Vinylinist

Last night, I had the pleasure of meeting a new friend and fellow musician. He is an alumnus from my husband’s college, and they reconnected via social networking. He is a musician, but is also an entertainment attorney who has been in the music business for many years. One of our many topics discussed was how the value of musicians themselves has not increased over the past thirty to forty years. We shared stories of tours and other musicians, as well as discussions of how bands have played bars “for the door.” He spoke of how bands made more money “back in the day” than they do now as many are still just playing for the door. It’s not just that the bands keep this vicious cycle going, but that the “door” price also has not increased in over twenty years!

Prices for everything have gone up in the past twenty years, but yet there are musicians who still think they should only be paid what someone offers, no matter how ridiculously low. If everyone worked for that, then the standard would be set there. Instead, there are those of us trying to make a real living and career out of music who are being undercut by those who are in it as a hobby or other part-time job. So how do we convince musicians to stop racing to the bottom?

One complaint I hear a lot is “Where is the musicians’ union? Aren’t they supposed to help me?” As a member of the musicians’ union in a right-to-work state for almost 20 years, I feel it is my duty to REMIND all the other members that it is YOUR responsibility to follow the guidelines set by your union. If you agree to play for less than the agreed-upon and VOTED BY MEMBERS minimum scale, then you are the one to blame. If you want to change that scale, then get involved with your union and make that change from the inside! Stop complaining and do something about it. The union is there to provide services (insurance, pension, etc.) and help protect you and your contracts, but they cannot help those who will not help themselves. And they certainly will not help those who keep undermining the efforts of those who are indeed the professionals by playing for such ridiculously low pay. If we do stick together and act like a real group of professionals, then the bars, restaurants and other venues will stop asking for the freebies and low-paying work. They know the value of having live music in their establishments – people come in, stay longer, drink more. The money is in the alcohol, not the food.

This is only one suggestion and is only my opinion. I admit that I get frustrated when I hear of musicians accepting (or offering) low-paying or free work. I just want to get their attention and ask “Don’t you realize that you are not improving your career or condition, but harming yourself and all the other musicians here trying to make a living?” Sigh! I guess I just have high hopes that everyone will play by the same rules that were set up by the same organization to which many belong. What’s the point of having the rules in an organization if no one follows them? I encourage anyone reading this blog to respond via my Facebook link and tell me your suggestions on how to solve these problems.

This is the time of year where I usually ask my students what are their goals in music. It’s near the end of this semester, and we review what we have done, and plan our next summer sessions and goals. For my students completing their junior year of high school, this is where I really want to know what are their plans for college. Do you want to play/study music in college? Are you planning a career in the arts? What accomplishments have you completed that will aid your entrance into your college of choice? Are you ready for the audition process? These questions and their answers give me the information I need to give them the tools to succeed.

Some of my students are very interested in hip-hop and dance music. Although we still use the traditional methods for learning music (reading, writing, phrasing, memorizing, etc.), I put an additional emphasis on improvisation and identifying patterns in music. What makes this style “hip-hop?” Is it the lyrics? The instruments? The key element is LISTENING. Then I teach how the student can create that style with their instrument(s).

Some of my students are interested in composing. Part of our lessons is spent doing it the old fashioned way with pencil and manuscript paper, while others are spent learning how to do the same thing with computers and software programs. We learn the difference between handwriting it to get the emotion through the placement of notes (close together if want a quick run, farther apart if you want to linger a bit), then how to transcribe that same emotion into a computer program.

During these discussions about goals, I prefer to discuss the difference between having a career in the arts verses other traditional trades. My favourite example is from a fellow musician, Daniel Jordan. He compares musicians to plumbers. Musicians do what we do because we have a passion for it; we are (or should be) always practicing and perfecting our art to continue to provide an excellent service to the listeners. We get together as a group on a regular basis to practice together, to share ideas, to create. Daniel says he knows of NO PLUMBERS who will get together for 3 hours on a Saturday night to fix toilets together and share their ideas, let alone practice doing it for free. I am sure he means no disrespect to plumbers for their skill and service, but merely uses it as an example of how they are not expected by society to practice as a group, or even practice at home several hours each day. Musicians are expected to do this and be perfectly prepared for a live gig, and yet many times clients expect us to do it for free or “PUBLICITY” or “PROMOTION.” So how do we change the expectations of society in this regard?

