Red Sea Restaurant, Basement Venue the Underground Closed

• That piece of Shit Kurt Boyer is back at it at Felix's (dogtown). If you ever get a show invite for Felix's do not accept it. He will fuck you over.

• Please, guys, K. Boyer has issues, but don't we all. It's easy to feel sorry for the dude in the wheelchair, but when people have psychological issues we are too quick to ridicule and judge them. Nobody is perfect so let's help "make the world a better place" by not being mean.

• And anyone that really has a bone to pick with the mooron Kurt Boyer Call 636-933-2756

• Kurt Boyer gone?? Finally the World is a better place.

• Just in case anyone's still reading this thread, I wanted to make people aware that Kurt Boyer is no longer affiliated with The Wedge.

• Amen, Rev. Fuck The Red Sea AND Kurt Boyer. The Red Sea sucked. Their policies and general attitude toward musicians sucked. Their club and their sound system sucked, and Kurt did booking there for YEARS. He always bad-mouthed the ownership and then helped them fuck over musicians...FOR YEARS!!

• The Dr. Dog show was the only thing I ever saw here. They went on really late thanks to some unwelcome crappy local cover and original bands that overstayed their welcome. What a dumpy venue. Weird 'rock outcroppings' or something coming out of the floor in odd places. Sound was pretty poor too I thought. No big loss.

• I almost went to see Dr. Dog here last year, but passed.

• Good riddance... the place smelled like feet and ass, and no amount of incense burning could cover that up...the bar staff was rude, and rarely gave deals to bands, and kurt was never reliable at booking bands that might actually show up, or fit the bill, nor did they ever really promote upcoming shows there, outside of hannging up a poster on the door of the Red Sea, (and nowhere else.) The sound guys rarely even showed up, and when they did, they barely noticed things like when a vocalist's mic was turned all the way down on the board, or feedback was chasing the crowd out the door. The last show I went to, one band showed up (resoldered) and neither Kurt nor a sound guy was ever once present. I have mourned the passing of many a venue in the last 3 or so years, but this will not be one of them.

• Matt, I'm glad you posted that in its entirety. It should be preserved for future generations of wayward, misguided musicians.

• I'm sorry, would you mind repeating that?

