Hiring an Entertainer For Your Child’s Birthday Party

Date set. Invitations must come out in the next few days. Themes have been decided and decorations are waiting for you at the party supply store … Oh yeah, why don’t we have entertainers for kids this year.

Signal the braking sound … now.

If you are at this point in the process, pickin will be slim in the entertainer department. You must support a planning truck for about four weeks to ensure that you have time to find and order quality entertainment. Yes, it is possible to find quality entertainers at the last minute – but don’t expect them to be there just waiting for a phone call. A good entertainer will begin to seriously book an event for a birthday about six weeks in advance. Four weeks is still a pretty safe bet, but beyond that the date becomes tight.

Most people want to have a party on Saturdays around noon. Well, an entertainer only has about eight places to be dreamed of in a particular month. Once taken, you go to the afternoon / early evening or maybe Sunday (which is getting more popular now). So Rule # 1: Plan ahead for at least one month.

As I mentioned before, you can still get a good entertainer at the last minute, but you must be more flexible with the time or date of the party. For example, if possible, think about a midweek party. This time is usually more available, and some entertainers will even give a small discount to fill in unproductive dates.

After you find a list of potential entertainers. So what? How do you decide which one to invite to your home?

Rule # 2: Do your research. First, visit the company website if one is registered. A good website must give you a fair idea about what this player is doing. Keep in mind that the coolest websites don’t always belong to the best players. However, a good site at least tells you that this person is serious about his business. Be sure to read all the testimonials, and look for names that you might recognize. If there is a video, check it too. Look for kids to laugh in the video. Don’t worry too much about the show. Most types of living rooms look rather slow or even crowded when viewed on video. If children laugh, it’s a clear indication that this is a good children’s entertainer.

You might also ask friends about an entertainer? Have they ever heard of him? If so, what did they hear? Everything should be positive. Of course, you will want to call the entertainer and find out what you can expect if he entertains your child. Think of this as an interview for work, and you are an employer. Here are some questions that you might ask.

Are you a full time entertainer? (A part-time entertainer may be fine, but someone who earns a living from entertainment will have more experience and may be more reliable because this is a business.)

What are you doing? (This is a general question. Don’t expect blow-by-blow explanations, but listen to what is said and how the word. Descriptions should attract your attention. Remember, this person will most likely talk to or with your child and other guests for a long time. )

How long have you been doing this? (That’s what matters. The longer someone does a job, the better the person does it. There’s nothing clearer than as an entertainer.)

Are you insured? (An accident happened. You don’t want to be on the hook for a glass of purple water entertained by your entertainer on your new white carpet.)

Do you have a reference? (They may already have testimonials listed on their website. But if you can get the latest references to really talk to, that’s a plus. This might not be available – do you want to be the person who gets future calls from people ?)

In addition to these questions, note how many questions your prospective entertainer presents. Expect to be asked about the location of the party, date, time, age of the children and what you expect. A good entertainer will want to know what environment he is facing. He has planned the event with every question. Conversely, if you turn off the phone and realize that you are doing most of the talking – well, go back to your list and try another number.

Rule # 3: Determine what type of entertainer matches the theme. There are a number of themes depending on the age of the children. Your choice at this point depends on the interest of the birthday child. Dora the Explorer, Blues Clues, spys, magic, princess … the list continues. After this is decided, you might go to the internet and just search for a few keywords for your area regarding the theme you choose. For example, if you choose Harry Potter as a theme, and you live in Milwaukee, you might go to the internet and look for Milwaukee birthday wizards. That will bring up a page with several choices. This might not be as clear as a specific theme like Blues Clues, but you might find a list of costumed characters who can visit your home.

Some may still want to let their fingers run and find someone who advertises on the Yellow page. Keep in mind that smarter entertainers run away from large yellow pages. The advertisements are expensive and most of their performance finds the internet as a better choice. So your choice will be limited to the actual printed book.

If you follow all these tips, there is still no guarantee that you will get the best entertainer. You will do your due diligence. There isn’t much to do. Be sure to talk directly with the entertainer who will come to your house. Sometimes, agencies will appear first on internet searches. This agency might look like you are in your city, but in reality it might be on the other side of the country or in another country altogether. In many cases, this ‘agency’ knows no entertainer and only wants to put a warm body in the show. Watch Out. If you cannot speak directly to the entertainer – that is a sign to continue, because you do not know who might appear at your door on the appointed day. You are the judge.

