define mid tour

• 1.1 Etymology
• 1.2 Adjective

mid- +‎ tour

midtour ( not comparable )

• Occurring or existing in the middle of a tour
• 2007 November 3, Lisa W. Foderaro, “For Soldiers Families, Battles Are Not Far Off”, in New York Times ‎ [1] : But for these soldiers, it is all the more so because of the length of their deployment, which was extended midtour from one year to 15 months.

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What does midtour mean?

Definitions for midtour mid·tour, this dictionary definitions page includes all the possible meanings, example usage and translations of the word midtour ., did you actually mean medawar or mindoro , wiktionary rate this definition: 0.0 / 0 votes.

midtour adverb

In the middle of a tour

midtour adjective

Occurring or existing in the middle of a tour

How to pronounce midtour?

Alex US English David US English Mark US English Daniel British Libby British Mia British Karen Australian Hayley Australian Natasha Australian Veena Indian Priya Indian Neerja Indian Zira US English Oliver British Wendy British Fred US English Tessa South African

How to say midtour in sign language?

Chaldean Numerology

The numerical value of midtour in Chaldean Numerology is: 1

Pythagorean Numerology

The numerical value of midtour in Pythagorean Numerology is: 1

• ^  Wiktionary https://en.wiktionary.org/wiki/Midtour

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• midterm examination noun
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midtour ( English)

Origin & history.

• Occurring or existing in the middle of a tour
• In the middle of a tour
• November 3, 2007 , Lisa W. Foderaro, For Soldiers Families, Battles Are Not Far Off , New York Times: " But for these soldiers, it is all the more so because of the length of their deployment, which was extended midtour from one year to 15 months. "

Automatically generated practical examples in English:

Pulling a volunteer off a productive job at midtour is unfair to the nation, to the host country, the Peace Corps, and the individual. Jack H. Vaughn

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Cite this page : "midtour" – WordSense Online Dictionary (23rd July, 2024) URL: https://www.wordsense.eu/midtour/

There are no notes for this entry.

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midtown (English)

midtowner (English)

midtowners (English)

midtpunkt (Norwegian Bokmål)

midtpunkta (Norwegian Bokmål)

midtpunktene (Norwegian Bokmål)

midtpunkter (Norwegian Bokmål)

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轉達 , ލޯބި , rebriefing , mùr (Scottish Gaelic)

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What does the slang word 'mid' really mean?

"Mid" is a slang word for anything that's ... blah. Meh. Eh.

According to Bark.us , a company that decodes teen slang, "mid" is "a term used to describe something that is average, not particularly special, 'middle of the road.'"

Urban Dictionary states that “mid” is: "Used to insult or degrade an opposing opinion, labeling it as average or poor quality.”

What does 'mid' mean?

Think: a lukewarm bowl of mac-and-cheese or a three-star hotel, says Kelly Elizabeth Wright, a postdoctoral research fellow in language sciences at Virginia Tech.

For example:

“How was that new boba place?” “It tasted mid.”

“What do you think of my outfit? “It’s mid.”

“Did you like the movie?” “It’s a mid sequel.”

“Mid is a fun word that I find indicative of the ways in which the newer generations are using language, particularly how younger users find ways to downgrade less-than-pleasant experiences," Wright tells TODAY.com . "(Previous) generations ... which have been prone to hyperbole, might have called such places and experiences 'wretched' or 'heinous,' making contemporary applications of 'mid' feel like a rather self-aware alternative."

According to Wright, "mid" is older than modern English.

"It's been part of the language since before 1150 and means ‘occupying a central, medial, or intermediate position,' according to the Oxford English Dictionary ," she says. "We are seeing it grow in usage, both in terms of an increasing number of people using the term descriptively and that number of people including users from diverse backgrounds."

As guest writer Ayesha M. Malik wrote in “Among the New Words,” a journal published by “American Speech”:

“It can also be used very neutrally to mean something is not worthy of substantive remark, capturing perfectly Gen Z’s blasé attitudes about most things, as in ‘I have no feelings one way or the other. It is the middest of mid,’ It’s all somewhere near the middle — the spin is up to the speaker.”

Where did 'mid' come from?

According to Malik, "mid" was used by people in cannabis culture.

"Meaning weed that’s not quite top shelf, but not bottom of the barrel either," she wrote. "Perfectly fine in a pinch, mid-grade weed is neutral-positive as it gets the job done for cannabis consumers who are less than discerning."

“Mid” made trouble in September 2021, when professional wrestler Maxwell Jacob Friedman used it to insult people who live in Cincinnati, Ohio, during a match.

“It’s called the Midwest because every single thing in it is mid,” he yelled, including a chili restaurant chain, the Cincinnati Reds baseball team and people who call the region home.

According to Adam Aleksic, aka, the “Etymology Nerd” as he’s known on TikTok, the word “mid" will get midder with time.

“We will almost definitely see ‘mid’ become even more negative because it’s a very frequent theme in etymology for common or average things to become bad,” Aleksic said in a TikTok video .

Aleksic pointed to the origins of words like “trivial” which once defined “commonplace” and “ vulgar ” meant “pertaining to the common people,” he said.

This article was originally published on TODAY.com

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Definitions

From wiktionary , creative commons attribution/share-alike license..

• adjective Occurring or existing in the middle of a tour
• adverb In the middle of a tour

Etymologies

From wiktionary, creative commons attribution/share-alike license.

Help support Wordnik (and make this page ad-free) by adopting the word midtour .

I have also lost 20+ pounds with some more to go (yeah!) and am worried about when my hubby comes home on his midtour in December.

The Running Is Hard Edition - SpouseBUZZ 2009

He has midtour this month so I plan on starting them over again after that.

All Those Moments Are Gone - SpouseBUZZ 2009

Jeff Van Antwerp sacrificed almost the entire two weeks of his midtour leave to be with me, canceling a trip to the Caribbean with the blessing of his wife.

Hope Unseen Captain Scott M. Smiley 2010

Bob also managed, in midtour , to fly from California to New Jersey to pick up a personal appearance check of two thousand dollars at a convention of milk producers.

Satch, Dizzy & Rapid Robert Timothy M. Gay 2010

I could hardly wait to get home for my midtour leave.

I closed my eyes and prayed for lucid dreams, thankful that I had only a month until my midtour leave.

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Definition of mid

 (Entry 1 of 2)

Definition of mid  (Entry 2 of 2)

• intermediary
• intermediate

Preposition

• amidst
• amongst

Examples of mid in a Sentence

These examples are programmatically compiled from various online sources to illustrate current usage of the word 'mid.' Any opinions expressed in the examples do not represent those of Merriam-Webster or its editors. Send us feedback about these examples.

Word History

Middle English, from Old English midde ; akin to Old High German mitti middle, Latin medius , Greek mesos

before the 12th century, in the meaning defined at sense 1

15th century, in the meaning defined above

Phrases Containing mid

• mid - Atlantic
• mid - ocean ridge

Articles Related to mid

We Added 690 New Words to the...

We Added 690 New Words to the Dictionary for September 2023

Ngl, this update is a big one

Dictionary Entries Near mid

micturition

midafternoon

Cite this Entry

“Mid.” Merriam-Webster.com Dictionary , Merriam-Webster, https://www.merriam-webster.com/dictionary/mid. Accessed 23 Jul. 2024.

Kids Definition

Kids definition of mid.

Kids Definition of mid  (Entry 2 of 2)

Medical Definition

Medical definition of mid, more from merriam-webster on mid.

Nglish: Translation of mid for Spanish Speakers

Britannica English: Translation of mid for Arabic Speakers

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Vivid Portrait of Interacting Galaxies Marks Webb’s Second Anniversary

Two for two! A duo of interacting galaxies commemorates the second science anniversary of NASA’s James Webb Space Telescope, which takes constant observations, including images and highly detailed data known as spectra . Its operations have led to a “parade” of discoveries by astronomers around the world.

“Since President Biden and Vice President Harris unveiled the first image from the James Webb Space Telescope two years ago, Webb has continued to unlock the mysteries of the universe,” said NASA Administrator Bill Nelson. “With remarkable images from the corners of the cosmos, going back nearly to the beginning of time, Webb’s capabilities are shedding new light on our celestial surroundings and inspiring future generations of scientists, astronomers, and explorers.”

“In just two years, Webb has transformed our view of the universe, enabling the kind of world-class science that drove NASA to make this mission a reality,” said Mark Clampin, director of the Astrophysics Division at NASA Headquarters in Washington. “Webb is providing insights into longstanding mysteries about the early universe and ushering in a new era of studying distant worlds, while returning images that inspire people around the world and posing exciting new questions to answer. It has never been more possible to explore every facet of the universe.”

The telescope’s specialization in capturing infrared light — which is beyond what our own eyes can detect — shows these galaxies, collectively known as Arp 142, locked in a slow cosmic dance. Webb’s observations, which combine near- and mid-infrared light from Webb’s NIRCam (Near-Infrared Camera) and MIRI (Mid-Infrared Instrument), respectively, clearly show that they are joined by a haze represented in blue that is a mix of stars and gas, a result of their mingling.

Their ongoing interaction was set in motion between 25 and 75 million years ago, when the Penguin (individually cataloged as NGC 2936) and the Egg (NGC 2937) completed their first pass. They will go on to shimmy and sway, completing several additional loops before merging into a single galaxy hundreds of millions of years from now.

Image A: Interacting Galaxies Arp 142 (NIRCam and MIRI)

Let’s dance.

Before their first approach, the Penguin held the shape of a spiral. Today, its galactic center gleams like an eye, its unwound arms now shaping a beak, head, backbone, and fanned-out tail.

Like all spiral galaxies, the Penguin is still very rich in gas and dust. The galaxies’ “dance” gravitationally pulled on the Penguin’s thinner areas of gas and dust, causing them to crash in waves and form stars. Look for those areas in two places: what looks like a fish in its “beak” and the “feathers” in its “tail.”

Surrounding these newer stars is smoke-like material that includes carbon-containing molecules, known as polycyclic aromatic hydrocarbons , which Webb is exceptional at detecting. Dust, seen as fainter, deeper orange arcs also swoops from its beak to tail feathers.

