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Deja Vu Presentation of SAVE OUR SPAC (S.O.S.)

Maybe this presentation will help you understand that the old Special Events (old SPAC)  has been taken over by (in succession) SFX/Clear Channel/Live Nation  TO THE DETRIMENT OF SPAC’s CORE MISSION  to PROMOTE the CLASSICAL ARTS.

Basic Question: Why is the NEW CONTRACT with Live Nation EARNING SPAC LESS MONEY than the old contract?  Everything else has gone up; EXECT SPAC’s COMPENSATION ; IT’S GONE DOWN.  IT DOESN’T MAKE SENSE.

SPAC doesn’t even get a taste of the profits – just a one time yearly fee with a bonus for over-attendance beyond a certain figure.

Link has been fixed

https://acrobat.com/#d=1Cg3cKfeIe-47CF31Q2yKw

Index: (49 Power Point pages – 7/15/04)

Pages: 1-8 General Info – Of note – In 2000 –SPAC Signs a Ten Year Exclusive Booking Agreement With SXF – the World’s Biggest Concert Promoters.

Pages: 10-17. New York City Ballet (July residency) – Taking a Swan Dive  – 3 weeks to 2 weeks going to  5 days in 2013 .

Of note –  In 1998 – 50th Anniversary of NYCB. Company Suspends Its Pact of Mutual Exclusiveness With SPAC. (Things don’t get better after this happens.)

In 1966 – SPAC & NYCB enter a Mutual, Exclusive Agreement

• NYCB only ballet to perform at SPAC.

• SPAC only venue in this country where NYCB to perform outside New York City.

Pages 18-21  Philadelphia Orchestra (August Residency) – Now 3 weeks.

Pages 22-23 Jazz Weekend (last weekend in June) – Of Note – A profitable event for SPAC.  (Profit split between SPAC and Concert Organizer).

Pages 24-31 Special Events – Of Note – Special Events created to help supplement/pay for Classical Program at SPAC.  For some reason this is not working.  (See: Exclusive  Long Term Contract for Special Events).

Pages 32-34 Chamber Music

Pages 35-36. Museum Of Dance – Of Note – Turnaround lately( post 2005) – It’s in the Black

Pages 37 SPAC Formally Presented NYC Opera from 1986 –1997 (Mid June)

Pages 38-40 – Finances – Of Note – (Not enough info here)

Pages 41-45 – Selection/Election to SPAC Board – Of Note – Not stated, but money matters here.

Pages 46-48 – S.O.S. Platform

Page 49 –  Dates Material to 7/15/o4 – Of Note – Some things have changed since 2004.

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NYC BALLET’S SPAC RESIDENCY CUT TO ONE WEEK IN 2013 – JULY 5, 2012 – THE SARATOGIAN

Click on link below for “NYC Ballet’s SPAC residency cut to one week in 2013.”

NYCBallet’s SPACResidencyCut-2013

Page 1. Quoted/ summed up /from the article/link above

NYCB – “ONE WEEK IN 2013” at Saratoga Springs.  NYCB – Reduced from THREE to TWO weeks in 2009 at Saratoga Springs.  That’s 3 weeks ,to 2 weeks ,to 5 days  from 2009 till 2013.

Page 2.  From the article/link above

“The orchestra and ballet are less than 10 percent of our attendance and cost over 40 percent each, of our expenses,” former SPAC Chairman Bill Dake said at this years  membership meeting in May (2012).

What is going on here?  I’ll try to break it down.

Live Nation ( + Jazz Fest + ?) now make up 90 percent of SPAC business.  NYCB and Philadelphia Orchestra  are only 10%.

As I understand it, the 90% (a surprising high number), for Live Nation was supposed to supplement and cover the expensive of  the Classical Events.

How is it that 90% of SPAC’s business (attendance) doesn’t cover the 10% (it was suppose to protect)?

What worked for 30+ years, starting in 1966,  and changed?

When  did SPAC loose /sub-contrac”Special Events” away?

Page 3.  From the article

But White (Marsha White) said SPAC gets $1 million per year from Live Nation, which underwrites classical programs.

