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Work For Free?
By Carley Baer - 07/24/2008 - 02:33 PM EDT
They say that Portland, OR has the most micro-breweries, strip clubs,
and indie musicians per capita than any other US city. I've lived here
for a couple years now and I think that statement is true on all three
counts, but especially the last. Musicians are everywhere in this
town. You can catch a live show at any hour, on any night of the week,
at no less than 25 different venues. It is this that lured me here
from my indie-music-challenged Midwestern hometown, but it is also this
that shoots me in the foot whenever I try to book gigs for myself.
This place has too damn many musicians.
Now, it is wholly refreshing to live in an entire city that's pretty
dedicated to the arts. People have a lot more sympathy when you talk
about the rigors of self-promotion; they don't flash fake smiles and
then tell you to get a "real job." Conversely, though, the competition
is cutthroat. Venues book months in advance because the list of talent
is so long, and that's to say nothing of the
less-talented-but-every-bit-as-tenacious crowd that doesn't get booked
nearly as often but still clogs the pipes trying.
The biggest concern that arises in this situation is money. You may
remember that, in my last column, I stood on my soapbox decrying the
use of money as the definitive measure of value in music. I honestly
believe that that is true for recorded music; it's already recorded, so
you may as well try to get people to listen to it, whether or not they
pay for it. However, for live performances, it is an entirely
different matter. There is a tremendous amount of energy expended by a
performer, every single time, and it deserves to be rewarded--
particularly when that energy is responsible for keeping patrons at the
bar.
In a town like Portland, though, it's hard to get paid. For one thing,
for every legitimately good artist that wants to be paid, there are a
dozen that are willing to play for free. Because of this, venues have
gotten into the habit of not paying anyone anything even closely
resembling a living wage. Often, you'll find that the only payment
offered is a free drink and some "exposure." Now excuse me, for I must
digress.
Exposure is one of my most hated euphemisms: it is the most
condescending way to tell a person that they're working for free. It
might be fine when you're just starting out and need any kind of
experience to boost you into the higher echelons of the music network,
but once you've been playing out for a couple years and have been
diligently honing your craft, "exposure" is insulting. Imagine being a
bar owner and telling your staff that they won't be getting paid
tonight, but frame it in such a way that tries to make it sound like
it's a really great opportunity for them. Your staff would walk out on
you in a heartbeat, and yet musicians (who arguably do just as much to
keep patrons in a bar) are trained from the beginning to accept this as
a standard business practice.
Granted, a lot of coffee houses and upstart venues don't make a ton of
money to begin with, and if you're a veritably unknown musician, you
probably won't be making them a ton of money either. That's
understandable, and in those cases, exposure can be mutually
beneficial (especially if they're a growing business that will remember you in the future). However, more often than not, you find that a lot of
venues offering "exposure" are pretty established places, with a pretty
reliable clientele and a pretty miserly bookkeeper.
So what are we to do? It's simple, really. If a venue tells you they
won't pay you, then don't play there. Not only that, but don't
frequent that place as a patron. And not only that, but tell all your
pro-musician friends not to go there either, because supporting that
venue supports unethical business practices.
It's pretty difficult for one person, or even a small group of people,
to affect any real change in this way (even though it's really
satisfying on a base level). So, one way to get a larger movement
started is to get involved with your local chapter of the Musician's
Union. Yes, there is such a thing as the Musician's Union and yes,
most cities have a local chapter. (Here in Portland, it's Local 99.)
The whole philosophy of a union revolves around the idea that what's
good for the individual is good for the whole, and so if you need
muscle behind your plea for a living wage for musicians, the Union is
the best first option.
But let's say you live in a small town with no Union chapter and not a
lot of options as far as venues go. My first piece of advice, at least
if you have any intention of making a living as a musician, is to get
the H out of that town as soon as you possibly can. However, that's
not always a realistic option in the short term. If all the venues in
your town tell you that you won't get paid for your two hours of hard
work, you still don't have to accept that. Here is one solution: have
a house concert.
House concerts happen all over the country, and they're beautifully
simple. Someone hosts music in their living room and a cover is
charged or requested (I've seen anywhere from $5 to $30, depending on
the magnitude of the act). The cover goes toward providing food and
drink for the audience, and whatever is left goes to the musician(s).
The great thing about house concerts is that it allows you to play in a
setting where people are there to LISTEN; they're not there to drink,
or eat, or socialize. They get to sit on comfy furniture and get an
intimate glimpse of you as a performer and a person. I've never been
to a house concert, as a performer or as a listener, where the
experience wasn't totally magical for everyone involved.
Another solution is busking. All you do is grab your instrument and
head out to a street corner that has some decent foot traffic. Then
you open your case and play. You can usually walk away after a couple
hours with $30 or more, and if you have a sign with your name or
website, you're exposing any number of people to your music who may
have otherwise never come across it. Even if you don't make a fat wad
of cash, it's a good way to get a couple hours of intense practice.
I made the decision a few months ago that I will not play for free,
unless I choose to. I'm not rich, by any means, but I supplement my
day job income by a couple hundred dollars a month, which is nice. My
point in all this is that you can do the same. Griping about not
getting paid won't get you paid; taking decisive action with your music
will.
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