Comments for Musical America Blogs

Comment on Silence Is Not Golden! by ggartslaw

ggartslaw — Wed, 12 Dec 2012 04:48:46 +0000

I couldn’t agree more. This is a great policy for all the reasons you have explained. I even use the same approach for our own engagement letters. Thanks for sharing!

Comment on Silence Is Not Golden! by Robert Besen

Robert Besen — Fri, 07 Dec 2012 19:50:44 +0000

I learned, the hard way, the lessons Mr. Goldstein lays out here soon after launching my own small agency. I decided as a result to make an adjustment to the contracts I send out, which was to make the offer contained in them valid for a particular length of time from when the contract is dated, usually 60 days (though I frequently make that less or more).

Doing this doesn’t magically solve any of the problems of getting contracts back. But it does accomplish one and possibly two things. First, it gives me a reason to put a date in my own system stating when I need/expect to get the contract back, and my database displays that information prominently (along with things like when a concert program needs to be submitted). As the deadline approaches, I will go back to the presenter and ask about the missing contract.

Second, it might give a presenter an incentive to deal with this item of business, because failing to do so could in theory jeopardize a date they want to confirm, and at the very least sitting on the paperwork will make it necessary to jump through a hoop of asking for an extension, getting the document updated, and so forth.

A good number of years ago, I received a phone call from a presenter, who told me that she was calling on the 59th day after the contract was issued, mindful of the deadline, and sadly that she was going to have to pull out of the engagement. She’d held off as issues with funding developed, but as the end of the second month approached she realized the situation was hopeless and she’d be doing a disservice to everyone not to confront the issue.

I thanked her for her forthrightness, and because it was still relatively early in the booking season, with some luck I was able to recast the tour in a way that took care of the open date. I have always felt that without my contract deadline it is likely this matter would not have come to a head for some additional weeks or months, and my chances of fixing the problem would have been crippled.

Comment on The Power of a Program by Steven Swartz

Steven Swartz — Sun, 04 Nov 2012 18:08:06 +0000

Eloquently stated, Edna. As the founder of a PR firm that represents both established artists like the Kronos Quartet, and emerging artists such as cellist Mariel Roberts of the Mivos Quartet, I salute this trend. We’re living in an exceptionally fertile time for new music, and exciting presentations abound at both name-brand venues and underground spaces. Kudos to my critical colleagues (and their editors) for helping to nurture this diversity.

Comment on Kudos for a Critic? by Fred Miller

Fred Miller — Fri, 19 Oct 2012 20:55:50 +0000

Despite Kozinn’s great talents, the oily, shifting sands of the NYT’s classical music staff are no surprise. Having been variously disturbed and outraged over decades of “grumpy” (not to say, pompous, elitist, and missing-the-point) reviews by a long standing Classical Music Editor, it seems that the criteria for excellence are as flaccid as those for taste or responsible reportage, at least in the Classical Music area. With condolences to Mr. Kozinn, he must have seen it coming.

Comment on They Can’t Do That To Me! by Craig Knudsen

Craig Knudsen — Fri, 12 Oct 2012 18:31:58 +0000

Of all the expounded wisdom divulged in your response, the small piece that resonated with me was……
“Resist the urge to go on a crusade. They are rarely successful and everyone dies.”
I, too, just had the same thing happen to one of my bookings (very possibly the same presenter).
My result – no money, moving on, everyone lives.

Comment on DanceNOW Festival at Joe’s Pub by Patrick

Patrick — Wed, 19 Sep 2012 12:44:47 +0000

My sentiments elctaxy! What a special night. As a parent of one of the oldest dancers, I was so proud. I am a pretty resourceful parent and I was able to stumble upon this opportunity for my daughter at the very end of the school year. I wanted her to know that there are so many opportunities in life. We just have to reach for the stars. She made many friends that she still keeps in contact with. My only regret is that she is 14 and can’t be a part of the camp anymore. I wish I would have found out about this earlier. Now i’d love to get the video to hold on to the memories, (for me and her) but I can’t seem to find out how to get one. Does anyone know??? I’d really appreciate the info.Many thanks to Ms. Santiago and her staff for their hard work. You guys are WONDERFUL!!! BEYOND BELIEF AND I THANK YOU. You gave my daughter so much inspiration.~Tarsha~

Comment on What Attorneys Won’t Tell You by ggartslaw

ggartslaw — Wed, 01 Aug 2012 06:08:19 +0000

Very sad, indeed, though it doesn’t surprise me. Far too many artists, managers, agents, and others in the performing arts world rely on templates and boilerplates and never take the time to make sure that the contracts they sign actually reflect the deals they want. Then, when something goes wrong, they want to re-negotiate. This is not limited to a US phenomenon. I get calls from artists all around the world who are upset that they entered into deals they really didn’t understand. A contract can be renegotiated at any time so long as both parties agree. However, if one party wants to renegotiate and the other doesn’t, then the contract stands–which is why you should NEVER sign a contract with the idea that you can renegotiate it later. Thanks for reading!

Comment on What Attorneys Won’t Tell You by Stephen P Brown

Stephen P Brown — Wed, 25 Jul 2012 12:57:24 +0000

Thank you for highlighting the fundamental difference between US and UK norms – I’ve wondered.

I’m reminded of the nasty dispute between a choreographer/ show lead and the show’s producers. After the show’s amazing success he wanted to renegotiate his copyright contract. Being from the US, he thought it was fine to do that. The European producers were taken aback. The dispute effectively shut down the show, and he went and set up his own version which is still touring the world. It’s a shame such skill and talent is overshadowed by greed.

Is it true that in the US a contract can be renegotiated at any time?

Comment on Paying Retainers to Managers by Edna Landau

Edna Landau — Tue, 12 Jun 2012 22:22:26 +0000

Thanks so much to my esteemed colleagues for sharing their thoughts with our readers. It is gratifying to have your validation of the essence of the column and also Mr. Besen’s very helpful practical advice about further particulars of what to expect in a manager-artist relationship, especially in the case of a smaller agency.

Comment on The Freelancer’s Elevator Speech by Edna Landau

Edna Landau — Tue, 12 Jun 2012 22:19:40 +0000

Hi, June. It’s so great to hear from you! Thanks so much for sharing your own experiences with me and with our readers. They are so pertinent and enlightening. (Love that last sentence!)