Ubu Projex Insider Protocols

8/14/2019 Ubu Projex Insider Protocols

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Ubu Projex Insider Protocols

IntroductionSome years ago we were touring with a popular young group.

They were friends. One day I was talking to the leader about this& that, passing the time, and we got around to the internalworkings of our respective bands.

You guys got a reputation for being democratic, you know, acommunal group of equals and all that, I said. I got thisreputation for being an unreasonable dictator. So I suppose youvote on things, hunh?

Sure, Mr F said.

Me: You're a four piece. What happens when there's a tie?

Mr F: I've got two votes.

Me: So the only way you get out-voted is if all three of the othersstand together?

Mr F: I suppose but if that happens we do what I want anyway.

The project basis of Ubu Projex is described in The Story of Ubu.Pere Ubu doesn't vote unless the outcome will be unanimous.Opinions are polled and if anyone is likely to dissent a vote isdeferred and nothing happens. In practice we operate byconsensus. This has had disastrous commercial consequences. Itmeans that we sometimes don't do anything. (When the situationbecomes intolerable the only solution is to disband and reformat.)Over time a series of precedents has been established. Theseprotocols embody principles that have been accepted and are thebasis for future decisions. In this byzantine world even thesimplest equation has unimaginable repercussions. On thePenny/Pound Principle (from the English expression, "In for apenny, in for a pound."), for example, hangs everything Ubu.

Band meetings are rare events. They usually have apocalypticconsequences. Hence, the rarity. When a band meeting is calledeveryone knows there's trouble coming. In Ubu's history therehave been only three or four of them. Ubu is organized so as to


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minimize the need for conversation - no, so as to eliminate as faras possible any conversation. This has evolved for two reasons:(1) David doesn't like talking; and, (2) in the early days it becameclear to us that if you feel the need to yak on about something(specifically, art) then odds are you don't know what the hell

you're talking about. (This was carried to extremes by a long-timemanager who would send emails to his assistant, sitting next tohim, along the lines of, "Next time you go down to the kitchenbring me a coffee please.")

David Thomas is the day-to-day Project Director. He proceedsdown a course with greater or lessor band consultation,depending on circumstances. As long as more of his decisions arereasonable than fewer then the band allows him to proceed.(Historically, this has also been because he is the only band

member ever to be in possession of the Nuclear Button.) One ofthe Project Director's responsibilities is to see to it that the Rulesare maintained.

On tour the Project Director acts as Tour Manager. Other dutiesare assigned to band members. Guiding principle: the more youdo a good job the more responsibility you get assigned.Sometimes a band member will perform several functions. Theseare:

* Promoter Liaison / Trouble-shooter: get paid, arrange for anyunresolved rider issues, solve problems that involve the showwith a cool head.

* Pioneer: jump out of the truck at a moment's notice and findout what the hell is going on, i.e. where are are, where load-in is,etc.

* Archivist: collect and preserve stuff.* Set-List: make sure there are set lists drawn up for each show

and distributed.* The Nice Guy: talk to people... nicely, pretending to be

interested.* Merch Assistant: help David sell merchandise from the front

of the stage, watch his back.* Enforcer: the less said about this the better... Opposite of The

Nice Guy. Principle to keep in mind: Good Cop / Bad Cop.

The Penny/Pound Principle is our E=MC2.


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Think about this nightmare world:

* Once a principle has been accepted it becomes a rule & thestatus quo.

* The status quo is operative until it is changed by vote.

* We don't have to vote if any one person doesn't want to vote.

The Rules serve to counterbalance the awesome inertia of theorganization. Ubu Projex operates on a Silence is Acceptanceprinciple. Members are informed. If there are no objections theProject Director proceeds. This allows for a member to Not Agreewhile also Not Disagreeing. This is an invaluable organizational

tool. Somehow we muddle through.

So, yes, Pere Ubu operates by Rule. And, no, Pere Ubu is NOT ademocracy. We are, if anything, a Republic. In Pere Ubu you areresponsible for yourself. We are a collection of moderatelyresponsible adults who choose to work together as independentagents, pooling our talents and sharing in the rewards ofwhatever our talents are worth in the marketplace. We are allindependent contractors. No one is an employee. This goes forcrew & band & management.