• RIP. GOALS, CONTACT & TABLE OF CONTENTS The Underground is committed to accomodating the artist as much aspossible. Our philosophy is that the performer is the irreplacableheart & soul of a live music venue. Though we lack the funds to offerguarantees, we plan our shows to be as profitable as possible forlocal bands, and focus on exposing each act to as many new people aswe can. We're working to change the "Me and my buddies against everyone"mentality in the St. Louis music-culture. The Underground andUnderworld-X Productions will reward & encourage groups who areinterested in other music, respectful of other artists, and mindful ofthe challenges and responsibilities incurred by the club and UX staff.In short--rock stars are NOT welcome at our venue. Musicians whohappen to be also rock stars are very, very welcome--and simplymusicians most of all. Contacts: Kurt Boyer, Booking/Venue Manager 314-962-0649 (636-933-2756 mon-tues) Redseabooking@yahoo.com Sarah Michelson -- Booking/Production assistant 314-600-2762 Shortsinger2008@sbcglobal.net Rick Dilly -- Booking/Promotion 314-479-2822 UNDERGROUND @ RED SEA DAY-OF-EVENT CONTACT: Upstairs bar,314-863-0099. *Policy Blog Contents* Booking -- National Acts Booking -- Local & Regional Acts Day-of-show policies Payment for non-ticketed acts Sound Payment for Ticketed Bands/Ticket Distribution & Policies 5:09 AM - 4 Comments - 6 Kudos - Add Comment Booking National/Touring Artists BOOKING -- National/Touring Acts The Underground @ Red Sea is happy to work with national/signed actsof all genres. We provide hospitality, early load-in/soundcheck,promotional help & a cooperative staff. Please contact Kurt, Sarah, or Rick to book a show, or contact us viathe Underground myspace. If you have no ability or intention of drawing a substantial crowd onyour own, the Underground is NOT a good choice for a touring band. Ourdraws are very event-specific & we rely on gate receipts to payartists. However, if you have even a small-to-moderate draw, you willfind the Underground a *much* more profitable gig than comparable-sizeSTL clubs. We don't take a door-split of any net profits, even forsold out events. Our costs are low & all gate receipts past ouroverhead are paid to the musicians. First-time-in-town bands are welcome, but we require cooperation,strong promotion and hard work. A draw of 15 people can be sufficientfor a great show & healthy payout if the local acts also contribute.In this digital/internet age, it's possible to draw a modicum of fanseven in a town you haven't played before. "Nobody knows us here" is nolonger an excuse. We can't afford to pay you *any* sum of money if youdraw less than 5 people, not due to malevolence but due to ourfinances. It's important that every independent touring bandunderstands this before you book a show at Underground. The venue has two stages & we are happy to host touring bands oneither, as a separate program or part of a 2-stage show. Our upstairs,"acoustic" stage works very well for solo artists, acoustic trios,jazz, jam & experimental music, world music etc. Consider the"Underground" stage your primary target if you're a loud rock band,metal, punk band etc. We do not work with tour "packages" unless there are only 2 bands inthe group & at least one of them is a proven draw in town. We will not agree to unconditional guarantees, but we are open tonegotiating a door-split % or conditional guarantee for a proven act. Touring shows can be either pre-sold or simple door-cover events.Tickets for any pre-sale touring event are on sale at the front doorat every show leading up to the event. We have a show spacing policy of *2* weeks either way in a 50 mi.radius for touring acts. This means that if you're playing STL/Underground on a given date, you can't book another show within 2weeks of that date in a 50 mile radius of the club. Bands can load-in as early as 5 PM on a show day. Complimentary food,beverages, hot tea/lemon (for vocalists) and sound Q & A/earlysoundcheck are available. There is also a beer discount for musicians. Any special sound/equipment/lighting needs must be communicated to thevenue manager at least a week in advance of the tourdate. Please notethe sound engineers' contact info at the bottom of these policies.Feel free to call our engineers at any time with questions before yourdate. We have ample merchandise space & tables, and staff members on hand tohelp with merchandise setup & sales. Load-in generally ends around 7 PM. It's the touring artist'sresponsibility to inform the club if you're going to be substantiallylate arriving. Bands may have their set cut or changed due to ignoringthis policy. Please arrange to stay at the venue until at least 11:30. No load-outis permitted until 11 PM & load-out may only take place duringintermissions. Any band leaving before 11:30 (or 10:30 on a Sundaynight show) will forfeit all payment. We will book the local support acts, but please feel free to makesuggestions & offer help in this regard. If you have a specific localband you'd like to play/trade shows with, chances are we canaccomodate. We can help print flyers, posters & handouts and also help web-promotefor any touring show. We can also give you details contact sheets forlocal media outlets and print news, but it's the artist/management whomust follow through and publicize the event. We are all musicians ourselves & will go out of our way to help a hard-working touring band with accomodations, housing etc. Just ask. Please read the other policy blogs