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Looper's Delight
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A more accurate and succinct description of the subject has yet to be voiced in this forum. Good job Travis. While being a grim picture, I suggest that it points to the fact that when we try to play at a bar, perhaps we're barking up the wrong tree. There are alternative places to play. Non profit art spaces, parties, etc. Why beat your head against a wall? I found out a long time ago that making money part of the performance made me A) Sad and B) Poor. For me, the two are now divorced, and have never been more fulfilling. No reason to get all bitter about the way things are, you're energy is better spent playing. Mark Sottilaro On Wednesday, December 26, 2001, at 07:42 AM, Travis Hartnett wrote: > A common source of friction between musicians and venue owners is that > musicians operate under the assumption that if they show up and make > nice > sounds, they should get paid, they've done their part. Owners tend to > take > the position that if the musician can be shown to have increased the > business for the night, then they get paid. The quality and character > of > the sounds produced is often secondary, as long as the bar cash register > keeps ringing. > > Often, these two assumptions go unstated, or at least unelaborated. The > musician feels he should get paid in at least the same manner as the guy > mopping the floor, i.e. if the the floor is mopped, money is forked > over. > The venue owner probably already has a juke box or CD player installed > which > keeps most of the customers happy (and drinking) most of the time--why > should he give up some of his hard-earned income to some guy making > weird > noises? Or even normal noises if there's no bump in the sales? > > Some owners will be totally up front about this and let you know that > your > continued success is dependent upon people showing up to see you AND > buying > something while they're there. If you see your friends coming out to a > show > to "support" you, and then drinking water, explain to them that if > they're > not spending money they're don't register on the owner's radar. They're > taking up space for real, paying customers (understand that this is all > from > the viewpoint of the business-minded owner). > > Many owners will profess their "love of live music" and their "support > of > the the arts". Some of these people are squarely full of shit, some are > sincere, yet somewhat mistaken, and very, very few are totally on the > level > with you. If you find someone like that, stick to them like glue. > Learn to > recognize the first two types (quickly) and adjust your plans and > expectations accordingly. There's nothing wrong with asking a booking > agent > up front what has to happen for the evening to be a success in their > eyes. > Don't be shocked or offended if they discuss it purely in terms of > beer/coffee sold. Fitting art into the business world is tricky > business, > and up close bears a striking resemblance to the manufacture of > sausages. > > And, if you're going to be hard- > line/uncompromising/supremely-principled in > what constitutes acceptable pay, be prepared to play in paying venues > somewhat...infrequently. Taking the attitude that "if beer's being sold > while I'm playing, then I get paid" may bite you in the ass when at the > end > of the night the owner comes by and demands his cut of your CD/t-shirt > sales. After all, if you're using his storefront to promote and sell > your > product, why shouldn't he get a cut? Oh, and you are reporting your > sales > tax on that, right? > > Despite the grimness of the above, music still finds a way to happen. > Just > be prepared for a few obstacles along the way. > > TH > > > >> i happen to believe that the benefit of 'exposure' is a myth. that is >> my >> opinion, though ... feel free to feel different. no matter how many >> people are >> there, my rule is still in effect for _me_ ... booze for sale = money >> exchanged >> = money should be in my pocket too. >