For other miscellaneous Guiding Light principles click here.

Back to the TopTaking Pictures & Press Protocol

1. Pere Ubu won't have its picture taken for press or promotionalpurposes anywhere in public, i.e. anywhere that civilians can seeus getting our picture taken. We prefer studios or out of the waylocations. It is a shameful thing for a man to pose for a picture

and we seek to hide our shame from the public. Photographers,note: we will not run or jump or do anything. Don't ask. Don'tthink you can wear us down. Many have tried. We do NOT relax.

2. Photos may be taken freely and without restriction duringconcerts by professionals or fans, with flashes or without flashes,for fun or for no fun. We don't care as long as you stay off the


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stage and don't bother others. We reserve the right to be totallyand absolutely arbitrary. It is our art.

3. Please note that David Thomas, when performing in one of hissolo groups, should not be described as ex-Pere Ubu or formerly

of Pere Ubu. He does not blink in and out of existence. This seemsto be a very hard concept for writers to come to grips with but heremains a member of Pere Ubu while playing with the pale boys,buying groceries or taking a bath.

4. Mr Thomas is happy to do written interviews via email as longas it's understood that anything interesting will be posted at theweb site. In-person, face to face interviews can be arranged--contact the Directors of Ubu Projex.

5. Please print our web site address:

http://www.ubuprojex.net

6. For press tour requirements see below.

Back to the TopLive Recording Permission & Bootlegs

NB. To find the procedures involved in recording a cover version

of an Ubu song, see below.

1. For private, archival, radio, etc. recordings you need to get ourwritten approval. Check with Ubu Projex concerning theprocedure.

2. You need to sign a letter of agreement that guarantees thefollowing:

* In the case of a sound recording you will give us a DAT digital

copy of the master on the night. In the case of a video recordingyou will give us a copy in an agreed format. We can do what welike with these copies, including commercial release in which youcan have no financial interest.

* We will need to know: (1) the name of the station or network;(2) the recording method; and (3) the intended broadcast dateand time.


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* You can have no commercial rights.* We have the absolute right of veto.* No costs charged to us.

3. We reserve the right to be absolutely arbitrary. We trust the

following: VPRO (Holland), Couleur 3 Radio (Switzerland) andDanish Broadcasting Corporation (solely on the basis of the Kingof Denmark's defense of the jews in WWII). Others will be treatedwith suspicion.

How do you feel about audience recording for personal homeuse?

1. We will not give permission for that sort of recording.2. We will not make any attempt to discourage it or stop it. We

will not ask the venue to act and we will not act ourselves...usually. If we see mic stands going up and some elaborate rig inplace, or if we don't feel good about any aspect of the situation,we will act to put a stop to it. Discreet and respectful people haveno worries.3. If you do record a show we expect you to send us a goodquality copy.4. Asking to patch into the soundboard gets a curt, dismissive"no" and will get you banned from recording. Putting up micsaround the soundboard achieves the same end. Bugging our

soundman for any reason gets the same.

I recently had posted the Rocket from the Tombs Jack Slack Lp, onEbay and was threatened with legal action by your agent fordoing so. I purchased this record legally in Canada over 10 yearsago and believe I had every right to post and sell this record. I willattach below the emails from your agent . I removed the recordfor sale to prevent any possible infringement on your rights.Please let me know your position on this matter.

The album you refer to is an illegal bootleg. Regardless ofwhether or not it's been bought in good faith, there is no suchthing as legal ownership of stolen property. Go out and buy astolen necklace in good faith. See what happens. If someone sellsa legal copy of a copyrighted work that is a perfectly sound andnormal transaction. It is the foundation of all commerce. There is,however, no such thing as legal ownership of stolen property.


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There are no circumstances of law anywhere on the planet I daresay that allow for legal ownership of something stolen. Clearlythis incident may seem like an unfair situation from your end but,on the other hand, if you're honest about it, you probably knew itwas a bootleg when you bought it. A bootleg is stolen property. Of

course everyone has bootlegs and we're pretty loose about thiswhen it comes to fans trading bootlegs with each other privately.

