When U.S. artists decide to go on tour overseas, one of three approaches to satisfying their technical needs is employed. Most commonly, the lighting designer is told by the artist's management that all arrangements have been made through the local promoter and that a local supplier will provide the equipment. You are expected to use what you are given and to “make it work.” In a second approach, you may be asked to submit a lighting plot, but from there on you are told that you must accept what they give you. Or, manna from heaven, you get anything you request. This last scenario is not that hard to achieve these days.

Don't forget about the bean counters, though. Depending on the artist's contract, the artist ...

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