past? If not, get recommendations!! Send them current band riders relating to production. Get production mgr / tour mgr info Begin master phone list of all relevant participants Secure runners Hire / secure security DETERMINE HOW MANY SECURTY AND WHEN Pros? campus police? Student? Secure labor pros? students? YOU CAN NEVER HAVE TOO MANY LABORERS!! Set preliminary schedule Have student workers sign contract

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1-2 MONTHS OUT GO ON SALE PEOPLE WILL TRAVEL TO GO TO SHOW, BUT NOT TO BUY TIX online, outlets, 24 hour availability, ease of access! Assess marketing with ticket sales - adjust as needed Confirm all aspects of show, in general Venue Production Catering Staffing Security House electrician-needs to be on call ALL DAY!!! 1 MONTH OUT Confirm return of contracts Negotiate any final issues IF CONTRACTS NOT RETURNED, SEND WRITTEN NOTICE WITH DEAD LINES FOR PAYMENT Contact tour mgr - review: Set times Load in / out times Crew Directions Tech issues Put prod mgr in contact with your prod company Venue restrictions Any "quirks" of the show Start master phone list 2-3 WEEKS OUT Reconfirm with facility and crew Reconfirm contracts are signed and returned Reconfirm checks are ready/being processed Reconfirm crew Reconfirm logistics with prod / tour mgr Reconfirm catering Check ticket sales - adjust outlets / marketing as needed 1-2 WEEKS OUT 2-3 calls with tour/prod mgr Confirm load in time for band and production Confirm internet access for venue Get phone numbers for phones / fax / etc Venue review Create All Access Passes/Create Working Passes Check with prod mgr if they are carrying working passes for your local crew Final marketing push if necessary 1-2 DAYS Out Final check in with tour mgr Confirm and clean dressing rooms / prod office Confirm venue staff Get petty cash ($200-500) Charge phones, walkie talkies, etc Get: bus stock, dressing room requirements, ear plugs, water, sharpies, phone books, flashlights. gloves, lanyards

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Runner info, gas up cars Finish phone list Reconfirm runner

FINAL MENTAL CHECKLIST

1. Production / tour mgr cell numbers SHOW HAS BEEN ADVANCED WITH THEM 2. Sound, lights, staging, power, barricade, etc. are all secured 3. Arrival times for production 4. Arrival times for bands 5. Crew, crew, crew, and crew AVAILABLE ALL DAY 6. Petty cash 7. Runner(s) 8. Band checks 9. Everything is cleared and set w/ the venue 10. Catering is all set and times for food are all reconfirmed 11. Security - who is doing it, when are they arriving, how many? 12. Tickets - are you selling day of? do people know where? do you have cash available for sales? 13. Everything has been advanced with the production manager and he/she has spoken with you 14. You have a day of show schedule and the volunteers are ready, willing, and able to follow it 15. Your electrician and facilities folks (janitorial, etc) are ready 16. Dressing rooms are reserved and will be cleaned the night before 17. Parking is reserved and blocked off 18. If any part of the show is outdoors, the rain location is ready 19. All paperwork is complete Show Day STAY CALM, HAVE FUN, BE PREPARED TO IMPROVISE

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CONCERT ADVANCE SHEET

What You Need to Know the Day of the Show An advance sheet contains the relevant information that you will need the day of your show. It includes (but is not limited to) who is arriving and when, how many vehicles are coming, who your main contact with the band will be, when the show starts, and what your security needs are. Advance sheets are designed to make all of your important information available to you on one, simple form. Advance sheets are usually very specific, detailed, and thorough. We designed this form in order to help you prepare for your show and to help you understand all the different information that is relevant to a concert. Not every term listed below will apply to your show, but we wanted to make this form as thorough as possible. DEFINITION OF TERMS: Show - Who is performing. Day/Date - The day of week and and the calendar date. Tour Mgr. - The tour manager is the big boss on the road. He or she reports directly to the artist and is the ultimate decision maker the day of the show. Production Mgr. - The production manager usually arrives early in the day and is responsible for making sure everything is running smoothly. He or she reports to the Tour Manager. Sound Contact - This is the company and person who you have hired to be responsible for your sound. Lighting Contact - This is the company and person who you have hired to be responsible for your lighting. Settlement - If your show involves paying bonuses or percentages, make note of who you settle with. This is usually the tour manager. Settlement should be done after the show. Merchandise Contact - This is the person with the artist responsible for selling the tour merchandise. They report to the Tour Manager. Venue Contact Info. - Phone numbers, fax numbers, e-mail and any other relevant contact information for your building setup. Phone Day Before - Where you can reach the tour manager the day before your show. This is good to know in case there are any last minute changes. House Manager - This is the person who runs the facility where your show is being held. Most gyms do not have managers, so this may simply be the contact for your gym ( i.e. the physical plant contact). This is good to know in case there are any facility problems, such as unlocking doors, turning off the power, etc. Buses Arriving - How many buses does the artist arrive in and when are they getting

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there? This is important because you may have to secure special parking permits and spaces. Trucks Arriving - Ditto. Limos Arriving - Ditto Vans Arriving - Ditto Cash Needed - You should always have petty cash around for unforeseen emergencies. Also, do you need any special cash for things such as dinner buyouts? Its always good to keep track of this. Crew Call - You always need a crew to work your show. If you hire a production company ( i.e. sound and lighting contact) they will bring a small crew. You, however, will need to provide most of the crew. The production manager will tell you how many people you need and when you need them. Your crew should plan on being available all day. Load in refers to starting crew, load out refers to break down crew. Runners - Runners run errands. You always need at least one, but sometimes you need additional runners. Security - Each show has its own security needs. Again, the production manager will tell you what is required. Also, your school may have specific requirements. Should check with your security office for details. Rigger - A rigger climbs into the scaffolding and rigs sound and lights. Some buildings cannot rig. If you can, and if your act requires rigging, you will need to hire a rigger. Most production companies can supply you with a rigger. Photos - Are they allowed? Check with the Production Mgr. Audio - Ditto. Video - Ditto. Showtime - When does the show start. Lobby Open - If there is a lobby, when does it open. Hall Open - When can you actually get into the show room. Sound Check Time - The production manager will tell you when the band is going to sound check. Everything must be set up before the sound check, and the room is usually empty except for the band and essential personnel during the sound check. Spots - If you need spot lights, find out how many. Any good production company can get you spot lights. Support Start Time - When does the opening act, if there is one, go on. Headliner Start Time - When does the main band go on?

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PRODUCTION RUNDOWN AND ADVANCE: SHOW DAY 101

Show: _____________________________ Date:_______________________________ Weve designed this advance sheet to help you keep track of the myriad pieces of information needed to produce your event. These questions will help the band and you keep all of your data together and aid in having a fun and successful show. BASICS: Venue name: ______________ Arena / Gym / Theatre / Ballroom / Other____________ Is your show Inside / Outside (rain location: ________________) Remember, if you dont have a rain location, and the weather prevents the show, you still have to pay the acts General Admission / Fixed Seating Door time: _________ Show time: __________

Parking for production: _______________vehicles will be at: _____________________ Parking for the band: ________________ vehicles will be at: _____________________
Make sure you have all relevant permits and passes, and that parking areas are secure

Do you have photos of the venue? Y / N Does the venue have any quirks (i.e. a difficult load in, limited availability, etc)? ______________________________________________________________________
Its always better to tell the band EVERYTHING surprises make for a difficult day!

SOUND AND LIGHTS, STAGING, AND PRODUCTION: Load-in time for production: _________ Load-in time for the band: __________ Production company contact: ______________________________ Bands production manager contact: _________________________ House electrician contact: _________________________________ Have all of these people spoken with each other?

Stage size (w/wings): _____________ Stage backdrop? Y / N Stage skirting? Y / N Load-in time for stage: _________ Barricade? Y / N How many feet? _________ Load-in time for barricade: _________ Pipe & Drape / Bike Rack / Other for sides of stage? Bike Rack / Other for FOH board? Do you have cable matting? Y / N

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Generators? Y / N How many? ________________ Arrival time: _________ You usually need 400 amps / 3 phase for lights, 200 amps/3 phase for sound Can You Fly Lights? Y / N Can You Fly Sound? Y / N How many? _________ If you can fly, are you providing riggers? Y / N Rigger contact ______________________________ If you cannot fly, will you provide Genie towers for lighting? Y / N Are hazers allowed for your building? Y / N Do you need any backline? Y / N How many? ______

Arrival time: _________

Backline contact: ______________________________ CREW, ETC.: Number of volunteers at load-in: ________________ Number of volunteers for change-over:___________ Number of volunteers at load-out: ________________

Student / Pro / Both Student / Pro / Both

Make sure you volunteers stay until released! Also, if your volunteers come in shifts, make sure they overlap Security contact______________________________ Number of security (Student, staff, and pros): _________ _________

Security arrival time:

PRODUCTION OFFICES: Number of offices available: _________ Number of phone lines: __________ Phone number 2: _______________ Phone number 1: ________________ High-speed Internet access? Y / N What time will all of these be available? ______ Have any and all codes posted in the respective rooms! Make sure everything is ready at least 30 minutes before the bands arrive Number of runners available ALL DAY_________ Petty cash available? Y / N DRESSING ROOMS / HOSPITALITY: Catering contact ______________________________ How many dressing rooms? _________ When will they be ready?__________ Is there after-show food? Y / N Will there be furniture in them? Y / N Do you have signage ready for these rooms and the public sections of the venue? Y / N Make sure the catering contact has your amended riders and contacts the tour manager. As a precaution, make sure that everything arrives a little ahead of schedule. Have a great show!

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A SAMPLE DAY OF SHOW SCHEDULE

9:30am: Advisors Arrive Phone Lines Set Dressing Rooms Cleaned Entertainment Chair Arrives Runner Reports In Tech Load-In Box Office Opens Hospitality Coordinators Arrive Security Arrives Band Load-In Crew Lunch Preliminary Dressing Room Set Merchandising/Concession Check-In Security Meeting Crew Dinner University Police Arrive Doors Open MC Introduces Show Opening Act Set Break/Intermission Main Act Box Office Closes Show Ends Load-out

10:00am: 11:00am:

11:30am: 12:00pm:

2:30pm: 5:00pm: 5:30pm: 6:00pm: 6:15pm: 7:00pm: 7:55pm: 8:00pm: 8:45pm: 9:00pm: 9:30pm: 10:30/11:00pm: 11:00pm:

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PART ONE: THE GUTS OF IT ALL

THE GREATER COSTS OF TALENT AND PRODUCING A SHOW Inflation aside, artists and concerts are getting more expensive.This may mean less opportunities for schools, and it may also mean fewer dates for artists. In our opinion, all this really means is that when planning shows more time should be put in when determining budgets, the reason behind the show, and how much all your non-band related costs will be. Costs have not become prohibitive, but a little extra planning may be necessary. Before you even consider what act to bring, when to bring it, or how to structure your show, you should take into account the expense of producing a show.This is one of the most commonly asked questions in the college market today and ultimately one of the most important. Regardless of your intentions or goals, if you do not have the financial reserve to back your show your options will be slim to none. However, there is no concrete answer to this question. Every show is different, every school is different, and every band needs different things. The numbers suggested here are nothing more than estimates based on experience. Regardless, you should always shop around. Prices for every aspect of a show can vary greatly from company to company, so always do your homework. The biggest cost associated with a concert (excluding the cost of the talent) is the production. Production entails the physical aspects of the show: sound, lights, stage, barricade, generator, roofing, etc. Prices for production are also affected by where you do a show. Gym shows usually cost less to produce than outdoors shows, while theatre shows usually cost less than gym shows. Here are some basics: The cost to produce a major concert in a university gym can range from $7-15,000. This should include renting sound, lights, stage, barricade, and a generator. This does not include the cost of hiring personnel, covering the floor, or any other in-house costs you may have. This also does not include facility rental. However, if you are getting quotes higher than this range, you should do some more checking. If the show is booked, one excellent resource is the band themselves. Ask the production manager what he or she thinks it should cost to produce the show. This will give you a good measuring stick to work with. Outdoors shows can cost more because you need to get a roof for your stage. A roof alone can cost you $1,500 to rent. Theatre shows tend to be less expensive because you do not need to rent a stage and most theatres have some usable lighting. This being the case you might save a couple thousand dollars. Again though, these are just estimates.