It seems to me that going on eBay is the equivalent of beingindiscreet. As you note, not being discreet calls down thehammer. The reason for this "don't ask, don't tell" policy is thatwe have no problem with fans doing what fans do but if you allowpublic exploitation of your work to go unpunished then youdevalue it. By entering into a commercial transaction you haveleft the safe confines of fandom wherein the discreet non-

commercial trading or exchange of bootlegs, for example, wouldbe overlooked. We are not seeking to strip you of your bootlegand if you return to the safe confines of fandom then you will slipbeneath our vision and that will be the end of the story. In themarketplace, however, you are expected to play by the rules.

Smog Veil, the legally licensed copyright holder of the RFTTrecordings, has a right, and as far as we're concerned, a duty, toprotect their investment - an investment that has beendistributed to all the musicians and writers of the recordings. Jack

Slack, it might be noted, has never paid anyone anything. Wehave our eye on the person behind Jack Slack. He has beenwarned.

So my question to you is, What do you want from me? I amsympathetic. But I also play by the rules. And I play by them evenwhen they don't go in my favor-- which like yourself probablyseems like much of the time.

On the subject of YouTube... Responses to Fan Enquiries

Our position on fan usage of bootlegs is very clear. We are happyfor fans to do what fans do. Some of us are, or used to be, fans.

To our undying shame there is an Ubu musician who trolls Russianweb sites for Yes bootlegs. To repeat, as long as you do not enterthe marketplace we are happy.


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None of the submitters asked our permission to upload to thesite. If they had we may or may not have given permissiondepending on quality of recording and quality of performance.And on any number of intangibles. "We reserve the right to bearbitrary - it is our art."

We are not interested in self-promotion if the cost is loss ofeditorship. Recordings of live events are not accuratereproductions of the event. The concert experience cannot becaptured on tape. It is a gestalt of innumerable real-lifesensations that fill each moment as it goes by and then are lostforever in the time stream. We almost always choose bootlegstyle recordings in preference to mobile multi-track recordingswhen we compile live records. But the operative word is "choose."WE choose. We are uniquely and solely qualified to be the editors

of our own work. We have paid the price. In regard to YouTube, wewere not asked. We did not choose.

The fans of Pere Ubu do not own us. Their money does not buyus. It buys our productivity - we determine our productivity.Without control of our productivity we abdicate our uniqueness.We owe nothing to our fans but the determination to maintain thequality, vision and uniqueness of our productivity. (But, to be trulyaccurate, we do not owe our fans even that - we owe ourselves.)Otherwise then why don't you just send us a monthly check

because we are who we are? Of course not. It's a one way street.The bus runs one way. You can get on the bus or not. But if youget on the bus you can't then tell the driver to go by the mini-mart on Payne.

If you don't like Ronald McDonald and Happy Meals and SpecialSauce then you don't have to buy a Big Mac. The McDonaldsCorporation, however, is under no obligation to run their affairsso as to please you or your sensibilities. And frankly they'd benuts to even worry about it.

That record companies choose to promote their products onYouTube is of no concern to us. But, note, they choose. Theyselect exactly what they want to be distributed. No one asked us.

Not everyone at a record company is a scumbag. I doubt if eventhe majority is. I don't know any of the details of CCR's dealings


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with record companies and I wouldn't presume to guess. I DOknow that record companies make an easy target for disgruntledmusicians who have made bad decisions in the past, or who havebeen "cheated" by the times. There are plenty of peopleespecially in the early days who got a bad shake from the

business. On the other hand, name any sports player from 40years ago who didn't get an equally bad shake in comparisonwith today's players.

Fan appreciation has nothing to do with it. And there is no pointto getting sidetracked. We bring a product to the marketplace.

Those who choose to do so may purchase that product. Buying aconcert ticket entitles the purchaser to that momentaryexperience but not to record the experience and not to copy therecording of that experience. That is the law. And more

importantly that is the "deal." We clearly state that we will notstop any respectful, discreet recording of our concerts, or theprivate, fan-driven trading of those copies. We go on to state,however, that once the marketplace becomes involved we willintervene. YouTube is a marketplace. It is not a benign anddiscreet environment. It is a business. Once a marketplace isinvolved we have the right and duty to determine what of oursappears in the marketplace.

