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The unofficial transcript from Expert Day at MeCo, the Meetings Community Online, October 21, 2008. Mark Sonder, CSEP was the Expert. The topic: Hiring Headline Entertainment for the Meeting and Event Professionals.
Permissions were obtained from the various posters.
The format was a string of impromptu questions sent to Mr. Sonder for immediate delivery of an answer.
This will be a 2-part series. Below is Part 1.
Q:
A question from my own convention services department…….seems we have a customer strapped for budget but still wants entertainment that’ll be an attendee draw. Can’t afford a headline, are there alternatives?
-- Tom Blackman, Director, Sales & Marketing, Seascape Beach Resort Monterey Bay
A:
Nothing draws attendance better than a headliner, whether musical, comedic, politician or speaker. This represents “box office” for either a public or “private” event.
Many corporations and associations are turning to the so called national “convention bands.” These ensembles range in price from $7500 to approximately $25,000. Amazingly enough, for that same amount of money you can acquire good quality headline entertainment, including some that are in the Rock ‘n’ Roll Hall of Fame!
So…I’m not sure that alternatives are needed at that price level.
Q:
I’ve been in the hotel/resort business for a few days now- I’ve got vivid memories (and scars) from ‘energetic’ entertainers. I do worry about having my rooms trashed but that doesn’t seem to happen much anymore. But those who book and work with entertainers must have volumes of stories. Is there a way to tell beforehand if your entertainer is going to be super-high maintenance?
Thanks.
-- Tom Blackman, Director, Sales & Marketing, Seascape Beach Resort Monterey Bay
A:
As you have “been in the hotel/resort business for a few days now” you know how important a clients history is, especially when it comes to knowing how many rooms in their room bloc they have picked up, what their past attrition rate has been, etc.
Same concepts apply for the “entertainment hotels” or shall I say the music purveyors that deal with headliners knowing who will “trash” your rooms or require “super-high maintenance.” They have a history, and it is the duty and responsibility for that purveyor to share with their buyers who those entertainers are if they are asked for specifically by the buyers!
Q:
Hi Mark…..
What advice would you offer in booking Chef’s (James Beard type or equivalent) as entertainment?
--LoriAnn K. Harnish, CMP, CMM, CTA, President/CEO, Speaking of Meetings
A:
I love it! With a dedicated TV channel (The Food Network), creating such headliners as Rachel Ray, Emeril, Paula Dean, Bobby Flay, and my favorite Giada with shows like “Iron Chef,” “Emeril Live,” “30-Minute Meals,” and “Everyday Italian,” these personalities may be able to do wonders for the “right” audience who would appreciate their expertise.
Q:
Hi, I am not sure how to exactly phrase my situation so I'll try to give details.
I work at a university. Our budget is very limited. Resources for hosting headliners is limited also (for example, they ask for certain things regarding dressing rooms, food, etc.).
If we want to attract a large audience to an event, how would we go about booking the entertainment? In this situation we most likely would need something lower than $7500. The type of event is usually a conference (panel and presenter sessions during day) with something social in the evening (like a band or another type of performer).
And how would we negotiate the contract and what the group is asking for?
Thanks for the advice!
Katie Biasi
A:
I have inserted my comments below:
< Resources for hosting headliners is limited also (for example, they ask for certain things regarding dressing rooms, food, etc.).>
An artist’s rider requirements although “requirements” should certainly be open for negotiation. Although they may need a specific sound or monitor board or microphones the two examples you gave could possibly be changed from 4 dressing rooms to 3 from filet mignon to roast beef, etc. Big changes may incorporate r/t air. E.g. from 1st class to business class from biz class to refundable coach, etc. Or hotel accommodations. From X amount of suites to Jr. Suites, etc.
< If we want to attract a large audience to an event, how would we go about booking the entertainment?>
A definition of the usage of your word “large” would be needed. For a public promoter interested in filling seats with backsides (Tom, can I say backsides?) their definition may be different from a corporate or association event where there is more of a “captive” audience.
Start your dream list of 10 artists. Share them with your favorite entertainment purveyor. If you are not in their budget your purveyor will at least know what type or format of entertainer you are looking for and be able to make their recommendations.
< In this situation we most likely would need something lower than $7500.>
The best buys in headline entertainment are “oldies,” “country,” and “jazz.” There are a bunch of headliners in that budget level.
< And how would we negotiate the contract and what the group is asking for?>
2 ways. Give them an ultimatum. Either they will take the engagement at your price level or they won’t! Of course, I would not consider that tactic a negotiation. They best way is probably to utilize the services of your favorite music purveyor that deals with headline entertainment as this is their job and livelihood!
I hope that addresses your questions.
