Tape No. 4305
ROUX: So how do you think your relationship to the festival has changed throughout the years? So, now that you're the actual artist of the poster versus just going and selling some of your art.
OSBORNE: Well, the poster and Jazz Festival are two separate entities. So, Jazz Festival hasn't always honored the poster artist. You know, most festivals you go to, if you're doing the poster, then they'll accommodate you and kind of almost put you on a pedestal. Well, because Jazz Festival subcontracts another company to take care of that, they haven't always recognized the artist, so . . . And okay, well that's fine. So, but what I've had to do over the years is kind of say, "Hey, listen. I'm doing the poster, and just like your musicians are bringing a crowd and generating income or profit for you, the artist, in the same way, is bringing a crowd and generating a profit for you, so, can I get two weekends? [laughs] You know, or, "Can you waive my booth fee?" Or you know, just . . . That was the relationship at first, but now it's a lot better. And so, now I get two weekends, and I've managed to get my own booth. Whereas before, I had to - even if I did the poster - I had to share booths or a tent, at least, with other artists. And it's cool because now I know that by speaking up about it, I changed it. And so, now, every artist that does a poster has his own booth and has two weekends from here on out. So, that's probably the major difference.