1. Roles and contracts

2. Live performances
Job roles within live performances, stage manager, lighting and sound crew, backstage crew, front of house staff, tour manager, road manager, artist, venue manager, event manager

3. Referencing: http://work. chron
Stage Director
A stage manager has many roles and responsibilities to ensure that the concert/show runs smoothly. They have to be able to meet the performer/bands concert requirements and to oversee the production of the performance. They will distribute stage plans to stage crew and venue management. Will coordinate stage crew activities and assists with or will supervise stage preparation including unloading, setup and positioning of concert stage elements such as instruments, equipment or background sets. If he sees a health, safety or logistic issue, he works with the act and venue management to modify the plans. He also makes a certain that an act receives everything requested for backstage facilities, such as specific beverages or food.
A stage manager also supervises technical matters. He reviews concert technical requirements with various people involved in planning the performance, such as the act, the act’s manager and technicians. He monitors lighting, speakers, microphones and other equipment during rehearsals or recording. Before a concert he will supervise stage equipment test such as lamp, rigging, sound and others. He also will supervise the specialized concert elements such as pyrotechnic test, if needed. During the performance, he makes technical adjustments or call cues to technical crew handling the equipment.
Advantage and disadvantage of role

4. Stage management and venue
The stage manager clears the stage prior to the performance and advises acts when its time to go onstage. Besides equipment and technical cues the stage manager also cues other stage actions, such as opening and closing stage curtains, if needed, at the start, intermission and end of the concert. Afterwards, he supervises stage clean up and removal, loading and shipment of stage elements provided by the act. If an act store stage elements at the venue, he supervises on-site transport and storage.

5. Setting up and promoting live performances
To set up a live performance you would need to find a appropriate venue to perform thinking about where about it is and what type of venue it will be either a massive indoor stadium or a outdoor field festival all depends of the type of event the performance is for, then you will need to make sure that your date of the performance is correct with the band/s and the venue owner to both be available as well as the sound and lights crew if it’s a big performance otherwise if one does not show up due to wrong dates the performance will not be able to go ahead as planed and will cost the company organizing the event to lose out on money. Then you will also need to check in with the other members of the crew like; equipment staff, roadies, stage crew. Then after you have got everyone together then you need to promote it so people will show up. You can do this through posters, social media sites, radio, you tube, hand out leaflets, T.V and more.

6. performer
The role of a performer is to show up to a event ready and prepared to perform that includes guitars tuned, drumsticks ready, amps set up, got their set list ready and more. These are the responsibilities of a performer, the performer is a fan icon that is responsible for making sure that they give the best show every time they perform.
The performer is incredibly important as with out the performer there will be no live event and that would make all the other roles in the event irrelevant and put the business out of work. The performer is the one who gets the audience interested to come and watch or buy their music so it is really good to get the performer on good terms in the contract as if they go so does the income that the business will get.
The performer will liaise with the stage director and stage manager so that they know when and where they are coming on and off the stage alongside the lighting and sound managers who will discuss what lighting will be on while they perform and whether they request special effects like pyrotechnics and the sound manager will make sure that the audience can hear you but also needs to know what, where, when and how many amps will be used during there time on stage then will again during the sound check.
The good things about being a performer is the whole idea of getting paid to perform something that you love doing. You get to travel and meet interesting people and if you make it in the big leagues you will travel on tour maybe across the world. Could get paid a lot for what you do.
Some bad things are long hours away from home. Get paid by the number of gigs not the hours you put into it. You could get stuck in a bad contract without an escape clause. After doing the same thing over and over again you could end up losing interest in what you do. Its hard career path to get into.