Whether it hurts or helps us has nothing to do with it.

There is nothing to prevent a fan from seeking our permission topost. There is a methodology for accomplishing this. We arefreely available via email. The issue is permission, not money, notappreciation, not harm or benefit. It is politeness, respect, andappreciation for the fact that we are entitled to have absolutecontrol of our own art. The beginning and end of the issue isPermission. When you want to use somebody's property you ask.

Back to the Top

Licenses, cover versions & film synch rightsFILM SYNCH RIGHTSWe will need to see a synopsis of the film before giving ourartistic blessing. Send this to the Directors of Ubu Projex.

We require you to master from a redbook CDR which we provideat your expense; we do not allow you to master from any other


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sound source (specifically not from any commercially availablerecords).

You must acquire the proper permissions. In practice someonebased in North America only needs to contact the North American

publisher & record company even if ROW permission is alsoneeded. Likewise, someone based outside North America onlyneeds to contact the ex-North American publisher & recordcompany even if North American permission is also needed. In allcases you must also contact the Directors. Most of our catalog ispublished by Bug Music. Most of the historical period songs(approx 1975-1980) are published by EMI Music or Bug Music,depending on the territory. Bug provides a licensing page.

PUBLISHING PERMISSIONS

Most of our catalog is published by Bug Music. Most of thehistorical period songs (approx 1975-1980) are published by EMIMusic or Bug Music, depending on the territory. Bug has a FAQpage that answers most questions. Bug also provides a licensingpage.

If you are a band wanting our permission to record a coverversion we are pleased you want to do so and as long as you payroyalties we are delighted if you just go ahead and do it withoutcontacting us about it. It would be nice if you sent us a copy.

Contact the Directors of Ubu Projex for a mailing address. It wouldalso be nice if you got the words right. Please check the lyrics.

Back to the TopIn-Store Appearances

Please note the following guidelines for in-stores. These are notmeant to discourage in-stores, simply to ensure that they'resuccessful as well as being enjoyable for all concerned.

Definitions:

* IN-STORE means band members make an announcedappearance at a record store.

* MEET & GREET means band members make privateappearances.


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Note that Pere Ubu does not always do in-store performances asa full band.

1. Please remember that all in-store appearances must beapproved in advance.

2. Mr Thomas gets nervous when the record store owner /manager offers free cds or merchandise. Should the record storewant to make a gift the transaction shall be handled by a thirdparty (the Record Company rep). The third party shall approachMr Thomas discreetly, describing what gift is offered. Mr Thomaswill then okay a formal presentation at which brief, formalspeeches of presentation and acceptance are made.

3. The Record Company representative must do the following:

* Immediately on arrival introduce Mr Thomas to as manypeople as possible, pointing out interesting facts & aiding the flowof conversation. Do not let Mr Thomas stand around like a lemon.

* IN-STORE ONLY: As soon as possible Mr Thomas must beguided to a chair from which he may play his accordion &dominate the immediate space in an absolutist manner.

* Mr Thomas should not be referred to as Dave or touched inan overly familiar way. His name is David. Shaking hands is all thephysical contact that should be needed.

4. The record store MUST NOT play any Pere Ubu recordings forthe duration of Mr Thomas' visit. It is simply too embarrassing,draws undue attention to his presence & most importantly forceshim to withdraw into a protective shell of weirduncommunicativeness. This is not desirable.

5. Please remember that the first 30 seconds of arrival in-storesets the tone for the entire episode. If Mr Thomas is allowed toslip into an Outcast Lemon Mode you will have an unsatisfactory

experience. INTRODUCE HIM. ENCOURAGE CONVERSATION. TAKEUP ANY SLACK. If you know a fan who wants to meet him then byall means introduce them. Mr Thomas prefers civilians. He wantsto be approached. He wants to talk in these circumstances sincethat's what the gig is.

Mr Thomas can be the most charming & exciting personality if


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very simple steps are taken to avoid awkwardness. Once he getsrolling there are no problems, you can sit back, relax & observe aprofessional smarming his way into the hearts of all around him.

The initial stages, however, are critical. Keep in mind that MrThomas undertakes these events as a performance.

MEET & GREETs are not a problem because of the informal natureof the event.

