Information You Can Use: Tax Treaties and 30% Withholding

by:

Joe Patti

I was recently fortunate enough to get into a conflict with my disbursing office on the subject of the 30% withholding for foreign performers.

Well, admittedly, I didn’t feel lucky at the time. The whole issue is very confusing and time consuming. However, the outcome is such that I am a good deal wiser and more informed about the process. And more importantly, I managed with the help of the artist’s agent and the IRS to secure full payment for the foreign performers.

For those of you who may not be familiar with the issue, count yourself lucky but also be aware that you may become embroiled in a situation requiring you to withhold 30% of an artist’s fee in the future in the absence of a treaty or the proper tax paperwork. I did a couple entries about five years ago which you may want to take a look at to gain some background.

The group we were looking to bring is coming from New Zealand. Their agent was on the ball and sent me the requisite tax paperwork claiming exemption back this summer. Not wanting to have any problems crop up when it came time to send the deposit, at the end of July I sent a memo accompanying the paperwork which included the details of the engagement asking if the 30% would be withheld. I was told it wouldn’t be. It wasn’t until the check was cut and on its way over to me that the decision was made to cancel that check and issue another one less 30%.

At question was Article 7 of the US-New Zealand Tax Treaty which reads:

“The business profits of a Contracting State shall be taxable only in that state unless the enterprise carries on business in the other Contracting State through a permanent establishment situated therein. If the enterprise carries on business as aforesaid, the business profits of the enterprise may be taxed in the other State but only much of them as is attributable to that permanent establishment. “

The agent provided an interpretation where the first Contracting State was NZ. Our disbursing office interpreted the first Contracting State to be the U.S. and deemed the performance to be goods “created” in the U.S.

In came the IRS to the rescue! You won’t see that phrase too much in life so let me say it again. In came the IRS to the rescue!

The Central Withholding Agreements office provided the following guidance which they have given me permission to reprint for your edification. Be aware that all countries have different tax treaties, but many of them are very similar to the one the US has with New Zealand so this information can be applicable in many cases.

In the following, “business entity” refers to a production company or other type of operation which owns the rights to the production and performances being presented. The presumption here is that the artists/performers are either employees or contract players for the business entity, having no ownership interest or risk from loss in the production, thus making the business entity, rather than a venue or other payer, the withholding agent for payments to the artists. Payments to these performers would be subject to rules, regulations, and treaty considerations for the individuals as artists. The business entity may apply for a tax treaty benefit with regards to payments made to the business entity if the business entity is permanently located in a country that has a tax treaty with the United States.

A valid withholding certificate, W-8BEN, presented by the business entity to the venue is used to claim a tax treaty benefit for Business Profits. CAVEAT: The business entity MUST have a US Employer ID Number on the form W-8BEN to qualify for the exemption, otherwise 30% of gross income is required to be withheld and deposited with the US Treasury on behalf of the business entity.

Tax Treaties between the US and other countries are worded so that each country reads it and approaches it as a reciprocal agreement. In each case, the “Contracting State” is the country of residence of the business entity and the “other Contracting State” is the country in which they are performing services for remuneration.

Therefore, a US business entity applying Article 7 of the US-NZ tax treaty would use the US as “Contracting State” and New Zealand as the “other Contracting State” thereby claiming exemption from tax in NZ but being subject to full taxation in the US. The business entity could not claim exemption if they had a permanent establishment in NZ.

SIMILARLY, the NZ business entity would flip-flop the terminology taking NZ as the “Contracting State” and the US as the “other Contracting State” thereby claiming exemption from US taxation and subjection to full taxation in NZ. The business entity could not claim exemption if they had a permanent establishment in the US.

As a result, a non-resident alien business entity as described above will provide to the venue a Form W-8BEN claiming the business profits tax treaty provision. The venue is relieved from any withholding responsibilities for payments to the business entity.

The business entity is still required to withhold and deposit on any payments made to or for the benefit of the actual performers.

For the withholding requirements on the individual non-resident alien artists or athletes, you may contact the IRS at CWA.Program@IRS.gov

It should be noted, that while the payment may be exempt from the 30% withholding, the foreign company must still deduct U.S. taxes from payments made to their performers. More information on this may be found on the Artists from Abroad website.

Mad Man Delayed

by:

Joe Patti

I had marked this video intending to post it during Inside the Arts “Mad Men Week,” but totally forgot about it until coming across it today. The video is Rory Sutherland talking about how ad men create perceived value for objects. The has a great sense of humor so the video is just plain fun to watch.