In contrast, the Egg’s compact shape remains largely unchanged. As an elliptical galaxy, it is filled with aging stars, and has a lot less gas and dust that can be pulled away to form new stars. If both were spiral galaxies, each would end the first “twist” with new star formation and twirling curls, known as tidal tails.

Another reason for the Egg’s undisturbed appearance: These galaxies have approximately the same mass or heft, which is why the smaller-looking elliptical wasn’t consumed or distorted by the Penguin.

It is estimated that the Penguin and the Egg are about 100,000 light-years apart — quite close in astronomical terms. For context, the Milky Way galaxy and our nearest neighbor, the Andromeda Galaxy, are about 2.5 million light-years apart. They too will interact, but not for about 4 billion years .

Now, look to the top right to spot a galaxy that is not at this party. This edge-on galaxy, cataloged PGC 1237172, is 100 million light-years closer to Earth. It’s also quite young, teeming with new, blue stars.

Want one more party trick? Switch to Webb’s mid-infrared-only image to see PGC 1237172 practically disappear. Mid-infrared light largely captures cooler, older stars and an incredible amount of dust. Since the galaxy’s stellar population is so young, it “vanishes” in mid-infrared light.

Image B: Interacting Galaxies Arp 142 (MIRI Only)

Also take a moment to scan the background. Webb’s image is overflowing with distant galaxies. Some take spiral and oval shapes, like those threaded throughout the Penguin’s “tail feathers,” while others scattered throughout are shapeless dots. This is a testament to the sensitivity and resolution of the telescope’s infrared instruments. (Compare Webb’s view to the 2018 observation that combines infrared light from NASA’s retired Spitzer Space Telescope and near-infrared and visible light from NASA’s Hubble Space Telescope.) Even though these observations only took a few hours, Webb revealed far more distant, redder, and dustier galaxies than previous telescopes – one more reason to expect Webb to continue to expand our understanding of everything in the universe.

Want more? Take a tour to the image, “fly through” it in a visualization , and compare Webb’s image to the Hubble Space Telescope’s.

Arp 142 lies 326 million light-years from Earth in the constellation Hydra.

Video: Tour the Arp 142 Image

Video: Arp 142 Visualization

Image C: Compare Hubble/Webb

Side BY SIDE

Compare Hubble and Webb (NIRCam) Views of Arp 142

July 12, 2024

The James Webb Space Telescope is the world’s premier space science observatory. Webb is solving mysteries in our solar system, looking beyond to distant worlds around other stars, and probing the mysterious structures and origins of our universe and our place in it. Webb is an international program led by NASA with its partners, ESA (European Space Agency) and CSA (Canadian Space Agency).

Right click any image to save it or open a larger version in a new tab/window via the browser's popup menu.

View/Download all image products at all resolutions for this article from the Space Telescope Science Institute.

Media Contacts

Laura Betz - [email protected] , Rob Gutro - [email protected] NASA’s Goddard Space Flight Center , Greenbelt, Md.

Claire Blome - [email protected] Christine Pulliam - [email protected] Space Telescope Science Institute , Baltimore, Md.

Related Information

Video : Learn more about Arp 142 and galaxy collisions Video : Learn more about galactic collisions Video : What happens when galaxies collide? Interactive : Explore “Interacting Galaxies: Future of the Milky Way” - Video : Galaxy Collisions: Simulations vs. Observations Article : More about Galaxy Evolution

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Roadie Dictionary: A List of Touring Terms

Look, I know it’s easy to get lost in all the terms and the slang. But here are a bunch of words and common phrases that you’ll hear while touring, advancing, or even in a bunch of these articles. Some technical, some… not so much. This list will never be finished, I’ll continue to update.

Updated Oct 12th, 2022.

If you can think of anything to add, hit me on social media or email at [email protected]

Advance – The art of negotiating details prior to the day of show. See article on What is Advancing? (Coming later this week).

AtVenu – A cloud-based merchandise management software with the ability to electronically sync the team so everyone can see reports, inventory, stats, etc. https://www.atvenu.com/

Back to the Future – When you play a city, leave, then have to drive back through later in the tour.

Backend – Slang for overages. See overages. i.e. “We hit 50k on the back-end”

Backline – This refers to all instruments to perform the show. Guitars, Bass, Drums, Keys, Amps, etc. are all considered backline

Boat – Often referred to as a guitar boat, this the a multiple guitar stand. It’s normally set-up in the guitar world (see world) so the tech can have all the necessary guitars out and ready. A Vault is the same thing, just on wheels and the guitars live inside it.

Boomerang – When you accidentally steal something from a venue and have to ship it back

Bro-Tech – A friend of the artist, hired to be a tech due to their relationship more than their merit. Often found drinking the beer and forgetting things at load out.

Bunk – Your coffin-sized bedroom on the bus where you sleep, cry and have alone time. See crying

Bunk alley – the hallway where the bunks are, separating the drivers side and the passenger side bunks. “I keep dropping my pillows into bunk alley at night”

Bunk bunny – k. This is a gross one. It’s the name of a sock that you jack off into. 

Bus Bay – the area underneath the bus where luggage is stored. 

Bus Call – A set time for when the bus is scheduled to depart. If you’re late for this, sometimes you get left behind. See Oil-Spot

Bus Flea – When a FOB (friend of band) rides the bus to another city.

Buyouts – When cash is distributed instead of the show paying for a service or product. I.e. instead of providing dinner, the promoter can give the tour manager cash for a meal buyout. Or, if there is budget allotted for production and the artist is self-contained, the artist takes the buyout instead.  

Cash Advance – The final settlement is usually paid by chq or wire. If the tour manager needs some cash (it will be deducted from the settlement), but they need to ask the promoter for it in advance as cash isn’t as easy to pull these days. 

Condo bunk – The bunk configuration that’s taller than the standard sized bunk. They’re usually 2 per column instead of the standard 3 per column.  

Copy That – A common term used to display understanding.

Crew-ni-form – The Crew Uniform. Black hoodie, Black T-shirt, Black pants.

Crew Year’s Eve – Last show before multiple days off OR Last show of a tour.

Cross Load – When you load into a location for the sole purpose of loading into another vehicle. When you load from one truck to another. When you load from bus trailer directly to a truck.

Cryo – Short for cryogenics. The act of blasting cold compressed air through a jet for a special effect.

Dart Board Tour – When the touring routing looks like it was determined by throwing darts at a map.

db Limit – a predetermined amount maximum SPL (sound pressure level) allowed at a certain venue. You often see this in outdoor venues that have neighbours close by. i.e. “There’s a db limit of 100dba at FOH”

Dead Cases – “ Deads ” for short refers to case lids and empty cases. For example… While loading in, “Where are we gonna put our deads ?”

Dead Man – A rolled drum carpet that looks like it contains a dead body.

Direct Support – The artist that plays just before the headliner

Disco Load-Out – When you load out and there is a DJ playing tunes cuz the bar refuses to let the party die. It is loud, annoying, and painful.

Distro – A piece of gear that distributes power. This will be connected to the venue’s power distribution then sent to lights, audio, stage etc. Sometimes requires an electrician to “tie-in” the tails

Donkey Show – Sometimes referred to as a “Gong Show”. When everything is disorganized and disastrous.

Down-Time – Time in between tours where you go home to rest. i.e. “Get home safe, enjoy your down-time”

Driver Bay – A bay on the bus designated for the driver. It normally holds the vacuum, bus supplies, and the driver’s personal possessions.

Drop and Go – When there is no parking at the venue and you have to drop all of your gear, then the bus or van has to go park offsite.

Drum Riser – See Risers. Drum riser’s common dimensions are 8ft x 8ft x 1ft and need to be specified if it requires wheels.

Dummy Check – The act of doing a double check or final walk through to make sure you didn’t forget anything. I.e. “Did anyone do a dummy-check?”

Ego Riser – See Risers. Ego risers are normally positioned downstage for the artist to stand on and look bigger or higher for effect.

Flat Deal – A version of the contract in which the artist is paid a flat fee as a guarantee and will not be receiving overages. See guarantee and overages.

FOH – Abbreviation for Front of House . Where the audio and lighting consoles live in the crowd.

Front Lounge – Refers to the front – common area – section of the bus. This is where the bathroom, fridge, kitchenette, TVs, and seats are.

Gaff – Cloth tape used for just about everything on the road. Found in a variation of sizes and colours.

Garth Vader – Midwest casino goers with oxygen tanks and cigarettes.

Generator – Genny for short. An engine in a bay of the bus used to generate power for the bus when the engine is off.

Generator alley – The alleyway between 2 busses that are parked beside each other.  If the generators are running, it’s a vortex of exhaust fumes.

Gig Foot – See Stage Turd. A Piece of Gaff tape stuck to your shoe

Grab and Go – When you stop for food but don’t have time to eat.

Grab and Vibe – When you stop for food but have time to chill and eat.

Groupie – You know what they are. No, you shouldn’t bang them.

Guarantee – A contracted amount that the artist gets paid to do a show.

Hang-a-bility – A way to describe someone’s ability to hang out

High touch – This shit is crazy. It’s big in Kpop touring. This is a VIP segment where you literally run past the artist and give them a High-Five. Meet n Greets are for losers.

Hollywood Pack – Refers to a truck pack with no stacking cases. Everything is flat and easy to load in. Also referred to as a “Flat Pack”

Hospitality Rider – This is the famous rider. This is the list that all the fans wanna know about. A “hospo” rider is the list of all your hospitality needs that you need to perform the show. It’s supposed to be snacks, drinks, etc to cover your crew through the day. Some see this as an opportunity to make outlandish requests as this is where you’d see the 1000 brown M&M’s. It’s frowned upon. Here’s a link to the smoking gun for a bunch of famous riders .

Hot Bag – A bag in which you go #2 into since there are no #2’s on the bus. This is pretty gross, maybe you should just ask the driver to pull over instead.

IATSE – See Unions. IATSE is the union for the International Alliance of Theatrical and Stage Employees . Follow the link here to their website to familiarize yourself.

Jump Seat – The seat beside the driver in the front of the bus. Equivalent to riding shotgun in a bus. It’s also the designated smoking seat.

Junk bunk – a bunk that doesn’t have anyone sleeping in it. It get filled with everyone’s bags, jackets, shoes, etc. 