Although many of my students pursue majors/careers other than music, I see one of my roles as the teacher is to help shape good audience members and purchasers of music. If they understand how many years it takes to be a professional musician, and how many hours of practice goes into it, then perhaps they will understand the value of pricing when they have to hire a musician or band. Perhaps they will also understand why concert and show tickets are so expensive, although that usually involves another lesson where we discuss the economics of being in a band, or another lesson about the financial risk involved in creating a show. Again, this may be the subject for a future post.

Sometimes I have had to do a job I didn’t especially like to pay the bills. I think most of the US population has been or is currently in this position. What many people neglect to do is to gain as much knowledge as they can during that time, including learning more about that job and studying other subjects for a role they do desire. This self-discipline is one of many keys to my being what I consider successful in my musical career.

I have always sang and played violin and piano (at least as far back as my memories allow). My mother started my musical education before I was even born as she was a professional violinist, pianist and vocalist. This developed my creative mind, as well as my logical mind. I started seeing patterns and mathematical equations in music long before it was taught to me in school. I remember reading music before I learned to read English. I understood complex fractions and the patterns of sound waves as they interact as perfect fifths and octaves before I was out of kindergarten. Vibrations per second, beats per minute, etc. were all part of my learning process during these early years, and this made me WANT to be a musician more than anything else!

But then came the entrepreneurial spark. I started my first real business when I was 9 making hairbows and selling them at a local consignment shop. I had to manage inventory, expenses, and profits, fulfill special orders, monitor quality control, and manage customer satisfaction. I was in school (obviously), so I had to manage my time in the evenings and on weekends between homework, practicing and fulfilling orders. I kept my records in my Holly Hobby notebook, including detailed listing of supplies with the receipts taped inside. Once I had enough profits after a few months, I made my first major purchase: a pair of designer shoes! White leather with gold buckles from Etienne Aigner. My family could never afford such luxuries, so I decided that is where I wanted to spend my money. I had already paid back the small loan with interest from my mother as she purchased the first set of supplies. This business continued and evolved with the styles for several years until the fashion changed and hairbows were no longer as popular. Plus, my interests changed to more music.

I started performing professionally for weddings and other events at the age of 14. My career as a private music instructor began at age 16 when I was paid to teach violin and piano to children at my church while their parents were in choir practice. This business was a bit more difficult to track since there was no clear inventory or expenses. After reading most of the tax codes at the time, I learned how to track mileage and other incidental expenses. I had already been doing my family’s taxes since age 14, so I understood how deductions worked.

One summer, I decided to leave my hometown and work at Walt Disney World between semesters of college. I was given the shift no one wanted (closing) in merchandise at one of the busiest locations (the Emporium). Again, I learned from this: I do NOT want to work in retail, unless I am the owner. I also learned how to work in uncomfortable clothing to fit a theme and to deal with it. Not everyone with whom you work are of similar backgrounds to you, nor do they have the same education. Some have more experience and I learned from them; some have better people skills and I learned from them, too. I also learned how to work with managers who may have seemed difficult at first. I took this experience back to college with me, and the next year was extremely successful for me.

While in college, I continued to teach private lessons, and was even given the title of “Adjunct Professor” at the school where I was enrolled. I also was a waitress and bartender at a local private business hotel where I learned the art of five-star dining. I learned how to make mixed drinks and a myriad of napkin folds, as well as cook buffalo meat and shuck oysters. I learned how to pair wines with dishes, and learned the difference between every type of grape and its regions in the world. This was the “behind the scenes” knowledge that I was not taught during cotillion. But why would I ever need to know this stuff?

That answer came sooner rather than later. After college, I moved to Orlando where that hospitality experience landed me a “day job” as a waitress/bartender at various locations at Disney. Bartending paid the bills while I was building my music career. The entrepreneurial spark returned and I started another business of teaching private lessons and providing professional string ensembles. I joined the Musicians’ Union, and networked at every opportunity. This got me on the lists for many of the contractors, and that opened the door for the touring world. I used my vacation or unpaid days off from the day job so I could gig and tour.