How to Book Entertainment For a Corporate Even

There are many inexperienced corporate entertainers out there and ordering the best for your company event can be a challenging experience. Order motivational speakers or comedians who have general experience and no unique, real messages to deliver can be a motivation for your audience. Many bad motivational speakers use their achievements in the workplace that they develop to inspire others and that’s it. Viewers can see through this and are usually not impressed. To ensure that you find good entertainment, follow a few simple suggestions and avoid generic inexperienced entertainers who are likely to have a negative effect on the audience rather than the positive.

Initial planning is needed because the best company entertainers often order in advance. It is important to know the theme and type of entertainment that you want as soon as possible because this will determine the type of entertainment of the company you rent.

After you set the theme and focus of the event, make a short list of entertainers who will fulfill this. Directing all entertainers thoroughly is very important for them to adjust their material to fit the focus. Good corporate entertainers know how to briefly match their material. This brief must also include information about the audience that the entertainer will target. This can involve an overview of the company, the level of participants in the company and any shortcomings that require special attention. There’s no point in saying things that people already know.

Meeting personal entertainers is very important. You will be able to set in a meeting the level of professionalism of the entertainer, their attitude and whether this will suit the company culture and their preferences. A good entertainer can establish a relationship immediately and make the audience like them. Skills and attitudes are important because they will determine how the audience will receive and connect with entertainment.

Ask for references and level of experience. The comfort of the company you choose must be a full-time entertainer and should have appeared on shows like your past events. They will be able to provide you with their work Demo. Don’t be afraid to also ask for dry before the event to ensure that the presentation meets the intended purpose. When dry through you must be able to suggest and make changes to the material.

Remember that people usually have a short attention span and can be easily distracted or bored. An experienced entertainer knows how to keep the audience engaged and also wants more. A good presentation usually lasts between half an hour and forty minutes. The longer it will certainly make the audience disturbed. If the entertainer has a longer presentation then they must present it in several parts to ensure that the audience, interest is maintained.

Stage craft is very important in corporate entertainment, because everyone wants to feel that the presentation is addressed to them. Experienced entertainers know how to work on the stage. They know how to walk in and attract attention and experts in keeping the audience on target and the crowd under control.

Holiday Party Entertainment – How to Use Entertainment to Make Your Party a Smashing Success!

If you are planning a holiday party this year, some types of entertainment can be a great addition as part of the celebration. Even more than location, decoration, and other elements, the right entertainment can set the tone for your event and give your guests a unique, impressive and truly enjoyable experience that they can carry over the next few days. Appropriate entertainment can add atmosphere and class, humor and pleasure, or inspiration and encouragement to tone your program.

What Type of Entertainment?

The most important question is, what needs do you want to be filled with entertainment? Will this be the main program at night, one of several highlights, or is it just another background?

If entertainment will be the main event at night, you might want to have some kind of player features such as various kinds of actions; a magician, comedian, magician, singer, performance band, etc., and you might want entertainment to take place somewhere between thirty minutes to an hour or more.

If entertainment is only one part of a longer program or of some excellent activity, the same type of player may still be appropriate, but you may want the duration of the show to be shorter, somewhere between twelve and twenty-five minutes.

And if entertainment is just a party background, you might want some sort of ongoing low key entertainment, such as dance music, walking with close-range magic, walking around musicians, or small orchestras, depending on your budget.

And of course depending on the schedule and time period, you can decide to use a combination of more than one of the choices above.

Whatever the case, make sure you are clear about the specific needs that you expect to be filled with entertainment, and just choose the right one.

Finding the Right Comforter …

After you determine the specific needs of your event, it will help you choose the right type of entertainment. You want to find entertainers who can tell you specifically what benefits they can offer for your event, and how these benefits meet your unique needs. If an entertainer cannot communicate clearly and directly how he can meet those needs, they may not have your needs at all. Make sure you are really clear about the specifics of what the entertainer will provide, and that is explained in a written agreement.

You can find various entertainers on yellow pages or on the Internet. Don’t assume that the person with the biggest ad will be the best. Like other service professionals, make sure they have good experience and references. Every quality entertainer must be able to provide you with a credit background, testimonials, and a reference letter from a previous client.

And don’t make the mistake of letting prices be the only determining factor. It is important that entertainment not only provides a pleasant and pleasant life experience, but also that no of your guests are delayed or offended in any way. If your audience is conservative, or a family group, make sure that the entertainment material is right. Comedians and other players who are accustomed to working in adult nightclubs can sometimes have very different ideas about what is “clean” than what you might have. So, make sure you are clear and specific about your needs.