concerning sound, age restrictionsetc, and write down all of our contact info. Thank you for yourinterest in playing St. Louis at the Underground! Kurt, Underground @ Red Sea 5:04 AM - 0 Comments - 0 Kudos - Add Comment Booking -- Local Bands Booking -- Local Bands Please get ahold of either Kurt, Sarah or Rick to book a show. Ourcontacts are listed at the top of the policy page. You can alwaysemail our myspace too, we check it and reply to every band every day. The Upstairs Stage is open to acoustic artists, solo and otherwise,and we would love to hear from you about doing some shows. Jazz bands,funk/blues, experimental/world music and other less-noisy bands arealso perfect for the upstairs stage. Show Spacing -- All local & regional bands/acts are asked to adhere toa show-spacing of one week within a 50 mile radius of the club. Thismeans that you can't book another show within 50 miles of the clubthat happens within a week of your Underground showdate. If you breakthis agreement we will try not to cancel your show, but will certainly(at least) postpone it to a different date. Keep in mind that this doesn't affect your playing as a different actor with a different band within the week/radius specified, but onlythe specific band/act/promotion in question. In other words, if youroriginal band The Vegetables is scheduled to play at the Undergroundon Jan. 1st, you can still book your cover band The Potatoes to playCicero's on Jan. 2nd. The reasons for this policy are twofold -- one, it protects your act'sdraw, and it prevents bands from taking advantage of the club'sbooking (i.e. as a "live rehearsal" show or some such tomfoolery). Showtimes -- Doors are at 7 PM on Sunday night & at 7:30 or 8 PM onall other nights. Set times are listed on the Myspace/Underground showcalendar within at least 10 days of the show. Sets are usually 45mins. to one hour. We are currently booking original local bands for 5 shows a week.Sunday shows are for new acts to the club, Wednesday-Saturday are(largely) ticketed events for bands which are established at the club.If you're a new band to us & your credentials or circumstances permit,however, it's not unheard of to be placed on a Weds-Sat show straightaway. However, though our Sunday shows are excellent low-pressurenights for a new band to orient to the venue, we do try very hard onthem and the Sunday staff is very professional. Unlike many other STLvenues, we try equally hard & equally respect bands of all genres & atall of our events throughout the week. 5:01 AM - 3 Comments - 2 Kudos - Add Comment Day-Of-Show Policies Day-of-show policies Load-in/soundcheck is from 5 to 7 PM on all shows. No soundchecks orwarming up are permitted to the first band after doors open. We do not allow load-out before 10:30, and load-out is only permittedduring intermissions or after the show. Any band loading out & leavingbefore 10:30 will forfeit all uncollected payment & will not bewelcome back, unless prior arrangements have been made. Please, sitdown and listen and support the other artists. It's easy to do andgenerates a lot of goodwill. Parking is available in front of the club and in the Brandt's/Red Sealot to our left (if you're facing the building). You must load in andout through the front door. Even if all spots in the parking lot aretaken, you can still pull in and use it to load into the club. You canput your equipment anywhere to the right of the stage or anywherebehind the DJ platform to the left/far wall as you walk in. Upstairs acts, please put your equipment against the far wall of therestaurant, or in the circular booth to the left of the acoustic stageas you walk in. Do take care not to place sharp objects on top of thechair fabric or heavy objects on top of tables/chairs. Please do not load any equipment into the seating area or in front ofthe bar downstairs. Bands who do this will be asked to move theirequipment to the areas nearer the stage & away from the seating or barareas. Artists are not allowed to "call out" or criticise/insult the club,staff, other musicians or club patrons while onstage. Anyone founddoing this will have their performance immediately cut, and be askedto leave the club. All payment for the show will be forfeited. So beprofessional and classy & if you're not, be greedy and smart. Admission is now always 16+ or 18+ and all-ages are welcome withparent or guardian present. The bars are still open for those of you21+. No worries. VIP's -- Each band receives *1* "buddy/wife/groupie" guest andunlimited music-media guests. A media person can be someone who writesfor any publication or who does any webpage stuff for the band, but itcan't just be a friend of the band who is taking pictures or filmingthe show. A professional photographer is fine as an extra VIP. Also, any musicians with an upcoming showdate at the club are grantedfree admission to any show leading up to their date. Obvious point, but the amount of VIP's being let into a show free isin inverse relationship with what we are able to pay the bands, and welove to pay bands large amounts of money for the effort. So we keep itpretty strict on the guest list. (Our doorpeople have probably heard every single kind of bullshitimaginable by tough, insanely cool, wealthy, hip, superior peopletrying to squirm out of paying 5$ or 6$ to see 15-20 people play theirasses off on 2 stages for 4 hours to entertain them. "I'm with the band" (The time-honored classic. This one will beresponded to simply: Are you watchin or playin?" "Watchin" warrants apaid