Several transitions and career changes later, I wound up as a manager in the business affairs area. My job was to draft and negotiate contract terms and work with the legal teams from all parties involved. The highlight of that job for which I am grateful is learning the value of having a TRUE mentor and leader – someone to inspire you and encourage you to be the person you want to be. During this time, I still toured and performed, but I decided I needed to go back to school and further my education. So I did. I now have the education and degrees to match my passion for a career in music. I took the life lessons from that role and use them today in all my business dealings.

From the variety of odd jobs I have held, I have gathered a diverse knowledge of skills. I continue to learn from most of my encounters every day, and I realize that no matter how important I may think my job is, I am always relying on others to help me do it. From the clients who pay for our services to the musicians who work with me, my real job is to work well with others so that we are all successful in life.

Live music and entertainment is the center of most corporate events. Meeting planners often think of the entertainment as an afterthought, or as background. In my many years of experience with corporate gigs, the entertainment seems to be the LAST item booked. What many forget is that the music is why the guests remain in the room long after the last dish is cleared. As a good friend and agent Richie Compton said, “Wow! These table linens and centerpieces are gorgeous! Let’s extend a half hour to admire them a little longer!”

Really? You think that’s what the guests really care about? Sure, many guests want to take pictures of the beautiful room, flowers, settings, etc. to show their friends. These items set the tone for the dinner based on the formality of the settings and linens. But the MUSIC is the underlying theme. The music gets in their heads and actually creates the mood for the entire evening. When an event extends, it is almost 100% due to the entertainment. The crowd wants to feel good and share in the excitement of the evening, and the LIVE MUSIC allows this to happen. Live musicians can read the audience and cater to them. Set lists change in a matter of seconds, and volume can be changed instantly. Body language of the musicians also create a vibe that cannot be created by a DJ or machine.

Even when hired to be background music, live musicians are rarely that. People notice when it’s live, and usually interact with the performers. If it’s a DJ behind a table, most guests do not interact. But put live people with instruments on stage, and people WANT to interact. As a performer, I want to make a connection with each person in the audience, too. We want to make them happy or excited, and we have the power to do so. It’s rare that a guest becomes so excited over the chair covers that they just want to stare at them all night. People want to interact with other people, including live musicians. It’s up to us as the musicians to keep the party going as long as security will allow!

When you love what you are doing, time seems to move swiftly (often too fast for true appreciation). Contrary to this, when you don’t enjoy something, time seems to pass so painfully slow. It is all a matter of perspective and perception.

When I’m on a gig, time moves faster than I can ever recall. I absolutely LOVE performing, and I usually don’t want to stop once I’ve started. Then my physical body reminds me that I need to take a short break, and then I’m refreshed and ready to go again.

When I practice scales and etudes, I make sure I am spending enough time on each one to clarify tone, intonation, technique, etc. It does seem slow as these are not my favorite things to play, but I focus my attention on certain things each pass to make it more enjoyable. When I finally am ready to move onto the musical selections, that time always speeds by. Before I realize it, an hour or more is gone. More than once, I was so enraptured in the practice session that I lost track of time and my students were knocking at my door as it was their turn for my attention.

These perceptions about time and what is “appropriate” also go beyond my practice and studio time. I find it difficult to explain to my students and their families that I keep a very different and varying schedule on a daily basis. While many of the families have regular routines (up early, children to school, parents to work, after school activities, dinner, homework, sleep, repeat), I do not keep a regular schedule each day. Yes, I try to maintain a regular teaching schedule for my students, but even that changes when I have professional gigs. I inform EVERY prospective student up front before they ever begin lessons with me about my constantly changing professional gig schedule. For most of my students, they actually LIKE the fact that I am a working professional making a very good career in the music industry who also LIKES to teach. For those students who need a lesson every week at the exact same time, I am happy to refer them to other teachers who do not play professionally.