Back to the TopPress Tour Protocols

David Thomas's hotel requirement while on the road doing promo& performances of any kind is:

1. A large bed with headrest (European note: beds must NOThave footboards) in a comfortable, CLEAN & NICE air conditionedroom with en suite TV, phone, bathroom & toilet with a decentbreakfast in the morning in a friendly, reasonably quiet hotelsituated somewhere sensible; the room MUST have a telephone,preferably with a modem jack or with a modem friendlyconfiguration. Less than this and you're asking for trouble &inferior returns. Especially so if the room is not clean.

2. Per diems should not be less than 20 in Europe and $30 in

the US with all meals provided on top. PDs must be paid in full forall days or part days away from home.

3. All road expenses must be either paid for by the recordcompany rep on the spot or reimbursed promptly after the end ofthe trip. If David or Ubu Projex is meant to float any such roadexpenses the details must be agreed in advance with theDirectors of Ubu Projex.

4. If any other band member goes on the road as well then they

must be treated identically.

David works hard to make these trips successful. He doesn't getpaid any extra for them and he expects to be treated well on theroad so the experience is enjoyable and civilized and notunnecessarily tiring.


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detestable. Odds are I won't listen in any case or if I do that Iwon't remember anything about the experience. I won't returnthe tape or cd even if you send postage. If you still want to senda tape under these conditions then do so to:

HearpenPO Box 4Utica PA 16362USA

Don't ask for a response & don't hope for one.

Back to the TopLeaving The Tour Protocols

If you "leave the tour" you are responsible for all costs incurredfrom the point that you leave the tour til the point that you returnto the tour. This includes costs incurred that would normally andreasonably be paid by the tour account.

Example A: There are 3 off days and the tour is in Chicago. Youdecide to visit your mom in St Louis. You are responsible for yourown accommodation and travel expenses. Furthermore, if you arelate getting back, through no fault of your own, and we miss ashow, you are responsible, in theory, for lost revenue and/or

penalties.

If you plan ahead with the tour manager and it can be arrangedwithout adding cost to the tour budget then you can bereimbursed for any actual, receipted hotel costs you incurred upto the amount the tour account allocated had you stayed with thetour.

Example B: You decide to stay on in Europe after a tour. Thereturn of your equipment becomes your responsibility and costs

incurred beyond what the tour account would expect to pay areyour responsibility.

The above notwithstanding, we will still do what we can (withinreason!) to help with post tour travel arrangements, the crucialpoint is that after the end of the tour there is no tour managerand you are therefore responsible for making sure that the


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arrangements work. Any help we give is on a good intentionsbasis, meaning we'll try to help but if things screw up there's nocomeback on us

Example C: You leave the tour and make arrangements to meet

the band in Barcelona. On the way to Barcelona the tour busloses its brakes crossing the Yugoslav mountains. The gig has tobe canceled. You are then responsible for rejoining the tour whichhas now diverted to Udine. Why? Because if you hadn't left thetour you'd be in Udine with the rest of us.

Example D: You arrange to meet the band in Harwich onboard theferry to Stockholm. The band is late and misses the ferry. You areon the ferry and YOU are responsible. Why? Because if you hadn'tleft the tour you'd be with the band driving down to Dover and

insanely across Europe in a frantic effort to make the gig.

Read the novel Catch 22 for a full understanding of the principlesinvolved.

Leaving the tour causes anxiety whatever happens and potentialloss for the tour if something goes wrong. We will not discouragethe activity but it becomes your problem in all facets.

Back to the Top

Studio Accounts

1. Band policy is that each person is responsible for his/her ownequipment, period. This policy is not arbitrary but has deep rootsin the structure of the organization, why we do things, etc. Alongthe way, we introduced a "Strings & Skins Supplement" wheretour budgets or recording budgets will wear it. It is a supplementat a flat rate. It is not meant to cover the cost or to be areimbursement. It is a distribution to all members to aid in thecost of supplies.

2. Per diems for studio & rehearsal sessions: For out-of-townersper diems are at the base rate, for in-towners they are at half thebase rate.

Back to the TopInsurance


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1) Insurance for instruments & personal belongings is the soleresponsibility of the individual.

