Universal City Walk Hollywood
How to Perform There



Universal City Walk Hollywood- How to Perform There
by Sue Basko

Universal City Walk near Hollywood, California, is private property, so there are not street performers as such. But Universal City Walk does choose and pay performers.

Who They Book: Alternative, rock, jazz, Latin and pop acts.

PAY: Performers are paid $250 for a 45 minute set. Performers can sell merchandise and keep 100%.

Support: All performing acts will be provided audio support, production crew, security, operator for huge outdoor screen, marketing, and publicity


How? Universal City Walk uses Sonic Bids to pick its acts. Click on the link below.

DEADLINE TO APPLY: OCTOBER 31, 2011.


What is Universal City Walk? It's a tourist trap that is free to enter, but where everything is high-priced. It's a beautiful well-kept place where families or groups of friends go for an afternoon or night out walking around and spending money. It is loaded with shops, attractions, restaurants, movies, etc. And there are performers. City Walk is known as a great place to catch free outdoor concerts. People usually love City Walk and have a great time -- it is a casual destination. Of course, competition to perform at such a place is fierce, and you will have to be a family-friendly hip act with a top-notch show to even stand a chance.

What is Sonic Bids? Sonic Bids is an online site where you can register as a performer and have a page that includes your full EPK (electronic press kit), including music, photos, bio, a list of needed equipment, past shows, set list, press, etc. Sonic Bids charges a fee and also charges for most submissions. I do know of musicians who have been booked for many gigs through Sonic Bids. I know of others that say they were never booked. They key seems to be persistence and having a professional presentation.




Sean Giovanni, Nashville Music Producer
Balcony TV Nashville

Sean Giovanni, Nashville Music Producer/ Balcony TV Nashville

by Sue Basko

The Record Shop is one of Nashville's new creative, up-and-coming recording studios. Sean Giovanni is The Record Shop's owner/ music producer/ recording engineer.

Giovanni also runs Balcony TV Nashville. Balcony TV is an internet music show that brings in well-known musical acts to do one acoustic song apiece out on a balcony overlooking a scenic part of a city. Balcony TV was founded in 2006 in London and has since been franchised worldwide to Dublin, Hamburg, Poznan, Brighton, Auckland, Paris, Brisbane, Edmonton, Rennes, Prague, Toronto, and Mexico City. Nashville was the first U.S. city to have Balcony TV, and has been followed by New York and Austin. I love Balcony TV!

Sean Giovanni offers these insightful answers to my probing questions:

Please explain your business. You have The Record Shop -- which is a recording studio, right? And you do Balcony TV Nashville. And what else?

I own The Record Shop Recording Studio in Nashville, Tennessee. After working as a freelance engineer and producer for several years, I decided it was time to open my own facility. My goal was to create a relaxed, creative environment that focused on the artistic vision of my clients. The Record Shop is a multi-purpose production facility that features a diverse selection of instruments, microphones, analog gear, and recording spaces. One of my main objectives when working on a record is to capture the sonic direction of the artist through creating the right vibe with a great performance. Having my own facility allows me the flexibility to take the time to get it right without "worrying about the clock."

In addition to producing records, The Record Shop also offers a wide variety of services to assist our artists in successfully developing and promoting their work. We offer video production, website design, graphic design, and marketing. Rather than making the studio a "one-stop shop" for these services, I sought out to develop a team of creative minds that could work together collectively, in order to provide excellent service at an affordable rate. In doing so, we are able to not only give our artists a great recording, but also offer the tools for them to promote the record effectively.

In an effort to offer our artists a valuable opportunity to promote their music, I developed a monthly on-line music show called The Record Shop Sessions. The Record Shop Sessions, streamed on youtube and our website, features in-studio performances and interviews from a wide variety of artists. As the show began to develop, I ran across an award winning on-line music show called Balcony TV. Balcony TV showcases performances and interviews shot from balconies in 16 cities around the world. I saw this show as a unique opportunity to help spread the word on the incredible music community in Nashville and abroad. We recently celebrated our one year anniversary of Balcony TV Nashville and the show has continued to grow as a leading outlet for new music on-line.

What makes The Record Shop special?

