Photo taken from welove-music.com
Being in a production company and handling all sorts of jobs is no walk in the park. I'm not here to discuss any technical details however, I'm here to share some experiences that I have. Times evolve and so does music however, the concept of running an production outfit still remains the same and that is having a semblance of order, loyalty and most of all, accepting the fact that you are as good as your last show. I'm writing from all propositions from being the ticketmaster, the production assistant, the events organizer, the event producer and the acting sound engineer even if no formal training was there. Oh yes, I almost forgot, doubling also as the press release officer and the marketing specialist. I'm not that comfortable using the term specialist because my roles would often overlap, intertwine and yes, mix into one. At the end of the day, two things would matter: Did you treat your staff and the people working with you with respect and dignity? Did you treat the artist well or did you just add to the exploitation factor of having them as your makeshift minstrels and clowns in your little inflatable castle? Note that I used the term "working with you" which simply equates to active listening. If you want to be in the circle of events or do plan to join an event company, here are the things you have got to remember:
1. Keep in mind that the artist is flesh and blood just like you. Treat them with respect BUT NEVER LET THEM STEP ON YOU. If this happens then immediately complain to management. Let them take care of it, not you. Do not take the law in your own hands. It is not that you are a coward but you are just showing that you have better manners than them.
2. Know your contract and your limitations. Yes, always have a contract on what you are to do and what you are bound to do. For lack of a better definition, but not to sound materialistic, know how much you are getting and DO NOT COMPLAIN because you signed into it. For producers, you know how much they would receive so always have some back up cash if in case the concert goes belly-up but then again, this could be on a case to case basis.
3. Know such terms such as the stage plan, the technical rider and the hospitality rider and if you man the gates, know the importance of a clicker and do not be shy to ask for a list of who are in the guest list particularly with bands and their PAs (production assistants), producers, people who are involved with the crew just in case they have a guest list. Arguments and misunderstandings stem from this. Know who have reservations and where will they be seated. Have the immediate usherette escort them once they arrive if one is available. Keep a tab on the IDs as far as the crews are concerned. IDs for crews should be non-transferable otherwise you may have the entire plantation cropping in the venue for free.
4. If you have multiple bands performing, ask each band who wants to go first or draw sticks if it has to be. Big confrontations swell just because of such inaccurate organizing.
5. Know your schedule and the itinerary of the day or for the show. If you have a foreign artist with you and your cell phone is somehow logged on to facebook and twitter or you have unlimited texting capabilities, UNLESS PERMITTED by management, please DO NOT TEXT the entire planet where you are for bragging rights. Privacy should be respected.
6. FEED THE CREW. Let me elaborate on this, for mini-events, if you are not paying any talent fees, at least feed everyone. You and the bar may half on this or if you know how to cook then please bring packed meals to feed them. For wide range concerts, feed the crew on time or before the show starts. Even if the event caters on a fund raiser or for charity, DO NOT ABUSE THE ARTIST, charity begins at home.
7. If you are an events producer having a foreign act, DO NOT TREAT the local artist headlining like second rate citizens. Remember where you are! Remember who you are! It's not like you resurrected Lazarus to perform a Justin Beiber song and it still doesn't give you the right!
8. Do not look down on The Press especially entertainment writers and bloggers and notably on the latter. Entertainment bloggers have the power to reach out to a multitude of people marginally and oftentimes, they act as the Press Release Officer-Photographer-Reviewer-Events Planner all in one and yes they do charge for that. Information gets disseminated faster and it's cost-effective if the TV and Radio Ads are quite costly. This is the internet age anyways.
9. For those who are first timers in joining a production company, my advice: it's not about the tour, the free ticket and yes, going up close and personal with the artist. It's about being treated well and yes, being treated with respect and trust like a family member from a producer's and an events organizer's standpoint. From the other side of the fence, treat your people well and kindness will always overflow. Let them understand the ups and downs of being in the events scene and the people or situations they have to deal with. Trust must be earned and yes, always have that contract handy.