Justin Case – A permanent reserved guest list spot held just in case of a late request

Laminate – This is your laminated backstage pass. Normally worn around your neck or from a carabiner on your belt loop, they’re often numbered or have your name so they’re traceable and accountable. These bad boys generally cost money if they are lost and need to be replaced.

LaundroMerch – When your luggage gets lost or stolen and you have to borrow merch for the sake of clean clothes.

Lead driver – The driver in charge of the other drivers. If there are busses and trucks on the tour, it will be a truck driver since they are usually at the venue before the busses.

Load in – The act of moving gear from it’s transportation into the venue

Lobby Call – A pre-determined time to meet in the lobby of a hotel. i.e. “Lobby call at 8am”

Loft – This isn’t your sexy apartment above a store in Soho. It’s a second level in the truck, built out of plywood and load bars, to store less heavy items. Oftentimes becomes a way to store merch boxes.

Marlon Randos – Random people or guests in the way of load out. Especially true in loading zones and hallways.

Master Tour – Tour Management software that has the ability to electronically sync band, crew, management, etc. NO MORE QUESTIONS ABOUT WHAT HOTEL WE’RE AT OR WHAT TIME WE’RE ON. #checkmastertour https://www.eventric.com/master-tour-management-software/

Merch – Short form for merchandise. Refers to the items available for sale to the general public. Pretty straight forward if you’ve ever been to a show.

NDA – Non Disclosure Agreement. It’s a legal contract that protects one party from their information being made public. Often times an artist will have the crew sign an NDA to protect their privacy and their artwork.

Neck-down – A person only useful from the neck down. As in, useful for pushing cases, but not thinking.

Noise Curfew – A predetermined time when all noise must stop. This could be a policy that does not allow noise during the day if there are offices beside the venue, or if the city has a strict no noise past 11pm bylaw. 

Oil-Spot – see Bus Call. Stems from the Latin term where you miss bus call and there is literally a spot of oil on the ground where the bus used to be. Please, I beg you. Someone make an emoji for an oil spot. All I have is this. ??

Overages – This is kinda a broad overview but, overages are the remaining amount of money left from show revenue (ticket sales) after all over the expenses (show costs) are paid. The amount of money to split are called the overages. i.e. The show brings in 50k, but costs $40k to produce, $10k are the overages to be split amongst the artist and the promoter. (Amounts and % are based on the contract)

Over Drive – (OD for short) A time when the bus driver gets into overtime. It can be after 450miles or 10 hours in 1 drive. Can also be if you bring a driver back from the hotel before their legally allotted time off (8 hours).

Parking Map – A detailed map provided by the promoter rep (or in the tech pack) to show the bus and truck drivers where to park. Oftentimes, the drivers arrive in the middle of the night. A detailed parking map allows them to get sorted properly without having to wake anyone up. 

Party Shoes – Slides or slippers worn on the bus.

Pass of Shame – When someone loses their tour pass and as preliminary replacement/punishment, they have to wear an A4/Letter sized pass for a day.

Points – See Overages – Slang for percentages. “PR: Do you want to show cost this? TM: Naw, fuck it, we’re into points already. Let’s make some moneeey.”

Pre-Settlement – This is an updatable version of the settlement delivered to the tour manager from the promoter rep during the day of show. This gives you a good idea of where you’re at with expenses vs tickets sold before the box office closes and you can make informed money decisions based on that.

Production Rider – See Rider . A list of production-related items (Audio, Lighting, Video) that are required to do the show. i.e. Audio section will say, We require a 4-way PA System with the ability to produce 120db of distortion-free audio at 100ft. These are often multiple pages and dependant on the level of artist.

Punters – The fans, the crowd, the VIPs. “(during security meeting) Which way do the punters come in?”

Punisher – A friend or a fan that is TOO DAMN MUCH

Pyro – Short for pyrotechnics. Means literal FIRE!!!

Quad – A destination on the other side of the gymnasium, only if naked and in the movie Old School. Otherwise, it’s a 4 outlet box used to plug-in A/C.

Quick connect – Often also referred to as NC-14 or Veam, This is an adapter to screw and connect a stage box. This is useful so you can plug all of your cables into the stage box on the riser, and only use the connecter when the riser rolls into place. This makes life much faster.

Quit-Fire – Depends on who you ask if the person quit or was fired. When someone quits before they are fired, or vice versa, gets fired before they can quit.

Ramp Party – When the hands are called to move the ramp from under the truck to the back of the trailer.

Rider – Broken into 2 categories. See Hospitality Rider or Production Rider. This is a list of all the things you would like. These are often very elaborate. They are sent to the promoter when purchasing the show, where the promoter scratches off items that they don’t want to pay for, signs it, and sends it back to the artist. It is part 2 to a contract.

Rider Spiders – Guests/Friends who eat or drink all the rider and after-show food.

Risers – Wood or steel platform to elevate a particlar instrument or person. i.e. Drum riser. 8ftx8ftx2ft on wheels.

Roadie – Did you know there are a bunch of people that get offended by this word? They find it derogatory? Sticks and stones, luv (Jack Sparrow impression)

Roadie Bra – A chest harness to hold tools, flashlight, phone, radio, and other accessories

Roadie Friday – This is the best day of every week. It’s any show day that is followed by a day off.

Rock Doc – The doctor that comes to the venue when someone is sick

Rumble strips – Perforations on the side of the road to alert drivers when they are veering out of the lane. These are the #1 reason for waking up road dogs.

Runner – A local person hired on show day to source various items. A runner is usually in a vehicle and is responsible for running errands on behalf of the tour all day. i.e. running to the grocery store/home depot, or driving the bus drivers to the hotel.

Safety – A steel cable used as a backup for rigging. i.e. each light fixture has a “safety” in case the clamp malfunctions and the light falls from the truss.

Security Meeting – A meeting that happens every show day approx 30 mins before doors to got over backstage access, evacuation plans, security placements, and a double check on all artist and venue policies. Normally has the tour manager, promoter rep, venue production manager, and head of security. 

Settlement – The art of sorting financials. “TM: Hey, when can you settle up? PR: Gimme 15, the box office just closed”

Shed – A slang term for an amphitheatre with a roof over the crowd

Show Cost – A pre-approved allotment of money categorized to facilitate the show. i.e. labor, hospitality, security, etc. All of the amounts go into the settlement at the end of the night when calculating overages. see overages

Slide Out – A section of the bus that literally slides out to extend the living space. Often found in the front lounge, it can only be out when the bus is parked.

Stacks and Racks – A term referring to a PA system and it’s amps. “We’re traveling with all audio except stacks and racks”

Stage Box – A box on stage in which you plug audio cables into. These run from the stage to the snake and keep things tidy.

Stage Hand – Normally just referred to as hands , They are the categorized labor that help the touring crew set-up. Broken into Audio, Lighting, Video, Backline, etc.

Stage Turd – A Piece of Gaff tape stuck to your shoe

Status – A term that refers to Airline or Hotel loyalty programs. The more you fly or stay, the higher levels of status you obtain and the more perks you receive.

Steward – the head union rep on site. They are the boss of the union laborers.

Sub Ride – A long bus ride. As if you’re trapped in a submarine.

Tech Packet – A list of all items available for use at the venue. This includes PA specs and info on Lighting, dressing rooms, showers, stage size, etc. 

Tetris – The art of distinguishing the truck pack. 

Throw and Go – When there is no time for soundcheck, so you have to put your gear on stage during changeover and hope for the best.

Tourmonal – A person’s negative feelings which have been brought on by the usual hurdles of day to day life on tour.

Transpo – Short for transportation, It refers to the logistics surrounding transportation. i.e. Getting vans to pick the crew up at the hotel and bring them to the venue.

Truck Fit – Having a certain level of physical ability to be able to stack 3 high cases in several trucks at 2am

Two Birds Stoned – This is a Rickyism from The Trailer Park Boys. It means the popular phrase kill 2 birds with 1 stone if you’re from a trailer park in Atlantic Canada.

Union – You know what, to the lower level touring acts, unions have a bad rap. But fuck that. Unions are the only part of civilization and are a great thing IF UTILIZED PROPERLY. A union protects the worker’s rights ensuring that they get proper breaks, paid according to labor laws, and ensure that everything is running according to safety regulations. They do it literally every day and are there to help. See IATSE for more union info.

Venue Curfew – A predetermined time when the venue has to be closed or is no longer staffed. See noise curfew.

Visqueen – A thin clear plastic used to cover gear in the event of rain.

WDA – This might just be a personal one but its code for showering and means Wash Dat Ass . i.e. “I don’t know if I’ll have time to go out, I still have to WDA.”

Wheels to Jesus – A case flipped upside down. wheel to the sky

Yerba Mate – A naturally caffeinated beverage for when you need a change from coffee.

Zero – How much I care about you if you don’t share this on the social links below.

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About Author

Jawsh Thomas

Tour Manager | Father | Husband | Founder/Editor of @backstageculture

See author's posts

This shit is amazing Jawsh. You have put your “down time” to excellent use. When you get to the chapter about merch interviews hit me up. Always, H

Thanks Hal! Check your email, my man.

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• a traveling around from place to place.

Synonyms: expedition , trip

The visiting prime minister was given a tour of the chemical plant.

to go on tour; a European concert tour.

• a period of duty at one place or in one job.

verb (used without object)

Synonyms: visit

• to travel from town to town fulfilling engagements.

verb (used with object)

• to send or take (a theatrical company, its production, etc.) from town to town.

He toured us through the chateaus of the Loire Valley.

• an extended journey, usually taken for pleasure, visiting places of interest along the route
• military a period of service, esp in one place of duty
• a short trip, as for inspection

a concert tour

• an overseas trip made by a cricket or rugby team, etc, to play in several places
• to make a tour of (a place)
• to perform (a show) or promote (a product) in several different places

Other Words From

• mini·tour noun
• un·toured adjective

Word History and Origins

Origin of tour 1

Example Sentences

The Frederick Douglass National Historic Site hosts a walking tour of Douglass’ Anacostia today at noon.

Noah Latham, a private based at Fort Drum, did a tour of Iraq as a drone operator, according to an Army spokesperson.

