Posts Tagged ‘Tour’

New I-94 Process for Artists Touring the United States

Wednesday, May 22nd, 2013

By Brian Taylor Goldstein, Esq. Dear Law and Disorder: I heard that US Immigration will no longer be giving foreign artists the little white card they used to get when an artist entered the US. The cards were stamped with the artist’s visa category and the date they had to leave. It was my understanding that we needed to make copies of those cards if we needed to extend an artist’s visa. Are we supposed to use something else instead? Is there a new process? Yes, you heard correctly. The little white card, called a Form I-94, was an artist’s official arrival/departure record. Up until recently, every foreign artist as well as all other foreign travelers entering the U.S. (except, occasionally, Canadians, depending on when and where they entered) was given a Form I-94 to fill out (most often while waiting in an interminably long line at an airport international arrivals hall), the bottom half of which was stamped with their status and departure date and returned to them by a US Customs and Border Patrol Officer (aka the border troll.) This form was also issued to those who adjusted their status while in the U.S. (ie: changed from F to O), or who extended their visas. The I-94 was used to confirm the artist’s individual’s status or visa category (O, P, F, B1/B2, etc.) and the departure date by which they must leave the U.S. When the artist left, they surrendered the I-94 either to the commercial airline carrier or to CBP directly. The I-94 information and the date of departure was then entered into a database to verify that the artist did not overstay the required departure date. As of April 30, 2013, this process became electronically automated. CBP will no longer require artists to fill out a paper Form I-94 upon arrival to the U.S. by air or sea and will no longer issue paper I-94 forms in return. Instead, CBP will gather the arrival/departure information automatically from the foreign artist’s electronic travel records and, upon entry of the artist into the U.S., will enter their status and departure date electronically. (Because advance information is only transmitted for air and sea travelers, CBP will continue to issue a paper form I-94 “at land border ports of entry”—which is government-speak for Canada and Mexico.) Similarly, when the artist leaves the US, the date of their departure will be electronically gathered, as well. Under the new process, the CBP officer will stamp the passport of each arriving artist. The admission stamp will show the date of admission, class of admission, and the departure date by which the traveler must leave. Artists wanting a hard copy or other evidence of their valid admission and immigration status will need to go to a special website (www.cbp.gov/I94) where, using their passport numbers and names, they can access and print as many physical copies of their I-94 as they want. Officially, there is no legal reason for an artist to have a hard copy of the I-94. Officially, the electronic record and the passport stamp will serve as evidence of their valid admission and immigration status. Nevertheless, we are strongly recommending that all artists, or their managers/agents or employers, go to the website and print out a hard copy of the I-94. Why? Simple—we don’t trust CBP not to make mistakes! Plus, while CBP may no longer require a physical I-94, other government agencies still do. Despite what is stamped in an artist’s passport, an artist’s official arrival/departure record will remain the electronic I-94. If a CBP officer makes an error and the required departure date written on the passport does not correspond with the official departure date electronically entered on the I-94, the I-94 will govern. In other words, regardless of what is written on the passport, the artist MUST leave the US by the date stamped on the I-94 despite what was approved by USCIS or written on their visa. Printing out the I-94 will be the only way to verify that the I-94 reflects the correct visa category and the correct period of admission. Furthermore, having a hard copy of the I-94 will also continue to be required by employers and schools who are required by other government agencies to verify immigration status. A hard copy of the I-94 will also facilitate the process of obtaining drivers licenses and social security numbers. An equally important reason for a paper copy of the I-94 is that it would function as a backup document in the event that CBP officers cannot access the electronic record of admission due to a systems failure at the time that an artist seeks re-admission to the US after a short visit to either Canada or Mexico. A hard copy of the I-94 will also continue to be required by USCIS when an artist is currently in the US and files a visa petition to extend their visa. In such cases, the petition must include a copy of the I-94 to show that the artist was validly admitted and is currently “in-status.” CBP has issued a fact sheet that includes frequently asked questions regarding the impact of automation, visa revalidation, passenger processing times, and more. You can access that at: http://www.cbp.gov CBP contends that this automation will streamline the entry process for travelers, facilitate security, and reduce federal costs by saving the agency an estimated $15.5 million a year. That remains to be seen. As CBP implements the I-94 automation process, processing errors and challenges relating to the automated admissions process and accessibility of electronic records are already arising. _________________________________________________________________ For additional information and resources on this and other legal and business issues for the performing arts, visit ggartslaw.com To ask your own question, write to lawanddisorder@musicalamerica.org. All questions on any topic related to legal and business issues will be welcome. However, please post only general questions or hypotheticals. GG Arts Law reserves the right to alter, edit or, amend questions to focus on specific issues or to avoid names, circumstances, or any information that could be used to identify or embarrass a specific individual or organization. All questions will be posted anonymously. __________________________________________________________________ THE OFFICIAL DISCLAIMER: THIS IS NOT LEGAL ADVICE! The purpose of this blog is to provide general advice and guidance, not legal advice. Please consult with an attorney familiar with your specific circumstances, facts, challenges, medications, psychiatric disorders, past-lives, karmic debt, and anything else that may impact your situation before drawing any conclusions, deciding upon a course of action, sending a nasty email, filing a lawsuit, or doing anything rash!

