Author: Terry Stibal
Date: 2007-02-06 01:55
Well, in all fairness, just what is the union going to do? In a closed shop state, if the union has the workplace organized (a big if), they will have a CBA in place that will prevent it. Trouble is that few workplaces in the musical world are organized, simply because few pay enough to make it worth their while.
For every one of us who pays for pay, there are probably three who do it "for the door" or less. True, many are the three chords and a capo guitar crowd who are desperate for a venue, any venue. But, there they are and they will work for nothing. Such is life.
In an open shop state like Texas, it's much, much worse. Here, the union has no "exclusivity", and anyone working for an organization where there is a CBA in place can get all of the benefits of union membership (save the pension) without any of the costs.
So, down here, the customary comment from prospective clients is often along the lines of "You'll get good exposure" and "I just can't afford to book you for scale" (when they are pushing seven to ten dollar mixed drinks to the crowd all the while. When I get this kind of stuff thrown my way, I politely explain that I've got the same sort of fixed costs that they have with their business, and suggest that they might do better with a school group.
The Performance Fund does offer some work, but looking at it from a practical standpoint, the good years are about over. Plus, from a leader's standpoint, booking something through the cumbersome Performance Fund process is almost more trouble than it's worth.
Finally, as live music providers, we are competing not only against similar providers, we are also up against broadcast and recorded media. Each medium has some disadvantages, but both have one great advantage over us: they're free (if not legally, practically).
Put another way, my biggest competition is often not another musical group (I welcome that kind of competition), but rather the chocolate fountain that a bride's parents can get if they forego live music and hire a DJ instead. You really have to sell the sizzle (including getting your vocalists involved up front in the booking process) to overcome something as trendy as those cascades of ganache. In effect, we fight trendy with our own brand of trendy.
Nothing like regular business, and not something I'd want to pursue as a primary occupation. But, I've got the luxury of being able to take it or leave it. Do it as a full time career, and things might not go that well.
Put another way, don't ever plan on making a car, much less a house, payment by playing for the door...
leader of Houston's Sounds Of The South Dance Orchestra
info@sotsdo.com
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