Some Important Tips

Whoever you employ, you want to make sure you get the best value for the money you spend on entertainment. Here are some useful tips to help you determine whether an entertainer can come for you to give your guests the best experience.

Be sure to ask these important questions …

“Are you a professional entertainer TIME?” Although there are exceptions, in many cases if an entertainer does not have full time, that may mean he is not experienced enough, does not have good enough performances, or is not professional enough and is reliable enough to support a full-time career.
“Can you provide references from previous clients?” As I mentioned, every player who deserves salt must be happy to give you letters and testimonials from satisfied and happy customers. If he can’t, you might want to proceed carefully!
“Do you offer a money back guarantee?” If an entertainer does not guarantee his job, there might be a reason he is not ready to do it! Even paying a much lower price is still a waste of money if your guest is unhappy, or worse, somehow offended or delayed by the show. You must be sure entertainment can provide for your event.
“Can you tell me CLEARLY AND SPECIALLY, what benefits do you provide for my event?” Many artists are more interested in looking good than in meeting your unique needs. As I mentioned before, make sure the entertainer is clear about how they can help meet your specific needs.

Use Your Creativity

As with every other aspect of planning your event, don’t be afraid to be creative and think “out of the box”. Don’t assume that certain types of entertainment are “only for children”. (That’s one of the biggest misconceptions I’ve encountered about magic, here in the Midwestern United States.) Or that they won’t work in certain situations. Often the most obscure types of entertainment can be a unique touch that will bring a touch of freshness and appeal to your event.

The main thing is, don’t automatically override something because you think it “won’t work”. Look at various options and ask for input from other creative or knowledgeable individuals. Above all, have fun planning your holiday party entertainment, and you are sure to make a party fun and memorable for you and all your guests.

Performance Clauses In Entertainment Contracts

Producing and editing recorded music is clearly a special art form. But so too the acts of entertainment lawyers in compiling contractual clauses, contracts and language in general. How could the legal arts of entertainment lawyers composing clauses or contracts affect musicians, composers, songwriters, producers or other artists as practical problems? Many artists think they will be “free from home”, as soon as they complete the draft record contract proposed to sign from a label entertainment lawyer, and then throw the proposed contract to their own entertainment attorney for what they hope will be a rubber stamp review on all clause. They are wrong. And for those of you who have ever received a “first form” contract the label is laughing, right now.

Just because a US record label puts forward the proposed “standard form” contract artist, does not mean that someone must sign a draft contract blindly, or ask someone’s entertainment lawyer to label the proposed agreement before signing it blindly. A number of label forms that are still in use today are quite outdated, and have been adopted as full text or individual clauses in whole or in part from contract forms or “boilerplate” contracts from other or previous labels. From the point of view of entertainment lawyers, a number of label and contract recording clauses really read as if they were hastily written – like Nigel Tufnel wrote the monument of Stonehenge 18 inches above the napkin on Rob Reiner “This Is Spinal Tap”. And if you are a musician, movie fan, or other entertainment lawyer, I’m sure you know what happened to Tap as a result of scrawl.

It makes sense that an artist and entertainment lawyer must carefully review all the clauses, contracts, and other forms that are forwarded to the artist to be signed, before signing them. Through negotiations, through entertainment lawyers, artists may be able to interpret more precise and neutral languages ​​in contracts that are finally signed, if needed. Injustice and unfair clauses are not the only things that someone’s entertainment lawyer needs to remove from the draft proposed first contract. Ambiguity must also be removed, before the contract can be signed as one.

For artists or artist entertainment lawyers to leave ambiguity or unequal clauses in signed contracts, it will only leave potential bad problems for the day – especially in the context of a signed recording contract that can be binding exclusively on an artist’s service for years. And remember, as entertainment lawyers with longitudinal data on this item will tell you, the artistic “life span” of most artists is quite short – meaning that an artist can tie his entire career with one bad contract, one bad signing, or even only one bad clause. Usually the signing of a bad contract occurs before the artist seeks advice and advice from an entertainment lawyer.

One type of seemingly endless ambiguity that appears in clauses in entertainment contracts, is in the specific context of what I and other entertainment lawyers refer to as “performance clauses” contracts. Non-specific commitments in the contract to do, usually do not have legal force. Consider the following:

Contract Clause # 1: “The label will use the best efforts to market and publish Albums in the Territory”.