I believe the dedication to the direction of the artist is an important aspect of what The Record Shop has to offer. We have all the fancy equipment, but maintaining a clear vision of what the artist is seeking to achieve through their recording is invaluable to the process. I start every project with a series of pre-production sessions where we discuss the sonic vision of the material, work out arrangements, and allow everyone to get a feel for the studio. By the time we begin recording, everyone is on the same page, and we are able to focus on capturing the best performance. I take the time to get things right, so when we run the playback, the artist hears exactly what they were hearing in their head when they envisioned the material.

Why Nashville?

The first time I visited Nashville, I was instantly drawn to the creative atmosphere of the town. Everywhere you go, there is music being written, played, or recorded. There are countless, hard-working musicians and artists constantly creating. Great songs are at the heart of any great recording, and Nashville is a songwriter's town. The creative energy here is truly inspirational and keeps me going day in and day out.

With the amazing music community in Nashville, comes a high level of competition. While the struggle to stand out amongst the crowd can be overwhelming to some, this challenge has driven me to continue to put my heart and soul into every project I produce. However, there is also a sense of "family camaraderie" in Nashville that is not often seen in such a competitive industry. Nashville has a small town vibe with big city opportunity. I have been blessed to have the support of a few influential people who could have easily brushed me off, but went out of their way to lead me in the right direction. The flood last year was a great example of the selfless personality of the Nashville community. Many people were devastated by the damage of the flood, but everyone still came together in support of one another and the common goal of making great music.

Tell me a little about your life and background. What led up to where you are today?

I grew up outside of Detroit, Michigan, a city with a legendary and diverse music scene. My father is an eclectic fan of music. As a kid, he introduced to me to a wide variety of music. I was always interested in the way that the "organized noise" that created music could inspire such deep emotional response. This interest led me to write poetry, which turned into songs, and eventually I mowed enough lawns to purchase a Tascam 4 Track.

I have to leave something for the autobiography haha....so for the abridged version, I experimented with recording music for a few years. When it came time to go to college, I ventured to Minneapolis, Minnesota, where I attended The Institute of Production and Recording. During my time in Minneapolis, I began working my way up as an engineer at a couple studios in town.

Before graduating, I took a trip out to Nashville and knew right away that it was the place for me. However, after interviewing at every studio in town, begging to make coffee and wrap cables, I was told I was "overqualified" (which translates to, "you're not receiving college credit from Belmont").

It was looking like I was out of luck, but I was fortunate enough to keep at it and I eventually got in touch with studio manager, Pat McMakin. While Pat was unable to get me an internship, he did offer me some valuable advice about getting your foot in the door in Nashville. Inspired by his support, I continued to record demos in my apartment on Music Row and continued to build my network around town.

I began producing a local rock band called Stonecrossing, who introduced me to studio owner, Pat Holt. Pat was kind enough to allow me to utilize his facility during downtime. I finally had a commercial facility to work out of and eventually began picking up freelance sessions at several facilities around town.

During this time, I began to collect an assortment of equipment that would soon become the back bone of The Record Shop. Over the next few years, I had collected enough gear to open my own studio and I began searching for a room. After a few months, I found a room built by producer, Mark Burchfield. Formerly, Watershed Recording Studio, this room would become the home of The Record Shop in December 2009. It has been a great journey so far and I'm excited to see what the future will bring.

I love Balcony TV. How has your experience been so far?

Balcony TV Nashville has been a very rewarding experience for everyone involved. It has been really cool to have the opportunity to provide such a valuable outlet for the Nashville music scene. Our videographer, Rev. Jay Leal, of Rebel Rev Productions, does an amazing job at capturing the vibe of the performances. Our hosts, Crow and Melissa Montgomery, bring a fun personality to the episodes. The engineers, Art Lindman and John Constable are a great help in bringing the sound of the show to life. It's a blessing to have such a great team to help make the show happen.

This year, we have branched out to cover music industry events as well. In January, we went to Anaheim, California for the NAMM show. We covered a variety of exciting new products and had a chance to interview a few legends in the industry such as: Andy Johns, Alan Parsons, and Victor Wooten. We were also invited to cover the behind the scenes preparation for the Grammy Awards. Seeing the rehearsals and preparation for the show was amazing.