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Hospitality is another significant cost, especially if you are having more than one artist. A three act show can run up a $2,500 catering bill. Remember that you are usually feeding the band and their crew two meals (and sometimes three). True, a lot of catering can be edited out of the contract, but do not think that $250 will cover your costs. Security is another cost. Depending on whether you hire professional security, use volunteers, or hire campus police, you may need to spend upwards of $2,000 on security as well. There is also the cost of EMS and town police, should you need them. Publicity is difficult to pin down. Some schools will only spend a few hundred dollars printing posters, while others spend thousands on more involved campaigns. This is up to you and what you feel is appropriate and sufficient. However, do not underestimate you need to publicize your show. If people do not know about it, they will not come. Period. Again, these are all just estimates. There are always unexpected expenses and it never hurts to overestimate your costs. Plus, if you do additional things like print t-shirts or have staff parties, you must compensate for these costs as well. As a general rule, budget $15-20,000 for non-band costs. Although this may seem high, its better to have money left over than to have bills you cannot pay. After dealing with your budgetary issues, the next step is to determine why you want to bring an act to your school. Do you just want to entertain the campus, or the campus and the community? Perhaps you want to educate the student body, or appeal to a specific student demographic. The next step is to decide if the show is going to be free or if there will be a charge for tickets. Then determine what type of show you want. Small? Large? Comedian? Concert? Multicultural? This question is important because it will affect who is available, where you have the show, and possibly how you promote it. Your advisor should be able to help you in this area. In addition, your groups constitution may offer direction. Whatever the answer, this question is important because it will affect what type of talent you bring to your school. For example, if the goal of the performance is to draw a wide audience, it is essential to bring a well known act. A smaller, lesser known act (although entertaining) may not draw the crowds that a larger act might. HOW TO CHOOSE AN ACT The choice of what act to bring does not come until several other decisions have been made. The most important of these decisions is does your school have the right type of facility for the variety of show you want? Not all schools have facilities appropriate for putting on concerts. Although almost all schools have ballrooms and gymnasiums, certain acts may not be appropriate for these locations. If you do have a facility, reserve it for as many possible dates as you can. The last thing you want is to book an act and not have a place to put it. It is also important to know the specifics of your facility. Check what type of power supply it has, where equipment can be loaded and unloaded, and if there are any restrictions placed on the location. Try to eliminate as many potential day of show problems as you can in the preplanning stage. Some schools go as far as digitally photographing the entire venue to show an act before they accept a bid. You may also want to consider the timing of your event. Is there another activity going on at your campus or in the community on the same day? Events close to one another often make students choose, and if your show is going to be affected you may want to change your date.

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TO RAIN OR NOT TO RAIN

(That is the Question) When considering where you will have your event, remember: outdoor shows are risky. They can be fun, extremely successful, and the highest attended events you may ever have. But they also leave a lot to chance, so you should consider the risks before doing an outside event. Obviously the largest concern and greatest negative regarding outdoor shows is weather. Rain, low temperatures, and even wind can affect your show. Covered stages can alleviate some of your concerns, but not all of them. If a torrential downpour happens and rain is blowing and or splashing onto the stage and the band does not feel safe performing, you still have to pay them. You will see this point under the Force Majure or Inclement Weather clause of a contract. These clauses cannot be removed, and are usually non-negotiable. Solutions include inclement weather insurance (which you can purchase on a day to day basis ) or having a rain location. Rain locations are preferred because that way you will still have show. Insurance will just cover losses. As mentioned before, outdoor shows also require greater production. This generally means larger sound systems and more security. You may also need to rent fencing to secure the area where the show is being held. Finally, if your outdoor venue is a field, where will you put the dressing rooms? If they are across campus a band may need to be driven from one location to another. Although there are negatives, the are also a lot of positives. Shows tend to be more fun outdoors because there is more room to move around and there are less concerns about crowding. It also tends to be easier to reserve an outdoor location. More often than not you can also get more people in an outdoor venue. Finally, outdoor shows seem to create a friendlier environment for the audience, and this leads to fewer problems. Once you have confirmed that you have a facility, decided why you are going to have a show, and what type of show you want to have, then you can talk about who specifically you want to bring. This is often the most difficult aspect of bringing a show to your school. Everyone has different tastes, and everyone has his or her own ideas. The key is to find a middle ground that the most people can agree on. Student opinion can be difficult to pin down, and there is no guarantee that you will make the right choice. Also, you are always subject to the marketplace: what is actually available and touring during the time frame youre looking to fill. As a preliminary step, you might want to poll the student body through the campus newspaper or take a survey in your student union. The key is to get input and feedback from the students and from the community. It is also important to do this as quickly as possible. If you take two days to make a decision as opposed to two weeks, your chances of getting the act you want are greatly improved. Try to determine what act has the greatest appeal. Figure out what or who your target audience likes and go from there. Do not make decisions based on the desires of a few individuals. Concerts are for the student body at large, not a handful of people. BIDDING ISSUES

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Once you decide on a type of act, you need to find out what is available. Most schools use a middle agent or buying service for this task. A good agent can find out availabilities, prices, help with contracts, and even help you choose an act. An agent should also help you with any problems you encounter along the way, but not intrude into the process. It is your show, and the agent is there to help you. Making an offer is just as involved as all the other aspects of putting on a show. This is where your agent really enters the fray. It is the agents job to make bids for the acts you want and to help you through the bidding process. Find the agent that is right for you and ask him or her to explain the process to you. The more details you know the better. In addition, your advisor must give your agent the ok to make the bids for you. School policy dictates this for a variety of reasons - the least of which is legality. An offer is a BINDING commitment, so do not make one unless you are 100 % serious. In addition, offers must be made in writing and you can only have one bid out at a time for the same date. Do not be surprised if the act you are after tries to get a higher price. The talent you want may receive several offers for the same date, so be prepared to haggle. Location, timing, and the amount of money offered all factor into whether an act accepts a bid. Certain acts simply do not want to play colleges. In addition, colleges and universities cannot always provide acts with everything they want. This is particularly true in regards to alcohol. Furthermore, some acts have stage shows that are too big for a campus. Finally (and this is often difficult to accept), certain acts do not play colleges because they feel that they have outgrown the college market. Simply wanting an act, having the location for it, and obtaining the needed funds does not guarantee that an act will agree to play. The bidding process can be slow and tedious, and often bands take weeks to respond. Your agent can usually get a feel for what is going on, but the end decision lies with the band. Yet once the date is accepted and contracts are issued by the acts agent and or manager, the deal is closed. The key to successfully navigating this part of the concert process is a good relationship with your faculty advisor and with your agent. Your first glimpse of a contract may be overwhelming. The band may ask for things that you cannot possibly supply, and quite possibly you have never heard of. 99 percent of the time your school will get the same contract that a 10,000 seat arena will get. It is important to go through the contract with your advisor and your agent to remove anything that is not applicable to your school. Dont be alarmed by huge contracts: you can usually work your way through them. ADVERTISING Even before your offer gets accepted, you need to think your advertising. If you dont properly advertise your show you will not sell tickets. Period. Even if your show is free, you have to let people know about it. There are a variety of ways to advertise your show, and the effectiveness of your advertising is impossible to determine. In other words, its worth going the extra mile. Bands and record companies will provide a limited amount of help. You will get some pictures, probably a few CDs, and maybe some posters. Maximize what you get. Print your own posters, flyers, and signs. Plaster your campus. Also advertise at record stores, clubs, high schools, other colleges, any other place you want people to know about your show. Think about where your target audience is and how to advertise to them. Use your campus radio station as well as local stations. Arrange ticket give-a-

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ways and announcements, as well as getting mentions in the calendar sections of you local newspapers. Most importantly, you should be able to do all of this for very little money. Posters and flyers are cheap, and if you do ticket give-a-ways stations will announce your show for free. Being mentioned on concert calendars is also free. If you are going to buy ads, buy wisely. No one watches television to find out about concerts. If you approach a radio station, get a marketing plan from them before you agree to anything. Newspaper ads can get expensive, so again, choose wisely. We recommend also utilizing your public relations office, as well as other schools. E-mail everyone regularly, use the campus website, the listserve and any other tools at your disposal. Post messages on band sites, fan sites and even at other schools sites. The best thing about digital resources is that they are usually all free. REMEMBER: NEVER EXPECT PEOPLE TO REMEMBER ABOUT YOUR SHOW. You have to tell them.

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SOME EXPANDED TIPS TO HELP YOU PUBLICIZE YOUR SHOW

1. Student Newspapers and Radio Stations As soon as your show has been confirmed you will want to get the word out to your campus. School newspapers and radio stations should be top on your list for announcements. Make sure that you know the deadlines and procedures for submitting announcements to both of these organizations and try to update them as more information (on sale dates, locations, etc.) becomes available. You may also want to approach regular stations in your area. Some may be willing to do trades while others may want to sell you advertising time. Its your choice, but carefully consider your options. You might be able to get your show mentioned in exchange for some ticket give-a-ways, but it might cost you some money. Also, makes sure you know the stations call numbers, name, and phone number. Just knowing that you want to approach WXYZ doesnt help. 2. College Public Relations Office Most campuses have an individual or an office that is the clearing house for media relations and the college. Check with this office to get contact names and numbers for community newspapers, radio, newsletters, etc. Most local papers and radio stations have calender sections that your concert announcement could run in. Also you will need to decide whether to buy ads in local papers and on radio, depending on your budget and your needs. 3. Flyers, Posters, Table Tents, etc. Do not depend on publicity materials provided by a band or comedian as your only source!!! Chances are most acts will provide only a few photos and posters and you will need to make publicity materials from these. Make sure that the show date/time, ticket locations, hours and a phone number for additional information is prominently displayed on anything you print for the event. Make anything you print for the event eye catching and clear so people will be both drawn to it and interested by it. 4. Canvassing the Campus and Beyond Okay, youve printed up all these materials, now get them out there! Hit residence halls, classroom buildings, common areas, gym bulletin boards, student union, dining halls - anywhere on your campus that students are apt to see your announcement. Putting them up once alone doesnt help either, you need to constantly check to make sure that your materials are visible. Shows that are open to the public also need community canvassing. Other local colleges and high schools are great places to start. Store fronts, bus shelters, grocery stores, bars and restaurants are some great places to start putting up fliers and posters. Dont forget places such as health clubs, bowling alleys, dance clubs and movies theaters, too. Local record stores usually are great places to put up publicity and also to use as a local ticket selling agent. Most independent record stores will usually set up displays for acts and/or sell tickets in exchange for a couple of pairs of tickets to your show. Another part of this, again, is the Internet. Its easy for reaching, and free e-mails, fansites, official sites, blogs and other campus list serves can all help. 5. Getting more creative! Balloons, banners, side walk chalk writing, buttons, fortune

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cookies - you are only limited by your own imagination when it comes to publicizing your event. Brainstorm with your committee and advisor and see what ideas you come up with! Have fun and get the news out there about your event! 6. Dont EVER let up A common mistake made by schools is to let up on their advertising as soon as tickets go on sale. Dont slow down! People should not be able to walk through campus or town without some sort of reminder of your show and how to get tickets. Letting up? Well that happens the day AFTER your show!