Hughes was scheduled to join city officials on a tour of the building two weeks later.

Plus, see how the Panda Cams are operated, take a virtual tour of the panda house and get the answers to some of your most-asked questions.

At that time, Matt Rihm and Hans Smith of Armada Skis were driving out for a ski tour in Utah’s Wasatch Mountains.

Stanley Richards, Senior Vice President of the Fortune Society, gave a tour along with a few residents.

Before I go out on tour, I ask for prayer and to help my family.

They finished out the tour without incident, while newspapers across the country picked up the story.

TLC promptly pulled the plug on the hit series and Shannon embarked on a press tour denying the claims.

I was a part of this tour, debating Meyer in Richmond, Virginia in April.

The magazines sketch us a lively article, the newspapers vignette us, step by step, a royal tour.

But the traveller took a wide tour; and did not bring the letter to its destination until two months after its date.

Your most intimate friend arrived in Paris, and you choose the next day to make a little tour!

I did not anticipate a tour of pleasure through Ireland, but the reality is more painful than I anticipated.

He explained quietly that he did not belong here, but was making a tour of the parishes of Wurttemberg and Baden.

Related Words

MLB announces 2025 regular season schedule

2025 championship season to open with the tokyo series presented by guggenheim between the los angeles dodgers and the chicago cubs; opening series at tokyo dome marks 25th anniversary of first-ever regular season games played in japan in 2000; 2025 season to feature “rivalry weekend” from may 16th-18th; all 30 clubs scheduled to play on traditional opening day on thursday, march 27th; 95th all-star game presented by mastercard at truist park to be played on july 15th.

Major League Baseball today announced its master 2025 regular season schedule, which will begin with the Tokyo Series presented by Guggenheim, featuring the Los Angeles Dodgers with Oshu, Japan native Shohei Ohtani and Bizen, Japan native Yoshinobu Yamamoto against the Chicago Cubs with Kitakyushu, Japan native Shota Imanaga and Arakawa, Japan native Seiya Suzuki on Tuesday, March 18 th and Wednesday, March 19 th at the Tokyo Dome. Traditional Opening Day, featuring all 30 Major League Clubs, will take place on Thursday, March 27 th .

The Tokyo Series presented by Guggenheim, which will be the latest installment of MLB’s WORLD TOUR, will mark the sixth time in which MLB opens its regular season in Tokyo, and it represents the 25 th anniversary of the first-ever regular season games played in Japan in 2000 between the Cubs and the New York Mets. It will also be the first games in Japan since the Seattle Mariners and Oakland Athletics opened the 2019 season at the Tokyo Dome. In addition to the openers in 2000 and 2019, other season openers in Japan took place in 2004 (NYY vs. TB); 2008 (BOS vs. OAK); and 2012 (SEA vs. OAK).

Next season will mark the second consecutive year in which an international series is featured to begin the season, following the March 2024 Seoul Series between the Dodgers and San Diego Padres. In addition to Chicago’s 2000 opener in Tokyo, the Cubs also played international games in 2023 during a two-game series against the St. Louis Cardinals in London. For the Dodgers, it marks their fourth international series, joining the 2014 season-opening series in Sydney, Australia against the Arizona Diamondbacks; the 2018 series against the Padres in Monterrey, Mexico; and the aforementioned Seoul Series in 2024.

The 15 games on traditional Opening Day will feature four divisional matchups and five Interleague contests. Seven games are scheduled for Friday, March 28 th , a full slate of 15 games will be played Saturday, March 29 th , and 14 contests will be played on Sunday, March 30 th . The traditional opening date of March 27 th will mark the earliest in Major League history, excluding special season-openers at international venues. Previously, the earliest traditional Opening Day for MLB had been on March 28 th in 2019 and 2024.

For 2025, prime Interleague rivals will increase their number of matchups from four to six while playing a pair of three-game series rather than a pair of two-game series. As a result, each of the 30 Clubs will play two fewer games against non-division league opponents.

“Rivalry Weekend” across MLB will take place on the weekend of May 16 th -18 th , featuring 11 series between prime Interleague rivals and four other regional matchups which include Pittsburgh vs Philadelphia; Colorado vs. Arizona; Detroit vs. Toronto; and Houston vs. Texas. In 2025, each of the 30 Clubs will host the same Interleague opponents as they hosted in 2023 (the 2026 schedule will feature Clubs hosting the same Interleague opponents as 2024).

The 95 th All-Star Game presented by Mastercard will take place on Tuesday, July 15 th at Truist Park in Atlanta, marking the ballpark’s first Midsummer Classic and the third overall to be hosted by the Braves in Atlanta, joining the 1972 contest at Atlanta Stadium and the 2000 All-Star Game at Turner Field. The final day of the 2025 regular season will be Sunday, September 28 th , featuring eight divisional matchups.

Please see the accompanying files or visit MLB.com for the complete 2025 American League and National League regular season schedules. Individual Club schedules can be found at each of the respective 30 Club sites.

Mechanics • 20 min read

The Mechanics of Touring: How the Live Music Industry Works

By Dmitry Pastukhov

Published April 28, 2019

The Live Music Industry: An Overview

Key players in the touring industry, artists and managers, booking agents, tour managers and technicians, festivals & venues, label & publisher, the touring cycle, 1. finding the talent, 2. building the tour strategy and producing the show, 3. booking the tour, 4. selling the tickets, 5. preparations, 6. the day x, 7. the show, tour simulation, tour gross revenue.

Touring makes up a huge portion of an artist’s life and the lion’s share of the industry’s revenues. At the same time, it is the only part of the music career that remains 99% “physical” in what is otherwise the digital-first industry. While some of the artists can easily reach millions of fans via streaming, putting together an international tour for the same crowd is an extremely complicated process.

Despite the rise of digital streaming platforms, make no mistake, live music is still the cash cow of the industry. Even though streaming revenue is expected to grow to $23 billion by 2022, by that same year the live music industry is projected to reach a whopping $31 billion in global value. Global live music revenue continues to increase (with the substantial portion of this growth attributed to the worldwide explosion of EDM festivals, which we've traced in our analyses of Chinese and Indian markets). At the same time, if we take a look at the well-established music economies, a recent Nielsen study found that 52% of Americans attend live shows at least once a year.

Nevertheless, the touring industry’s decentralized and network-based system remains a complex landscape to navigate: artists often work with dozens of local promoters, booking agents and venues in the course of a single tour. So, let’s start with the basics and identify all of the parties that are usually involved in a mid-sized tour:

Artists and their managers are the crucial elements of the live business. As we’ve laid out in our Mechanics of Management , manager’s role is to build and coordinate the artist’s team on all sides of the music industry, and that, of course, includes the concert business. The artist’s management usually takes part in the initial route planning, helps the artist pick the touring team, and serves as a bridge between the live entertainment and all other sides of the artist’s career.  

The job of the booking agent itself is very easy to define: the agent represents the artist across the live industry. Their goal is to book the tour and sell the shows to the local talent buyers, finding the venue and negotiating the price. The booking deal is usually pretty straightforward: “an artist A, represented by the agent B, commits to play an N-minute show in the venue C on the day X for a $Y. ” A good agent is the one who’s able to get all those As, Bs and Cs right — so that the venue is sold out, but there are no fans left without a ticket; the artist gets paid well, but the promoter doesn’t feel cheated, and so on. While the deal is relatively simple, it’s hard to nail all the details — especially given the fact that the show are usually booked from 8 to 24 months in advance, depending on the scope of the venue.

Promoters are the side of the live business that funds the tour and buys the shows. The landscape of concert promotion is complex, and promoters themselves come in various shapes and sizes. To make it a bit simpler, imagine that promoter is a middle-man, connecting the concert space and the artist to put together a show. You can start building that bridge from either side, however.

Tour promoters set out from the artist side, contracting musicians to perform a series of concerts, paying for rehearsals, audiovisual production, covering the travel expenses and so on. Once the show is ready, tour promoters, working closely with the artist’s booking agent, either rent venues themselves or subcontract (read: sell) the shows to the local promoters (or a mixture of both).

Local promoters, in their turn, embark from a concert space. Affiliated, or at least connected with local venues and performance spaces, they buy gigs from the agents and/or tour promoters to own the ticket sales. An art-director of a small club, a local group of party promoters, a team of the major US festival — all those event promoters of different scope would fall into that category.

In that context, the role of the agent becomes clear. If promoters are the middle-men on the side of an artist or a concert space, the agent is the middle-man between the middle-men, who builds up the network of promoters (on both fronts) and artists, serving as a liaison between all sides.

However, some of the biggest tours today can be put together without the agent’s involvement.  One of the main shifts in the live business is the consolidation of tour and local promoters under the umbrella of entertainment conglomerates, with the most notable examples of Live Nation and AEG .

Essentially, these companies have grown their operation to the point where they can build the bridge from both sides, internalizing all the processes. They both produce the concert tours and own (or, at least, establish partnerships with) a vast network of clubs and arenas, providing venues for the tour. Live Nation, AEG and alike can now create centralized international tours, offering artists 360° deals. However, touring under such exclusive promotion remains reserved for the artists of the top echelon — so most of the shows out there are still put together in collaboration between the tour promoters, booking agents and local partners.

Tour managers that stay on the road with the artist's crew are the oil that makes the wheels of the tour spin. Even a nationwide tour involves extremely complex logistics, and it becomes exponentially harder to manage the travel as the tour passes onto an international level. For the first-tier acts, staying on the road with the artist crew, technicians and 30 trucks worth of equipment can cost up to $750k per day . The goal of the tour manager is to make sure that the money doesn't go down the drain when the artist’s bus breaks down in Nowhere, Oklahoma . Getting the band from point A to point B seems to be a pretty straightforward job, but in fact, the routine of the tour manager is dealing with unexpected and solving a dozen of new problems each day — all while keeping the artists happy and ready to perform. To give you a taste of an international tour route, here's an approximate map of the Lizzo's tour in support of "Cuz I Love You" release, stretching over 64 locations and 74,575 km — and that is just the straight routs, not accounting for the actual roadways.