Contract Clause # 2: “The Album, as

sent to Labels by Artists, must be produced and edited using only first-class facilities and equipment for voice recordings and all other activities related to Albums “.

Someone should not use a clause in the contract. Someone should not agree with the clause as written. One must negotiate the change of contract for this clause through one’s entertainment lawyer, before signing. The two clauses propose contractual obligations that are, at least, ambiguous. Why? Well, with regard to Contract Clause # 1, common sense, including those of entertainment lawyers on each side of the transaction, can be different from what “best effort” means, what clause means if different, or what the two parties in the contract intended “efforts best “means at that time (if any). Reasonable thoughts, including entertainment lawyers on each side of negotiation, can also be different from what is a “first class” facility as “explained” in Article Contract # 2. If these contractual clauses have been examined by a judge or jury in under the heat of US litigation, the clauses may be considered null because they are unclear and unworkable, and legally read directly from the appropriate contract itself. In view of this typical New York entertainment lawyer, yes, the clause is really that bad.

Consider Article Contract # 1, the clause “best effort”, from the point of view of an entertainment lawyer. How will the artist truly enforce the contractual clause as opposed to the US label, as a practical matter? The answer, the artist might not, at the end of the day. If there is a contract dispute between the artist and the label for money or marketing expenses, for example, this “best effort” clause will change into the Achilles Heel artist’s contract, and the artist’s entertainment lawyer may not be able to help the artist as a practical matter:

Artist: “You violated the ‘best effort’ clause in the contract!”

Label: “No! I tried it! I tried it! I really did it!”

You got the idea.

Why does the artist have to leave the label with such a “run-out” contract in the clause? The answer to the entertainment lawyer is, “there is no reason at all”. There is absolutely no reason for the artist to endanger his career by agreeing to a vague or warm contract marketing commitment clause, if Album marketing is
considered an important part of the agreement by and for the artist. That often happens. That will be the artist’s career at stake. If marketing spends the entire validity period of the contract decreasing over time, so too can the recognition and public career of the artist as a result. And equity must be on the artist’s side, in contractual negotiations carried out between entertainment lawyers for this item.

Assuming that the label is willing to commit to the contractual marketing expenditure clause, then artist-side entertainment attorneys argue, the artist must have the right to know in advance how his career will be protected by the expense of marketing dollar labels. Indeed, ask entertainment lawyers, “Why did the artist who signed this agreement aside from advances, marketing fees, and tour support?”. These questions might be expressed a little differently nowadays, at the present age of the contract now known as the “360 agreement”. A clause can evolve, or move, but an equivalent argument remains in principle the same.

The point is, not only players must be held for performance clauses in contracts. Companies can be asked by entertainment lawyers to subscribe to performance clauses in contracts, too. In the context of performance clauses – such as label label contractual obligations to market and publish albums – it is the duty of the artist, artist and entertainment lawyer if there is, to be very specific in the clause itself about what is contractually needed from the record company. It should never be left for the next verbal side conversation. In other words, working with an entertainment lawyer, the artist must write a “clothing-list” clause that contains every separate thing the artist wants. As but some examples:

Contract Clause # 3: “To market and publish Albums in the Territory, you, the Label, will spend no less than ‘x’ US dollars for advertisements for Albums during the following time period: __“; or maybe,

Clause Contract # 4: “To market and publish Albums in the Territory, you, the Label, will hire a PR company in New York, New York, and you will cause no less than ‘y’ of US dollars to be issued for publicity for and related directly with Album (and no property or other material) during the following time period: __ “.

Compare Clauses # 3 and # 4, for the previous # 1 Contract Clause above, and then ask yourself or your own entertainment lawyer: Which is more hortatory? Which is more appropriate?

The Contract Clause # 2 and its unclear definition of “first class facilities and equipment” – why not have someone’s entertainment lawyer, but only include in the laundry list clause of the names of five relevant professional recording studios in the city, that both parties, labels and the artist, prospectively agreed to be “first class” for definition purposes? This should be a contract, after all, entertainment lawyers argue. “Don’t leave your definition, and therefore the problem of definition, for later or later documents, unless you really want to make a personal financial commitment to make more litigators fixated in businesses that debate bad clauses and bad contracts before the court”.

If you don’t ask, you don’t understand. Through entertainment lawyers, the artist must make the label clearly sign on a very specific list of contracts of tasks in the appropriate clause, monitor the progress of the label afterwards, and hold labels for certain contract standards that are smart enough for the artist to “carve” in the clause through entertainment lawyer in the first example.

