A new year is hard upon us, and it looks
to be a good one. Notable about this Spring in midcoast Maine
is that we’re finally getting a taste of Winter. Although
it’s hard to pinpoint a precise start date for this enterprise,
it’s amazing to me that we’ve been at this business
for ten years now. This is an update for our valued artists
and vendors.
1996 was outstanding, although as I write
this I’m in shock about my upcoming payout for taxes
and IRA contribution. (I’m consoled by the fact that
our government spends our money so well). Balancing it all
of course is the fact that I have a great family, a fine and
caring staff, and I live in wonderful place. I even got a
Caribbean vacation (good thing I didn’t get my tax news
until I got back). Total artist fees for last year totaled
close to $750,000.00. The office staff is now up to 4: Dot
O’Donnell, Phil Clement, Liz Gross, and myself. Our work
stations are networked via Windows 3.11 and our data system,
designed to my specs by Jed Shepardson using MS Office Pro
4, is working very well. I’m pleased to have thus far
avoided Windows 95, and I have no interest in acquiring any
more software or hardware. [I’m very sorry, Mr. Gates,
I’ll remove that line before mailing....”]
ARE WE UP TO DATE? Please make
sure we have the most recent contact information and promotional
materials in our files. It will help us do the best job possible
booking you for appropriate gigs. It’s also very helpful
for us to get periodic schedule updates. If you have a color
photo, send it along and we’ll try to include it in our
web site.
WHERE’S WALDO: I resigned
from the Waldo Theatre in Waldoboro after over 6 years of
growth and positive success. I’m very proud of what I
did there: when the owner asked me, in the spring of 1990,
to put on a few shows, I had no idea that the venue, which
was in debt and disarray, would become a year-round presenter
with a self-sustaining schedule and a reputation for quality
concerts. By last fall, it was clear that it was a good time
for me let go and concentrate on my core business, and I felt
it was also time for a different kind of talent to manage
the organization and venue. I’m still doing a lot of
the booking there.
SOME QUESTIONS TO ASK WHEN YOU’RE
ASKED TO DO A BENEFIT:
Where is the money going?
How much for “administration”?
Is each artist contributing equally?
Are the printer, the telephone company, the janitor, the sound
man, and the media getting paid their usual fees?
Will this erode your value in the market for the next year?
Statement of Fact: The most successful
benefits I’ve ever known have also been able to pay the
performers. As long as professional performers will work at
wages appropriate for amateurs, there will be inequity for
all. [End of speech]. I’m continually amazed at how many
people who hire performers have so little understanding or
respect for artists and their work. If at any time you are
uncomfortable asking for what you think is a fair fee, I am
willing to negotiate on your behalf for a commission based
on a sliding scale which, you’ll find, will more than
pay for itself in most cases.
A QUESTION TO ASK YOURSELF:
Which is more important: this career, or the next gig?
Keep in touch, and thanks for doing what
you do.
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