Multiple-Entry Visas: A Safe Bet

Wednesday, February 27th, 2013

By Brian Taylor Goldstein, Esq.

Dear Law and Disorder:

 

I am working on an orchestra tour for the 13-14 Season. We would like to include Canadian dates in the route, but they are neither possible at the beginning or end of the tour. Is it possible on a work visa, for a group to depart the USA for Canada for a couple of engagements and then re-enter the US as part of a single visa application? This was not possible for the Cubans, I was told. However, I know a Russian ballet company that was able to do this. My associate is confident this is not possible.

I hope you made a bet with your associate, because you’d win. Your associate is incorrect. Except for a specific list of countries, ALL visas are multiple-entry during the validity period. So, for example, if a UK citizen receives an O-1 for 1 year, he can enter, leave, and re-enter as often as he wants during that year. If a Russian orchestra receives a P-1 for 6 months, they can enter, leave, and re-enter as often as they want during that 6 months. Exceptions include such countries as China, Brazil, Cuba, and certain middle-eastern countries. You can find the complete list of countries that have restricted entries on the state department website at http://travel.state.gov/visa/fees/fees_3272.html

So long as a member of your orchestra is not from a country on the restricted entry list, then, provided you are able to obtain a P-1 visa for the orchestra for the 13-14 season, each member will be able to enter the US, leave and go to Canada, and re-enter the US whenever and as often as they wish. However, as they may need separate visas to enter Canada, you will need to check Canadian law immigration to confirm that.

___________________________________________________________________

For additional information and resources on this and other legal and business issues for the performing arts, visit ggartslaw.com

To ask your own question, write to lawanddisorder@musicalamerica.org.

All questions on any topic related to legal and business issues will be welcome. However, please post only general questions or hypotheticals. GG Arts Law reserves the right to alter, edit or, amend questions to focus on specific issues or to avoid names, circumstances, or any information that could be used to identify or embarrass a specific individual or organization. All questions will be posted anonymously.

__________________________________________________________________

THE OFFICIAL DISCLAIMER:

THIS IS NOT LEGAL ADVICE!

The purpose of this blog is to provide general advice and guidance, not legal advice. Please consult with an attorney familiar with your specific circumstances, facts, challenges, medications, psychiatric disorders, past-lives, karmic debt, and anything else that may impact your situation before drawing any conclusions, deciding upon a course of action, sending a nasty email, filing a lawsuit, or doing anything rash!

Distinguished Artists Are Extraordinary Artists!

Wednesday, January 16th, 2013

By Brian Taylor Goldstein, Esq.

Hi Musical America,

I am a Danish citizen and I plan to go to the Unites States on a promo tour in spring. I know that it is necessary to apply for an O-1B visa being a solo artist. I have a native US promoter who will petition for me. My question is: How am I going to prove that I have “extraordinary ability” as a performer to qualify for an O-1B visa? It sounds to me that you need to be either Rolling Stones or Anna Netrebko to get through the needle’s eye. My music is folk/new age/healing and it has a limited audience. I do not have a big international following or a large music sale to boast. Any advice is appreciated.

While the US government doesn’t do much to support the arts, they threw us a tiny crumb when they wrote the O-1B regulations. As opposed to other professions covered by the O-1B category (sports, business, education, and science), an artist seeking O-1B classification does not have to be “extraordinary” to qualify for an “extraordinary ability” visa. Rather, the artist has to show that he or she is “distinguished.” The applicable regulations define “distinguished” as “…a degree of achievement and recognition beyond that ordinarily encountered.” While Mick Jagger and Anna Netrebko would most certainly qualify, you do not need to be at that level to obtain an O-1B visa. Nor do you need to compare your level of achievement and recognition to all musicians in all other genres. Rather, you only need to establish that you have “some” degree of recognition and achievement within the genre of folk/new age/healing music.