Q:
Mark, several of us on the MeCo list commented on the man sitting behind Sen. McCain while he gave his presentation. The man was eating and quite distracting while Sen. McCain was talking.
Do you have any suggestions on how this could be handled in the future?
It’s been quite a while since I lived in NYC but the man resembles DA Morgenthau. Would you be able to identify him?
--Bonnie Wallsh, CMP, CMM, Chief Strategist, Bonnie Wallsh Associates, LLC
A:
I have inserted my comments below:
< the man resembles DA Morgenthau. Would you be able to identify him?>
Most likely.
< Do you have any suggestions on how this could be handled in the future?>
Yes. I learned a great lesson when I came to DC, that I cannot run the show as I did in NY. In NY I can tell Congressman Rangel that he’s got 7 minutes to do his thing and then I have to move on. If he continues past 7 minutes there could be a spike in the power rendering Charlie’s speech mute. Don’t know how it happened, but…Charley would just put on a huge smile, wave to the audience and walk off the stage.
My first job in DC was producing the music for this event with some of the Congressional Black Caucus guys speaking. I informed a politician that he also had X amount of minutes (after all everyone wanted their meal hot!!!). He was taking longer. He was signaled but still was going on, and on, and on. At that point I had a decision to make so I quietly took the ClearCom and told the sound man to cut off his mic. Apparently, I do not have a quiet voice and everyone backstage heard me. At that point everyone was looking at me with not the kindest of eyes or body language. I asked the sound man to cancel my last order.
The meal was cold, the job went into overtime, but nobody cared.
On another event at the Worchester, MA whatever the venue is called (capacity 10,000). The headliner HAD to finish their set otherwise the overtime was going to be huge and there was no budget to cover it. Yes, I went out on stage had an incredibly short private conversation and the show ended with the next encore tune.
I could go on with this answer on how to signal the onstage music director, inform him of the situation (eating which is being picked up by the TV cameras and have it stopped), however…
The motto of this story and suggestion I have for your Bonnie is to know the politico culture you are in. If you can move on you will need a strong entertainment producer to make it happen who doesn’t mind the heat and will constantly observe, monitor and correct the situations that come up in a live setting…except in our nation’s capitol!
Q:
Mark,
I have booked some of these entertainers and have seen huge riders.
One was 32 pages long! I am sure they come even bigger.
How does one negotiate that—point by point? That would take forever.
What is the best way to handle huge riders?
And should you use a lawyer to look over these huge riders?
--Andrea H. Gold, President, Gold Stars Speakers Bureau
A:
< How does one negotiate that—point by point? That would take forever.
What is the best way to handle huge riders?
And should you use a lawyer to look over these huge riders?>
You should feel “lucky” that you have only had to deal with a 32 page rider! There are longer ones than that. There can also be separate riders. One for sound, light, stage, backline, inputs, catering, (and as the King of Siam said in The King & I), etcetera, etcetera, etcetera!
Point by point could “take forever.” Hence your purveyor again, can assist you greatly here. However that is the best way to tackle this Herculean feat. Break it down segment by segment. See if it’s even possible. A short while ago we booked this Chinese Acrobatic Troupe. They needed a 50 foot ceiling! This is great for a PAC (Performing Arts Centre), but doesn’t generally work in any ballroom. It was not a make or break situation. We told them what was physically possible and they adjusted their presentation for the ceiling height. Another example would be when I have worked in Brazil. Besides having different voltage down there, they have different equipment. Similar or equivalent equipment in the artists rider had to be acceptable there…and it was.
After the possibilities have been investigated, see if it is within your budget. If not, speak to your purveyor who booked the act for you and discuss what you would not like to include. They in turn will speak with the tour manager to see what can be done.
Let this NOT be a surprise! Do NOT sign the Contract until you have reviewed the Rider requirements. Some agencies don’t work that way. (I can think of a major). These are agencies you may wish to think twice about working with as no one likes surprises. We are working on a show in Suriname right now and in the rider for this international star there is a paragraph on per diems for all the entourage. This is not wrong or bad…it just should not be a surprise!
For all the Foster’s, Howe’s and Goldberg’s out there, I can only say in a public forum like this one, that yes…you “should use a lawyer to look over these huge riders”.
Click here for this issue's
Event Tips: Licensing Your Music, Part One
Click here for this issue's
featured artist: Linwood Peel's Tribute to The Drifters
 Mark
Sonder, CSEP is the Chief Entertainment Officer of Mark Sonder
Productions, an award-winning leading national entertainment agency designing
headline talent and production services for facilities,
corporations and associations. In addition, Sonder sits on
the faculty of the University
of Nevada at Las Vegas (UNLV), The George Washington University, Stratford
University, and Northern Virginia Community College. Event
Entertainment and Production is the book published by
Wiley authored by Sonder.
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