NOTE:  Again see LIVE NATION RENT below – for  2010 and 2011.  IT’S NOT $1 MILLION but a LOT LESS.  Like $196 thousand dollars less for 2010 + 2011.

THAT’S $196 THOUSAND LESS than $2 MILLION  for the  2010 +2011 LIVE NATION CONTRACT.

That’s not the NYCB fault.  It’s not the Philadelphia Orchestra fault.

It gets worst.

$834,583 in 2011 is WELL BELOW what SPAC USE TO BE guaranteed.  In 2001, $860,000 was guaranteed.

RECAP:  Every thing has gone up since  2001; except what SPAC gets from LIVE NATION.

Again, that’s not the NYCB fault.  It’s not the Philadelphia Orchestra fault.

And yet: the NYCB and the Philadelphia Orchestra are being cut for creating red ink; the red ink use to be covered over by the “Special Events”.  Special Events were created to pay the bill.

Tell me: What’s really wrong here?

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Under July 9 – ‘SPAC Financial Overview 2008-2011′ (this info was handed at this years annual membership meeting)

the LIVE NATION RENT listed as:

– 2008 = $1,064,383 (old contract)
– 2009 = $1,192,200 (old contract)
– 2010 = $968,904
– 2011 = $834,583

The New York Times loves the New York City Ballet

Full link here

http://mobile.nytimes.com/article?a=949054&f=79

DANCE REVIEWA New Work That’s Steeped in the Classic, but Still Individual

For those who can’t view the site full story below. Remember ballet fans its important to support journalism and buy a paper.

By ALASTAIR MACAULAY
Published: July 18, 2012

SARATOGA SPRINGS, N.Y. – It’s startling how different New York City Ballet looks at the open-air Saratoga Performing Arts Center. The light has the effect of subtly changing faces, feet, musculature. Choreography, too. As I watched two performances here on Saturday, works as familiar as George Balanchine’s “Concerto Barocco” and “Symphony in C” suddenly revealed fresh details. The dancers looked happy, despite the afternoon heat, as if performing for friends. A high quotient of young people in the audience cheered and clapped at every opportunity.

The evening performance was a gala. Offstage, because it was Bastille Day, the theme was “Moulin Rouge”; audience attire ranged from shorts to plumes. Onstage there was a celebration of new choreography, with three ballets from this year, one a world premiere. In a curtain speech before the program the company’s ballet master in chief, Peter Martins, succinctly and accurately reminded the audience that, while City Ballet might have its raison d’être in the unmatched quantities of choreography it dances by Balanchine and Robbins, it also presents more new choreography than any other company. He then introduced the choreographer of the evening’s world premiere, Justin Peck, whom audience members promptly feted before seeing any dancing.

Mr. Peck has been emerging as a choreographer for some years, but on a small scale. The coming year brings his first serious exposure. This work, “In Creases,” will be presented on tour by the smaller New York City Ballet Moves and will reach the main company’s repertory at the David H. Koch Theater in 2013; and there’s another premiere, to music by Sufjan Stevens, that will have its premiere at the company’s October gala. When we have lived with both pieces a little, we will have a much better sense of the nature of Mr. Peck’s talent. I look forward to the opportunity, because that talent already seems mature and individual.

Despite the pun, “In Creases” is not a funny ballet. Its title is a comment on its score, Philip Glass’s “Four Movements for Two Pianos,” in both the way this music falls into a series of sections and how its sections build in momentum and power. The two pianos are onstage, at the back, facing each other. There are eight dancers – four male, four female. Women wear blue-gray leotards; men wear black socks and dance slippers beneath pale two-tone overall tights (white and grayish blue). Costumes are by Mr. Peck and Marc Happel. Though it’s possible the male attire may grow on me, I wouldn’t bank on it.

Yet that doesn’t distract. This is choreography whose forms immediately seize attention. There’s no moment, as so often occurs with young ballet choreographers, when we spot Mr. Peck’s sources. Doubtless he’s steeped in Balanchine, Robbins and others, but he isn’t wearing them on his sleeve. His ensemble keeps giving way to brief but quasi-climactic images to individuals. The way lone dramas or dances keep being absorbed by the group is what gives the dance its particular flavor. Gestures, images, sequences leap out and pass as if in a dream or in a changing cloud.