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TICKETING
Ticketing is just as important as advertising. If people cant get tickets easily, they wont come. In terms of ticket printing, there are dozens of places available to you. Some schools print their own tickets. Whatever direction you go, make sure your tickets are numbered and printed on paper with designs that cannot be counterfeited. Do not print plain black and white tickets - anyone with access to a copy machine can duplicate them. Also, you would be surprised the quality of some laser printers and how easily they can print fake tickets. Using a bonded professional ticketing company is always a good idea. While most schools make tickets available to students first, after a few days or a week you may decide to open the show to the public. If so, make it easy to purchase a ticket. People will drive an hour to go to a show, but they will not drive an hour to buy a ticket. This being the case, make sure it is easy for people to get access to your tickets. If you are only selling tickets at your campus bookstore and they are only available from 11am to 3pm each day, people who live 40 minutes away will have a difficult time getting tickets. If they have a hard time getting tickets, chances are they are not going to come to the show. The solution is relatively simple: expand your ticketing. There are a variety of ways to do this. One simple way is to set up a Musictoday (or some other ticketing system) account. Musictoday will sell whatever number of tickets you want; if your school is isolated this may be a good means to get tickets out. You may also want to approach local record stores about selling tickets for you. For example, you approach XYZ Records and ask them to sell tickets. In exchange for a few pairs of free tickets they agree to sign for a predetermined number of tickets (for example, say 250). They then sell these tickets, advertise your show, and give you the proceeds and unsold tickets back. Our experience with this approach has been pretty successful, and most local stores jump at the chance to be involved in large productions. Also, make sure tickets are available at the door the day of the show. Walk up ticket sales can account for hundreds of tickets, so make sure that if you have tickets left they should be available. You may also want to pursue a similar approach with other area campuses. Go to other schools, talk to the activities office, and set up a similar deal as with the record stores. This has also proven to be successful, especially since you are targeting college students for your show. Make it easy for people to get in and you will have a much better chance of having a successful show

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SHOW DAY
Every show is different, but the basics of concert production remain the same. Here is a partial list of some of the items we think you should have prepared the day of your show. Keep in mind that every entertainer has their own demands, but this list should help you develop a day of show game plan. Coffee ( lots of coffee) ready for the crew when they arrive and available all day long. Trash Cans, brooms, etc. Tape (Duct, masking, etc.) and Pens (Sharpies, etc.) for putting up posters and making signs. You should also have poster paper available. Office space for the entertainer(s). This room ( commonly called a production office) should have phone lines and Internet access. If it does not, the band needs to have access to a phone and fax line. Petty cash (a couple hundred dollars should be sufficient) A local yellow pages (and someone who knows how to get around town!) A runner with a vehicle Ear plugs Work gloves Water, water, water, and more water Tables (i.e. cafeteria tables) for merchandising and ticket sales A copy of the contract and rider Identification (T-shirts, passes, etc.) for all event staff Parking for performance related vehicles (trucks, buses, cars, vans) and parking passes for these vehicles Extension cords Charged cell phones Every contact # onhand A strong stomach and a good sense of humor. You need to be able to roll with the punches the day of the show, so be prepared!

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PART TWO: PAPERWORK

BE NICE TO THE PAPER PUSHERS (Why it is important to have all your paperwork ready) Before discussing details, a basic definition of terms is needed. After you make an offer and that offer is accepted, an artist will issue you contracts. These contracts will detail the terms of the agreement ( how much money, the date of the show, etc.) and list the artists specific needs ( lighting, catering, transportation, etc.) As the buyer or purchaser, you are required to sign the contracts. If you have issue with particular parts of the contract, address them with the bands representatives. By amending the paperwork, more often than not any obstacle you have can be overcome. Once you sign the contracts, you then return them to the artist for their signature. They will then return a copy to you with all the signatures attached. This final contract, signature in place, is called a fully executed contract. This being said, every school has its own contracting process. At some schools, activities directors simply review, edit, sign, and return artist contracts. Some schools must attach their own contracts. Others cannot accept artist contracts and rewrite them to incorporate school terminology. Still others have complicated state processing laws they must follow which take months to expedite. Regardless of what method your school uses, if there is any chance that the paperwork for your show will be delayed (and hence the check will be delayed), inform the artist immediately. There is no better way to upset a performer than to tell them two days before a show that - because it took three weeks to process the contract - the check will not be ready. It is always better to inform artists of potential issues then to wait and see what happens. Many schools fax their contracts with their offers for artists to see right from the start. Others send letters detailing their processes so that the band knows what they are getting into. If you are lucky, the activities office can process the paperwork internally, eliminating a lot of potential delays. If this isnt the case, put all your cards on the table from the start. State schools often have the most extensive amount of paperwork to do. Laws differ from state to state, so you simply need to understand and deal with the situation. Again, let the artists know what is going on. If there is going to be a problem, deal with it at the start. Paperwork can also be a double edged sword. Bands are often delayed on their end, and that may tie up your ability to get signed contracts back from them. However, if you need them by a certain date for whatever reason, such as getting checks cut, tell them from the start. For example, many schools use terms such as School must have fully executed contracts no later than one week prior to show in order to have a check available the night of the performance. Again, every school is different, but the point is the same: tell everyone what you need. If a fax copy will not suffice, make sure everyone knows it. If you need your schools contract signed as well, tell everyone. The more thorough you are with your information, the easier your job will be. Contracting can be a long and drawn out process. Furthermore, both artists and schools are looking more closely at contracts and being more critical. Although this protects everyone, it can take time to process. So, like everything else, plan early and have your support network in place.

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THE POWER OF THE RED PEN (The Art of Negotiating) Negotiating never stops in the concert business. A deal may be signed, sealed, and delivered, but the process of give and take doesnt stop until the artist goes home. Why? Because the entertainment business deals with personalities and individuals, not inanimate objects and numbers. People change their minds, have differences of opinion, have individual wants and needs, and can sometimes be difficult to deal with. As with any offer, you should thoroughly think about what is contained in a contract and rider. Although certain aspects of a contract can never be altered, such as the agreed fee, a great deal of any contract and rider is negotiable. When you receive a contract, grab a red pen and go through it line by line. A lot of what you see will either not be applicable to your show or simply not apply at all. Remember that contracts and riders are written to be all-encompassing. Every buyer (thats you and every one else who is putting on a show) gets the same basic contract and rider. Sure, the time, date, venue, and guarantee will change. But the bulk of a contract and rider will not be changed on a day-by-day basis by the performer. An artist and his or her staff sit down and figure out everything that they need or want, and they leave it up to the buyer to amend their requests. A classic example of this is alcohol. Just about every artist out there requests some sort of alcohol, but they all know that there isnt a school in the country that can provide it. The club down the street can buy an artist beer, so it is therefore included in the rider. Artists know their requests will not always be fulfilled, but they will always ask. Think about it: wouldnt you ask for everything that you could possibly want? Somebody somewhere is going to give you everything. If you dont ask for it, you wont get it. Artists know changes will be made. This is a very important point. Contracts and riders are not cast in stone. If an artist wants 36 towels and you can only provide 20, chances are life will go on. The spirit of the contract and rider is what matters. Artists want their shows to be handled professionally and respectfully. You will always need a good crew, top quality production, and catering.Yet if you cant provide a certain brand of something, chances are things can be worked out. Make a list of everything in a contract and rider that you take issue with, and review it with you advisor and agent. Some items will most certainly be acceptable to strike, but others may require you to go the extra mile and provide. Dont let anything you see intimidate you. If you have serious concerns, ask to see a rider before you make an offer. That way you can address your concerns up front. The key is to remember that the entertainment business is a fluid business, and there is usually a way to work things out.

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CROSS THIS OUT & CROSS THAT OUT (Editing Contracts and Riders) As mentioned, a great deal of things in the entertainment business are negotiable. When reviewing contracts and riders keep in mind that they are often written as wish lists, with the understanding that several items may be abridged or stricken. Here are some of the issues you may encounter and proposals as to how to deal with them. Keep in mind that all changes have to be approved by the artist, so do not assume that you can change anything you want. Review your changes with your agent to confirm that they are acceptable. DEPOSITS: Dont agree to pay deposits. You should pay an artist by university check after the show. Most schools have this as a standard policy. TRAVEL AND HOTEL: Try to make your offers inclusive of travel and hotel. If an artist knows youre going to pay for their travel, chances are they will fly first class and stay in expensive places. Let them pay for it. PROFESSIONAL CREWS: Although you may need to provide some professional staff (i.e. electrician and rigger), this is a college show so you should use at least some college crew. Just make sure that you have some personnel who are technically trained. ALCOHOL: Most schools are not allowed to use university funds to purchase alcohol. Artists generally know this. EXTENSIVE CATERING: Remember that your school is an artists home on show day. They want to eat well and be taken care of. However, some artists ask for extreme and outlandish food requests. If you cannot provide everything, review with your agent and the artists tour manager what is acceptable to strike. UNIQUE ITEMS: It is not uncommon to see requests for socks, batteries, televisions ( for viewing, not keeping) and other unique items. Again, review with your agent and the tour manager to see what is actually essential.