cover.) "I'm drummer/singer xyz's girlfriend/boyfriend/wife/husband." (Love isa beautiful thing. So is paying bands to play. 5$ please.) "I just be here cause...I know the boss I...I just be hereto..." (usually accompanied by lots of shuffling and hand motions) Nocomment. "I carry shit." Bands do too. As in unpaid bands. As in grudges.) Occasionally we have an ugly situation where all of a band's wives arenot let in free, and the band or wives (or both) feel this is aterrible slap. I have had musicians walk out on shows due to this. Onewoman drove 2 hours back home instead of paying a small cover. It begsthe question, why did you marry someone who you don't feel is 5dollars worth of a musician? All jokes aside, we dislike when that stuff happens and are willing atany point to explain our guest-list policy. It's a small-volume cluband our nightmare situation is having a hoppin' showroom and no doormoney to pay the bands. UX is run by musicians and we don't wantanyone to feel ripped off, ever. Or to think we're playing favoritesby giving 5 guests to one band & less to another band. I am available to discuss & further explain any of these policies.Thanks for reading and we look forward to working with you. Kurt, UnderworldX 4:56 AM - 0 Comments - 0 Kudos - Add Comment Payment for non-ticketed acts Payment For Non-Ticketed Acts On a non-ticketed show, all door profits >50$ on the upstairs stage or>75$ on the Underground stage (staff overhead) will be paid to themusicians. We do tally the door, but if everyone contributes somewhatto the draw, the payouts are usually evenly split. The door tallyexists only to uncover any artist who clearly did not work at all topromote the show, or reward those who draw an excellent number. On weekend shows in the Underground room, the overhead increases to90-120$. Host Bands. One act per stage typically "hosts" each installment ofthe Wednesday showcases or Thursday "Elements Of" series. Host bandsplay for a strong % of door-receipts & play both an opening andclosing set. This can be very lucrative & exposure-heavy, but doesrequire a lot of promotion skills, material and energy. Occasionally, opening or headlining local acts on weekend ticketedshows play for door receipts as well. 4:55 AM - 0 Comments - 0 Kudos - Add Comment UNDERGROUND SOUND SOUND ISSUES & POLICIES Hi, this is your friendly chief soundguy at the Underground. There areplenty of things bands need to know and understand about our venue &sound system to give yourselves and everyone else involved a good, low-stress show. 1. DO BRING A POWER STRIP OR TWO. We do have an extension cableavailable, and a few house power strips, but in general your time willbe much easier getting power to the stage with some additionalequipment of your own. 2. If you are playing downstairs and your band might need more thanone direct-in, bring a few direct-in boxes. This would apply tocabinet-less keyboardists and bassists, or a vocalist bringing theirown efx boards that do not have a XLR balanced output. 3. OVERDOING STAGE VOLUME WILL KILL THE AUDIENCE AND BURY YOUR VOCALS.The Underground stage (& to a lesser extent the acoustic stage) is avery, very loud setting. We rarely have to reinforce any intrumentsand we are dependant on you realizing you don't have to max out to beloud at all. If you play very loud we will not stop you, but dorecognize it will bury the vocals as we can only push them so far. Another problem with too much stage volume is feedback. Every band isdifferent, and temperature and humidity both can have an effect. Even death metal bands sound very good at the Underground if you arewilling to work with us on your stage volume and levels. Get thereearly and talk to the soundman & do a soundcheck if possible. Set yourego aside if asked to turn down. It really, really helps. 4 LOAD-IN AND SOUNDCHECK. DO GET THERE WHEN YOU'RE ASKED TO BE THERE.If you are the first act on either stage, go right to setting up yourequipment. If possible forward any specific vocal mic requirementsahead of time to Kurt, so the staff can prepare accordingly. Please do not play before a show/soundcheck. Tune up, certainly butturn off until asked to play. We have to communicate with people andget numerous levels through the PA, and your instruments are oftenvery loud. IF YOU JAM RANDOMLY OR FOR FUN BEFORE A SHOW, YOU WILL BEASKED TO STOP, BUT DON'T BE PERSONALLY OFFENDED. It's just what'sneeded in an intimate club setting. During soundcheck, I am probably going to suggest soemone turn down.Its the odds. The Underground room, especially, is a huge amplifier.On occasion I do ask people to turn up. If I ask that, take it as acompliment. You've already started earning my respect as a performer. 5. DO RESPECT THE EQUIPMENT. Don't throw or abuse microphones. Ourpolicy when that happens is to turn you off and allow you to breakthings elsewhere. If you really feel the need to smash equipment, feelfree to bring your own. Do NOT wrap your hand around the ball of the mic or grope the mic nearthe top. Do hold it around the middle. If you have a strong, powerfully projecting voice, don't "swallow" orput your mouth over/on the grill. Sing off of it an inch. If you havea weak/soft voice, you need to be very into the mic's. It's thesimplest way to boost your voice over the music. The monitors at Underground are ample enough to reach the ears of anymetal or punk band. If its not working for you, refer to the info onstage volume. IF YOU WANT TO BRING YOUR OWN MIC: Great! I love a nice mic... as longas you know what its specs are and if its a cardiod, hypercardiod,shotgun, omni.. or whatever, so you can let us know. Also, I wouldlike to know how hot the mic is. That really helps. 