In preparing your petition, you would need to provide documentation of your career and achievements to show that you are at least “distinguished” in some way. Most often, these include copies of articles, reviews, blogs, and programs from your live performances, as well as any other materials written about you. You would also want to include copies of your recordings as well as proof of any awards you have won. You would want to explain that the genre of folk/new age/healing music does not get the same degree of press and attention as other genres, but that, within the genre of folk/new age/healing music, your are at least “highly praised” or “well-known”.

The most important thing is to explain everything to USCIS. The biggest mistake most artists and agents make is preparing a visa petition, attaching documents, and failing to write a comprehensive cover letter explaining the evidence. You want to hold the USCIS examiners hand and walk them through your qualifications step-by-step. Do not assume that the USCIS examiner listens to your genre of music (or ANY genre of music, for that matter) or is familiar with your awards. Explain every nuance. Explain your achievements. Explain every detail. Above all, make sure to provide translations of anything not in English.

Everything you could possible want to know about obtaining a visa for an artist is on the website www.artistsfromabroad.org. With some time and patience, you should be able to create a visa petition to obtain your O-1B without having won a Grammy, though I sincerely hope, one day, you do!

_________________________________________________________________

For additional information and resources on this and other legal and business issues for the performing arts, visit ggartslaw.com

To ask your own question, write to lawanddisorder@musicalamerica.org.

All questions on any topic related to legal and business issues will be welcome. However, please post only general questions or hypotheticals. GG Arts Law reserves the right to alter, edit or, amend questions to focus on specific issues or to avoid names, circumstances, or any information that could be used to identify or embarrass a specific individual or organization. All questions will be posted anonymously.

__________________________________________________________________

THE OFFICIAL DISCLAIMER:

THIS IS NOT LEGAL ADVICE!

The purpose of this blog is to provide general advice and guidance, not legal advice. Please consult with an attorney familiar with your specific circumstances, facts, challenges, medications, psychiatric disorders, past-lives, karmic debt, and anything else that may impact your situation before drawing any conclusions, deciding upon a course of action, sending a nasty email, filing a lawsuit, or doing anything rash!

Do We Need Visas For Orchestra Support Staff?

Wednesday, July 18th, 2012

By Brian Taylor Goldstein

Dear Brian:

We are touring an orchestra in the United States next season and have been grappling with the idea of whether the staff from the concerts team need to have visas for this tour, regardless of whether they are employees or freelance (we’ve had different opinions expressed). In the past, we have always included our orchestral manager on the visa petition because she is a full time employee, but the concerts team staff are rather different, not least because they are usually hired only for the tour, nothing else, and will not be on tour for the whole time and are therefore not an intrinsic part of the artistic production. They receive no payments or salary in the US and, thus, earn no income in the US. Do you have any thoughts on this? If we get them visas, would they all have to travel together? Would we need two separate petitions? Does this cost more depending upon the size of the concerts team?

The need for a US work visa (O or P) is triggered by work, not payment. Anyone who provides services in the US, whether on the stage as a performing artist, or behind the scenes as part of the technical crew, administrative staff or tour support team, all require work visas–regardless of whether or not they are paid in the US or whether or not they are even paid at all. Whether or not they are an intrinsic part of the artistic production doesn’t change this.

In the case of orchestras, each of the musicians will require a P-1 visa and each of the non-performing support staff require a P-1S visa. To obtain these visas, you will need to file two visa petitions: a P-1 petition for the performers, conductor, musicians, etc. and a P-1S petition listing the technical crew, management team, administrative support, etc. Filing fees are charged “per petition”, so it costs the same whether the P-1S petition contains 2 people or 20 people. Once approved, each individual listed will need to appear personally at the US consulate and pay a visa fee before being issued his or her visa by a brusque and surly consulate official. P-1 and P-1S visas are valid for the duration of the approved classification period. So, the support staff is free to travel in and out of the US during the tour as needed. Everyone neither has to travel together nor do they have to remain for the duration of the entire tour.

Without exception, in the visas we prepare for our orchestral clients, we simply put all the musicians on a P-1 and all non-musician staff on a P-1S and eliminate the ability of a border guard to frustrate a process already fraught with enough risk and unpredictability from other areas.