Example is last week’s schedule:
Sunday – up at 9:30 a.m. after only 3 hours sleep from a late night gig; practice and another gig; rehearsal till 11:00 p.m.; bed after 2:00 a.m.
Monday – up at 5:00 a.m.; teach youth program, practice, business work, students, arranging music; bed after 1:00 a.m.
Tuesday – up at 5:00 a.m. to take family member to hospital and wait until finished; students, practice, arranging; bed at 11:00 p.m.
Wednesday – up at 6:00 a.m. for early gig; practice; students; another gig; bed at 1:00 a.m.
Thursday – up at 10:00 a.m.; business work; practice, rehearsal, gig; bed at 2:00 a.m.
Friday – up at 9:00 a.m.; business work, practice; sound check and gig; bed at 3:00 a.m.
Saturday – up at 9:30 a.m.; business work; errands; meetings; still up at 6:30 a.m. on what’s now Sunday morning.

This week’s schedule will be completely different as no two days have the same responsibilities at the same time. There is no routine, and I do prefer it that way. It just seems to be increasingly challenging to communicate this with my students who want 8:00 a.m. lessons when the children are on spring break. Spring break does not exist for me as my students are in 4 counties, plus 6 different private schools and all have a different spring break schedule. For the most part, I explain that they should pretend I live in California and keep the time zone for it (about 3 hours later than our current location in the Eastern Time Zone). This way, they know they can usually call me after 9:00 a.m. and up to midnight. I try to not schedule any lessons before about 10:30 a.m. so as to not be half asleep when they need me to be at alert and attentive.

Again, time is a matter of perspective and perception for each and every person. It is also our greatest asset of which there is a finite amount. Please remember to respect mine and other people’s time and schedule choices, and I shall do the same for you. Thank you for spending your time reading this post.

A friend reminded me of this pricing lesson from Picasso:

A woman was strolling along a street in Paris some years ago when she spotted the world famous painter Pablo Picasso sketching at a sidewalk cafe. She plucked up the courage to approach him and asked him if he could do a sketch of her and charge her accordingly. Picasso obliged, and minutes later she was the owner of an original Picasso. She then asked what she owed him. “Five thousand francs” he replied. “But it only took you three minutes” she politely reminded him. “No,” said Picasso, “It took me my entire life.”

It takes us musicians more than a few years of lessons or college to be professionals at our instruments. It takes YEARS of practice, lessons, classes, solo practice, small ensemble practice, large ensemble practice, recitals, shows, more lessons, etc. Rarely does an adult who begins music in adulthood ever become a professional musician. It is something that has to be taught throughout childhood and fostered through adulthood.

So what are YOU worth? As a musician, it is up to YOU to set what you are worth. Granted, the marketplace plays a role in what it will bear, but it really is up to you to decide how much you are willing to accept to play a gig. But HOW do you price yourself?

First and foremost, check your local musicians’ union price list. Make sure you are making at LEAST the minimum scale, plus your expenses. This price list usually reflects what are the going rates and the market for the area covered. Let’s assume the minimum price for 3 hours is at $200 total for a solo act, and $100 total for a sideman (these are NOT the actual rates in my area; I am using these for ease of comparison). If you are playing in town (no long-distance driving), then these rates are a good start.

After you have the initial amount you want to make, you must add in your expenses. Add 15% contractor fee for the leader/solo gig ($30), plus work dues (around 3% in some areas = $6), plus pension contribution of 10% ($20 – you do want to eventually retire, don’t you?), plus insurance (estimate another 10% = $20), plus advertising and self-employment taxes and SSI and other taxes (estimate another 30% = $60). This now makes the minimum price you should charge for a solo gig at $336.00.

If you are a “sideman” on a gig, find out if the leader is paying pension, work dues, insurance, etc. Many contractors do pay these on your behalf and do NOT subtract them from your minimum payment. If you are considered “independent contractor,” make sure your payment is enough to cover your taxes, too. Assuming the amounts above, the sideman should be paid $130.00 ($100 plus 30% for taxes). If your leader is NOT paying the other items on your behalf, then your total should then be $153.00 since you are not getting a contractor fee.
If you have to drive/travel, be sure to add these costs to your quote. If you have to bring a lot of gear, then that, too, should be added to your quote.