What are some of your favorite moments in your work?

Goosebumps...the moment when the last note of a song is ringing out and I look around the room at everyone standing there with chills, knowing that we just got the "magic take" What a feeling! I had the privilege of recording vocals with a legendary artist a couple weeks ago, and as I glanced through the glass during the final take, I felt the emotion radiating from his performance, I was reminded of why making records is the only thing I've ever wanted to do with my life. The ability to spend every day creating something that will live forever is truly a blessing. I often refer to a quote from philosopher William James that sums it all up, "The best use of life is to use it for something that will outlast it."

Tell me about indie musicians in Nashville. What is the situation?

The story of Indie music in Nashville is interesting. There are a number of killer non-country acts in Nashville, but they have a hell of a time building a local fan base. More often than not, most of the crowd is other indie bands. haha You could take any one of the top indie bands in Nashville and send them to any other city and they would tear it up. But put them in Nashville and they get a subtle round of applause from their peers.

There is a saying that Nashville is a great place to develop a project, but eventually you have to take it somewhere else to break through. Now there are obviously exceptions to this rule. There are some great indie bands that have found a way to gain a strong following in Nashville, but it is usually short lived unless they take the show on the road at some point.

I think the relocation of many notable indie and rock acts to Nashville is starting to help put the indie scene on the map in a larger scale, but while Nashville is a diverse music town, the good ol' boys of country are still holding up the fort for the most part. That being said, there is still great indie music in Nashville and it is a great place to develop a project.

If a new singer songwriter wants to come to Nashville and play some open mics or showcases, which ones do you suggest?

There are countless open mics around Nashville. Some are good, some are great, some probably shouldn't be happening. The best way to find out what works for you is browsing the web or picking up a copy of The Nashville Scene. Songwriters can find listings of upcoming open mics and check them out to see if they would be a good fit. Open mics are a great place to network and hone your craft as a performer. However, its important to be on top of your game. Nashville is a small town and word spreads quick, good or bad.

I believe co-writing is equally as important as hitting the open mics. If you want to become a great songwriter, surround yourself with writers that are more experienced than you are. Nashville is full of opportunities to develop your songwriting, its just a matter of making the effort to meet the right people.

A very successful writer in town told me, "If you want to be a great writer, write a song everyday. Most of them might be horrible, some of them will be ok, but a few will be amazing. Eventually the great songs will start coming out more often."

It’s just a matter of making the effort to improve your craft and learning to see experiences around you as songs. Depending on your writing style, the Nashville way of doing things may not be for you. Contrary to what some "associations" may tell you, there are no rules to songwriting, only guidelines that have worked in the past. The best way to find your voice in Nashville, is to experience all that the Nashville songwriting community has to offer and decide what resonates with your own creative direction.

What are your favorite microphones and why?

My favorite microphone is whatever sounds best on the instrument for the current song. One of the great things about the creation of music is that there are no rules. I enjoy experimenting with different combinations of signal chains, placement, and instruments to create unique sounds when a song calls for that, or I'll stick to the standard options if not. I really dig the warmth of ribbon mics on a lot of things and generally lean towards vintage mics when extra character is called for.

What is your philosophy of music production?

Great Songs. Proper Preparation. Mindless Execution.

Great recordings begin with great songs. Sometimes artists have a hard time revisiting a song after it's written. I've found that many times, if it feels like something is missing from a tune, if we look at the lyrics, phrasing, etc, there may be some minor adjustments that could take a song from being good to great.

It may be Nashville brainwashing me, but I need to "feel" the words to fall in love with a tune. Don't be scared to rethink the second verse or find a stronger line to tie the bridge together. Just because you wrote it already, doesn't mean its the best that it could be. "Hallelujah" took Leonard Cohen five years to write, sometimes the right words take a few revisions.

Unless you are a jam band, proper preparation is key to great studio performances. The intensity of this preparation can vary greatly depending on the vibe of the project, but in my opinion great recordings are more likely to come when the artist is clear on where the song is going to take them. This doesn't mean that every note has to be methodically planned, but a basic outline of the direction can go a long way in capturing the magic take... and avoiding the drummer throwing his sticks at the guitar player.

