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<blockquote data-quote="Paul Johnson" data-source="post: 216177" data-attributes="member: 2643"><p>My point was that if you want to use it to get money from dodgy payers, you need a contract that is water tight. There are legal differences of course - but your system is even more cranky than ours. Words in contracts have VERY specific meanings. A dodgy contract gives the other party more scope to rip you off than a good one. A contract that is written by a legal professional looks better, contains no ambiguity and the meanings will be the right ones. I HAVE been ripped off in my 40+ years, and every time, the dodgy people are also those who are well aware what kind of contract terms work, and the important bit is it looks like an amateur trying to be a professional. This is so obvious. I'm not trying to me funny or denigrating, but I receive dozens of contracts and riders every year. Normally entertainment contracts come in two parts. the Contract, dealing with dates and money, and then riders to the contract. These contain the parking, electricity and other things - like dressing rooms, food, guest lists, security, drum risers, minimum stage sizes, supplied crew, costs for certain extra services, charge backs, contras and things like permits and licences. </p><p></p><p>I don't have a current USA but I found this good example of a theatre contract from Canada.If you look at the style and the precise wording, you can see some important differences. All I know is that people can spot non-professional contracts and will perhaps take advantage - that's what contracts are meant to prevent. This example shows how the wording is done - and most would be simple to convert to what you want. </p><p></p><p>I found a technical rider from one of the visiting music shows we had - the contract I can't share but their rider is written in normal English - but is pretty tight on what they actually want. </p><p></p><p>Your contract says in your words, what you Must Have, Would Like, Would Appreciate, Prefer, Will Need, May Need - these need tightening, but as you'll see from the example - you need to make clear which are deal breakers, and get them to agree. A band I was part of would never remove "Food for 5 people before 6pm for an 8.30 show would be appreciated" I reckon 10% provided it. Hotels would always want to feed you just before you went on, and some provided left overs at the end, when you want to do the out. We changed this eventually to "The promoter agrees to provide food for 5 people........" and while frequently not planned, when they realised they had agreed this, it happened.</p><p></p><p>Give yours to a normal lawyer - you do NOT need to engage an entertainment lawyer unless you are dealing with tax issues, box office commissions and complex financials. Yours is like engaging a firm to put double glazing in - it's pretty simple and any lawyer can do it.</p></blockquote><p></p>
[QUOTE="Paul Johnson, post: 216177, member: 2643"] My point was that if you want to use it to get money from dodgy payers, you need a contract that is water tight. There are legal differences of course - but your system is even more cranky than ours. Words in contracts have VERY specific meanings. A dodgy contract gives the other party more scope to rip you off than a good one. A contract that is written by a legal professional looks better, contains no ambiguity and the meanings will be the right ones. I HAVE been ripped off in my 40+ years, and every time, the dodgy people are also those who are well aware what kind of contract terms work, and the important bit is it looks like an amateur trying to be a professional. This is so obvious. I'm not trying to me funny or denigrating, but I receive dozens of contracts and riders every year. Normally entertainment contracts come in two parts. the Contract, dealing with dates and money, and then riders to the contract. These contain the parking, electricity and other things - like dressing rooms, food, guest lists, security, drum risers, minimum stage sizes, supplied crew, costs for certain extra services, charge backs, contras and things like permits and licences. I don't have a current USA but I found this good example of a theatre contract from Canada.If you look at the style and the precise wording, you can see some important differences. All I know is that people can spot non-professional contracts and will perhaps take advantage - that's what contracts are meant to prevent. This example shows how the wording is done - and most would be simple to convert to what you want. I found a technical rider from one of the visiting music shows we had - the contract I can't share but their rider is written in normal English - but is pretty tight on what they actually want. Your contract says in your words, what you Must Have, Would Like, Would Appreciate, Prefer, Will Need, May Need - these need tightening, but as you'll see from the example - you need to make clear which are deal breakers, and get them to agree. A band I was part of would never remove "Food for 5 people before 6pm for an 8.30 show would be appreciated" I reckon 10% provided it. Hotels would always want to feed you just before you went on, and some provided left overs at the end, when you want to do the out. We changed this eventually to "The promoter agrees to provide food for 5 people........" and while frequently not planned, when they realised they had agreed this, it happened. Give yours to a normal lawyer - you do NOT need to engage an entertainment lawyer unless you are dealing with tax issues, box office commissions and complex financials. Yours is like engaging a firm to put double glazing in - it's pretty simple and any lawyer can do it. [/QUOTE]
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