You should NOT go below the minimum scale rates just to get the gig because the end client will then expect it from then on, and that can harm you for future work. If you are the contractor, then you need to be aware of your overall quote to include these costs of doing business, including how much you pay your musicians. Besides, not many musicians will work for you if you don’t pay them enough or what is considered “fair” for the area.

Setting your pricing above these minimums can be a very good idea, too. Once you are established as a good musician and easy to work with, word will spread. Supply and demand can then play a role – if so many calls come in, raise your rates until you are comfortable with the number of requests you can accommodate and make the amounts you want to make. If you raise your rates too high, then be willing to negotiate if you want more work. It can be a strange game for many, so please use this strategy with caution.

Experience is worth more than most education. I don’t really care how many degrees you have; if you cannot sight-read and play well with others, I probably won’t hire you. If you only have a high school diploma, but have played in multiple bands or even done street gigs, AND can sight-read and play well with others, I will definitely hire you. In fact, I could use you right now if you play violin, viola, cello, bass, or keys. Feel free to contact me!

Pricing can also tell a lot about you. If you are lower than average, the client then wonders, “What’s wrong with this person? Are they just now starting their career? Or are they all washed up and no one wants them?” If you are average, the client then wonders, “How good are they compared to X? They all seem the same to me.” If you are higher than average, the client then wonders, “Is this person really that good? If they are getting this price, they must be better than the rest.” It’s like name brands – people buy Tiffany’s not because they have better diamonds than the local jeweler, but for the reputation, customer service and the name. The perception then becomes the reality, and it is up to you to prove it to them by being the best musician for the job. By setting a higher price, the client expects a higher level of service, dedication and performance, and you have to be prepared to deliver all of these.

Overall, remember that it is up to YOU to determine your worth. It is up to others to decide if they really want you by paying that price.

How much time and money do you spend promoting yourself? Your business? You could pay to advertise in specific publications to get the word out, or you can use the free areas available to you, like the social media. People who follow you or subscribe to your “feed” can learn about you/your business/your shows at the speed of sound. Facebook and Twitter are fast and easy methods to inform your friends about upcoming events and shows, but you must learn to balance your posts between business and personal. Otherwise, people might simply ignore you or block you. Sometimes, they will “unfriend” you.

When on a site like Facebook, you should have a definitive line between business and personal. Create a business page and invite friends to “like” it. Keep the business posts there. Link to them from your personal page. On Twitter, my actual username is my business page from Facebook, and it is linked from there. All my posts from that page on Facebook appear on my Twitter feed. I like the fact that they allow such linking, but I keep it to just these two sites.

I know some people like to use one account for everything, and that will feed all their social media outlets at the same time. I don’t like to do that as I think it can be “spamming” instead of something more personal. My personal Facebook page is just that – personal. I post personal stuff, and are friends with people that I have actually met (either in person or online via long distance chat). Still, I like to promote when I am in a concert as many of my friends are also people who might want to come see it if they know I am performing. Many of my friends are also musicians, so they like to post their concerts, too. It’s a simple way to get the information “out there” and to remind people of upcoming shows.

As with any “good” thing, there is a flip side. With the instant information available, I have to spend time each day on Facebook and other social media sites to keep it current; keep the content fresh and inviting. This does take a dedicated part of my day/week, but it is something I enjoy doing. It’s also my time to get up to date on what my friends are doing, too. It appears that Facebook and other social media are simply following the evolution of how we as humans communicate. Facebook created a NEW way for us to network and socialize, and it has clearly changed our society. The written letter allowed communication to go a long distance; the telegraph shortened the time for that letter to travel; the telephone replaced the letter/telegraph by allowing voice communication; e-mail replaced the written letter; cell phones allowed voice, text and video communication wherever you may be (both inside and outside your home) and made it portable; social media replaced many phone calls, letters and e-mails as one status update can reach your entire circle of friends at the same time. With apps on cell phones, the communication becomes instant. There is little time to process it before the next communication comes barreling at you at the speed of sound with a “ding” of the next message arriving. Also, with the lack of having the non-verbal communication of reading body language and facial expressions, many times the message is misinterpreted.