When you can play the song without thinking about it, you're ready to make a record. Too little planning can make for a difficult day in the studio, but too much thinking can also take away from the natural feel of a song. The goal is to find a balance, where you are comfortable with the tune, but don't have to think about what comes next. Let the song take over, get lost in the moment, and the audience will follow along. When I look out into the room and see an artist opening their eyes, returning from the journey they took while performing the song, I know we've got the take.

For more information on The Record Shop check out therecordshopnashville.com and sign up for our monthly newsletter.

To check out the latest episodes on Balcony TV Nashville visit balconytvnashville.com

Be our friend on Facebook and get a free demo!

Contact Info: Giovanni

Therecordshop1@gmail.com

How to Be a Street Performer in Nashville

Click to read about Joe Connors, Chicago Recording Engineer-Producer

Click to read about Kenny Royster, Nashville Recording Producer

Click to read Taryn DeCicco, DIY Indie Rock Promotion

Click to read Voice Coach: Interview with Cari Cole

Click to read Courrier: Thoughtful Rock Band Marketing

Street Performing in Chicago
with Patrick Tinning
how to get a Chicago street performer license


Street Performing in Chicago: with Patrick Tinning
How to Get a Chicago Street Performer License
by Sue Basko

JUNE 18, 2014 NEWS FLASH! UPDATED STREET PERFORMER LAW AND INFORMATION: http://suebasko.blogspot.com/2014/06/chicago-street-performers-new-law.html

IMPORTANT NOTE: The Chicago Street performer's permit is not valid on CTA (Chicago Transit Authority) property. For that you need a CTA performer's permit. The CTA performer's permit is not valid on Chicago streets. You can be ticketed and fined for not having the correct permit. For information on the CTA performance rules and permits, please click here.


Street performing is known in some places as busking. Street performing is a way for the performers to make cash and experience the thrill of playing to an up-close, highly interactive audience. In many locations, the audience is tourists, and they usually love the good performers and take photos of them. Street performers are a vital part of the city landscape, especially in areas frequented by shoppers, people out on the town, and visitors. One way to find out if your act is of interest to people is to put it out there in public. Street performing also helps hone your ability to respond to audience reactions.

I've seen singers, musicians, mimes, acrobats, jugglers, a puppet show with a little stage pulled by a bicycle. I've seen dog and monkey acts. I've seen breakdancers and lots of kids banging drums on plastic paint buckets.

One of my favorites is the Bubble Man on the Santa Monica promenade. This act only works in the dark. The Bubble Man blows a bubble and then somehow blows cigarette smoke into the bubble. Then he shines a flashlight at the bubble. The smoke makes the bubble appear to be a solid silver ball, floating in the air. Children love to chase the bubbles, grab them, and watch them evaporate.


LICENSES and RULES: Most cities and locations require the street performer to have a license or permit. Most places make you apply for this in person, and charge a fee for it. There are also laws and rules in each location. For the most part, these rules are about WHERE, WHEN, AND HOW LOUD a street performer can perform.

CHICAGO: Today's post is about CHICAGO. I'll cover other locations as time goes on. Below, I give the details, but here is the summary -- to be a street performer in Chicago:

1) You must apply for a license in person at City Hall. You must bring a Driver's License or other official photo I.D.

2) The license costs $100, good for 2 years. (call the number below and ask the exact price -- there is some confusion on whether it is $100 for 2 years or $200 for 2 years) Any Chicago bills must be paid up, such as parking tickets and water bills.

3) You must follow laws that say where and when you can perform and how much noise you can make. If you violate the laws, you can get a $300 ticket. If a police officer tells you to move, you have to move at least 2 blocks away.

4) SORRY -- No street performing is allowed in Millennium Park. It is allowed in Grant Park (but not near the Petrillo Music Shell when there is a concert), Lincoln Park, and across the street from Millennium Park - but you cannot make noise during Millennium Park concerts. Read the law below. There are also restrictions on where you can play during special events -- and there are many special events in downtown Chicago. So pay attention to the rules!