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WE CANNOT HAVE ANY BROWN M&Ms (Why bands ask for what they do, and how to navigate around a contract rider) What do bands care about most? The answer is pretty simple: they want a professionally run show and they want to be taken care of. Simple right? Not necessarily. Sometimes bands and performers ask for things that sound outlandish, and were often left wondering why. The key is to work your way through their demands and understand what they are hoping to get. Years ago a major national act used to ask for a bowl of M&Ms with all the brown ones removed. The band didnt care about the M&Ms specifically, but they wanted to see if the promoters would go through the trouble of removing them. If the band showed up and saw a big bowl of M&Ms without any brown ones, they knew the promoter was paying attention to the little things and that the day would go well. If the brown M&Ms were there, the band knew things might not go that smoothly. Performers want everything to go smoothly. They want top notch equipment, adequate catering, and a professional staff. Furthermore, college shows always scare bands. Why? Because unlike the club down the street, you dont do 150 shows a year. Schools have volunteer staffs and not a lot of experience. In other words, bands arrive at colleges feeling very nervous. Dont let this deter you. Use your resources to be prepared. Putting on a concert is not rocket science. It just takes hard work, dedication, and a great group of people. When you get a rider, understand what the band is trying to accomplish. Make sure you get first class sound and light systems, take care of their catering properly, and have the stuff they ask for. If a band asks for ten stage hands, it never hurts to have a few extra. Also, you can never have too much water. Any left over food can be given to local shelters, so dont worry about wasting food. Also remember that for the day of your show the band is essentially living on your campus. They want a clean, well-lit, comfortable, and private dressing room and office. Put yourself in their shoes: Would you want to hang out in a smelly locker room for 8 hours? It doesnt take much to make a band happy, but it takes even less to make them unhappy. Again, be professional.

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INSURANCE
(How to navigate, define, and just plain figure out what it all means to your major events) Insurance can be a difficult item to figure out. Every state, school, venue, and artist asks for different coverages - and these coverages can vary from show to show. Furthermore, recent nightclub tragedies have further pushed insurance into the spotlight. Is there a simple way to navigate through the mess that is insurance? Not really. However, if you arm yourself with a basic understanding of insurance you will be able to protect yourself and your school. Insurance is designed to protect you, the school, and the performer from negligence and accidents. Types and amounts of insurance vary. But to start, here are some very, very basic concepts. WHO NEEDS INSURANCE Artists want insurance to protect themselves. For example, when the roof of your venue collapses on the guitarist - or some student accidentally gores the production manager with drum hardware - they need to know that you have proper coverage. Simple enough. This is called accident medical or workers compensation. Your school needs to know that artists have insurance. When the lead singer swings a mic stand into the crowd and knocks an audience member unconscious, you need to know that they have the coverage to repair their actions. Again, simple enough. This is called general liability or artists liability This is where the simplicity ends. If you are a private school, your needs and regulations will undoubtedly vary from those at a state school. Certain types of performances may require different types of insurance, and certain venues may require different types of coverage. Now it gets tricky. Before going further, lets get a basic understanding of some basic insurance terminology: TERMINOLOGY GENERAL LIABILITY POLICY Often referred to as CGL (or spectator liability) this policy provides broad protection for situations in which a business (i.e. your school or the visiting artist) must defend itself against lawsuits or pay damages for personal injury or property damage to third parties (those who are not affiliated with the insurance holder). Every college and university in the country has insurance. You cant go to class or sit in an office if the school doesnt have insurance. Most schools have millions and millions of dollars worth of insurance. If the roof collapses during Physics 101, the school needs to be insured (And to take its own Physics 101 course!). Artists who tour regularly usually carry general liability insurance as a form of protection on the road. Artists who do not carry insurance can buy long or short-term policies depending on their needs. INDEMNIFY If you indemnify someone, you cannot come back to them for restitution even if they are

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liable. Most companies/institutions prefer either mutual indemnification or none at all, as a balancing measure for the two parties. HOLD HARMLESS This means exactly what it sounds like. No matter what happens, you will not / cannot sue because you do not hold them responsible. ADDITIONALLY INSURED Provides protection to the additionally insured party should they be named in a lawsuit or claim from the event. For example: College XYZ books the Joe Schmo Band for a concert on April 24. They require anyone performing at the university to provide them with $1,000,000 in general liability / artist liability insurance (see definition) naming the university as additional insured. The university may also ask sound lighting or any other supplier for proof of coverage indemnifying the university SELF INSURED / CARRY A POLICY This means you are not buying coverage from an insurance company and that you will pay any and all claims out of your own pocket and defense cost. AGGREGATE The total amount of insurance provided under the policy. For example, if you have one claim for $1,000,000 and your aggregate coverage is $1,000,000, you are out of insurance.

And thats just the tip of the iceberg. However, most if not all of these terms will come up when reviewing contracts. In the simplest terms, everyone wants to make sure they are protected. And they want to be protected in as many ways as possible. Again, your school and state will have its own policies, so you must do your homework and have all the appropriate information. AS A SCHOOL, WHAT DO YOU NEED TO BE AWARE OF? 1. What does your school require from performers in terms of insurance? Are your requirements flexible? Insurance can be difficult and expensive to obtain, so it helps to have room for negotiation with the artists. 2. What coverage does your school have? Are you self-insured, or do you carry a policy? What are its limits? Can it be amended? 3. Does your school have a risk management office to discuss issues like this? Every school, big or small, has insurance. Its the type of insurance and amount of insurance that vary. Like everything else with event planning, the key is information. Do not wait until three days before your event to ask a band for their certificate of insurance ask in your offer. Furthermore, dont vary what you are asking from the band from day to day. Constantly changing what you need sends a message that your school does not have a clear policy.

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If you need help or have questions, consult your staff or an experienced insurance agent. There are very good companies that specialize in event insurance, and they are designed to make the process easy to navigate and simple to understand. Depending on your needs, policies can be bought and amended, and all of your concerns can be quickly and readily addressed. Insurance may not be the simplest event related issue to figure out, but it can be relatively simple to work with.

PART THREE: STAFFING

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At this point, it is useful to divide the different responsibilities of the show in to categories. No single person can do everything, and it helps to divide the show for organizational purposes. In general, the following divisions are a good starting point: 1. Chairperson 2. Production 3. Publicity 4. Hospitality 5. Tickets 6. Business (someone to keep track of expenses, income, etc.) No one of these divisions is more or less important than the others. Without one, the others cannot function; as a result, there will not be a show. It is therefore essential that they are all taken seriously and handled with diligence and professionalism at all times. The chairpersons job is to make sure everybody else is doing his or her job. Like a manager, the chairperson supervises what is going on. He or she needs to keep in touch with everyone else in the organization and make sure everything gets done. Time tables and check lists are helpful in this respect, as is the ability to prioritize. He or she should also have an understanding of all of the different aspects of putting on a show. If something is not getting done the chair needs to be able to do it. If the production person (or persons) failed to order the stage, you need to be able to do it. If no one contacted the public relations office at the school, you need to do it. The title of chairperson rests with the most responsibility; if something goes wrong or does not happen, the buck stops with you. A good relationship with your advisor and agent is essential if you want to be a successful chairperson. Production involves the physical aspects of the show. Where do you get a stage? How many seats are there going to be? How many hands do you need to help out at the show? Who is going to do security? Do you need to hire outside lighting and sound? Do you need a generator? When are you going to start setting up? Do you need electricians and riggers? These are just some of the question the production people deal with. Production is a difficult job, and it usually involves a lot of physical labor. Close contact with your groups advisor is essential for the production manager, and more often than not s/he will be in contact with your agent. One of the biggest problems faced by production managers is finding people to help the day of the show. Class schedules can be tough to work around, but it is essential that there are enough people at the facility to get the work done. The good news: after you do the process once (and dont be surprised if you encounter some stumbling blocks along the way), the process becomes much simpler. Like anything, you learn from experience. Publicity is essential. The person or persons handling publicity have as much to think about as the production people. Where are you going to advertise? Should you buy time on the radio? Should you do a ticket give-a-way? What type of advertising can you do for free? What should your posters look like? Are you just going to advertise on campus, or in the community as well? The task is far from simple. Each school has a public relations office, and the staff there may be able to help. If you have a graphic arts department they may be able to help with poster design. In the end

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though, what you do and how you do it is up to you. The key is not to wait too long to start advertising. If you start advertising on Monday for a show on Thursday, chances are your attendance will be less than amazing. Hospitality seems like the most thrilling aspect of putting on a show. It can be exciting, but there is a lot of work to do as well. Those in charge of band relations should take care of catering, hotel reservations, ground transportation, and anything else the artist (or artists) want. Hospitality is essential to a good show. If the band (or the bands crew) shows up at six in the morning and their coffee is not there, chances are it is going to be a long day. Do not take this job lightly; too often its importance is underrated. Those in charge should also be prepared to act as runners the day of the show. A runner runs errands for the band, the crew, and anyone else who needs anything the day of the performance. These people may also be responsible for cleaning up after the show. This job can get very hectic, but it can also be a lot of fun. The business manager handles the money. He or she works with everyone else, and at times can be the glue that holds the whole process together. If the publicity people need money they get it from the business manger. If the production people need to hire security, they go to the business manager, etc.. The business manger will pay the band, the crew, the booking agent, the caterer, and anyone else who requires money. It is essential that the business manager remembers there are always several hidden costs associated with shows. For example, it is always necessary to have petty cash the day of the show for sudden expenses.The business manager needs to keep excellent records and be well organized. The ticket manager (or managers) work closely with the business manager and with the publicity people. They should determine how much tickets are going to cost, if students, faculty, and non students are going to pay the same or different prices for tickets, where the tickets are going to be sold, how many tickets are going to be sold, and how many tickets are going to be sold to each person. Ticket prices should be based on venue capacity, income requirements, and supplementals. The ticket and publicity people should determine where it is best to advertise the show and if tickets should be sold there. Local record stores are excellent locations. Your advisor can offer a great deal of assistance in this area, as well. Keep in mind the purpose of the show, and who your target audience is (Will a student pay fifteen dollars for a ticket?). It is essential to keep meticulous records of all tickets sales not only for financial reasons but also for attendance reasons. You can learn a lot about musical attitudes at your school from the number of tickets sold. Additional Hired and Volunteer Labor Several different personnel are needed to work a show. We suggest you break down your staff into different groups: Production, hospitality, security, ticketing, and advertising. Right now we want to focus on production labor. The most basic worker needed is the stage hand. Stage hands move equipment, set up and break down the stage. Remember that there are probably 2 hours of work left after the actual show; if some students are volunteering just to see the show, tell them to buy a ticket. Most bands require a certain number of stage hands, which is outlined in the rider. We recommend having a few more than requested. You may also need an electrician, a rigger (someone who can climb scaffolding and hang sound and lights). Whatever production company you use should be able to provide these personnel. It is very important to find a production company youre comfortable with. They should answer all your questions and handle all of your production needs.