* THIS PROVISION HAS BEEN SUSPENDED (8/25/6). Ubu Projexwill arrange this for anyone who wants it at a competitive rate on

the Ubu Projex company policy. This is outside the tour budget.The cost of insurance will be deducted from monies due you.

* If you are not insured and someone half inches yourinstrument in darkest Bavaria it is your hard luck and Ubu Projexis not bound to help out.

* The same applies to road damage and the like (ie: the creware to do their best to look after the gear but if your instrumentisn't properly cased it's at your risk). Irreplaceable gear shouldalways be secured overnight. It is your responsibility to confirmthat this is the case.

2) When possible, Travel Insurance supplement will be paid basedon the rate for a year's cover as available in the UK.

* The amount paid will be pro-rated according to the number ofweeks an individual works on Ubu tour & recording projex in acalendar year versus the total number of Ubu work weeksscheduled in that calendar year.

* It is your responsibility to arrange your own travel insurance,to cover sickness and accident, etc. If you're not insured and you

fall ill on tour then you're solely responsible for any medical costsand extra travel costs, etc.

Back to the TopGames & Driving

1. All games are based on The Price Is Right rules.

2. All traffic tickets for moving violations are the soleresponsibility of the driver. Parking tickets are the sole

responsibility of the driver unless he is simply following orders.

Small Town Cop Override: You are driving thru the no man's landbetween Croatia and Serbia. You are stopped by a Croatian Policeroad check who insist you passed another vehicle on a bridgewhich is a very serious offense in Croatia according to the TrafficCode brandished in your face. You look back. There is nothing


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that a reasonable person would define as a "bridge." You lookahead. You see the UN checkpoint and the fact that this is the lastchance they have to punish you for wanting to go to Serbia.Ruling: Driver is not responsible.

Back to the TopTour Accounts Proceduresdated 11/13/88, amended 09/07/95 & 7/3/97 & 8/25/6

PAYMENTS

1. In principle, & as a goal, roadie/soundman per diems will bepaid by the week & in advance each Sunday.

2. Payment of roadie/soundman wages on a regular & weekly

basis is the goal. Sunday will be payday for the week passed.Cash flow undoubtedly will determine the practicality of this plan.

3. Payment of advances on salary, if weekly wage payments areup to date, will be paid only if it's convenient for Accounts.

4. Floats are to be reconciled weekly.

5. Per diems for band members will be paid regularly if cashflow permits. Band members are expected, however, to be self-

financing for the first few dates of the tour and should equipthemselves with sufficient funds and currency to manage theirown financial needs for several days.

DEPARTURES

1. Each person is responsible for his own hotel 'extras'(personal telephone charges, room service, etc.), including anybills normally reimbursed from Accounts. Extras should be paid atleast 30 minutes before departure time to allow the Road

Manager to settle up the group's hotel account with a minimumof confusion.

2. If the bus departure time from the hotel is set for 9 am thismeans that all musicians & road personnel should on the bus forthat time. Paying extras, eating breakfast, all things must beaccomplished before that time.


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3. When flying with the entire band & equipment, check-intimes at the airport are as follows: no later than two hours forinternational flights, and 90 minutes for domestic flights.

4. It is the individual's responsibility to know departure timesand showtimes.

REIMBURSEMENTS

1. A single invoice must not demand reimbursement from morethan one project and each demand must be clearly identified asto which project it's being directed.

2. Receipts must be submitted. It is the responsibility of the

individual to obtain receipts. You will not be reimbursed withoutone.

ON TOUR

1. In cases where record companies are paying tour supportwages then payment is based on a seven day week. Partial weeksare paid according to the formula: x/7 multiplied by the weeklyfee. The first day of the first week begins the authorized day ofdeparture from place of residence. The last day of the last full or

partial week paid is the day of return to place of residenceaccording to the Tour Schedule.

2. If a musician or road technician leaves the tour alltravel/hotel costs incurred by that individual during such time arethe sole responsibility of that individual. This includes any & allcosts incurred because of unexpected changes in the touritinerary, cancellations, breakdowns, etc. Leaving the tour meansthe making of independent travel or accommodation plans. Seethe specific protocol.