Here are moments that stay in memory: A handsome tableau travels across the stage, its dancers in profile all holding arms heroically (one arched above, one stretched out). A man (Robert Fairchild) is suddenly left lying face down, almost as if dead apart from his angled elbows; the others carry on as if this were part of a ritual, and he then rolls and rises. Two women in profile on point, feet crossed and apart in fourth position, address each other while moving to the music, until two men join them. Mr. Fairchild faces the other seven dancers, who stand like two barriers ahead of him, or rather two fans, gradually – marvelously – spreading open in his path.

The ballet passes so smoothly that it’s difficult to remember after a first viewing just how these and other scenes all fit together. There’s no doubt that Mr. Peck is an accomplished planner of poetic structure, but only at a few moments did real steps, phrasing and dance impetus get under my skin. The impression “In Creases” leaves, though, is of a dreamscape that heightens the progress and colors of its score. And its sureness of construction is striking. Sharing a program with works by the far more experienced Benjamin Millepied and Christopher Wheeldon, it looks the most perfectly edited – the one that has the surest vision of what it means to be.

“In Creases” tells us more about its men than its women. Sean Suozzi has a solo ending in a circuit of jumps; Christian Tworzyanski and Taylor Stanley both make telling contributions; and Mr. Fairchild emerges, by means of fleeting episodes, as the protagonist. In solos, whether folding his arms before his face or traveling backward on half-toe in bourrées (a step usually reserved for women on point), he’s always absorbingly natural; with others, his attention heightens the imagery.

The gala began with Mr. Millepied’s “Two Hearts,” new in May. That piece, alas, doesn’t improve on further acquaintance. But Mr. Wheeldon’s “Carillons,” new in January, sometimes does. The matinee included Mr. Martins’s “Waltz Project,” returning to repertory after many years, more strongly cast than when new in 1988. A series of duets for four couples to an assortment of modern piano music,  each couple separately characterized, it’s among Mr. Martins’s finest choreography. Dancers new to me in “Symphony in C” included Ana Sophia Scheller and Chase Finlay in the first movement, performing with élan; the authoritative dash of Mr. Finlay’s dancing was especially welcome.

New York City Ballet continues performances through Saturday at the Saratoga Performing Arts Center, 108 Avenue of the Pines, Saratoga Springs, N.Y.; (518) 584-9330, spac.org.

City Council urges SPAC to maintain at least a two-week NYC Ballet season – saratogian.com‏

Two great stories in local papers today

The Saratogian

http://www.saratogian.com/articles/2012/07/17/news/doc50061e6e2daed530695772.txt

And the TU

City leaps into ballet issue

http://www.timesunion.com/local/article/City-leaps-into-ballet-issue-3714751.php

And special thanks to Michele Madigan Commissioner of Finance, City of Saratoga Springs

For sponsoring this resolution

WHEREAS, in 1966 the New York City Ballet Company and its Board of Directors elected to inaugurate and maintain a “Summer Home” in the City of Saratoga Springs at the Saratoga Performing Arts Center, and
WHEREAS, the Saratoga Performing Arts Center has become a significant component of the cultural, social and economic foundation of the City of Saratoga Springs, and
WHEREAS, the New York City Ballet Company has provided 46 years of artistic excellence, cultural distinction, entertainment and joy for the Citizens of Saratoga Springs,
NOW THEREFORE BE IT RESOLVED that the Saratoga Springs City Council hereby expresses its strong support for collaboration and cooperation between the Designated Representatives of the Saratoga Performing Arts Center and the New York City Ballet Company, a reaffirmation of their close ties, and the endorsement of a two week minimum Summer Residency for the New York City Ballet Company at the Saratoga Performing Arts Center.

It passed 5 to 0

SPAC, Live Nation sign five-year contract – The Saratogian – April 8, 2009

Please use link to see SPAC, Live Nation sign five-year contract.