7. Crew/Technicians
Crew and technicians is a range of different jobs that include lighting and sound, rodie, stage crew and front of house.
Lighting and sound are in charge of (as the name states) lighting and sound. The lighting crew has a lead technician who oversees and commands the lower level technicians and will make all the major decisions within the production. Within the sound department there will be a lead engineer who will instruct all other technicians and the lead engineer will be behind a control desk adjusting any levels that need to be changed while other technicians will be behind stage or hidden in and around the stage in case a microphone breaks or any changes to microphone positions is needed.
Front of house are the people who you would meet when entering a venue and will normally be on any stalls that you may come across like ticket or any merchandise they are the people who greet you with a smile.
I think that the lighting and sound crew are a vital importance to a performance as with out them there will be no good quality of sound or and effects with lighting this makes a concert from an average to absolute amazing by just adding a few techniques from lighting and sound. Front of house has an important role as well as they are the people who make the first impression that will impact the audience reaction towards the performance. Without these people a performance will not be able to proceed forwards as there would be lack of staff to be well organised therefor the performance will fall apart.
There are not set hour to work as every job could mean different hours long or short hours. A lot of the work is dangerous while working with heavy equipment at heights so can be caused a lot of injury's during the job.
Some disadvantages are that if badly injured will be out of work for a while. If not stated in contract might not get paid for the time they are off caused by the injury. Normally working long hours first to arrive to set up and last to leave setting down.
Advantages are that doing what you love. Danger pay is high.
Working conditions/job hours/ positives and negatives

8. agent
An agents job is to book the band/artist personal live appearances but this is not just it they can also negotiate contracts to appear on commercials, radio, appearance on television and even find sponsors for tours and the band/artist. The agent is the man in the middle between bands/artist and their career as the agent is the person who will become familiar with venue owners and concert promoters and will know what the band needs in their contracts ands negotiates the best terms for the band/artist. As well as organising tour routes that are not only physically best but financially better also.
I believe that the agents importance depends on how good they do there job. The agent is vital for getting gigs and getting the right outcome with contract negotiating therefor the agent is very important although is the agent is not good at there job then it is not worth having an agent as you will end up paying to perform instead of being paid to perform and that is desperate when it comes to signing with record companies.
How does he get paid/ what is good about this job/what is negative

9. promoters
A promoter does more than the name suggests, they don’t just promote the event they will organize the show and they will need to;
Book the venue
Get in touch with the band/s
Promote via posters, flyers in the local area
Work with band and agent to cover all equipment is all in the right place
The promoters job is to basically make sure everything goes to plan and any problems are already sorted with contingency plans
They liase with the bands and agents to set dates for the performance then they negotiate a deal with the band and agent to deal with what fee will be paid and weather the promoter will organize accommodation. They set up the sound check times and arrange for a support band if needed and they make sure that everything the bands need is there e.g. backline accommodation rider etc.
It is good that the promoter liases with the band and their agent so the performance of the band not affected in any way and they can get any problems or concerns that the band or agent has out of the way and dealt with. Where the promoter liases with both they can get the legal side as well as practical side, this improves the relationships between promoter and band and can improve the production and quality of work in future events.
Most live contracts are drawn up by American federation contract
Where do they get money from? How do they make money? Positives and negatives of role

10. security
Security will break up fights, offer assistance, provide venue info, oversee crowd behaviour, they are present at ticket counters in the parking lot and are always the first to respond with an emergence within the crowd. They provide the safety of everyone attending and make sure that any problems within the crowd are dealt with in the proper manner.
Security is the health and safety of a live performance as they are the first to an incident and the first to deal with any problems that accrue during the performance. It is important to have security at your live performance as they are there to keep you audience safe and if your audience don’t feel safe at your performance they will not show again then your fan base will drop and you could lose your career.
Who books the security? What roles are they related to? E.g. promoter/venue?

11. Merchandise
It starts as simply as getting t-shirts with band name, logo or icon on but as the band/artist get bigger and start to perform bigger venues it get more complex. They would normaly manage a table they that set up at the gig to sing and greet fans but when the fan base gets bigger they would hire a dedicated merchandiser who will handle all merchandise and this makes thing more complex as the band would keep all the money made in merch unless the venue has to be paid but then they have to pay their merchandiser and it gets worse when a manufacturing company starts to negotiates contracts for the merchandise.