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Nothing ruins a show quicker than losing your crew. If you are a volunteer worker you need to work. Producing a concert is a job and you need to consider it as such. If you have concerns about your crew, make them sign a contract stating very clearly what their responsibilities are, and what the penalty is if they fail to fulfill their obligations. Bands arent interesting in hearing about your crews lab, classes or jobs. They need them to work. A useful way to deal with crew issues is to have them work in shifts. Sign people up for when they are available and have overlapping shifts. For example, 8 am noon. 11am 3pm, 2pm 6pm, etc. Always make sure the minimum number of required workers is present. However, you can never have too many. Some schools pay their students. Some have other student groups use the work as a community service fulfillment, while others hire various organizations outright. Any one of these works as long as the bodies are there. More and more artists are requesting that at least some of the labor employed for concert production be professional workers. For some schools this is fine, as its less work for the students to do. For others it presents a problem: working the show is part of the concert experience and they want their students to do it. In addition, professional hands can be expensive. We feel that supplementing student workers with a few professional hands can benefit everyone. First, it puts the artist at ease. Second, it can help students learn the ropes by offering assistance in learning what needs to be done. These laborers can also act as a buffer between the band and the school. The decision, however, is always yours. Just make sure you are prepared GO TEAM GO! (Motivating student volunteers) Sometimes it can be difficult to get volunteers to work a concert. There is a lot of work to do, the schedule can be hectic, and the hours are definitely long. The key is to give your volunteers a vested interest in the show. The following are some ideas regarding just this. 1. Invest your volunteers weeks before the show. It is essential to get people involved from the beginning. Ask the people who will be working load in and load out to help develop publicity ideas, coordinate ticket sales, and help out in general. The more involved people are the more they tend to stay motivated. Getting people involved from the ground floor will help ensure their dedication throughout the process. 2. Be realistic about what will be involved as a worker. Informational meetings with your perspective crew are valuable for many reasons. They allow you the opportunity to introduce yourself to everyone, to establish department and crew chiefs, and to lay out what is really involved with working a show. In other words, its a good time for a reality check. Make sure everyone knows what is involved and is willing to commit to the project. If people just want free tickets, show them the door. You need people who are willing to work. 3. Investigate incentive programs for your student volunteers. People like to get stuff. Whether its staff shirts or free tickets, when a student gets something for his or her efforts, they feel involved and rewarded. If your budget is limited, you might want to consider approaching local businesses about donating gifts that you can give to the crew. However, make sure you have the commitment before you give away anything. 4. Enlist the services of organizations on campus. ROTC, greek organizations, and

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other campus groups can be great sources of labor and assistance. Establishing relationships with these groups ahead of time can not only help you for the impending show, but also for events still to come. Wouldnt it be nice to know that there would always be a pool of workers from the XYZ organization? 5. Never underestimate the power of a kind word. As programmers, your job is to not only put on a first class show but also to make your workers feel appreciated for the time they have put in. Make the effort and time to thank everyone; your efforts will be rewarded. SECURITY Security has always been a major concern at universities. As moshing increases and audience participation grows, colleges are taking closer and closer looks at their security concerns. Security varies (like everything else) from band to band. Every act has their own requirements, and most schools have their own guidelines. Security is becoming a bigger and bigger issue everywhere across the country, and you should sit down with your advisor and discuss your options. Student security, off duty campus police, and town police are all options, as is a professional security. We recommend talking to the road manager long before your show so that you can develop a feasible plan of action. The band will want to discuss with you their specific security procedures. For example, some bands allow photos to be taken while others do not. No bands allow video, but some allow audio recording. The tour manager will advance all the information with you so that you can brief your staff. When determining how many security personnel you need, first consider the type of show. A gospel show does not have the same security requirements as a punk show. Generally, you need 8 to 12 people between the barricade and stage, and about a dozen or so on the floor and in the venue. Have security at the various entrance points, especially at the front doors. Finally, remember that everyone is there to have fun. An over zealous security staff can ruin a show, and bands have been known to stop performing if they see that the security staff is over reacting. Conversely, make sure that your staff is there to work, not watch the band. Be smart, talk to everyone, and plan ahead. Security is an essential part of your show, and it needs to be handled carefully.

PART FOUR: PRODUCTION

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CONCERT PRODUCTION: DONT BOOK A SHOW WITHOUT IT (The importance of having the right stage, sound, and lights) There are several key parts of producing a successful show. Obviously the most important part is having the right act. Whether youre doing rock or comedy, make sure you choose your talent wisely. However, publicity, catering, security, and production are all vitally important as well. All shows are the sum of their parts, and a successful program requires the proper planning and execution of these parts. Production - or the physical and technical sides of a show - is essential to your programs success, but is often a misunderstood and under-appreciated part of a concert. WHAT IS PRODUCTION, AND WHY DO I CARE? Basically, production entails sound, lights, staging, power and hospitality. Depending on where you do your show and what type of show you do, you will have to provide different levels of production. For example, if you are doing a comic in a seated auditorium with a built in stage, you will not need to bring in a large amount of production. However, a rock show outside requires a great deal of production, and it can often be expensive (It will also be, in most cases, the most expensive aspect of a show besides the cost of the talent). When you are doing the initial planning for your event, consider what type of show you are going to do and the venue. Indoor shows (unless you are doing your event in huge room) are generally less expensive to produce than outside shows. Why? Smaller rooms require smaller sound and light systems. Please remember that this is not always the case - just a general rule; no two rooms are the same and every band has its own requirements. It is essential, therefore, that you do your homework. What you need will most likely vary from what every other school will need, so be careful when making decisions. Production Equipment The production company is mainly responsible for the physical production requirements: sound, lights, stage, barricade, and generator(s). All bands have their own particular requirements. On average, in terms of power, you need 400 amps three phase for lights, and 200 amps single phase for sound. Check with your physical plant department to see if your building has enough power. If not, your production company should be able to provide you with a generator. Costs are hard to estimate because each show is different. Production costs can run up to $15,000, but they can also be as little as $7,000. It all depends on the venue, the band, and what the school has. You will need to gather a lot of specific information on your end before you hire a company. Never underestimate what a band needs. If the sound quality is lousy, they wont play. You want to find a production company that you are comfortable with. It is a competitive market, so shop around, find out who other schools use and if the company will send a stage manager. Also, are they close by in case there is a problem and you need more gear? Again, do your homework.

DOES MY COMIC NEED TEN MICROPHONES? There are three basic types of college-focused shows: comedy, rock, and R&B / Hip

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Hop. For comedy, your production normally involves basic lighting, a stage, a spotlight, and a first class sound system (regardless of whether you do the show inside or out). Costs vary, but you shouldnt have to spend very much. Sound is usually the most important part of the show. Since comics arent very loud, a high quality sound system is a must, and you need to make sure that all your bases are covered. For example, if someone talks in a very monotone voice, and it is unlikely that your basic campus PA will be able to properly broadcast his show. Rock shows generally require the greatest amount of production. They have the greatest power needs, the most inputs, and biggest number of instruments. Bands require larger stages than solo artists, and almost every band requires a barricade. Remember that production can cost several thousand dollars, so dont spend your whole budget on the band. Bear in mind that the larger the number of musicians the greater the cost. And if you are doing your show outside you may require a larger sound system. There are two different types of R&B and Hip Hop shows: track and live band. Track shows have prerecorded music that the artists sing to. Most track shows require DAT recorders and CD players, as well various microphones. Live bands have the same production needs as rock and roll acts. Check ahead of time as to what type of show your getting and plan accordingly. There are other bands that have some pre-recorded music and some live instruments, therefore requiring both types of production. ARE YOU SURE YOU CAN GET THAT STAGE FOR US? Like every other part of doing a concert, each event and each school has its own needs. Finding production, however, is generally pretty easy. There are hundreds of production companies across the country, and finding one isnt very difficult. Be sure, however, that the company you are using can do a good job. Like with anything else, get references. Fax them the technical requirements for your show and get a bid. Shop around. Have your agent help you find a good company. Have they worked with your band before? Have they done shows in rooms like yours before? Remember the importance of production and make sure you get what you need. Also, certain bands have specific requirements, and certain rooms cannot handle some specific types of production. For example, some buildings cannot hang lights and require ground lifts to support lighting. Check with your facility ahead of time and see if there are any restrictions. Do you have enough power or do you need to rent a generator? All of these considerations are important, and use the people and companies at your disposal to ensure the production is professionally handled. HOSPITALITY Hospitality often seems like the easiest day-of-show job; you get to sit around, bring the band food, and hang out. This is not the case. In effect, you are the bands right-hand man on show day. Although you are responsible for food, you are also responsible for taking care of odd things that come up the day of the show. This includes (but is not limited to): ground transportation for the bands, running errands for the bands, and running errands for the production company. You are also responsible for confirming and securing any and all travel and hotel arrangements (if your school is responsible for them). You should also have access to a vehicle and a few hundred dollars in petty cash available. You may never run an errand, but you may be out buying guitar picks, cranberry juice, and wrist braces all day. It can be fun, but it can also be a lot of work. In order to best address this positions responsibilities, it is best to break them up. First and foremost, obviously, is food. Every band eats, and most bands eat a lot. Depending

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on the magnitude of your show, you may be responsible for up to three meals for over fifty people. When you get the bands contract all the catering should be outlined. HOWEVER, NO CATERING IS FINAL UNTIL IT IS ADVANCED BY THE ROAD MANAGER. THIS BEING THE CASE, DO NOT FINALIZE YOUR CATERING UNTIL YOU HAVE SPOKEN TO HIM OR HER. Although bands ask for a variety of things, what is needed for your day may be different from what the rider says. For example, if the band is flying in for your show, they probably will not need breakfast. The best way to start is to figure out who is going to do your catering (in-house or an outside caterer) get a price quote from them, and put them on hold until you finalize everything. Work off the rider, but make sure everyone knows that there may be significant changes. That way, if things do change, you will not get stuck. You may also encounter bands that ask for outrageous things or things you cannot find. Again, consult with the tour manager. Remember that not every band wants to eat pizza every day. Some people have restrictive diets, and some are simply very specific. Do your homework, make agreeable changes, and keep everyone informed. Other bands may give you the option of a meal buyout. What this means is that you will give the band a certain amount of money for each member of the band. For example, if a band has ten people they may want $20 per person for dinner. A lot of schools like this option because it cuts down on their work. Again, consult the tour manager and see if this is acceptable. If this is the case, have plenty of menus from local restaurants available. Let them choose, use their buy out money, and then pick it up. These menus will also come in handy for after the show. Another important aspect of catering is breakfast. Whether a band asks for it or not, if they are arriving in the morning have breakfast for them. Donuts, bagels, cereal, milk, juice and coffee can go a long way. It may seem obvious, but it is not to be overlooked. If a crew can put some food in themselves in the morning your day will go much smoother. On a related note, have juice, coffee, soda, and water all day long. Ultimately, you can never have too much water. Its hard work setting up a show, so make sure people can get a drink whenever they want one. When you are responsible for feeding a band, get the meal times from the tour manager in writing. This way your chosen caterer will know when everything needs to be ready. Also, double check these times a day or two before your show. Remember that bands (for the most part) are big eaters, so it never hurts to have a little extra food. Finally, never break down or remove the catering until the tour manager tells you to. Not everyone will eat at the same time, so make sure everyone has had chance to eat before you strike the meal. You will also need to feed your crew. Whether they are student volunteers or professional laborers, they still need to eat. Usually sandwiches and pizza will suffice, but it can be nice to feed your crew a good meal. DO NOT LET YOUR CREW EAT THE BANDS FOOD. This will cause you nothing but headaches. Band food is for the band. Period. You may also want to have your crew eat in a different spot just to avoid any confusion. There is also a good chance that you will need to provide some after show food. This is usually sandwiches, pizza, or some sort of easy and quick food. Again, have menus available and check with the tour manager. This is one of those little things that can help your day go smoother. Hospitality is also responsible for running errands. The runner (or the person who runs the errands) should have access to a van and a few hundred dollars in petty cash.