5) Street Performance Hours are Sunday through Thursday 10 am - 8 pm; Friday and Saturday 10 am - 10 pm. 8 pm is an early end time in the Summer. But that's the rule.

6) You can't make too much noise. If you make too much noise, you can be fined, lose your street performer license, and/or have to do community service. Noise allowances are defined in the law. What I've seen over the years is that the most trouble is caused by boomboxes played too loud, amplifiers played too loud, and people banging on drums or buckets. If you do these things, you will likely run into trouble sooner or later.

Another problem is performers staying in the same location too long or coming back to the same place day after day. The people working or living near those locations do not want to hear the same noises hour after hour or day upon day. If you switch locations every hour, you are less likely to have trouble.

QUIET ZONES: The streets around a hospital and around a school during school hours are Quiet Zones. Street performers and musicians cannot perform in these areas. The relevant parts of the law are below.

Today's special guest is PATRICK TINNING, of the Chicago band, THE HOPS. Patrick was a schoolteacher in a bilingual education program, got laid off, and decided to hone his performing skills by taking it to the streets. He has some insight to share with us. After Patrick shares his thoughts, I will tell how to get the license and the rules you must follow.


WORDS FROM PATRICK TINNING: The picture is from the CTA blue line stop at O’Hare. There's a good amount of traffic there. You really gotta work the people though. Standing would have been an advantage because I would have been able to get in people's way a little but I didn't have my guitar strap so I had to sit.
I've seen two man street performers (guitar player, singer) where the singer is able to extend his hand to people and they seemed to do well. I've done OK. On days where I've had a decent pull (more than $20), I usually hide the bills in the neck of the guitar case so people don't get brave and try to reach in and get grabby. I put a sign with The Hops stickers that says TAKE A STICKER, but when I've done that I think people don't want to reach near the case because they don't want to look like they're trying to take money.
I don't use an amp, although I've seen a guy use one. I just think it looks like you don't really need the money if you've got all this equipment. I have used my little amp once, and I did horrible that day. I think for that very reason... I brought my tambourine a few times and kicked it while I played. People liked that. It was tough to do, and play and sing, but it does add another level of rhythm and beat to the music.
Going along with the looking like you have money thing, I'd say never wear a tie. I know that seems obvious, but I did once this summer cause I went with a girl, and that was the only day I ever got stiffed completely. Usually I wear torn jeans, my camo pants, and a sign that says, "I'm not lazy I'm just misunderstood."
Beatles songs are always good to do. Christmas carols are good during the season. "Love Rollercoaster" has really done well for me. I've had people dancing to that one, that was really fun. And I started a sing along once when I did Hank Williams' "Hey Good Lookin". Of the originals, our song "The Walk" always gets money. As soon as I start that song, the change just starts dropping in the bucket. It's a funny tune about walking, which is what people do when you're street performing.
The guitar case has been the best thing to collect money. I've used a bucket and people miss badly. They miss with the case too, but not as frequently.
Peace and Harmony,
Patrick
THANK YOU PATRICK -- AND NOW TO THE BASICS ON HOW TO GET THE LICENSE AND THE LAWS YOU WILL HAVE TO FOLLOW:

CHICAGO STREET PERFORMER LICENSE: To be a street performer in Chicago, you need a license.

HOW TO GET THE LICENSE:

1) You must go IN PERSON during Monday-Friday business hours to:
Chicago City Hall, 121 North LaSalle Street, Room 800
Since this takes some time, show up at 3 pm at the latest.

2) Fill out the form they give you -- the exact questions are below. Much of this pertains to Peddlers. Just ignore those parts - they are the parts in grey below. A peddler is a person that sells things on the street. That is also an interesting business and one you may want to get into. People sell flowers on the streets, glowing necklaces and glo sticks at night events, etc. But this post is about Street Performers.