If a musician or road technician joins an Ubu tour fromanother tour, or leaves an Ubu tour for another tour, then onlyhalf the relevant travel costs are payable by Ubu Projex. Thesame principle applies to recording sessions. In no case will UbuProjex pay travel costs exceeding the amount it would have paidhad such individual traveled to or from his place of residence.


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For the purposes of Ubu Accounts a person is allowed onlyone place of residence.

3. Each tour has a Budget Currency. (As a rule, the Englishpound is the currency for Europe and the dollar for the USA.)

Tours are budgeted using Budget Exchange Rates for foreigncurrency conversions to the Budget Currency.

The Exchange Rate is the rate at which foreign currency isactually converted to Budget Currency. It is related to the TouristRate.

The Bank Rate is the real value of the currency as determinedby international money markets.

The Budget Exchange Rate is based on the Exchange Ratebut it is set on a best-guess basis at the time the tour budget isworked out. It is the rate at which crew or musicians who areworking on a fee-basis agree to be paid regardless of whathappens to the Bank Rate or Exchange Rate.

4. Where possible wages are paid in the Home Currency of therecipient. Home Currency payments are always made using theBank Rate.

5. Per diem payments are made using the tourist rate.

6. Wages paid on the road in foreign currencies are at theBudget Exchange Rate.

7. The Tour Accountant is not responsible for providing localcurrencies for personal needs. This is the sole responsibility of theindividual. From time to time he may offer the service as a matterof convenience.

Ubu Projex will happily convert pounds to $s at the best

possible rate (it's always better to do this in London and not inthe US!) on the last day of the tour - but it is your responsibility toco-ordinate this with UP. Very important: Avoid exchanging anyforeign currency in the US.

Avoid having excesses of non pounds (francs and marks etc)as you lose on the exchange rate if you convert in London to $s.


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Most coins are NOT exchangeable.

Often the best idea is to exchange pocket money at borders.This is the only guaranteed place to exchange coins. Avoid doubleexchanges. If you're on the German side of the German-Danish

border and you want to exchange krone for Belgian francs thenthe border bank will first exchange it to dmarks and then thedmarks to Belgian francs, taking a commission each time.

Addendum dated 09/08/95...

At 12:32 pm 9/7/95, MR STEVEN A MEHLMAN wrote:

>what are floats?

A float is a chunk of money put into someone's care for thepurpose of paying expenses. For example: two vehicles. Tourmanager in one, road crew or band member in the other, eachhas a float to take care of expenses. At the end of a period oftime, accounts are settled. Receipts and balance of cash handedover.

>you mentioned cabs, are we really to be reimbursed. for cabs?

If you are instructed to take a cab for the purposes of the tour,

then, yes. Personal use for convenience, no.

>what can we be reimbursed. for?

Authorized expenses that involve the function of the tour is theshort answer.

Back to the TopPer Diems

A PD protocol question:

Band member travels to a show a few days before show andreturns a few days after show, under his/her own steam, as theyhave friends to stay with in that town. Do we pay them a PD foronly the day of the show? Or do we pay them for their traveldays, equal to the other band members?


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If he's going to the town just because of our show then he shouldbe paid per diems for the working time plus 2 travel days -staying over for tourism or any nonwork reason is irrelevant.

If he's combining the trip with other work then he should be paidONE travel day per diem and NOT TWO and the cost of his workpermit should be split between the two works (though if hewouldn't have got a work permit for his other work then I don'tthink we should charge him a share of the work permit costs).

Back to the TopPenny/Pound PrincipleQuote from DIRECTOR'S MEETING January 6 1990:

The Penny/Pound Principle is the non-negotiable bottom line.

* If an Ubu musician, partner or not, expects equal footing withother Ubu musicians he must be prepared to take the good withthe bad. If he expects to be offered any & all Ubu work he mustmake himself exclusively available for any & all Ubu work.

* Once an Ubu musician, partner or not, makes himselfunavailable for Ubu work he is liable to be replaced with noguarantee or assured expectation of reinstatement.

Back to the TopCrossing The Line

A band member "crosses the line" when he/she threatens theintegrity of the band because of an attitude or course of action.When a member crosses the line they become poison in thesystem that must be purged immediately. One Rule is non-negotiable and inviolate: The Penny/Pound Principle.