SPAC, Live NationNew Contract2010

April, 2009 – Live Nation & SPAC agree to new 5 year contract (with another 5 year option).

This article should be read carefully.

I quote  from the newspaper article “The existing contract between Live Nation and SPAC, which expires this year (2009), nets SPAC $1 million a year in basic funds.

That’s true.  LIVE NATION RENT listed as:

– 2008 = $1,064,383 (old contract)
*** – 2009 = $1,192,200 (old contract)
– 2010 = $968,904
– 2011 = $834,583

Back to the article.

White said that Live Nation has a policy in which ‘IT CANNOT DISCLOSE THE EXACT DETAILS OF THE NEW CONTRACT’, but a press release issued by SPAC said: “The contract extension provides SPAC with fixed and variable fees that will allow SPAC the opportunity to reach the same level of earnings as the previous agreement”.

That’s true ‘the opportunity’ was there  but earning (as it is refereed to) WENT DOWN in 2010 and 2011.  (i.e. – not $1 million+)

– 2008 = $1,064,383 (old contract)
– 2009 = $1,192,200 (old contract)
***- 2010 = $968,904
***- 2011 = $834,583

Back to the article (at the end)

She (White) added the CONTRACT will ALLOW SPAC TO CONTINUE to host CLASSICAL PROGRAMMING, such as the New York City Ballet and the Philadelphia Orchestra, programs which are not completely self-funded.

“The financials have helped us to continue to program our classical arts, which are programs that don’t support themselves,” said White.  “IT’S A WIN-WIN FOR BOTH OF US”.

And the $1 Million dollar question?

“IT’S A WIN-WIN FOR BOTH OF US”  is?

A) SPAC AND LIVE NATION

B) NYCB AND PHILADELPHIA  ORCHESTRA

C) LIVE NATION AND SPAC

P.S. – It’s obviously NOT B).  IN 2013, NYCB CUT TO ONE WEEK.

P.S.S. –  And something is way out of balance with A)  and C).

—————————————————————————————————————————————————–

July 9 – ‘SPAC Financial Overview 2008-2011′ (this info was handed at this years annual membership meeting) the LIVE NATION RENT listed as:

– 2008 = $1,064,383 (old contract)
– 2009 = $1,192,200 (old contract)
– 2010 = $968,904
– 2011 = $834,583

SPAC, Live NationNew Contract2010

SPECIAL EVENTS / CONCERTS WERE STARTED TO SUPPORT THE CLASSICAL PROGRAMS AND NOW THEY ARE STRANGLING THEM OUT OF EXISTENCE.

Can you answer these Questions about the Live Nation contract with SPAC?
– what is the base ‘guarantee dollar amount’ SPAC gets per year? (Is it $1 million or $750 thousand or ?????)
– does this base dollar amount stay the same or will it change over the life of the contract?
– Does SPAC GET ANY OF THE PROFITS from the Live Nation shows?

At the Annual Membership Meeting this year, we got the minutes from the previous year (2011). The Minutes state (something like this) ‘John Negro explains about the the new Live Nation Contract.’ And that’s it as far as the minutes go – The topic ends there and the minutes move on to another subject. Draw your own conclusions but this tells the membership nothing. And there is a reason for that.

The information out on the Save the Ballet blog might help you answer some of these Live Nation / Special Events questions.
Under – July 14 – Deja Vu Presentation of SAVE OUR SPAC (S.O.S.) pages 24-31 cover what used to be called Special Events. Pieces to the puzzle here.
Under July 9 – ‘SPAC Financial Overview 2008-2011’ (this info was handed at this years annual membership meeting) the LIVE NATION RENT listed as:

– 2008 = $1,064,383 (old contract)
– 2009 = $1,192,200 (old contract)
– 2010 = $968,904
– 2011 = $834,583

So – Why are we even having these SPECIAL EVENTS?

THEY WERE STARTED TO SUPPORT THE CLASSICAL PROGRAMS AND NOW THEY ARE STRANGLING THEM OUT OF EXISTENCE.

The whole thing is now backwards. And that’s what wrong in a nutshell.

Please help correct this.