CITY OF CHICAGO
Peddler / Performer
____ ____ ____ ____ ____ ____
Account Number (DBA USE ONLY)
Individual Information
Type of License Peddler Food Peddler Street Performer
Owner Information
First Name Middle
Last Name Jr./Sr.
Residential Address
Street Number N/S/E/W Street Name Ave, St, etc.
NOTE: This address
needs to match the
owner’s photo ID
City State Zip Code
Date of Birth
Social Security Number
Contact Phone
Contact Fax
Contact Email
Peddling Information (for peddlers only)
An Illinois Business Tax number is REQUIRED before a Peddler’s license may be issued*
Illinois Business Tax
* If you do not have one, you must obtain an Illinois Business Tax (IBT) Number from the Illinois Department of Revenue located at
100 W. Randolph Street, Lower Level, or online at www.revenue.state.il.us
Products to be Sold
List the items you plan
to sell as a peddler in
the City of Chicago
PROHIBITED FOOD ITEMS:
Bottled water, candy, chips, soda/pop, liquor, all other consumable food items except for
uncut, uncooked fruits and vegetables (cooked fruit and/or vegetables are not allowed)
ITEMS THAT MAY NOT BE PEDDLED IF THEY ARE PREVIOUSLY OWNED (USED):
Audio-video equipment, cameras, computer hardware, jewelry made of precious metal or
stone, articles made of precious metal, precious stones or gems, sporting or athletic gear
or equipment, bicycles, watches or currency
Prohibited Items
This is a list of some
items that may NOT
be sold by a Peddler
on the Public Way in
the City of Chicago
OTHER PROHIBITED ITEMS:
Tires, weapons, tickets, tobacco, weapons (including any pistol, revolver or other firearm,
dagger, stiletto, billie, derringer, bowie knife, dirk, stun gun or taser), and any illegal or
hazardous material or substance
PEDDLERS AND STREET PERFORMERS MUST APPLY IN PERSON AT THE ADDRESS LISTED BELOW:
CITY OF CHICAGO Department of Business Affairs and Consumer Protection: Business Assistance Center
City Hall, Room 800 121 N. LaSalle Street, Chicago, IL 60602
(312) 74-GOBIZ (744-6249)


3) PAY THE FEE. The current fee is $100/ year. Patrick paid $200 for 2 years -- and I am not sure if that was by choice, of if the applicant is required to pay for 2 years. You may want to call and ask.

4) LAW AND RULES: Once you have your Chicago Street Performer license, these are the laws and rules you have to follow:

YOU SHOULD READ THROUGH THIS LAW AT LEAST ONCE BEFORE
YOU HEAD OUT TO BEGIN YOUR NEW CAREER AS A STREET PERFORMER:





CHAPTER 4-268 
STREET PERFORMERS
4-268-010 Definitions.
4-268-020 Permit – Required.
4-268-030 Permit – Conditions.
4-268-040 Permit – Display.
4-268-050 Rules and regulations.
4-268-060 Acceptance of contributions.
4-268-070 Violation – Penalty.
4-268-080 Special events.
4-268-090 Constitutionality.
4-268-010 Definitions.
The following terms are defined for the purpose of this chapter as follows:
(a) “Perform” means and includes, but is not limited to, the following activities: acting, singing, playing musical instruments, pantomime, juggling, magic, dancing and reciting.
(b) “Performer” means an individual to whom a permit was issued pursuant to the provisions of this chapter.
(c) “Public area” means and includes sidewalks, parkways, playgrounds and all other public ways located in the City of Chicago, except transit platforms and stations operated by the Chicago Transit Authority or the Metropolitan Transportation Authority.
(b) “Special event” means any special event conducted by the city of Chicago, including events conducted by permission of the Chicago Park District in parks or other facilities operated by the park district.
(Added Coun. J. 12-9-92, p. 25465; Amend Coun. J. 4-21-99, p. 92524, § 1)
4-268-020 Permit – Required.
No person may perform in a public area without having obtained a permit issued under Section 4-268-030 of this chapter.
(Added Coun. J. 12-9-92, p. 25465)
4-268-030 Permit – Conditions.
(a) A permit shall be issued by the commissioner of the department of business affairs and consumer protection to each applicant therefor in exchange for a completed application and a fee of $75.00 as set forth in Section 4-5-010.
(b) A completed application for a permit shall contain the applicant’s name, address and telephone number and shall be signed by the applicant.
(c) [Reserved.]
(d) A permit shall contain the name and permit number or department of business affairs and consumer protection account number of the permit holder, a clear picture of the permit holder, and the year in which it is issued. The permit shall be in a form that can be displayed.
(e) A permit shall be nontransferable.
(f) Upon issuing a permit, the commissioner of the department of business affairs and consumer protection shall also issue to the performer a printed copy of this chapter.
(Added Coun. J. 12-9-92, p. 25465; Amend Coun. J. 7-27-05, p. 53211, § 1; Amend Coun. J. 2-8-06, p. 70052, § 1; Amend Coun. J. 11-15-06, p. 92532, § 1; Amend Coun. J. 11-19-08, p. 47220, Art. V, § 5)
4-268-040 Permit – Display.
A performer shall carry and display a permit on his or person at all times while performing in a public area, and shall wear the permit in a manner that is clearly visible to the public.
(Added Coun. J. 12-9-92, p. 25465; Amend Coun. J. 2-8-06, p. 70052, § 1)
4-268-050 Rules and regulations.
(a) A performance may take place in any public area, but only between the hours of 10:00 a.m. and 8:00 p.m. on Sundays through Thursdays and 10:00 a.m. and 10:00 p.m. on Fridays and Saturdays.
(b) A performer may not block the passage of the public through a public area. If a sufficient crowd gathers to see or hear a performer such that the passage of the public through a public area is blocked, a police officer may disperse that portion of the crowd that is blocking the passage of the public, or may order the performer to cease performing at that location until the conditions causing the congestion have abated.
(c) A performer may not perform on the public way so as to obstruct access to private property, except with the prior consent of the owner or manager of the property.
(d) (1) A performer shall comply in all respects with the relevant portions of the noise and vibration control provisions of the Chicago Environmental Noise Ordinance, Article XXI of Chapter 11-4 of the Municipal Code, and all other applicable code provisions, which prohibit a street performer from generating any sound by any means so that the sound is louder than an average conversational level at a distance of 100 feet or more, measured either horizontally or vertically from the point of generation. Failure to comply with these noise control limitations shall constitute a violation of this section and shall subject the violator to the penalties set forth in subsection (e) of this section.
Any performer whose performance in the area bounded by Lake Michigan on the east, Oak Street on the north, Congress Parkway on the south and LaSalle Street and Wacker Drive on the west (including both sides of the named boundary streets), has exceeded the noise limitations set forth in Section 11-4-2800, and restated in this subsection (d)(1), and who is given notice thereof and requested to move by a police officer or department of environment personnel, shall move the location of his or her performance at least two city blocks from the location where the noise violation occurred. Failure to obey such a request to move is a violation of this section.
(d) (2) It shall be a separate violation of this section for a street performer to generate any sound by any means so that the sound is louder than an average conversational level at a distance of 200 feet or more, measured either horizontally or vertically from the point of generation. Failure to comply with these noise control limitations shall subject the violator to the penalties set forth in subsection (e) of this section.
(e) Anyone found guilty of two violations of subsection (d)(1) of this section within one calendar year, and anyone found guilty of one violation of subsection (d)(2) of this section, shall have his or her street performer’s permit revoked by the department of business affairs and consumer protection for a period of one calendar year. Permit revocations shall be conducted in accordance with procedures established by the department of business affairs and consumer protection. In addition to permit revocation and the fine provided for in Section 4-268-070, a person violating subsection (d) of this section may also be required to perform up to 24 hours of community service.