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Availability & questions of Ubu TimeLetter dated JAN 15 1990

1. Ubu was reformed on a project year basis. (A project year islonger than 12 months.) A project year is determined by an lplifetime which in practice seems to begin with the actual studiorecording (the point at which money comes due from a record


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company) and end with the last required group work in support ofthe lp. During a project year a band member keeps himselfavailable for Ubu work. At the end of a project year a membercan choose to not re-up.

2. In practice, members consult with the Directors of Ubu Projex &so far as possible mutually agreed schedules are arrived at. It hasbeen clearly stated & accepted that the onus is with theindividual member to clear his schedule with the Directors of UbuProjex before committing to personal work. If necessary,members are left out of sub-projects when scheduling conflictsarise & the promotional or business opportunity available is

judged to be too important to pass up.

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Basics

1. No expense for the production of tour itineraries isreimbursable beyond basic printing on ordinary paper, basicbinding (if staples won't do), and postage. No color or fancy stuffwill be reimbursed. We're not children to be amused by brightcolors.

2. Pre-paid phone cards are not reimburseable.

3. You must have a watch, pocket or wrist. Truck Time is officialtour time. The truck is our only friend.

4. The way on is the way off. If circumstance require that wehave to walk onto the stage from the audience we will walk offthe stage thru the audience. We will not hide in a cupboard off-stage waiting on the silly encore ritual.

5. All musicians should be in the dressing room 30 minutesbefore showtime. Road manager announces stage clear at which

point Ubus do final instrument checks and then report back to thedressing room. 5 minute marks start at 15 minutes to show.Soundman reports Good to go at 3 minutes to show and leaveswith an encouraging word. Road manager reports Good to go atthe 90 second mark and disappears. Musicians gather at stageentry point at 30 seconds to show.


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Back to the TopRituals

1. Pere Ubu shows up on time. We expect everyone else to be ontime. No, no... wait, we're not anywhere near that reasonable.

Pere Ubu shows up ahead of time. If you show up ON TIME you'realready late as far as we're concerned.

2. The sole function of an opening act is to start on time and tostop on time. Period. Do NOT book Pere Ubu unless you agree tothis. When Pere Ubu is an opening act we start on time, we stopon time, and we don't do an encore. We don't expect to get asoundcheck and we don't expect to get to do a full show. Thoseare the rules by which rock music functions. Do not try to changethem. You are not a musician and you have no rights in this

matter. Mr Thomas in particular is very sensitive to time.

NB. If Ubu is appearing in a festival, or in a non-headline capacity,we will NOT do an encore no matter what unless the duly-authorized stage manager tells us face to face. In the past thishas led to upset when we have refused to go out again withoutthis specific authorization. We play by the rules beyond the pointof sanity. We expect others to do the same.

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Lights

* We are always happy when the lights are simply set, focused,turned on and left alone during the show.

* Overhead lights should be focused on the center mic andbass player positions. We need to read notes.

* Mr Thomas does not like flashing lights. Light scenes can shiftbut avoid flashing.

* No smoke-machines are to be used during our performance.* Lighting should be theatrical rather than rockist. We are

interested in atmosphere, mood, drama, energy, subtlety,imagination-- not rock cliche. Please do not use patterned gobos.Mr Thomas finds patterned light routines to be particularlyoffensive.

* Lights should be carefully focused on Mr Thomas and theband & not directed at the audience. Please try to avoidEXCESSIVE backlighting.


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* Lights must never fade to black between songs.* Light comes mostly from above not from below. A handy tip

to keep in mind is that the sun is up.

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Trivia Questions

As for giveaways that's up to you. I never like them cuz I hategiving stuff away so it depends on whether the promotionaladvantage is worth promoting a welfare-state mentality withinthe populace of the USA. That's a decision I leave to you... alongwith its karmic load. Long ago we determined what triviaquestions are to be used for Pere Ubu giveaways. Choose one:

* Name two of General Lee's corps commanders at Gettysburg.

* Quote one of Henry David Thoreau's aphorisms.* Name the author of this line: "Then I saw the Congo, creeping

through the black, cutting through the forest with a golden track."

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Ubu Projex Insider Protocols

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