12. Good contract

13. EXAMPLE CONTRACT RIDER
EUROPE 2009
THIS RIDER FORMS AN INTEGRAL PART OF THE CONTRACT TO WHICH IT IS ANNEXED
CAST AND CREW
The <NAME> touring party will consist of 0 (NONE) people:
0 x band
Tour Manager NAME MOBILE NUMBER
Production manager NAME MOBILE NUMBER
FOH Engineer NAME MOBILE NUMBER
Monitor engineer NAME MOBILE NUMBER
Lighting Designer NAME MOBILE NUMBER
Backline Technican NAME MOBILE NUMBER
Backline Technician NAME MOBILE NUMBER
Merchandiser NAME MOBILE NUMBER
Driver NAME MOBILE NUMBER
Other NAME MOBILE NUMBER
Manager NAME
We will be travelling in <VEHICLE>.
Our equipment will be travelling in <VEHICLE>
ACCESS AND EQUIPMENT
The Purchaser agrees to provide and pay for 0 (NONE) able bodied, sober and English speaking persons to assist the Artiste with the get in and get out of the Artistes equipment. The Purchaser also agrees to provide 1 (ONE) English speaking runner with own reliable transport and comprehensive knowledge of the immediate area.
The Purchaser agrees to allow access to the venue/ performance space at a reasonable time as specified and agreed by the Artistes Tour Manager. Artiste reserves the right to supplement certain sound and lighting equipment after consultation with the Purchaser; in such cases the Purchaser will provide and pay for a fully qualified electrician and provide and pay for all necessary sound and lighting operatives necessary to assist in installation of supplementary sound and lighting equipment.
3. PA and LIGHTS
Purchaser agrees to provide:
1x 200 amp 3 phase disconnect for sound
1x 400 amp 3 phase disconnect for lighting
A qualified electrician to be in attendance from Artiste’s load in to time disconnection of Artiste’s equipment from mains power supply.
See separate technical rider for Artistes specific requirements.
4. PARKING
The purchaser agrees to ensure parking space for:
<VEHICLE>
This parking space should be adjacent to venue load in and be secure and free of cost to the Artiste.
220v power for the bus should be supplied from the evening before as we may arrive over night.
After show bus supplies: (all below PER BUS!)
Hot local take out speciality or pizza (1x vegetarian 1x other)
Assorted potato or corn chip
10x large bottles still mineral water
18 x good quality bottled beer (local or import)
12 x assorted sodas