6. ROOM LEVELS. We have ample speakers for the room as long as theband isn't too loud. We have a recurring issue with the horns blowingbecause we are constantly faced with trying to stay above veryobnoxiously loud musicians. Then again, stage volume that is hurtingears is not what we want anyway. Basically speaking, we bend over backward to boost loud bands' vocalsand PA sounds as much as possible, and respect your creative choicesat each turn. But it is against the ethics of our club to riskpeople's health for the sake of "creative choice," so when a bandreaches the ear-pain threshold (it does happen often & NOT just withmetal bands), you will be asked (politely) to turn down. Bands playing above the ear-pain threshold who refuse to turn downafter two or three requests will be turned off & asked to leave. 7. DJ's. MAKE SURE YOU HAVE OUTPUTS THAT GO INTO AN XLR SNAKE. Or,bring appropriate transformers that will send a balanced signal. Also, your sound levels will be governed by the house. Our feeling isthat a DJ should be loud enough to be heard and felt, but quiet enoughto allow people to talk. Our shows are not raves, and we try toencourage a communal crowd which sticks around all night. If ourintermission DJ's are too loud, that chases some folks away. If you perform between band sets, be ready at the end of a bands setto go on and expect to only play 10-15 minutes between sets. You mayget cut off for a small sound check before the band goes on. I usuallytry to fade you out nicely. The show manager (usually Kurt) may haveyou turned down though my controls. If you have any questions aboutyour apparent levels ask me and I will gladly fill you in if I haven'talready. 8. KEYBOARDISTS, WHEN POSSIBLE, SHOULD BRING AN AMP AND CABINET.Bassists and Guitarists are asked to bring one, after all. I can use aDI if you don't have one, but your levels are at the discretion of theclub as well as the band. Again, bring an amp if possible, it's a loudroom and even small amps are plenty powerful. 9. SOUND REINFORCEMENT BEYOND VOCALS. I generally do not need toreinforce most instruments in either room. The exceptions being aexceptionally dampened kick, a weak amp, or an acoustic/acousticelectric guitar sans amp. DO bring acoustic-electric guitars! We don'thave the best situation (upstairs especially) for trying to mic anacoustic guitar. Especially if you are a quiet strummer. Also rememberto bring a 1/4" cable to plug your guitar into the PA head upstiars orthe direct box downstairs. 20' Cable recommended highly. 10. DO RESPECT THE SOUNDMAN'S PROFESSIONALISM. If something is goingwrong, he's probably already trying to figure it out. It's importantto keep complaints thought-out and reasonable, and do refrain fromcalling out the soundman on stage. If you get feedback or a cut-out onstage, first just try to make surethe mic is up and away from the monitors and mains and you aren'tholding the ball of the mic. Sometimes I am just testing out yourheadroom and some feedback rings out. I am usually right on that, andits very very temporary. If it sounds shaky during the first 2 or 3minutes, give us time, we'll make it better. Remember, we work hardand make a close study of our equipment in order to help you. We'reall in this together! 11. LET US KNOW WHAT WE CAN DO TO HELP YOU. Often bands will play anentire set, unhappy with a monitor mix or getting complaints from thefront row, but not letting the staff know so we can fix it. We oftencheck side-stage with the band between songs, but it's up to you tocommunicate any problems or concerns. We love to hear how we can makeit sound better (onstage or in the crowd) if you let us knowrespectfully. 12. If you want major vocal effects, do bring your own effects unitsand have a way to control them onstage yourself; make you you'reprepared to output to a balanced connection of XLR or 1/4". 13. Your front-line should not try to use more than 3 mics due tolimited stage space. 14. If the sound guy is working 2 stages and is temporarilyunavailable, please be patient. DO NOT ARBITRARILY START SETTING UPTHE MICS YOURSELVES. This creates confusion and can upset the soundsituation & your abilities to sound professional onstage. We work tobe as prompt as possible with all band set-ups and checks. 15. If you have a rider for stage placement or specific equipmentneeds of any kind, please forward to Kurt in care of the soundguy.Helps me immensely. Or, feel free to give me a call. 16. Finally, if you meet the owner, Tesfiye, at the club, be sure tocompliment how far the sound system has come along and that themusicians really benefit as things get better. Any forms ofencouragement help in getting him to spend money to upgrade and keepthings moving along. Thanks for reading! We look forward to working with all of you. Dave W. Chief Sound Engineer, Underground @ Red Sea 618-541-8491 4:54 AM - 0 Comments - 0 Kudos - Add Comment UPDATED -- Advance tickets/reserved tickets Dear team, Almost all of our shows involve pre-sold tickets, but our ticketedshows are "real life ticketed shows" -- tickets are printed & sold atan advance price through available channels, and the bands keep a high% of the proceeds. The advance/reserve seats are sold at a lower price& it helps your draw to get the paper tickets out, but no band is evergiven a minimum amount to sell, and we never