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Depending on how your day goes, the runner may sit around or be out buying cranberry juice and guitar picks all day. You never know. A runner is essential though because every day and every show is different. Remember that the crew has to spend all day setting up, and if they need someone to run out it is your responsibility as the buyer to do so. In terms of what to pay for, this is a judgment call. If a band needs some more water, it is probably not going to be that expensive. However, if they want a Playstation, that is not your responsibility. If a band wants you to buy something that seems like it is not your responsibility, get the money from them. Most of the time they will not have a problem with this. Simply get receipts and everything should be fine. Finally, a band may need some simple assistance the day of the show. Some bands want to go play in your arcade, some might want to go swimming, and others might need you to help them move stuff on the bus. Remember that you are their host for the day and it is your responsibility to act as such. If you are professional and responsible, the crew and the band will respond in kind. Like so many other things associated with putting on a show, a clear head and a calm demeanor should see you through with a minimum of problems.

CONCERTS: WHAT WEVE LEARNED

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The day of the show will be wild and hectic. A million things will be going on and no matter how organized you are something will happen that you did not expect. This is all par for the course though, and as long as you dont panic everything will go smoothly. Contingency plans are a must and never assume anything. Better to over prepare than to have no plans at all. In addition, keep in mind why you got involved in the organization in the first place and what the responsibility of being involved entails. Remember that the school and the community are counting on you. Learn from your experiences: a lot of important skills can be picked up along the way that you can use later in life. Maintain a good relationship with your advisor and agent; they are essential to the whole process. Be smart and plan ahead. Do not be afraid to take pride in what you have done; it takes a lot of hard work to put on a show. Most importantly, have fun with it. A lot of pleasure can be derived from a successful show. It is hard to describe the feeling of seeing several hundred or thousand screaming fans and knowing that you are at least partially responsible for their joy. Fun, after all, is what it is all about. These breakdowns are general; they are not cast in stone. You may need things not mentioned here, or you may not need to do half of what is mentioned. Regardless, be prepared. Have your agent walk you through the process and help you with anything you need. They are there for you. Your best bet is to go the extra mile and do a little more than is required. Double check your production requirements and make sure that your tickets are printed properly. Make that extra phone call and confirm that your security is in place. Its your show, and if you do the work, you will have a wonderful day. Perhaps the most important thing to remember is that in the entertainment business, there are no guarantees. However random it might seem, there is a method to the madness of the concert industry. True, there are an infinite number of variables, but there are some basic guidelines that apply regardless of the act, location, or timing. Although the specifics will change, there are some concepts that remain the same. Perhaps the best place to start is budgeting. If your school is going after a major national act, whether its musical or comedic, there are a lot of expenses associated with the show besides the cost of the talent. The greatest of these costs is usually production. Production includes sound, lights, staging, barricades, and any other physical aspect of the show. Depending on the size of your venue, the technical requirements of the act, and what equipment your school already has, you may need need to budget between $7-12,000 for production. Unfortunately, there is no general rule that you can use. Some schools have their own stages, and some acts bring their own sound and lights. Comedians need smaller sound and light systems than bands, and outdoor shows have completely different requirements. The best way to come up with a basic idea (and keep in mind there is no way to determine an exact budget until all technical information is known) is have whoever is working for you (i.e. your middle agent or buyer) do as much homework as possible. Determine what the band is carrying, what the performers stage requirements are, and what (if any) peculiar items they need. Your agent works for you, so have him or her do the legwork. Budgeting is essential, and if you are unsure about how much you have to spend get this information before you even go after an act. Like any project you undertake, have as much information as possible available to you before you start. There are other expenses as well, such as catering, the cost of having tickets printed, advertising costs, and hiring personnel such as security, electricians, and/or riggers. In

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other words, putting on a show with a $10,000 act could cost you almost $25,000. Another important thing that we have learned is that it is essential to have an experienced crew available to work the show. Every act has a contract rider that details what kind of personnel they need. These individuals will help set up the stage, install sound and lights, assist backstage, run errands, and breakdown after the show. Be certain you have more than enough stage hands and plenty of technically experienced personnel available for the show. Also make sure that your crew is available after the show for breakdown. When the band hits the stage, the work is far from done. Plan on a couple hours of work after the performance. Another situation that often arises involves the opening act; many national acts bring their own support act(s) with them, usually for a relatively low price. Most artists want an act to start the show and get the audience going so that the crowd is excited by the time they hit the stage. If they are carrying support, artists starting a tour rarely know who they are bringing with them until right before they hit the road. Ask your agent about opening acts. Is your headliner bringing one? Can you put your own on the show? If you are in a situation where you want a certain act to open, spell everything out in your offer. It never hurts to give all the information you have right up front. In doing this you eliminate surprises. Also check with your risk management office to see if you need insurance information from an act. More and more schools are concerned about insurance and risk management. It should not be a problem for an artist to provide proof of insurance, but make sure the act knows right up front that your school needs to see their certificate of insurance. There is also the issue of security. Crowd surfing and moshing are serious and increasing concerns, and if they are an issue think carefully about the acts you are considering bringing to your campus. Remember that regardless of the act, people are going to dance and probably mosh. (I once saw a video of an act where people were crowd surfing during their sound check!) There are definitely steps that can be taken to control crowd surfing and moshing, but since this is a serious issue, obviously certain bands are inappropriate. Also consider where you are going to have the show (ie : dont put a punk band in your new performing arts theater). After you have considered all of these variables, youre probably ready to make an offer. However, do not make an offer unless you are ready to commit to it. Written offers are legal and binding, so do not enter into negotiations unless you are 100 percent sure that this is what you want to do. Ask as many questions as you want, and check the availability of as many acts as you can. But do not put anything in writing until you are sure. Having a building, money, and the right date does not mean the act will come perform. This business is not exact, and there are a million variables. An act that should sell out might not, so never compromise on publicity. Utilize your public relations office, use public service announcements, make posters, fliers, use the radio and newspapers in your area, and use other schools. Take advantage of every medium at your disposal, and always ask your agent for help. A good agent can be indispensable in helping with a show. Furthermore, never expect to sell anything out or depend on ticket sales to cover your expenses. In some ways, it pays to be a bit pessimistic. If you assume everything will be glorious and wonderful, what happens when something goes wrong? Be prepared and be organized. These are the keys to excellent programming.

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If all this sounds a little wild and almost disheartening, then the article has done its job. This topic could fill volumes, but our objective here was to alert you to some of the major concerns and issues that we have encountered through out our years of experience. Your most valuable tool is communication. Talk to people, other schools, your agent, other personnel, and learn what you can from them. Be prepared to trouble shoot, and never make assumptions. There will always be a glitch, and there will always be issues that arise unexpectedly. Use your resources to their fullest, and remember that the entertainment business (like any other business) is full of egos, politics, and agendas. Surround yourself with people who can help you, explore all of your options, and chances are you will have a wonderful program.

IN SUMMARY, WHAT YOU NEED TO PRODUCE

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A GREAT SHOW:
1. DEDICATION - Concert planning takes a great deal of time, effort, and energy. Make sure your schedule will allow for it. 2. SUPPORT - No one can produce a show on his or her own. You need the help of your fellow students, your advisor, and any number of other individuals. Dont try to do it by yourself. 3. FINANCIAL SECURITY - Concerts, as we all know, are expensive. Bands, production, catering, professional staff, publicity, and everything else associated with the concert will cost you a significant amount of money. Do not depend on ticket sales to recoup your expenses: be prepared to pay for everything regardless of how many tickets you sell. 4. DECISION MAKING - Makes sure you have the ability to make decisions when the need arises. Quick decision making can be the difference between a successful show and a missed opportunity. Makes sure you can easily reach everyone involved in the process. If you only have Monday meetings but something comes up on Tuesday, having to wait until the next week it is going to greatly hurt your ability to get things done. 5. ATTENTION TO DETAIL - There are a million different things involved with concert production. This being the case, be certain to review everything thoroughly. 6. THE ABILITY TO GET THINGS DONE - One reason bands are often hesitant about college shows is that it is often difficult to get results. They want to make sure they are going to get paid the day of the show, there are no unreasonable contract delays, and that everything is going to be handled professionally. If there are any questions, concerns, or possible delays with anything, give the band plenty of advance notice. 7. THE RIGHT ATTITUDE - This can be a stressful, time consuming job. Dont take it personally its part of the job. Always remember why you got into this and why you want to do a show. The campus is depending on you, so keep a level head and do your best. Putting your best foot forward is all anyone can ask, and by doing so you will see the results you hope for. ON SHOW DAY, YOU NEED A. CHECKS Make sure you have everyones checks. There is nothing that makes people more angry than not getting paid. If you have any concerns about having enough time to get checks cut or to process paperwork, tell the band as soon as you make an offer. You can never give too much information when it comes to contracts and checks. If you need materials returned to you two weeks before the show, then say so at the beginning. Cover yourself and leave a paper trail that details everything. That way no one can argue with you or fly off the handle about not knowing. B. CREW Far too often, colleges encounter obstacles in regards to having enough people to work a show. It is imperative that you have the numbers of hands that the band asks for. In fact, it may be beneficial to have more than they ask for. Also remember that if a bands

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asks for 15 stage hands, those people cannot also be responsible for catering, tickets, running, etc. It takes a lot of people to produce a show, and the fewer you have the more work and longer hours you have in store for you. If you think it will be a problem having enough workers, consider hiring professional hands or another student organization to help you. If a band shows up in the morning and only sees six students waiting to unload three tractor trailers, you are going to have a long (and mostly likely bad) day. As mentioned earlier, nothing ruins a show like a disappearing crew. If your show is during the week, take into consideration that it may be hard to find two dozen volunteers for an 8am load. Again, plan ahead. Have all your volunteers sign and agree to the terms of volunteering. Working a show is a serious job, and if your volunteers are not serious, you do not want them. Some schools have students sign contracts and some even pay them. Others have volunteers come in overlapping shifts.Whatever course you choose, just be certain they show up and stay there. Load out is just as important as load in. If you dont have the bodies for load out, chances are you will not leave the building until 4am. C. FOOD Catering pretty much explains itself. Every band will ask for gourmet this and gourmet that, and sometimes you have to give it to them. Some artists have strict diets, while others only want sandwiches. Work with your agent and advisor to see what sort of give and take the hospitality rider has. Catering can get expensive, so set aside the proper funds. First and foremost, though - even if the act does not ask for it - have breakfast ready when they arrive. This cannot be emphasized enough. If people can put food in their stomachs early in the day it makes them much more agreeable. Also, you can never have too many beverages. Juice, soda, and especially water are essential to have at all times. Be prepared to run out and get more water as the day goes along. Coffee is great as well. You should be prepared to feed all of your crew, since they will be there all day and night. Sometimes having pizzas around for load out is all you need to ensure a satisfied crew. Ultimately, it doesnt hurt to go a little overboard. If bands see that you are going the extra mile, it will make them happy. Anything left over can be given to local shelters, and thats something everyone can be proud of. In the end, remember that bands eat... A lot. Also, make sure that your volunteers do not eat the bands food. Catering is for the artists and their crew - your students should be dealt with separately. Also, do not break down the catering until the tour manager says its okay. Bands do not always sit down and eat together, so be sure that everyone has eaten before you take everything away. D. TOOLS Here are a few things you may want to have around the day of the show: copies of the contract and all relevant paperwork, the checks, a campus directory and phone book, work gloves, ear plugs, tons of water, duct tape, sharpie markers, flashlights, a copy of the yellow pages, poster making supplies, aspirin, scissors, a campus map, take-out menus, two way radios, a few hundred petty cash, pens and paper, utility knives, cell phones (or access to a phone), crew ID, trash bags, and a good sense of humor. E. RUNNERS You must have a runner on show day. Things come up that you have to deal with, and often you will need to run errands for the band. Nearly every contract asks for a runner, and more often than not bands are now asking for two or three runners. You may need

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to do next to nothing, or you may be driving around all day. Again, your runner cannot also be a stage hand or catering assistant. Every job is separate. Make sure your runner(s) has access to vehicles, cash, and knows his/her way around. F. CALMNESS Never, ever panic at a show. When situations arise (and they will), just work towards a solution. 99% of the issues you will face can be easily dealt with. Your professionalism in these instances will set the tone for the rest of day. For example, if a tour manager comes up to you and says that one their guitars broke and that they need to find another one, freaking out about it wont remedy the situation. In this case, equipment is easy to rent ( and one of the reasons you may need a yellow pages). Again, simply deal with the situation as best you can. Everyone - from the band to the crew - wants things to work out. Your ability to deal with situations will determine if this will happen. You could write volumes regarding day-of-show preparation, but these are a few of the issues that stand out. Remember to plan ahead, be prepared, and get ready to roll with the punches. Everyone wants the day to go smoothly, and no one is looking for trouble.