_________________________________________________________________

For additional information and resources on this and other legal and business issues for the performing arts, visit ftmartslaw-pc.com.

To ask your own question, write to lawanddisorder@musicalamerica.org.

All questions on any topic related to legal and business issues will be welcome. However, please post only general questions or hypotheticals. FTM Arts Law reserves the right to alter, edit or, amend questions to focus on specific issues or to avoid names, circumstances, or any information that could be used to identify or embarrass a specific individual or organization. All questions will be posted anonymously.

__________________________________________________________________

THE OFFICIAL DISCLAIMER:

THIS IS NOT LEGAL ADVICE!

The purpose of this blog is to provide general advice and guidance, not legal advice. Please consult with an attorney familiar with your specific circumstances, facts, challenges, medications, psychiatric disorders, past-lives, karmic debt, and anything else that may impact your situation before drawing any conclusions, deciding upon a course of action, sending a nasty email, filing a lawsuit, or doing anything rash!

Back from Tour … Stay Tuned

Tuesday, November 9th, 2010

By Alan Gilbert

As much as I enjoy putting my thoughts down in writing and sharing them here, in my blog, that is just not going to happen today. On Friday I returned from a very satisfying, very exciting, very busy tour, and although there is much about the time I spent in Europe that I’d like to write about, I just haven’t the time this week. I am already in rehearsals for this week’s performances of Mendelssohn’s Elijah

I promise not to let this become a habit, and that my next posting will be more thoughtful than this one.

Thanks for understanding!

On Tour(ing)

Tuesday, October 26th, 2010

By Alan Gilbert

We are in Ljubljana, the second stop on our European tour. It should have been the third country, but what would have been the Orchestra’s first trip to the Republic of Georgia was cancelled abruptly a few weeks ago by the presenters – that is to say, by the government of Georgia. I have not heard a convincing justification for this, and my friend Lisa Batiashvili, the brilliant Georgian violinist who was to have been the soloist in the planned concerts, and who was instrumental, in every way, in paving the way for our putative visit, is baffled as well. She is also embarrassed, and deeply disappointed that her efforts to bring the New York Philharmonic to her home country ended so sadly. I know from speaking with her of her love of her country, and how much she would like to help shape and enrich its musical life. Who knows now when those noble impulses will be able to come to fruition?
 
Since the Philharmonic had some unexpected extra days in New York City, we were able to add a non-subscription concert to our schedule. It was extremely fortunate that Pinchas Zukerman was available to give another performance of the Brahms Violin Concerto, which he played with us the week before. Since we were rehearsing the Academic Festival Overture for the tour, we were able to create an all-Brahms program that was filled out by the Fourth Symphony (another tour piece). Non-subscription concerts have to be sold from the ground up, obviously, and this one was only announced two weeks before it happened. It was therefore especially exciting that the concert sold out, and there was a real sense of event in the hall that evening. The Orchestra played unbelievably, and those of us onstage felt a palpable connection with the audience, who responded with real warmth. It was a great send-off for our tour.

The first concert of the tour happened on Sunday, in Belgrade. We were the closing event of Bemus, a two-week-long festival the city hosts. We played in the enormous Sava Center (seating capacity close to 4,000!), which was literally packed to the rafters. The previous night I had had dinner with U.S. Ambassador to the Republic of Serbia Mary Burce Warlick and some of her staff, and they told us that they had never heard of the hall being sold out, explaining that usually the upper section is not even opened. And this, when the ticket prices were apparently 20 times what concerts tend to cost in Belgrade! It appears that there was a kind of frenzied excitement surrounding the orchestra’s visit. Part of this may have been the fact that it was actually a return visit: Leonard Bernstein brought the Philharmonic to Belgrade on the legendary round-the-world tour of 1959. One of the presenters made us a gift of an original program book and ticket stub from that concert – items that will be treasured additions to the Philharmonic Archives.
 
Sunday’s concert itself was a big success, and it felt appropriate to be able to play Bernstein’s “Lonely Town” as an encore. There was a sigh of recognition from the audience when I announced the piece – a sign of a connection between an American orchestra and an audience that would have been practically unimaginable five years ago, and absolutely impossible only ten years ago. It was a good feeling.

(For more information on Alan Gilbert and the New York Philharmonic, visit nyphil.org.)