"Cuz I Love You" tour route, 30.04.2019 — 28.10.2019 (interactive version available here )

Tour managers also run the technician crew, and, while the technical support of the tour is often overlooked, the fact is that behind every show there’s a team that turns the performance into an audiovisual experience that the audience has paid to see. It takes hard work and expertise to assemble the stage, set up the lights and the sound system, etc. The live industry relies on the tech crew to make the show actually happen.

Festivals and venues are at the very core of the live business, providing the space and (usually) the base infrastructure for the show. As we've already mentioned, there’s often a great deal of vested interest between local promoters and performance spaces.  That means that there’s usually a local promoter “attached” to the venue, and same goes for music festivals.

Outdoor events are a distinct part of the live performance landscape. Operated by promotion groups, prominent festivals can introduce artists to new audiences, both in terms of fans and music industry executives — all while offering a fat pay-check. A major festival performance puts the artist on the map, and the promotional effect of the show itself has to be considered. It can become even more important than the immediate monetary gain — especially for independent, up-and-coming artists. That’s why the tour routing will often be structured around a couple of big music festivals — and then filled up with solo concerts along the way. A good example is Coachella: as the event takes place over two separate weekends, most of the Coachella artists also book “side-gigs” around the area during the in-between week.

Although recording and publishing industries are not directly engaged in the live business, we have to remember that the music industry is built on collaboration . By convention, most music tours follow the release of an album, and each artist has to report his set after the show to PROs so that the proper songwriters get paid. The music industry is made up of separate companies and people working on the different parts of the artist career — and, while not completely aligned, they are always interconnected.

The six key parties described above work together to bring the live show to the concert-goers. However, it’s important to mention that they won’t always be represented by separate entities. Often some of the roles will be internalized by the different sides of the touring chain: independent artists and their management might produce the tour themselves, internalizing the job of the tour promoter; conglomerate promoters, as we’ve mentioned, can now offer exclusive touring deals; and so on. That said, in the next section we will go through the tour cycle step by step to showcase how all these players interact to create the tour. As it usually is in the music industry, it all starts with the artist.

On the first step, agents and tour promoters find and sign the performer. This process is not much different from the scouting of recording or publishing A&Rs, although the criteria might differ. For some types of artists (like DJs, for example) touring can be relatively huge, while the recording revenues might stay almost non-existent. Agents and A&Rs look for different things in the artist, but the essence of scouting remains the same across the board — identify and sign the promising acts before anyone else does.

There’s another twist to talent hunting in the live industry that is probably worth mentioning. As an average show has to be booked 9-10 months in advance, tour deals are usually signed around a year prior to the actual performance. At the same time, the vast majority of concert tours follow the recording releases to build up the momentum and ride the promotion wave. That has one unavoidable implication: tour promoters and agents sign the artist to perform the material which is not written yet, which can be quite risky.

That is especially true when it comes to the debut artists, that might not even have a 40-minute set or any solid live performance skills when they get their first touring deal. There is a lot of gut feeling that goes into scouting on the live industry side — more than in the recording business at least, where licensing deals allowed labels to mediate the risks of the creative stage.

Once the artist is on board, it’s time to produce the show and define the tour strategy and routing. At this step, the tour promoter starts the preparations: building the light show and live visual materials, booking rehearsal sessions to perfect the live performance, and so on. Meanwhile, the artist, manager, agent and tour promoter work out a general timeframe and draft an approximate route of the future tour. The initial tour planning is usually done around priority shows, like major city performances or music festivals, while the rest of the route is defined in broad strokes. Unless we’re talking about the top-tier, established artists, the tour will always follow a recording release. Once the initial planning is over, the tour strategy will be defined in terms of “The artist will play a priority city/music festival in a specific area N weeks after the release”.

Ones the initial route is set out, the agent goes on to book the tour, pitching the show to local promoters and festivals. Starting with the priority shows and then filling in the details, the tour route gradually takes its final form. The agent negotiates with local promoters to pick out an optimal venue (in terms of volume, style, conditions, etc.) to host the show. As Tom Windish, a senior executive of Paradigm Talent Agency mentioned in our recent interview , picking the right venue is perhaps the hardest part of booking a tour: the material is not out yet, and there’s no way to predict the reception of the release that’s almost a year ahead. Go for a small but safe venue — and you risk losing potential ticket sales and disappointing the fans; go big, and you might end up in a half-empty room, losing on the investment and leaving every side of the deal disappointed. The agent has to make risky decisions in a situation of uncertainty, and given the venue landscape in some of the regions, sometimes that means choosing between a venue capacity of 500 and 2000 for what is reasonably a 1000-ticket show.

As for the conditions and splits of the booking contract, generally local promoters, tour promoters, and artists will split the net profits of the show. Artists might also get a flat fee to ensure they'll make some money even if all other parties do their job poorly. Usually, the more the flat fee, the less the artist’s share of the net profits (and vice versa). In that sense, the structure of the contract splits often reflects the artist's risk appetite: some artists self-produce the tour, sacrifice the flat fees and end up getting almost 100% of the net. Others might ask for a higher "safety" fee, lowering both the profits of the tour and their own stake in it.   Booking agents, in their turn, earn a flat percentage on the revenues ‘on top’ (though they might put their share back in the pot if the tour doesn’t turn out a profit). That might be a lot to take in, but don't worry, we will get back to the splits and give you a clear example with a tour simulation you can find below .

Once the tour is booked, it’s the time to promote it and sell the tickets. On paper, the ball is in the promoter’s court here, but in reality the marketing of the tour is carried out in close collaboration between all the sides — from managers and booking agents to the artists' record labels. Concert marketing is a topic worthy of a separate article, but if we were to simplify things, it could be separated into two main parts.

First is the overarching tour marketing, implemented by the tour promoter and synchronized with the record release. The tour marketing campaign utilizes wide communication channels to promote the tour in general rather than a particular show. Second is the regional marketing owned by the local promoters, which aims to boost the sales of a specific show, focusing on narrow communication channels, like radio, OOH and locally targeted digital advertising.

As far as the actual ticketing strategy is concerned, there’s no one-size-fits-all solution, so most teams go through long and numerous meetings to define tit There's a lot of decisions to be made when settling the details of the ticketing strategy — especially as technology has put new tools into the hands of promoters — but generally accepted sales process follows an “announcement → pre-sale → general sale” pattern. First, the tour is announced through the label- or artist-owned channels. That announcement is both a chance to communicate the tour to the wide audience and build up the artist’s CRM-base by nudging fans to leave their contacts to get notified when tickets go on sale. On the live event market, the buying intent might not realize itself on the first day — so having direct contact with fans and growing the artist's CRM-base is a key tool in the hands of the industry.

Then, the pre-sale takes place: first, reaching out directly to fans in the CRM database — after all, artist-fan relationships are one of the most important assets of an artist, and a fan pre-sale ensures that engaged followers will be able to get tickets to the show. Pre-sale strategy might also involve sales through “preferred partners”, focusing on direct sales through systems like American Express PreSales in the U.S., or even Spotify, that allows to reach the artist’s fans and followers across the tour route based on their listening habits and geo-location. Finally, to complete the pre-sale, local promoters can also use the local communication channels, like CRM-base of the venue and local airplay.

All the pre-sale strategies have two primary objectives. Firstly, based on the pre-sale figures (and historical concert attendance data), the promoter can roughly tell how the show is going to sell in general — and adjust the marketing campaign accordingly. Secondly, pre-sale through reasonably closed off channels can help to mediate the problem of the secondary ticket market. In fact, most of the ticketing strategies aim to sell as many seats as possible before putting the show on the general sale. Ticketing platforms like Songkick, BandsinTown or Seated allow promoters to reach the widest audience but they also puts the show at risk of selling out to the scalper bots in a matter of hours. This is especially true for the biggest artists out there — the more the demand for the show, the more attention it's going to get from the scalpers.

At this point, the tickets are on sale and the date is coming up, but there are still a lot of details to cover to make the show actually happen. Carrying out a 100-show tour means getting the artist and his tour team to a hundred different locations across the globe — all while staying on a tight budget and an even tighter schedule. Then, you have to make sure that every step of the way the artist has the infrastructure to do the actual show. Big tours are extremely complicated logistics, that require a lot of planning (usually carried out by the tour manager, affiliated with the tour promoters). Plane tickets, car rental, backline equipment shipping — this is just a fraction of what needs to be taken care of before reaching the venue.

The venue is (hopefully) sold out, the material is well-rehearsed, the equipment is delivered to the club — but the show is still to be done. Someone has to set up the sound, check tickets at the door, take care of the security, prepare the guest list and set up the bar. This routine can seem insignificant at times, but in fact, a solid on-site setup is a must if you want the audience to enjoy the performance. Surely all of us can remember that one concert with that hour-long queue, delayed performance and warm beer at the bar — a poor concert organization can ruin even the best of shows. Making sure that the concert goes smoothly is a group effort of the tour crew and the local promoter's team, from tour managers and technicians to local sound engineers and the venue stuff.

Finally, one year, tens of thousands of kilometers and thousands of man-hours later, the artist will go on stage. Then, the team will get back on the road to repeat steps 5 through 7 over and over again, until the final row of the tour announcement is crossed out. The artist will eventually get back in the studio and start working on the new material, while tour promoters and agents will begin planning the next tour. That’s the tour life .

To conclude the Mechanics of Touring, we want to share with you an example of how the tour budget and profits are structured. Below, you will find a somewhat simplified (yet accurate at its core) budget simulation of an averaged tour. While the actual “business plan” will be much more detailed, the data below should give you a good idea of who pays for the tour and who ends up making money on it.

Total Fixed and Variable Costs

So, the tour has fixed costs of 70,000€, which have to be covered regardless of the tour length, and variable costs of 7,000€, per show. Such costs structure means that (and this is true for practically every tour) we will enjoy the scale effect , as total costs per show (calculated as (FC+ VC*N)/N, where FC is Fixed Costs, VC — Variable Costs and N is the Number of shows in the tour) will go down as the tour grows, due to the depreciation of the fixed costs.

Total costs per show, for 10-150 concerts in a tour.