THE TRUTH
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(20 Hour days, a tired crew, and the potential for a lot of headaches. What show day is really like, and how to prepare for it) This is a true story: on the way to cover a show, a middle agent passes a truck overturned on the highway. A few minutes later he gets a call from the school he is going to. The panicked director says the stage isnt there yet and that the truck carrying it overturned somewhere. Thats funny, I just passed an overturned truck. The middle agent turned around, backtracked, and sure enough it was the staging truck he had passed. Not the best way to start your day. Although situations like this are very uncommon, problems do occur. In reality, it is advisable to plan on something going wrong; it is how you deal with these problems that matters. The above scenario was resolved by finding another staging company, but obviously this is an extreme case. The key is preparation. It is essential that you have excellent communication with everyone involved in the concert process. Talk to the road manager, production manager, security, catering, staging company, and everyone else involved in your show repeatedly to ensure that everyone knows what is going on and that every detail has been addressed and dealt with. Do you have the right number of volunteers? Do you have all the last minute catering changes? Do you have petty cash for unexpected things? NEVER HESITATE TO ASK QUESTIONS. IT IS BETTER TO ASK AHEAD OF TIME THAN TO HAVE TO DEAL WITH UNADDRESSED ISSUES THE DAY OF THE SHOW. When something does go wrong, never panic. The worst thing you can do is panic. A concert is a business deal, so treat it like one. Sit down, pull your resources together, and arrive at a solution. There are countless scenarios that could occur, so it is impossible to deal with them all here. Ultimately, bands, tour managers, and everyone else involved with the artist simply want things to work and to work smoothly. More often than not they are open to compromise so long as the integrity of the show is not jeopardized. Unfortunately, artists and their crews often expect colleges to poorly manage their events and to be so star-struck that no one does their job. Why do they think this? The average college does 2-4 shows a year. The majority of the concert staff is volunteers who, more often than not, will have to leave the event at some time to deal with school work, a job, or some other issue. Although college shows are among the best and most entertaining, they can often be understaffed and ill prepared. However, if you are professional they will be professional. If your crew is late, the food isnt ready, and all you seem to be concerned about is getting autographs, you will have a very long and difficult day. If your crew is prepared, the catering is good to go, and you are prepared to answers questions and resolve conflicts, your day should be fun, entertaining, and fulfilling.

A BRIEF DAY OF SHOW LETTER

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The band, and more importantly their crew, are traveling long distances. It is important to remember that they may be a little irritable from a lack of sleep. It is for this reason that the little things are very important. Although the rider does not call for it, it would be a good idea to have some coffee and donuts or other breakfast items there when the crew arrives. It is important that the crew is kept happy. They have been working long hours and getting little sleep, so every little thing is important. If the crew is unhappy youre going to have a long, long day. Furthermore, if load in is called for 9AM, make sure your crew is there and ready at least 30 minutes early. The crews job is to assist the road crew. They should be prepared to do a lot of physical labor, including carrying heavy equipment. It is a long, demanding job. Security personnel, especially those located directly in front of the stage, should arrive early so that they can be told what to do. The security in front of the stage should stay focused on the audience, not the band. They are there to work. Other security personnel should understand this as well. They might enjoy the show, but their priority is to work. Wrist bands are an excellent means of keeping track of people during a show. If you have different sections, such as floor and bleacher, you might want to put wristbands on the floor ticket holders. In addition, if you are concerned about people going over a barricade, you might want to give everyone a wristband. The first time they go over, remove the wristband and tell them if they go over again they will be asked to leave. The wristband, or lack thereof, is your proof that they went over. Make sure there are enough people available through out the day. Even if the main stage work is done, keep people around. You never know when work will need to be done. This goes for your stage crew, your publicity people, and everyone else involved. It isnt over until the band drives away. The main point to keep in mind is that there is a lot of work to be done before, during, and after a concert. The concert committees job is to make sure everything goes smoothly. A major part of this is simply helping the road crew. As long as everyone remembers that there is work to be done, you should have a wonderful show.

HOW WE MAKE LIFE HARDER THAN IT NEEDS

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TO BE
Performers, agents and schools are making the world of college entertainment more complicated than necessary. Here are some ideas to make the process easier. When we initially had the idea to write this article, we went on a nonsensical rampage for about an hour. We talked and talked and talked about all the craziness weve seen over the years: all the seemingly harmless situations that became insomnia-inducing nightmares. All the little things that just got blown out of proportion. After a good hour or two of venting we realized that things could be simpler. MUCH simpler. So why arent they? Why does college entertainment have to be so complicated? More importantly, how can it become LESS complicated? The short answer is communication. But that would make for a pretty short article. So Understanding the problems comes from recognizing the concerns of both the schools and the performers. If both sides can look at a situation from the others perspective, then perhaps we can reach a compromise that works for everyone. We set out to contact agents, bands, activities directors, students and anyone else with an axe to grind. We got a lot (and we mean A LOT) of responses. Some were constructive, and some were not. We worked through it all and broke down the information into three categories: school-related complaints, artist-related complaints, and issues we all complain about. To address all of these concerns would fill a novel. So we focus today on some of those things we can all agree to disagree on. No names are used. We only specify if the comment is from the artist side or the school side. After each issue is presented, we offer our thoughts on the matter. As a middle agency, we often have the ability to look at a situation from both sides and offer what we think is an acceptable solution to the problem. Obviously, in most instances there is no single answer. However, we feel that if both sides candidly look at the issues as presented by the other, the entire process can run more smoothly. And we hope that this process can be applied to any questions that might arise. Since this is a guide for colleges, all of these issues are addressed with a school focus. And, for the sake of clarity, weve grouped comments made by acts, agents and managers as simply ARTIST, and those from activities directors, students and administrative staff as SCHOOL. Our thoughts are in the bolded paragraphs. Brace yourself

THINGS WE CAN ALL AGREE TO DISAGREE ON (A PRIMER):

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 Getting paperwork on time Amending this paperwork Dealing with insurance requirements Terms changing after the bid is accepted Neither side being able to reach the other Taking too long to commit to an act or offer Security concerns Dealing with so many mixed signals Having to cancel a show Getting Paperwork on Time: For most shows, the buck starts here. SCHOOL: It takes us forever to get signed contracts back from artists. And it takes us a few weeks to get checks ready for them. When their payment isnt ready the night of the show, the acts are always upset. But theres no other way we can do this. How can we avoid these headaches? Perseverance is the key Along with plenty of advanced notice. Many school are now putting very explicit check writing requirements directly into their offers. If you need three weeks to process contracts, say so in your offer. If you need fully executed contracts back by two weeks prior to the show, say so. It spurs acts along, and also covers you in case something still takes too long in getting back to you. But remember ARTIST: Schools want us to sign contracts in three days, but they cant do it in three weeks. Plan better. Schools usually require more people to look at, review and sign contracts than acts do. However, this cannot be an excuse used to rationalize delays. Dont expect artists to jump through hoops for you if you take a month and a half to process the paperwork on your end.

Amending This Paperwork: They want you to give them everything. You want to give them nothing. ARTIST: Yes, our riders are big. But we understand there is some give and take. That doesnt give you the right to cross everything out. Remember that the artist is living at your school for the day. They understand that you cannot provide certain things, but they also want to be comfortable and taken care of. Both your school and the Enormo-dome get the same rider, so changes are commonplace. Just keep in mind that if you take issue with a request, review it before you make arbitrary changes. And remember to offer an explanation for everything you cross out in a rider. For bigger, production-related issues SCHOOL: Our school doesnt have the means to accommodate some of these acts excessive production and staging requirements. But we still feel like we can offer them

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an acceptable set-up to perform with. Most acts will let you see a rider before you make an offer. If there are major concerns from the beginning, ask right away if it seems like something you can do. If you make an offer, put very plainly into it the restrictions you have in terms of stage size, dressing rooms, production budget, etc. Send the rider to some production companies to get quotes before you commit to anything by sending an offer. Some acts really do need a stage that size and lighting that complex. Only go forward with a bid if you are totally confident you can pull the show off. Reciprocally ARTIST: Schools have way too much paperwork. Sometimes I think they have paperwork just to complicate their lives. Even worse, most of it hasnt been reviewed in 30 years and is useless. The worst is state schools, though. I have acts that wont play state schools because of all the BS. We have to sign everything, do everything, but they wont lift a finger. Do you think that when the governor wants a big event the act has to jump through all these hoops? Never. Never, never, never. The staff just doesnt want to raise the issue because theyre afraid to rock the boat. The fact of the matter is, a lot of schools have a lot of paperwork. To help yourself, send your paperwork in with your offer, and explain everything in a cover letter. It also helps to review your school paperwork every few years. Often, terms that were relevant 20 years ago are not relevant now. So reviewing everything will only help you out in the long run.

Dealing with Insurance Requirements: Since the events in Rhode Island and Chicago, this has become more of a concern.
SCHOOL: Our Risk Management department has suddenly become really pushy requiring acts to show certificates of insurance. Were getting a lot of resistance from the artists, but theres nothing we can do. The first thing to figure out is exactly what you are requiring from the act. Do you just need to see that they are insured? Do you need to have your school named as additionally insured? What type of insurance do you require them to have? There are many different types of coverage out there, and it is imperative that you know exactly what you are asking for. Since many acts do not carry insurance, this will cost them money. Is you school prepared to raise an acts guarantee to cover this cost? You need to make sure everything is spelled out clearly in your offer to them NOT after they have already accepted your bid. ARTIST: The school is asking for a one day, $5 million dollar policy naming them additionally insured. Its excessive, and in our case actually exceeds the guarantee we are being paid for the day. Theres no way we can do the show.