Again, consider Contract Clause # 2, the “first class facility and equipment” clause, from the point of view of an entertainment lawyer. Note that, unlike Contract Clause # 1, this is a promise made by the artist on the label – and not a promise made by the label for the artist.

So, an artist might now ask his entertainment lawyer:

“The shoes are on the other leg, right?”

“The ‘first class’ in the clause is an unclear and unclear contractual standard as ‘best effort’, right, entertainment lawyer?”

Entertainment lawyer answer: “Right”.

“So, entertainment lawyer, it won’t hurt me, the artist, signing the contract clause, will be there, because I will be able to shake it if I have to, right?”

Entertainment lawyer answer: “False”.

The fact is, contractual ambiguity in performance clauses is a bad thing – in both cases – whether in the context of label obligations for artists; or even in the context of the artist’s obligation on the label. Entertainment lawyers must suggest that any contractual ambiguity in any clause can be detrimental to the artist, even in the context of one of the artist’s own obligations to the other party making the contract. Don’t rely on the center of ambiguity in clauses when doing business and relying on contracts – even if, in your own form of musical art, like Cameron Crowe once suggested my first guitar hero Peter Frampton, you might happen to write “obscurantist” song lyrics when taking artistic licenses Yourself. Contracts must be handled differently.

This is how the ambiguity in your own contract commitment to the label harms you, from the point of view of an entertainment lawyer. The old contractual principle of “shipping” music often finds artists who are required to submit documents to labels, as well as physical material such as the album itself in the form of a master, digital master, or “glass master”, ordered to be paid. Based on the procedures described based on contracts examined by and between entertainment lawyers, the label may have the right to hold a portion (or even all) of the money back, and not pay the money to the artist until “delivery is completed” under the shipping clause and delivery schedule in the contract . Therefore one can guess, “delivery” is a definite event that events or not occur under contracts often contested and sometimes even arbitrarily or litigated by and between artists, labels, and entertainment lawyers and litigators who represent them.

It is the duty of the artist and entertainment artist lawyer to prevent the label from the pretextual “drummer-up” failing delivery under each clause in the contract as an excuse not to pay. In the context of Contract Clause # 2 above, “first-class facilities and equipment” can easily be the pretext – the artist’s Achilles Heel in a test-litigation contract that is contested between entertainment lawyer litigators. The label can only take position through advice or vice versa that the material sent is not made in a “first class” facility such as contractually required in the relevant clause, no matter what facilities are used. Why? Because “first class” is never defined in a clause in a contract document by one of the entertainment lawyers on both sides, such as certain facilities.

And if there is no clause in the contract that is explicitly defined as “first class” as an entertainment lawyer would suggest that it must be done, then the artist can issue the money, at least for the entire duration of a multi-year litigation that can be avoided from what the word 2 stupid words. Even worse, meanwhile, the label may hold money and laugh at the artist behind the artist’s back because of a lack of contractual awareness. From the point of view of the artist’s side of the entertainment lawyer, both the horrific event and the scenario, cannot be tolerated. They can be avoided by a single, better clause – often a narrow reed that is the basis of the success of an artist. (Ask Billy Joel. Ask Neil Young. Ask Bruce Springsteen. Ask George Michael. Ask John Fogerty).

What about prescience? How can future contractual submission disputes in the context of Contract Clause # 2 be avoided by entertainment lawyers? The simple solution in this case, again, is for the artist’s entertainment attorney to take a few extra minutes during negotiations, and the text list out, in the draft reply the proposed contract is sent to the label, even if the concise clause is single, the facility actually intended to be used. The artist-side entertainment lawyer can attempt to make a contractually explicit label pre-approving the list of facilities, based on name and address, in the body of the contract text. That is a contract for, however, as an entertainment lawyer will notify you. When used properly, contracts and clauses really only consist of dispute avoidance tools. Entertainment contracts must be a means of avoiding disputes exchanged between entertainment lawyers. Also note that contractual ambiguity in a clause can be detrimental to the artist, regardless of whether it is attached to one of the artist’s performance obligations, or even in one of the label’s performance obligations! Moral: List all performance obligations. Divide them into clear and understandable tasks, clause after clause. Approach in the same way as an entertainment lawyer. Better yet – ask for help from one before forming an opinion about a clause or signing a contract.