To go forward with the simulation, we will assume that the shows of the tour are all booked at the same price (which is never the case due to the difference in the local ticket prices, venue and market capacity, and other specifics). However, to simplify things, we will use the following revenue structure:        

Guarantee per show = 8,000€

Bonus if sold out = 2,000€

If we plotted the tour’s total profits as a function of the number of shows, P/L = (Revenue per show * N) - (FC+VC*N), we would get the following:

Tour P&L (overall profit/loss before splits)

As the total costs per show go down against a constant revenue, the tour turns a profit, breaking even at the 24th and 70th show for “Sold Out” and “Not Sold Out” scenarios accordingly.

Then the time comes to divvy up the profits. First of all, the agent takes a share of all revenues “on top”. In this simulation, we will use a 15% split for the agent. So, if the tour is made up of 100 sold out shows, the agent would get (10,000*100)*15% = €150,000 in fees. However, it’s not customary in the music industry for one side of the deal to make money while the rest are losing. So, usually, the agent won’t take their share if the tour doesn’t turn a profit. But what if the tour makes a bit of money, but not enough to cover the agent’s 15% “on top”?

There are a couple of roads the agent might take in that case, cutting their share down to 5% or taking a percentage of the profits, rather than revenue, but for purposes of this simulation, we will assume that the agent will take their part of the share, but won’t put the promoter back in the red. So, if the tour has made €5K in NET profits by selling out 25 shows, the agent will take €5,000 instead of agreed upon (25*10,000)*15% = €37,500.

Tour promoter will take a share of the NET profits (Total Revenue — Agent’s Share — Costs). That would mean that, although the tour itself will break even on a 24th show in the Song Out scenario, the tour promoter will start making money only after the 47th show (once the agent is fully compensated). If we assume the tour promoter’s share at 20%, on a 100-show, sold out tour they will make ((10,000*100*0,85) - (70,000 + 7,000*100)) * 0,2 = €16,000 . It might seem that the promoters get the short end of the stick here, but in fact, they will often make quite a bit of money in the venue itself on things like bar and parking. This can be a substantial or even primary revenue stream for the promoter, but we’ll have to leave it out of the scope of the simulation for the sake of simplicity.

As for the artist , they will earn a flat fee (in this simulation €1,000 per show) as well as the remaining 80% of the tour’s NET. This sum will make up the artist gross, which in its turn will be divided between the artist and the management (an average manager’s share is around 15% ). So, for a 100-show tour the artist gross will be: (100*1,000) + ((10,000*100*0,85) - (70,000 + 7,000*100)) * 0,8 = €164,000 , which would then be split 85:15 between the artist ( €139,400 ) and the manager ( €24,600 ).

Tour profits distribution, by party

Of course, the actual tour will be much more complicated than in the simulation above. However, it should give you a good idea of how the tour is structured and budgeted. That’s it for this episode of Mechanics, but don’t worry — we’ll keep working to bring you insights on other parts of the music industry. If you liked this article, take a look at our Mechanics of the Music Industry to get the overview of the topics we covered so far — and the ones we plan to cover in the future.

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Dmitry Pastukhov

Content creator for Soundcharts. Deciphering the music business so you don't have to.

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Fallon wins: mid-ohio valley golfers play in callaway junior tour, local golfers play in callaway junior tour.

Parker Vannoy from Mineral Wells hits out of a green side bunker on No. 2, Monday at Parkersburg Country Club. (Photo by Kerry Patrick)

VIENNA – Once Cameron Fallon conquered the mental side of his golf game, his scores dipped.

As a result, over the course of this summer he has reaped the rewards – from placing eighth in the West Virginia Am to qualifying for the West Virginia Am and West Virginia Open.

The upward trend continued Monday for the Callaway Junior Tour stop at Parkersburg Country Club where the Parkersburg South golfer turned in the low score on the boys side and winning his 15-16 age division by four strokes after shooting 4-under par 69.

Fallon’s round was kickstarted by an eagle on his fourth hole. He eventually reached 5-under before a steady downpour greeted the entire field for the final four to five holes of the afternoon. One of Fallon’s playing partners offered a glove to provide a partial solution to the slick golf clubs but not enough to prevent his score from taking a subtle hit.

“The mental part of the game has clicked for me this year, honestly,” Fallon said. “Last year, I struggled after I had a bad hole. This year I have stayed strong.”

Cameron Fallon from Parkersburg chips onto the second green, Monday at Parkersburg Country Club. (Photo by Kerry Patrick)

Fallon, who enters his junior year at Parkersburg South High School in the fall, had company in terms of upper tier finishes. Parker Vannoy, who has one year remaining at South, tied for fourth in the 17-18 age division after turning in a 77.

The high school season is fast approaching, and the Patriots provide a lethal 1-2 punch.

“My game definitely has to get better for the high school season,” said Fallon, who not only borrowed a golf glove to combat the rain, but also changed shirts mid-round because of the sweat. “I always had good hand-eye coordination – it just takes a lot of work. People always ask me how I got good. I tell them it takes a lot of work.”

Also claiming medalist honors for their respective age groups at PCC were Fairmont’s Caleb Young (72) in the 17-18 division; Evan Johnson (74) from Greenup, Ky., in the 13-14 grouping and Barboursville’s Bentley Shirkey (75) for the 12-under division.

St. Marys’ Tripp Morrison, who turned 15 in June and returns to the Blue Devils golf program for his sophomore year, was shooting red numbers until the rains arrived for his final three holes. Morrison’s career-best, 2-over 75 left him sitting alone in second place in the 13-14 age division.

Brielle Milhoan from Vienna lines up a putt on No. 11, Monday at Parkersburg Country Club. (Photo by Kerry Patrick)

“I was 2-under through 15 holes then I took a triple bogey and a bogey,” Morrison said. “With my sophomore season coming up, I learned last year not to let stuff get into your head.”

On the girls side, Kerri Anne-Cook from Oceana, claimed medalist honors in the 15-18 division after carding a 76. Brielle Milhoan, who graduated from Parkersburg High School this past spring and looks forward to contributing as a member of the Wheeling University women’s golf team in the fall, placed fourth with an 83.

“I was having a good day before the rains came, and honestly I love it raining,” Milhoan said. “I love golfing in the rain – I call it duck golf. It slows down greens. I don’t mind it.”

Milhoan went nearly three weeks during the summer without picking up a club while vacationing with her family in Europe.

“I took a 17-day break then came back and my swing was better than when I left – a break is good for me on occasion,” Milhoan said. “We are using the Jones Course at Oglebay as our home course at Wheeling University – that has always been my favorite course in the whole state. Probably the whole country. It’s a masterpiece of a golf course.”

Jack Louden from Vienna hits a chip shot, Monday at Parkersburg Country Club. (Photo by Kerry Patrick)

Placing seventh in the girls 15-18 division was Madilyn Buttrey (94), who returns to the Williamstown High School golf team for her sophomore year.

“It was rough out there – it was a combination of before and after the rain,” Buttrey said. “I’ve put in a lot of work and I feel I am ready for the start of the high school season.

“Today was my 10th Callaway event and that has helped my game a lot.”

In Buttrey’s shadow was Addison Jackson, placing in a tie for eighth at 96. As she prepares for her senior year at Federal Hocking High School, Jackson is hoping to finally get over the hump after several close calls from advancing to the state meet.

“I had a pretty rough week – I was actually hitting pretty well, but things weren’t falling for me,” Jackson said. “Hopefully we can get a full girls team for this season. We lost a lot of seniors from last year, so hopefully we will be able to round up a few girls, get a full team and have a good year.

Joseph Koreski from Parkersburg hits his tee shot on No. 2, Monday at Parkersburg Country Club. (Photo by Kerry Patrick)

“I have been close every year, so hopefully I can finally make it to state.”

In the girls 10-14 age group, Buckhannon’s Makenzie Egress took medalist honors after shooting 88.

The Callaway Junior Tour continues today with a stop at Mingo Bottom Golf Course in Elizabeth. Even though the season is not finished, officials with the CJT on Monday awarded Webster County golfer Dakota Carpenter with the Larry Martin Sportsman of the Year award. Martin, who was a golf professional at Parkersburg Country Club, was a driving force behind the Tour.

Cooper Sams from Parkersburg watches his putt on No. 17, Monday at Parkersburg Country Club. (Photo by Kerry Patrick)

Addison Jackson, who will be a senior at Federal Hocking High School in the fall, lines up her putt on the 11th hole, Monday at Parkersburg Country Club. (Photo by Kerry Patrick)

Madilyn Buttrey hits her tee shot on No. 12, Monday at Parkersburg Country Club. (Photo by Kerry Patrick)

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Alexa adopts Gen Z slang — will now define totally ‘sus’ words like ‘rizz’ and ‘ick’ for confused older users

It’s lowkey lit.

Amazon Alexa is giving recently-increased rizz, thanks to a Gen Z vocabulary update designed to help older users who have trouble speaking the language of today’s twentysomethings.

The new feature, “Alexa, talk Gen Z to me,” breaks down — with definitions and examples — 20 popular Z-isms like “mid,” “sus” and “hot girl summer,” The Mirror reported.

“Alexa is ready to help with answers to everything , including keeping up to date with the very latest lingo,” said Meryem Tom, Amazon Alexa’s United Kingdom country manager, where the company conducted a survey revealing the communication breakdown between old and young.

“Our research shows that there’s plenty of Brits out there who can’t quite keep up with Gen Z’s jargon and we hope that Alexa’s new feature will be a reliable source of knowledge for those who want to brush up on their Gen Z vocabulary ,” Tom said.

The update comes at a time when 35% of the judgmental generation feels its totally cringe for an older person to misuse their slang, according to Amazon.

That is despite 83% of youths being well aware that their elders have no clue what they’re talking about.

The party may soon be over, however, as more than half of non-gen Zers, 56% to be exact, said they were eager to understand the new language.

Meanwhile, according to the survey, 65% of Gen Z pick up their cryptic lingo from TikTok, the preferred social media network of the youngs.

Just in case there’s an unexplained word that’s been living rent free in your head, here’s a complete list of the terms that Alexa will now be able to explain to any interested party.