(f) All street performers are prohibited from performing in the highly congested area on both sides of Michigan Avenue, bounded by East Delaware Place on the north and East Superior Street on the south.
(g) No performer shall, while performing on the public way (1) along that portion of Jackson Boulevard that lies between Columbus Drive and Lake Shore Drive at any time during which a concert is being performed in the Petrillo Music Shell, or (2) along that portion of Randolph Street that lies between Columbus Drive and Michigan Avenue, and along that portion of Columbus Drive that lies between Michigan Avenue and Monroe Street, at any time during which a concert is being performed in the Jay Pritzker Pavilion, emit noise that is audible to a person with normal hearing more than 20 feet away.
(h) No performance by a performer shall be allowed at any time in Millennium Park, or on any sidewalk that abuts Millennium Park, as that term is defined in section 10-36-140.
(Added Coun. J. 12-9-92, p. 25465; Amend Coun. J. 7-21-99, p. 9473; Amend Coun. J. 7-27-05, p. 53211, § 1; Amend Coun. J. 2-8-06, p. 70052, § 1; Amend Coun. J. 7-26-06, p. 81473, § 3; Amend Coun. J. 5-9-07, p. 104052, § 6; Amend Coun. J. 11-19-08, p. 47220, Art. V, § 5; Amend Coun. J. 6-3-09, p. 63975, § 1)
4-268-060 Acceptance of contributions.
A performer who performs and accepts contributions under the provisions of this chapter shall not be committing disorderly conduct under Section 8-4-010 of the Municipal Code of Chicago by virtue of those acts.
(Added Coun. J. 12-9-92, p. 25465)
4-268-070 Violation – Penalty.
Any person who violates any of the provisions of this chapter, including but not limited to the noise control limitations which are set forth in Section 4-268-050, or who knowingly furnishes false information on the permit application, shall be subject to a fine of $300.00 for the first offense and $500 thereafter for any subsequent violations. Except as otherwise specifically provided, anyone found guilty of three violations of any of the provisions of this chapter within one calendar year shall have his or her street performer’s permit revoked by the department of business affairs and consumer protection for a period of one calendar year. Permit revocations shall be conducted in accordance with procedures established by the department of business affairs and consumer protection.
(Added Coun. J. 12-9-92, p. 25465; Amend Coun. J. 2-8-06, p. 70052, § 1; Amend Coun. J. 7-26-06, p. 81473, § 3; Amend Coun. J. 11-19-08, p. 47220, Art. V, § 5; Amend Coun. J. 6-3-09, p. 63975, § 1)
4-268-080 Special events.
The mayor, by and through the commissioner of the department of cultural affairs, or the executive director of the mayor’s office of special events, shall have the authority to promulgate reasonable rules and regulations governing the time, place manner and duration of all performances permitted under this chapter which occur during the course of a special event, including during the set up and clean up.
Such regulations shall include establishing specified areas within, or reasonably near the perimeter of, the grounds of a special event to which performers shall be limited, and such other restrictions as are reasonably necessary to ensure attendees’ enjoyment of planned events, protection of unique public art and landscapes, and public safety and welfare. Copies of such regulations shall be published and made available both in advance of and at the location of the special event.
(Added Coun. J. 12-9-92, p. 25465; Amend Coun. J. 4-21-99, p. 92524, § 2; Amend Coun. J. 2-8-06, p. 70052, § 1)
4-268-090 Constitutionality.
If any provision, clause, sentence, paragraph, section or part of this chapter shall, for any reason, be adjudged by a court of competent jurisdiction to be unconstitutional or invalid, said judgment shall not affect, impair or invalidate the remainder of this chapter. It is hereby declared to be the legislative intent of the council that this chapter would have been adopted had such unconstitutional or invalid provision, clause, sentence, paragraph, section or part thereof not been included.

Quiet Zones:

Quiet Zones Laws:
10-8-010 Establishment.
There is hereby created and established a zone of quiet in all territory embraced within the block upon which abuts the premises of any hospital owned, controlled or operated by the federal, state, county or city governments or any licensed hospital or home.
10-8-060 School zones of quiet.
There are hereby created and established zones of quiet during school hours in all public ways surrounding every block within which is located a building used, controlled, leased or operated for free common school education in the city.
It shall be the duty of the commissioner of transportation to place, or cause to be placed, on lampposts or some other conspicuous place, as near to each of the corners as practicable of every such block wherein such zone of quiet is established, as provided in this section, signs or placards displaying the words, “Notice Zone Of Quiet”.
10-8-070 Unnecessary noises.
The making, causing or permitting to be made of any unnecessary noise of any kind whatsoever, or the playing of itinerant musicians, or the making of noises for the purpose of advertising any goods, wares or merchandise, or of attracting the attention or inviting the patronage of any person to any business, or the playing of itinerant musicians upon the public ways within any zone of quiet established in accordance with this chapter, is hereby declared to be a nuisance, and is hereby prohibited.