My favorite bit comes toward the end when he talks about Post cereal’s roll out of Diamond Shreddies which literally turned the old Shreddies cereal on end. Inexplicably, the move was a little controversial and Post issued a “combo pack” of both cereals. (I gotta hope the controversy was manufactured by Post.)

The thing that might be most valuable for arts people is a quote at the end of his talk where he cites a quote “Poetry is when you make new things familiar and familiar things new.” Though in the case of the arts and current attendance trends, the familiar may be an entirely new experience.

He says it isn’t a bad definition of what advertising people’s job is: “To help people appreciate what is unfamiliar. But also to gain a greater appreciation and place a far higher value on those things that are already existing.”

Okay no surprise there. Apropos to my previous comment, arts people try to make their disciplines familiar to those who haven’t had much interaction with it every day.

Holiday Memes? Bah! Humbug!

by:

Joe Patti

So our glorious Inside the Arts leader Drew McManus laid down a challenge of a Holiday Extremes Meme. Now, I think if you are a musician and can only name two of four good holiday concerts and one of the two (of four) worst concerts you name involves YOU performing, it isn’t quite fair to those of us who are non-musicians!

I have been to fewer holiday concerts than Drew, though I do remember the Christmas cantatas of my youth when the Catholic and Presbyterian congregations of my small community would come together so there would be enough people for a decent size choir.

One of my favorite Christmas music memories though was when I lived in Florida. There was a radio station in Tampa at the time which started playing Christmas music for hours on end starting Christmas Eve. There were some really great songs there that I had never heard before. You would go from Bing Crosby to “You’re A Mean One, Mr. Grinch” and then back to some choir softly singing.

That was when I heard the Bob Rivers’ classic, “I Am Santa Claus”

I have great memories of driving up to my sister’s house at 5 am Christmas morning listening to the music. Unfortunately, there was a year of new management and they stopped that practice.

However, in the spirit of offering new songs for the season, I wanted to turn people on to one. Don’t be fooled by the band name, Hoots and Hellmouth, or the title, A Song for Solstice, I am not trying to undermine the religious nature of the holiday. It is a nice song for the season without being cloying. The music comes courtesy of public radio station, WXPN’s 2008 12 Days of Christmas where they offered 12 free downloads of holiday music from local artists.

A Song for Solstice was smack in the middle at Day 6. If you want to check out other alternative holiday songs, scroll around on the page. I admit to being a sentimental sucker for #4 Dan May’s “Christmas in My Hometown.”

Volunteering Your Way to #1

by:

Joe Patti

I was listening to Andrew Taylor’s interview with Artsjournal.com founder/editor Doug McLennan today. During the interview McLennan mentioned all the ways in which organizations were creating online communities to help them achieve things. One of the ways he mentioned people’s contributions were rewarded was via a ranking system to show who had been most productive.

I started thinking about whether this might be a useful way for arts organizations to motivate volunteers. At one time, I had heard that creating contests and achievement awards for volunteers could be counterproductive in terms of motivating and retaining volunteers. I wondered if the new online rewards environment may have changed this. After some reading and thinking on the matter, I decided a ranking system is probably still not useful in many of the traditional functions of an arts organization.

One of the things I read which confirmed my recollection advising against rankings is that many volunteers are motivated by other factors than rankings. Also, different people have different ranges of ability. If someone is providing assistance because they believe in the organization but is in a situation where recognition is accorded to those who are hustling for first place, they may become disheartened. One suggestion I read was to have people compete against their own old milestones. Online communities have a certain anonymity that can insulate one from emotional investments. This may not be the case when a volunteer is working to benefit people and causes with which they can personally interact and experience.

There is also the issue that online contributions can be made on ones own schedule. Involvement and duration are self selected. Whereas many arts organizations engage volunteers during certain hours and events. There is also often a person acting as a gatekeeper determining who gets to contribute and when. A person striving to be number one may find time constraints and scheduling favoritism shown others inhibits their ambitions.

Scoring people for activities that aren’t constrained too much by time deadlines may be still possible. You can open up archives and newspaper/props storage and just let people go at it cataloging and organizing things on their own schedule. Though physically getting in each other’s way in cramped storage areas is also a problem that online activities don’t face now that most people have fairly speedy bandwidth.

If anyone has any feedback in terms of reward systems that were meaningful and didn’t alienate volunteers, ideas for ways to motivate volunteers given the expectations of the internet age or even tasks you can turn to the internet group mind to accomplish (like designing Drew McManus’ Twitter page) I would love to hear them.