ask for a $ deposit orout-of-pocket payment from any band. 200 TO 300 TICKETS ARE PRINTED FOR EACH SHOW. This is cogent onwhether the show is being held on one stage or both stages, due to thecapacity of the club. You will need to come to the club & pick up advance tickets, VIPpasses & a reserve sheet. These will be available in a "bundle" withyour name on it. You can pick up tickets anytime from 6 - 12 on anynight of the week, from the bartender upstairs or (during show hours)the UX staff. Your tickets will be available within 3 weeks of yourshow date, beginning with the show on February 15th. If you're bookedbefore mid-February, be sure to call or write & ask about theavailability of your tickets before coming out (we're fairly caught upand you should normally get them within 2 weeks of the eventregardless). Usually a band will receive 50 tickets, 3 VIP passes and a will-call(reserve) sheet. Tickets are sold through the musicians at a set advance price, usually5$ for a local show. Any sold paper tickets must be given to thepurchaser at the time of purchase. Anyone wanting a ticket for the show but who can't meet up with a bandmember (or just finds it inconvenient) only has to have their name/sadded to this will-call sheet. Anyone on the will-call sheet cansimply come to the show anytime day-of-event & will have a ticket (atthe advance price & marked with the specific band name) waiting forthem. They can purchase the ticket at the advance price & its salewill be credited to your payment. All proceeds from the total amount of paper tickets + will-calltickets sold in each band's name is kept by that band, minus 25$ forthe house staff. If you don't sell 25$ worth of tickets (most advancetickets are 5$ so this amounts to just 5 tickets), you are NOTresponsible to pay 25$ anyway. If you sell absolutely zero tickets,you don't owe any money & you still get to play the show. Finally, if any band has over *10* DOS door-covers collected in yourname, you'll receive a bonus payment from that as well. All proceeds from your sold tickets, plus any unsold non-VIP ticketsmust be turned in to the club staff before doortime the night of theshow. Basically, you are responsible for 5$ a head on whatever ticketsnot turned back in. Also, no tickets may be distributed on the venuepremises except by the club staff. Anyone whose name is not on the will-call sheet & does not have aticket by doortime, must pay the DOS door-cover to get in. Noanonymous ticketholders are allowed on the will-call sheet (you musthave names for each person reserving an advance ticket). Please be professional and courteous. If you forgot to list a name ofsomeone reserving a ticket, waiting for them to show up, running tothe door & giving frantic instructions to the doorgirl is NOT anallowable method of handling the situation. Also, PLEASE do not standby the doorperson and attempt to lead them along the entire time inhelping your reserve ticketholders. You can, however, quietly ask toadd names to your reserve list before the show begins. Also, "purchasing" tickets yourselves to be given to people at thedoor (in exchange for their repayment later or some other nefariousscheme) is not allowed. If someone wants a ticket before the show butcan't make it to see you, simply add them to the reserve list --that's what it's there for. The total of your adv/reserve ticket proceeds (minus 25$) plus anybonus money from DOS covers will be paid to the band at load-out. This is a very low-risk and profitable system for the bands. The 25$kick-back pays the staff, the promoter makes money *if* they puttogether a hot show that draws a lot of DOS covers, and each band canmake decent money for pulling even an average crowd. A walk-through for anyone confused: Your band, the Vegetables, books at show at the Underground. You comeout and pick up 50 tickets (priced at 5$ advance) and a will-callsheet. Each band member sells a few themselves and you get a dozen orso emails or calls asking for reserved seats on will-call. You poolwhat money & paper tickets you have and find you've sold 24 papertickets adding up to 120$. When you arrive for load-in, you give the club staff the 120$ and the26 unsold tickets. Later, *7* people on the will-call sheet come inand are given ticket stubs for the advance price of 5$. At the end ofthe show, you are given the whole amount of your advance + reserveproceeds, minus 25$ -- for a payment of 130$. Or, let's say you're heroic and do a great job of promoting the show.If you sell 50 tickets at 5$ each, you keep 225$ at the end of thenight. If say, 20 more people show up and pay the DOS cover (usually6$) to see you, you then also receive a bonus of 60$ (for getting 10people over the *10* mark in dos covers). This amounts to a profit of285$. Finally, let's say the band falls asleep for a month and wakes up theday before the show, and sells only *2* tickets. Again, the band isNOT responsible for money not made from tickets. In this case, youhand in your 38 unsold tickets and the 10$ taken in and that's that.You don't make any money if you tank, but you aren't asked to recoupanything (though the club and booking agent DO lose money in thatsituation, but we take that risk) and you still get the exposure ofplaying the event with the other bands. You will be asked to let us know that you've read & understood thesepolicies. Thanks for playing the Underground, and we look forward toworking with you. I am available to answer any questions.

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