• Lowkey — something subtle
• It’s giving — the tone something emulates
• Ick — something cringeworthy
• Slay — to show off with pride
• Rizz — to possess swagger or charisma
• The math is mathing — something makes logical sense
• Tea — gossip
• Lives rent-free in my head — a thing or event causing obsession
• Mid — mediocre
• Sus — short for suspicious
• Ate — a showing of admiration for someone consuming success
• Hot Girl Summer — an encouragement to unapologetically be yourself and thrive
• Cap — to lie
• Slaps — to describe something as being a hit
• Fam — short for family, similar to “bro”
• Lit — something is exciting or fun
• Drip — to be stylish
• Airing — to ignore
• In your XXX era — describing chronic emotions or preferences a person has
• Mother — a female status symbol

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Definition of tour verb from the Oxford Advanced Learner's Dictionary

• tour something He toured America with his one-man show.
• She toured the country promoting her book.
• (+ adv./prep.) We spent four weeks touring around Europe.
• He's toured across Europe, the UK and North America.
• She is currently touring with her new band.
• He no longer tours.
• The band toured the UK last year.
• The town makes an ideal base for touring the Highlands.
• I was on my own as I toured round.
• We plan to tour all over the country.
• She has toured extensively in the US.
• The Beatles stopped touring years before.
• extensively
• internationally

Take your English to the next level

The Oxford Learner’s Thesaurus explains the difference between groups of similar words. Try it for free as part of the Oxford Advanced Learner’s Dictionary app

What is market capitalization? 

Definition .

Market capitalization is the total value of a company's outstanding shares of stock. In essence, it's what it would cost you if you were to buy up all of its outstanding shares at the current share price. It is a way of sizing up the value that investors give a company. Expressed in dollar figures (or whatever the local currency), it's made up of two factors: the number of a company's outstanding shares, and the price of each share.

Market cap is an important concept because it allows investors to understand the size of a company and how much it's worth on the market. Investors can also use a company's market cap as an important tool when assessing the risk of a particular business. Smaller companies may have above-market growth prospects, meaning their revenue and earnings may expand at a more rapid pace than the broader stock market. 

Larger companies, on the other hand, may be more established and stable in terms of maintaining their stock values. They might also pay dividends, which can be helpful for investors looking to draw an income from their holdings. 

Investors can also use a company's market-cap to compare it to other businesses in the same sector or industry. 

There are several market-cap categories that investors can benefit from knowing. Being familiar with these categories, as well as the relationship between market cap and investment risk, can be quite helpful. 

Large-cap 

Large-cap stocks represent companies that have a market capitalization value of at least $10 billion. Large caps are usually mature, well-established companies that have been consistently successful and pay regular dividends. Though they lack great growth potential, large caps are a favorite of conservative investors for their steady payouts and prices.

The companies that make it to the large-cap category tend to have several characteristics in common.

• They're transparent. Financial information about these companies is publicly available, as are reams of expert analysis and forecasting. It's easy to find the information you need to make well-informed investment decisions about these companies. 
• They pay dividends. Because they are so well-established in the market, these companies can commit to relatively high dividends. That means investors can expect consistent income from their company shares — payouts for immediate income or to reinvest back into the company. 
• They're stable. These are typically companies that have been around a while — decades, even a century — and have weathered some challenging economic conditions. Their operations, earnings, and share prices remain steady, no matter what the stock market overall is doing.

Mid-cap 

Mid-cap stocks represent companies that have a market value between $2 billion and $10 billion. Mid caps are usually moderately risky but generally stable companies that still have room to expand. Since mid caps often offer both dividends and price appreciation, they can give investors a balance between income and growth.

While equity analysts, money managers, and stock-picking pundits publish up-to-the-minute data on the performance of both giant corporations and small, up-and-coming companies, you often have to dig for information about the mid-cap enterprises.

But this category of companies is actually made up of many reputable businesses and they tend to perform relatively well. The S&P MidCap 400 Index , which tracks 400 middle-capitalization companies, has a 10-year annualized return of about 9%, compared with 11% for the S&P 500, which is made up of large-cap stocks mostly with market values of $10 billion or more. 

The companies that make up the mid-cap segment tend to have several characteristics in common.

• They're large — but not enormous. These companies are often well-established in their region or in their industry. But they're usually not too big to fail if there is a real threat to the business or if the market for their goods and services dries up.
• They often pay dividends. While large caps get much of the attention from income investors, many mid-caps are doing well enough that they can share profits with stockholders. While they reinvest earnings back into the business, they can also pay out substantial dividends. 
• They're fairly stable. Mid caps don't usually have the same diversified business model or access to resources that help large caps weather economic challenges and stock-market trends. Still, mid-cap companies typically have a track record of steady performance over a significant period of time — often years or decades. In the investment scheme of things, they're of moderate or middle (that word again!) risk.

Small-cap 

Small-cap stocks are companies that have a market capitalization value between $300 million and $2 billion. Small caps are often new companies, focused on a niche market, or struggling financially. While small caps tend to be volatile and rarely offer dividends, they have a lot of growth potential and are often undervalued.

The following are characteristic of small cap stocks:

• They're — you guessed it — little guys. These companies are often limited in size or outreach or both. They may be regional or not yet well established in the field. That means they have lots of room to grow, but also lots of room to fail. They may also become acquisition targets for larger corporations.
• They rarely provide income. Many small caps don't pay dividends, preferring to reinvest their profits back into the company for further growth. They're not a great choice for income investors.
• They're volatile. Many small-cap stocks attract excitement — but not a lot of actual investors. Their trading volume is low. That, along with their general lack of track record, means they tend to see large or sudden swings in price.

Micro-cap 

Even smaller than small cap stocks, micro caps typically represent companies that have a market capitalization below $300 million. Of all the sizes mentioned, micro-cap stocks carry the greatest risk but also the highest potential to expand. 

Why market capitalization matters 

Investors .

Investors can leverage market cap to evaluate the size of a company and its corresponding growth potential. This information can be quite helpful when it comes to portfolio risk management. 

Since companies of different market-cap sizes vary in terms of their growth potential, income payments, and risk, spreading your investments among them is one way to balance your portfolio between appreciation and income, between conservative and aggressive.

Often, investors focus on a particular market-cap segment. Some may choose to stick with the big, stable, large caps — especially if they want to preserve their capital or derive income from their investments. Others may be attracted to the more volatile — and exciting — small caps, especially if they have a long time horizon to weather volatility or like aggressive growth stocks.

Cutting across industries and industrial sectors, each market cap group encompasses a big variety of companies and stocks. Still, analysts do note common tendencies and characteristics among stocks of similar market caps.

For example, Robert R. Johnson , professor of Finance at Creighton University, notes that small caps may be more volatile than mid and large caps — but they tend to perform better. Large-cap stocks provided average returns of about 10% annually from the early 20th century to the early 21st century, compared with about 12% for small caps, he says. 

It doesn't sound like much in percentage terms. However, "over many years, that difference is enormous: one dollar invested in large-caps at the end of 1925, with dividends reinvested, would have grown to $9,243.90. That same dollar invested in small-caps would have grown to $39,380.90," Johnson notes. "The bottom line is that small-cap stocks provide higher returns, on average — but that comes at the cost of greater risk."

Companies 

The market cap of a company could impact its ability to access credit. More specifically, larger companies may have an easier time securing funding and may also be able to obtain lower borrowing costs. This is based on lenders' perceptions that larger companies may be more creditworthy. 

A company's market cap might also impact its acquisition potential. Larger companies (for example, IBM) may focus on buying up smaller companies, both so they can eliminate them as competition and also so they can add their revenue streams by gaining access to their products, services, staff, and customers. 

If a large company is looking to engage in such mergers and acquisitions activity, it might view another sizable organization as a possible target to be involved in a so-called merger of equals. 

Limitations of market capitalization 

Not the only valuation metric .

Market-cap is only one way to value a company. There are many other methods you can use, for example the price-to-earnings ratio (P/E), price-to-book ratio (P/B), and enterprise value. 

The P/E ratio looks at how expensive a company's shares are relative to its earnings per share. This can give you a quick sense of whether a company is undervalued or overvalued. 

The P/B book ratio compares the price of a company's stock to that organization's book value, which is how much the entity would be worth if it resolved all its debts and sold off its assets. 

The enterprise value is determined by calculating a company's market cap, adding its cash and then subtracting what it would need to pay to resolve all its debt. 

Market volatility

The relative volatility of the stock market can have an impact on the usefulness of market cap. A company's market cap is tied in with price movements, which can be quite significant in the short and long term. 

Market capitalization FAQs

There is no particular market cap for a stock that is considered "good," as it all depends on your investing objectives and risk tolerance. 

A substantial market cap does not denote that a company is "safe" to invest in. Major companies can face significant volatility, especially if there is a market crash. 

You can find a company's market cap either on its corporate website or through many different financial websites. 

• Main content

Jack Black's bandmate, Donald Trump and when jokes go too far

Jokes are, inherently, supposed to be funny. But when they go too far ... no one's laughing.

In the wake of the assassination attempt on former President Donald Trump , amid the thoughts and prayers, many have taken it as an opportunity to make memes and otherwise brush off the first violent, visceral threat to a U.S. president's life in decades. One such jokester is Tenacious D band member Kyle Gass .

Jack Black spoke out against his bandmate Gass' controversial comment  about the  assassination attempt . In a statement provided to USA TODAY, the "School of Rock" actor, 54, said he was "blindsided" by bandmate Gass saying "don't miss Trump next time" on stage during their  Tenacious D  show on Sunday. Black also said he is ending the Tenacious D tour and pausing plans to continue working with Gass.

In his own statement shared  Tuesday on Instagram , Gass apologized for the remark and made clear that it was not planned.

Violence is not limited to slaps and kicks, according to experts who study violent speech and psychological harm. Violence can be the words we use to mock , categorize, exclude and control.

The cultural conversation around violent speech tends to focus on the most egregious acts, including hate speech and slurs. It's the uproar when  Rep. Alexandria Ocasio-Cortez says she was called a "f------ b----," by Rep. Ted Yoho  on a staircase at the U.S. Capitol. It's the outrage when Trump himself referred to Mexican immigrants as  "rapists"  and  "animals." It's our indignation at the most horrific examples of online abuse, when Internet mobs are unleashed and reporters and academics and TikTok creators are inundated with rape and death threats.