The industry standard for insurance at colleges is a $1 million dollar general liability certificate. Depending on your room size and the genre of the act, this can

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run them a few hundred to a thousand dollars (you should contact an insurance broker for more specifics). A $5 million dollar policy, on the other hand, can run nearly $10,000. In some festival situations, schools are only requiring the headliner to supply the insurance not the $250 opening act. And certain policies allow for multiple acts to be named on the same certificate. In rare cases, a school has accepted an indemnification letter absolving them from any responsibility for an acts actions. Ask every question you have to BEFORE you enter into an agreement with an artist.

Terms Changing After the Bid is Accepted: Riders, ticket prices, show capacity, support acts, oh my!
ARTIST: You better tell me everything weird about your school from day one radius clauses, security issues, content, etc. Dont change the terms after the deal is done. Your merch rate, venue size, support acts and ticket prices all affect our decision to do the show. This happens more frequently than it should. Before an offer goes in, you should estimate your expenses as well as you can to accurately reflect ticket prices. You should know exactly how many tickets you are able to sell, and if the show will be open to the public or closed to your campus. If you are unsure of how much you will need to sell tickets at, overestimate in your offer. Very few artists have a problem with you lowering ticket prices. The issue here is surprises. If you need to raise ticket prices to match rising expenses, you will need to review the changes with management. So make sure you can provide proof that the increase is needed. If your building has a policy on merchandising, say it on the offer. A typical rate is an 80/20 split with the artist keeping 100% of any CD sales. If youre turning your show into a festival, give a lot of advanced warning. Artists like to have some say over who they are playing with, unless the offer given to them explains it as a festival billing with the school choosing support. But a twoact show becoming a five-act show can affect the whole day load in, sound check, travel, etc. So it is imperative that they know about changes in writing if they come up. And then, of course, there is SCHOOL: I just got a faxed rider that is supposed to supercede the signed contract I got back a week ago. The problem is, the tech and catering have changed pretty substantially, and we have already ordered everything and invoiced the check requests. If we revise this now, no one will get paid the day of the show. The best bet in situations like these is to have a constant dialogue going with the tour manager and production manager. When amending the contracts, note on the rider that all requirements are to be advanced. Then have your first conversations with the touring personnel before finalizing any production or hospitality orders. If necessary, have the acts production folk talk to your sound, lighting and staging people to insure that everything they need will be there. In some cases, these talks may even anticipate new riders from management. And if its

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too late to change things, then it is too late. But sometimes

Neither Side Being Able to Reach the Other: We are but two ships, passing in the night SCHOOL: Why do artists wait until the week of the show in order to get back to me about advancing it? There are production and logistical issues that I need to know 3 or 4 weeks before then in order to have everything the way that they need it. There are often two reasons for this. One is that bands on tour are most concerned with the dates they are just about to play. If they have a months worth of shows before yours, they feel they have more pressing matters at hand. In the club world (which is the only world some of these people know), things work on a much shorter schedule. The second reason is that at the beginning of a tour some acts still have to hire tour and production managers! There is a lot of unseen internal work required to put a band on the road, and (again) these are often viewed as first priorities. Anything you will need to know well in advance should be spelled out in your offer or addressed to the artists representation as soon as you know about it. You may be able to find out what you need to know well enough to get your production and catering in order. If you still cannot find out the specifics you need, it may be time to write a letter detailing what you will be providing for the day. Many clubs have built in sound and lights, so the situation for them is what it is. If you need to get things secured on a deadline, you may have to do the same. Just be very up front about it, and make sure everything is in writing: Production will be this. Catering will be this. Etc. ARTIST: So I can only talk to one person at the school about our show. And theyre at a conference. Or on vacation. Or in a meeting. It never stops! And I never get a call back. Why be the production contact if youre unreachable? Sometimes, delegation is the key. If youre the answer person, its okay to have a few serfs under you dealing with the overflow! Major issues with shows can appear up at any time. So if you know youre going to be busy or unreachable, make sure that someone in the office is up to speed on whats going on. And that he/shes someone you can trust to either make a quick decision or to be able to get a hold of you at alternate numbers, etc immediately. Waiting on some problems often makes them worse. So be prepared.

Taking Too Long to Commit to an Act or Offer: Unlike wine, the best things in programming do not come to those who wait.

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ARTIST: Committees drive me crazy. Well, we only meet on Tuesdays, so I cant tell you anything until next Wednesday. Guess what? Dont call me my acts arent sitting around waiting for the 10 of you to get together. Ever hear of the phone? Internet? This is becoming a bigger and bigger problem, and it doesnt need to be. Too many schools lose opportunities due to their communication problems. Call an emergency meeting, send e-mails, conference call, etc., etc., etc. Only meeting once a week takes artists away from you. There is absolutely no valid reason for being unable to communicate with each other more often. SCHOOL: Why do artists take so long to respond to our offers? Why do they ignore our deadlines? Ive waiting five weeks to get answers before, only to have the date be a pass. And all while missing the opportunity to book something that would have been just as successful and have actually happened. For better or for worse, college events are not always a priority for artists. College shows do not break artists public plays in major markets do. Therefore, finding the best public (i.e. club or venue) play is more important to managers. However, this is not an excuse for ignoring deadlines or stringing a school along. If you have a deadline, stick to it. Often agents think schools will wait around as long as necessary to get an answer. If you need to move on, then move on. Spend the time between submitting an offer and its deadline by looking for good backup plans if the need arises.

Security Concerns: We must deal with this barrier between us.

SCHOOL: We have an act coming to campus whose public persona makes our campus police and administration really nervous about having them. How can we ease their concerns? The easiest initial answer is to get other college references. Many artists that have a dangerous persona are actually very professional touring acts playing a role no differently than someone in a theater performance would. If they have played other college shows without a hitch, have those concerned ask those schools about their experience. Most people are more than happy to help each other out. If the act has no college history (and even a spotty club one), you just need to make a judgment call: Is it worth giving a new artist a chance? Or are there too many ifs? Not everyone wants to be the test case. And sometimes it really is safer to err on the side of caution and go with something you know is tried and true. Do you have a good relationship already with the acts representation? Have you handled difficult situations at shows before and come out okay? These are all questions to ask before moving forward. You may want the hottest new act out there, but the higher-ups may not want to risk your schools reputation on it. ARTIST: School security is always a disaster. They have too many campus police with no idea how a concert crowd is supposed to look. And all of the folks behind the barricade are students! No one knows whats going on, and they are trying to randomly

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enforce some no moshing, no crowd surfing policy. Liability and public safety are obviously paramount on everyones mind. But if you have an act coming to campus that will inspire an energetic crowd, you need to have all of risk managements concerns up front and a battle plan to deal with any worst case scenario that may arise. A mix of professional and student security is highly recommended. Students can have a difficult time dealing with their peers, and this can take some of the heat off of them. We recommend a warning system for handling crowd surfing and moshing. Give the offender a difficult to wash off mark on their hand, make sure they are okay, and tell them that if it happens again they will have to leave. If you have these policies in place, make sure the signs and tickets reflect them. Not everyone that crowd surfs means to. And the safest way for someone in this position to get out of it is to be safely brought over the barricade by security. If people are afraid they will get thrown out for a first offense, they may try just falling into the crowd, which is much more dangerous. Also, kicking people out after only one offense guarantees a fight every time.

Dealing with So Many Mixed Signals: Or, why double coupons dont work in the entertainment industry.
SCHOOL: Why do I get so much mixed info on availability and pricing? Every 5 minutes I get a new e-mail, fax or call with information that is different than the last e-mail, fax or call. Not only is it frustrating, but it is confusing as hell. ARTIST: I hate getting calls from seven middle agents about the same school. What do you think you are going to accomplish? Im either going to just pass or probably ask for more money. Its stupid, really. I make the decisions and they act off the info I give them. Find who you like and stick with them. At its core, booking an act seems so easy. You have an act you want to book, and the act needs a place to perform. Why isnt there harmony? Mostly because theres so much extra STUFF out there getting in the way. Information on an act is constantly changing. What was accurate last week may no longer matter now that the artist has some newfound exposure. And, like in every business, everyone is out to make money. So how do you know who to listen to? Where to go? Unfortunately, only experience can really guide you. So surround yourself with as many experienced people as you can. NACA and other groups exist for these networking reasons.

There are two ways to book an act: directly with an artists representation, or through some type of middle agent (a consultant you pay to help you secure acts and produce the show). This is your first major decision. For some, tracking

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down artists is a full time job. For others that are looking for something extremely specific, they know just where to go. The values of each are for another article. If you have the resources and are going direct, make sure you are not being overquoted. If you are using a middle agent, do your homework, find one you like and stick with them for the duration of that shows planning. Again, use your references at other schools. Be informed. Go with someone people seem to trust. What does not work is calling many different people about the same act for the same show. This will guarantee confusion on every front, and almost certainly hinder your ability to get what you want. There is no shopping around for a better deal. Once someone figures out you are doing this, you will become vulnerable to he/she just telling you what you want to hear only to bait and switch you into something else. And you may also annoy the acts representative agent enough to no longer consider you for the date.

Having to Cancel a Show: And on its tombstone, it read: Dammit!

None of the quotes we got for this were re-printable, on either side! While (in the scheme of things) cancellations are rare, they feel like they happen much more often than they should. In nearly every case, the side being canceled on feels slighted and angry. For everyone, reputation is at stake. In every case, it should only ever be the LAST POSSIBLE resort. As a school, you are only as attractive as your past performances. It takes a while to build a nice concert program. Artists talk all the time, and word spreads quickly if a certain college is a great place to play or a definite to avoid. The key here is to not go into a show unless you are sure you can handle it. You must plan for the worst-case scenarios, and over-budget all of your expenses. Only put in an offer for an act if you can deal with these possibilities. Realize that if you cancel for any reason other than a definite breach of contract by the act, you will chance legal action and permanent damage to your reputation. If the attitude is too laid back about whether or not the show happens, dont bother booking it. Reciprocally, an act may cancel on you with very short notice. Movie offers come in, record labels demand certain events and sometimes people just get sick. Depending on the circumstances surrounding the cancellation, shows can get rescheduled with minimal damage (though plenty of hassle). Have a plan ready for ticket refunds, buybacks, etc. But if you really get it stuck to you, the action you take is up to how much time and energy you want to invest. Some schools are able to recoup advertising and (in very, very last minute situations) production costs. Realize that it will be an uphill battle, but you and your colleagues must agree on how far you are willing to take it. Furthermore, if you waver in your course, you will lose. You must be prepared to follow through on everything you demand.

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In Closing: You dont have to go home, but you cant stay here
We realize that this article is set up to reflect upon some of the gripes everyone encounters in the course of producing a show. But the point here is not to stress the differences between schools and artists; it is to show that at the end of the day were all in this for the same reasons. We want a fun, successful event where everyone walks away happy. While everyone is trying to protect his/her best interests, its important to remember that we all have to accept compromise. And the easiest way to empathize and accommodate each others plights is by talking. Talking, talking, talking. It may not be that easy to do. And it may not be fun. But it is essential. The key is to avoid surprises, personalize the event, and have the type of successful and professional show we all know were capable of.

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NOTES

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