10. Be honest. You are as good as the last show. Honesty is the best policy always. Your works, not the gossip, outshine what you can do and I mean this on all sides. Friends, enemies, frenemies, fans, haters...it doesn't matter. What matters is the success of the show and the main reason why you are standing side by side...the event. At the end of the day, it's not them who that you will go home to but it is through them that you will get paid whether the show flops or not. All in all...KEEP YOUR HEAD WHERE YOUR NECK IS.
1. Keep in mind that the artist is flesh and blood just like you. Treat them with respect BUT NEVER LET THEM STEP ON YOU. If this happens then immediately complain to management. Let them take care of it, not you. Do not take the law in your own hands. It is not that you are a coward but you are just showing that you have better manners than them.
2. Know your contract and your limitations. Yes, always have a contract on what you are to do and what you are bound to do. For lack of a better definition, but not to sound materialistic, know how much you are getting and DO NOT COMPLAIN because you signed into it. For producers, you know how much they would receive so always have some back up cash if in case the concert goes belly-up but then again, this could be on a case to case basis.
3. Know such terms such as the stage plan, the technical rider and the hospitality rider and if you man the gates, know the importance of a clicker and do not be shy to ask for a list of who are in the guest list particularly with bands and their PAs (production assistants), producers, people who are involved with the crew just in case they have a guest list. Arguments and misunderstandings stem from this. Know who have reservations and where will they be seated. Have the immediate usherette escort them once they arrive if one is available. Keep a tab on the IDs as far as the crews are concerned. IDs for crews should be non-transferable otherwise you may have the entire plantation cropping in the venue for free.
4. If you have multiple bands performing, ask each band who wants to go first or draw sticks if it has to be. Big confrontations swell just because of such inaccurate organizing.
5. Know your schedule and the itinerary of the day or for the show. If you have a foreign artist with you and your cell phone is somehow logged on to facebook and twitter or you have unlimited texting capabilities, UNLESS PERMITTED by management, please DO NOT TEXT the entire planet where you are for bragging rights. Privacy should be respected.
6. FEED THE CREW. Let me elaborate on this, for mini-events, if you are not paying any talent fees, at least feed everyone. You and the bar may half on this or if you know how to cook then please bring packed meals to feed them. For wide range concerts, feed the crew on time or before the show starts. Even if the event caters on a fund raiser or for charity, DO NOT ABUSE THE ARTIST, charity begins at home.
7. If you are an events producer having a foreign act, DO NOT TREAT the local artist headlining like second rate citizens. Remember where you are! Remember who you are! It's not like you resurrected Lazarus to perform a Justin Beiber song and it still doesn't give you the right!
8. Do not look down on The Press especially entertainment writers and bloggers and notably on the latter. Entertainment bloggers have the power to reach out to a multitude of people marginally and oftentimes, they act as the Press Release Officer-Photographer-Reviewer-Events Planner all in one and yes they do charge for that. Information gets disseminated faster and it's cost-effective if the TV and Radio Ads are quite costly. This is the internet age anyways.
9. For those who are first timers in joining a production company, my advice: it's not about the tour, the free ticket and yes, going up close and personal with the artist. It's about being treated well and yes, being treated with respect and trust like a family member from a producer's and an events organizer's standpoint. From the other side of the fence, treat your people well and kindness will always overflow. Let them understand the ups and downs of being in the events scene and the people or situations they have to deal with. Trust must be earned and yes, always have that contract handy.
10. Be honest. You are as good as the last show. Honesty is the best policy always. Your works, not the gossip, outshine what you can do and I mean this on all sides. Friends, enemies, frenemies, fans, haters...it doesn't matter. What matters is the success of the show and the main reason why you are standing side by side...the event. At the end of the day, it's not them who that you will go home to but it is through them that you will get paid whether the show flops or not. All in all...KEEP YOUR HEAD WHERE YOUR NECK IS.
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