But some linguists, psychologists and philosophers of language argue that in only condemning the most abusive speech acts, we excuse and dismiss the more subtle forms, including comedy. And people need to remember that  words have consequences . A small ripple could soar into a tidal wave.

The psychology of misinformation: Anyone can fall for 'fake news,' conspiracy theories

Jack Black's bandmate and 'toxic speech'

It starts with a cruel thought in someone's head, voiced aloud. Then other people join the ferocious fray and the comments grow nastier. It spirals from there.

Dehumanization always  begins with language , according to T.M. Robinson-Mosley , counseling psychologist. This has repeated itself throughout history.

"This can lead to people believing that those in different groups don't deserve the same treatment as them or even don't even deserve the respect," Mosley previously told USA TODAY. "This is where often the justification for treating someone differently, or in some cases, treating an entire group differently , or poorly, gets justified."

While Trump has made headlines with his controversial speech, that doesn't give anyone carte blanche to fight fire with fire – as much as many thinks it does, especially when you're a public figure. And while Gass' words didn't contain a direct slur or curse word, they still fell into dangerous territory. The same can be said for President Joe Biden whose recent comment, " it's time to put Trump in the bullseye ," has ignited controversy among some Republicans.

Lynne Tirrell is a philosopher at the University of Connecticut who studies how language can influence social justice and facilitate injustice. She wrote in a  2017 paper  that "people who think about how speech harms have tended to focus on the oppressive power of epithets, slurs and derogatory terms.” But she says language can contain no pejoratives and still cause harm. She calls this broader category “toxic speech.” 

Toxic speech, she writes, “comes in many varieties, can be chronic or acute, can damage individuals or society, in whole or in part, permanently or for a time.” 

Violent speech has social implications. It can drive people from participating in public spaces, it can discourage people from going online, it can influence who gets a voice and who does not. It can explicitly or implicitly sanction other forms of violence. And it's often marginalized groups who suffer the most – women, people of color, queer people and religious minorities. 

In case you missed: Is this the way to sidestep 'cancel culture' and be friends with everyone? Maybe.

Where do we go from here?

While we can certainly  apologize , we can't take back our words.

"The other person, or the group of persons affected by those words, will always remember that you spoken callously and with a lack of a consideration," psychologist  Reneé Carr previously told USA TODAY.

Comedy is one way of making sense of the world. Many people laugh at horrible things as a way to cope. William Gay, a professor at UNC Charlotte who studies the philosophy of language, previously told USA TODAY that while comedy is an important and useful part of the culture, everyone has a responsibility to think about the consequences of the things they say. 

"One of the challenges of studying linguistic violence is there are many fewer jokes that you can laugh at," Gay said, "and especially that you can tell."

Contributing: Brendan Morrow , Alia E. Dastagir

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Definition of low, mid and high handicap?

By Mala December 13, 2007 in Tour Talk

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Manufacturers often recommend their equipment to low mid or high handicappers, aswell as others to rate how good a player is.

What handicaps would you say are low mid and high handicaps?

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0-7, 8-18 and 18+ respectively?

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[quote name='mat562' post='823382' date='Dec 13 2007, 02:49 PM']0-7, 8-18 and 18+ respectively?[/quote] Third to that!

[quote name='mat562' post='823382' date='Dec 13 2007, 05:49 PM']0-7, 8-18 and 18+ respectively?[/quote] sounds about right with the odd exception of mid handicappers with either great or terrible short games moving them up or down a category.

Taylormade M3 440 Taylormade M3 15 Titleist 716 T-MB 2 Mizuno MP18 Vokey SM7 Scotty Studio Stainless Newport 2

[quote name='drew123' post='823498' date='Dec 13 2007, 06:57 PM'][quote name='mat562' post='823382' date='Dec 13 2007, 05:49 PM']0-7, 8-18 and 18+ respectively?[/quote] sounds about right with the odd exception of mid handicappers with either great or terrible short games moving them up or down a category. [/quote] I agree. Handicaps only tell part of the story and the category of club doesn't always fit the number on the sheet. My regular companions on the course include a +1 handicapper who is a stellar ballstriker - with Zing 2s - and a 15 handicapper who plays Mizuno MP33s. His 15 handicap is due to being a bit of a dodgy driver and having a 'modest' short game; his iron play is really quite good and would fit more with a 5 or 6 handicap.

[quote name='mjtoal' post='823399' date='Dec 13 2007, 06:01 PM']I agree, with the slight caveat that handicaps are not entirely comparable between the US and Europe, and some handicaps issued by golf stores or other unofficial bodies are totally unreliable.[/quote] Handicaps issued anywhere are fine, it's the cheating bastards that use them that are unreliable. I've seen PLENTY of sandbaggers with GHIN handicaps. Ever wonder why a scratch golfer never wins a handicap tournament? Even the GHIN ones.

Ace In The Hole

I would say Mid would be 8-16, and high would be 17+ IMO

I can remember having a rollocking once for 'not supporting the club and playing in medals and suchlike' along with a few other 'juniors.' I think I was about 23, but that's by the by Mr Captain... I pointed out at the time that a recent Stableford had been won with 47 points; by some crusty old git playing off 25. Thus, playing off scratch, a player would need to shoot a 65 or so to win. I think the course record at that time was 65. Hmm... Bandits are bandits in any language, even when they have 'official' handicaps.

For simplicity, I've always considered: Single handicapper = low 10-19 hcap = mid 20+ = high

[quote name='v205' post='824021' date='Dec 14 2007, 05:12 AM']For simplicity, I've always considered: Single handicapper = low 10-19 hcap = mid 20+ = high[/quote] i agree

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To be honest, it was an off the cuff response to BFC's post - about the hated bandit. I agree. The rotten sods exist worldwide; and thereare some dubious handicap claims to be found. I think there are benefits to both methods of calculating handicaps. I particularly like playing friends in the States, since I seem to come off best when it comes to strokes. A UK handi, in my experience, generally equates to a couple of strokes higher than the equivalent player in the US. Assuming the indexes aren't fiddled in the first place. As great a tool as the handicapping system is, it's a lot more fun to simply play 'lowest score wins...'

[quote name='v205' post='824020' date='Dec 14 2007, 05:11 AM']For simplicity, I've always considered: Single handicapper = low 10-19 hcap = mid 20+ = high[/quote] I agree with your simplistic view, because I have played many tournament where the single digit player always steps up at starts playing like a 2 instead of a 9. I have also seen alot of 12's that couldnt play to 20 in tournament conditions ever. So I believe your view is much more realistic. r/MiuraPro

[quote name='mat562' post='823505' date='Dec 13 2007, 07:01 PM'][quote name='drew123' post='823498' date='Dec 13 2007, 06:57 PM'][quote name='mat562' post='823382' date='Dec 13 2007, 05:49 PM']0-7, 8-18 and 18+ respectively?[/quote] sounds about right with the odd exception of mid handicappers with either great or terrible short games moving them up or down a category. [/quote] I agree. Handicaps only tell part of the story and the category of club doesn't always fit the number on the sheet. My regular companions on the course include a +1 handicapper who is a stellar ballstriker - with Zing 2s - and a 15 handicapper who plays Mizuno MP33s. His 15 handicap is due to being a bit of a dodgy driver and having a 'modest' short game; his iron play is really quite good and would fit more with a 5 or 6 handicap. [/quote] I'd have to agree with that. I'm an 11 handicap. I tracked my stats for a few months this summer and entered them into a program online. Driving accuracy and short game were killing me. My ball striking was in the 4-6 handicap range, but my short game was closer to a 15-17 handicap. I don't consider myself a "low" handicapper, but I hope to be there next season.

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Considering that the National Golf Foundation reports the average 18 hole score is approximately 100, how would this define what a low, mid, or high handicapper is? Perception is amazing... Marketing is powerful...

I played at a club for years that had a slope of 124 and no water hazards. When ever the members traveled to another course which was harder their caps didn't travel well. They consistantly were +4-8 shots higher than at home, HUM! I also noticed at home they were sharks, playing in a Presidents Cup Tournament I was giving up 3 shots per side, Standing on the 10th tee I'm -3 and am four down, I was closed out on fourteen and was -4 for the day. Thats why I play scratch only, I have no problem playing a scratch player knowing I'm giving up 5 0n the first tee, I just can't stand playing below my cap and getting my a$$ kicked......

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I would add a few layers to this +3 to +1: near pro level 0-4 low handicap 5-9: mid low 10-18: mid handicap (bogeys more than 1/2 the holes to all) 19-25: mid high (bogeys all, doubles 1/3) 26-40: high (doubles 1/2 or more)

I like [b]pggolf66's[/b] breakdown......subcatagories are a must because a 7 can't play straight up with a 0 but they'd both be considered "low" to most. The same holds true for the other catagories. The extremes in all catagories would have a tough time competing against each other fairly IMHO (and experience).

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RE: 8-18 as "Mid" If and when I make it to a "9" (in other words, into single digits) I am going to tell the whole world I am now a [b]"low"[/b] handicap player!

I'm off 8 so I hereby declare 9 and above is to be classified as "mid" and 8 and below as "low". And that's the law!

phatchrisrules

0-9.9= Low 10.0-19.9= Mid 20+ = High 36= Max you can be I believe (double par on every hole) These are really not adequate ways of establishing a players ability. My handicap is a 10 according to the RCGA but I know it is truly closer to a 12-13. I putt and chip like a pig but my fairway woods/hybrid and for the most part driver are that of like a 1 (I have been told this many times). Iron game is either really hot, or really bad..very rarely in the middle. Its all relative.

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I see a gap. There definitely is a gap.

[quote name='v205' post='824020' date='Dec 14 2007, 04:11 AM']For simplicity, I've always considered: Single handicapper = low 10-19 hcap = mid 20+ = high[/quote] I thought this was the norm compared to other answers here.

[quote name='phatchrisrules' post='827600' date='Dec 17 2007, 04:51 PM']0-9.9= Low 10.0-19.9= Mid 20+ = High 36= Max you can be I believe (double par on every hole)[/quote] I agree with this scale. But note that in France, the max hcp you can have is 54... It means a triple bogey each hole.... I think that's far too much (36 is enough IMO) and the problem is that a lot of French guys who play 40 and above consider themselves as golfers...

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