14. 5. MERCHANDISING The Purchaser agrees to allow the Artiste sole right to erect stands for the sale of merchandise, at no charge whatsoever to the Artiste. 6. GUEST LIST The Artiste reserves the right to admit up to (NUMBERS TO BE CONFIRMED) guests free of charge and this will not prejudice the Artistes fee. Purchaser agrees to confirm numbers of Purchasers own guests with Artiste’s Tour Manager before opening the venue to the public. 7. SETTLEMENT The Purchaser agrees to provide all documentation relating to the Artiste’s performance for the inspection by Artiste and Artiste’s Tour Manager. This documentation including but not limited to pre - sale ticket reports, show cost receipts, on night ticket sale reports and tax exemption submissions should be available at time of settlement, usually after completion of Artiste’s performance. The Purchaser agrees that all relevant show costs should have corresponding receipts and that failure to provide original receipts will result in corresponding cost to be null and void. 8. RECORDING The Purchaser shall ensure that no recording of any description or for any purpose shall be made of the Artiste’s performance, and shall likewise ensure that no recording for television, radio, cinema or Internet transmission is made of the appearance and no recording of any of the performance takes place, without the written permission of the Artiste. 9. SECURITY Purchaser agrees to provide and pay for adequate numbers of reliable and reputable security personnel with clearly marked apparel and identification. Such personnel should report to designated security manager who in turn follows instruction from Artiste’s Tour Manager. Purchaser agrees to co-ordinate with security manager and Artiste Tour Manager regarding particular security arrangements, in particular pit crew etiquette and instruction. The Purchaser shall guarantee proper security at all times to ensure the safety of the Artiste, auxiliary personal, instruments and all equipment, costumes, vehicles and personal property during and after the performance. Particular security must be provided in the areas of the stage, dressing room and all exits and entrances to the auditorium, mixing consoles and Artiste merchandising stalls. Security protection is to commence upon arrival of the Artiste on the premises, until equipment is re-packed into transportation and Artiste personnel have left the premises. Artiste will provide laminated passes that shall be sole accreditation valid on day of Artiste’s performance. Artiste’s Tour Manager will approve and issue sticky passes for all non- - touring personnel. The Artiste reserves the right to refuse any accreditation issued by Purchaser or venue. 10. SUPPORT/ OPENING ACTS The Artiste reserves the right to approve and or amend support/-opening acts. The Purchaser agrees not to add other acts other than those approved by the Artiste in writing. The Artiste reserves the right to dictate the running order of the show and the acts appearing therein. The Artiste reserves the right to advise or amend any music, film or performance relating to the Artiste’s performance including but not limited to intro music, play on music, after show DJ’s and video compilations. 10. HOSPITALITY The Purchaser agrees to provide the following: Clean and hygienic toilet and sanitary facilities, including shower with hot and cold water must be provided. If these are not available within the venue/ performance area arrangements must be made at a local hotel (or other) facility. All rooms to be labelled along with signs to stage, catering and other areas from the back stage door or access point Dressing Room (band) This room must be clean, well lit, furnished and lockable and in a secure area. 220v/30 amp power outputs and sufficient furniture (including full-length mirror and rubbish bin) for a minimum of 0 () people. Adequate climate control or heating control in winter months is essential. Twenty (20) large, clean towels with soap required from sound check time Oil lamps, incense, candles, drapes and flowers are all welcome and should be included to improve the ambience of the environment. Support band Dressing Room (TBC) As above (see separate rider for catering/towels etc) Production office A secure, lockable production offices with telephone, desk, chair, RJ111 phone sockets and 220v power will be required wherever possible. Please provide the production Tel/fax numbers ASAP in advance

15. Crew Room
As band (no mirror required) - twenty (20) towels and soap at load in.
Catering
At load in time (00.00am) for people (crew plus driver(s)):
Hot soup or small pasta dish
Sandwich platter or local speciality
Constant hot tea & coffee set up (with biscuits etc)
Bottled still mineral water (Volvic, Spa or Evian)
Assorted Coca - Cola (no Pepsi!) Dr. Pepper etc
Assorted fruit juices (cranberry, orange, apple etc)
From (4PM) band dressing room (drinks on ice):
x fresh vegetarian sandwiches (or sandwich ingredients plus bread)
24 x good quality local/imported bottled beer
20x I litre still mineral water (Volvic, Spa or Evian)
Assorted soft drinks, fresh OJ, apple juice, cranberry juice, Cokes etc
4 bottles of good quality local wine (2x red, 2x medium dry white)
2 x litre bottle quality vodka (Stoli, Findlandia, Moskosavoya etc NO ABSOLUT!)
Constant tea, coffee and hot water set up
Lemons and honey
Tissues, chocolates and chewing gum assortment
At (6PM) main meal time for minimum 0 () people (including vegetarians)
A covered dining table in a clean, smoke free and warm location (not the dressing room) with metal cutlery, appropriate crockery and condiments. Some band members may elect to eat after the show and this facility must be available. Drinks should be re-iced as required.
Food:
Individual place settings with assorted local breadbasket
Choice of starter (hot & cold) plus large fresh washed mixed salad bowl with dressings.
Hot choice of three entrees with vegetables, not limited to:
Vegetarian option (can include pasta)
White meat/ fish option
Red meat option
Sweet dessert course
Full complement of assorted drinks including beers, still and sparkling mineral water, fresh juices, sodas etc.

16. Example of contract
file:///home/99kidawson/Downloads/btec_level_3_unit_39_management_contract.webarchive