Although I firmly believe that there is nothing more personal and important than face-to-face communication, I also know it is increasingly challenging for that communication to happen in our constantly busy society. We must make time for our friends to remind them how important they are to us. When I don’t have time to meet, I at least try to communicate via a telephone call. When there’s no time for a phone call, I text or e-mail. It’s these personal bonds that keep us alive and growing as a society. And if you have read this far, I just reinforced a bond with you.

How far will you go to realize a dream? Will you consider dedicating your entire life to making it happen? Are you willing to lose everything to make it succeed, including friendships, life’s savings and even your house? It takes the complete dedication of knowing that you will not let it fail in order for it to truly succeed. Venturing into something new and innovative is extremely risky, especially in the entertainment industry.

I have heard this story many times from very successful business people, not just in the entertainment world. You have to go into the dream knowing that it will not fail, and sometimes the only way to ensure that is to risk it all. “Balls to the wall!” as a dear and wise colleague once told me. And he is right.

I may be female, but I’ve got the cajones to make my dreams come true. It’s been that way all my life. I’m not afraid to try new things, and I’m definitely not afraid to gamble. I even bought my first MINI with my poker winnings. I have drive and determination, and I am thankful that I have people in my life who understand that (many love it, many loathe it.) Still, I have to be concerned about the people who are “in it” with me. What are they risking, if anything at all? Is it their money or reputation on the line? What is their level of commitment or even understanding of my commitment? How far are THEY willing to go on this journey with me?

These are questions that are constantly prevalent in my mind. Contrary to popular opinion, I am actually thinking of others before myself. I make sure the band gets paid before I do. I make sure the insurance and pension and taxes are paid, even when there is no money in the band bank account to pay it. I run it like a true business (gosh, I really wish the booking agents understood that this is my job, my career and my life, and everyone has bills to pay; maybe then they would stop asking for me to reduce my fee.) I pay for equipment and van rentals and even food for everyone on the gig from my own pocket. I know I will be reimbursed some day, many times over, but for now, it’s a sacrifice I am willing to make to ensure success. Keep your employees happy, and they will work harder for you; in the end, we all succeed.

A friend posted a comment on one of my posts on Facebook saying that (and I’m paraphrasing) keeping up with the Jones’ would be an interesting reality show for one of the music channels. I like this idea! Gene Simmons is already a very popular and wealthy man whom I thoroughly respect and admire, but I think he is also “out of touch” with the regular working musician. His reality show about his family and career are about the success he has received later in life and are a reflection on how he got there. Yes, I find this interesting, but not a reality for an average joe who can make a decent living in music without having to hit it big. I think my show (if it does happen) would reach a broader audience of people who can relate exactly to what I and my fellow musician friends are doing to make a career in music.

Topics and focus could change every episode, but still all tie together since it is real life. No writers, no producers telling us what to do; just a camera crew following us around and WE are included in the editing process of what is important to learn for an aspiring musician. My husband and I work very closely together every day to make the band a success. He is not a musician, but I know I could not do this without him. He handles the audio, visual, web presence, recording, mixing, engineering, photography, videography, and just about anything and everything technical with the band. I handle the music, music choices, work with the arrangements, wrangle the musicians for rehearsals and performances, bookings, productions, show development and design, costuming, musical direction, wrangle the musicians, contracts, business matters, wrangle the musicians, accounting and bookkeeping, wrangle the musicians, communications, educational program creation and design, wrangle the musicians, scheduling, etc. Although we do have paid professional agents, accountants and attorneys who deal with some of my responsibilities, I still have to oversee all of them. I have to protect the company since every band member is a part of it and they are trusting me to make sure it’s all done correctly.

Of course, those listed responsibilities are only related to one specific group of musicians with whom I work. As a freelance musician, I also perform with symphony orchestras, other rock groups, the multitude of weddings and other chamber music opportunities, and churches. The holidays are an extremely busy time for musicians and we are all thankful for it. For example, on Christmas Eve day, I am performing with my trio for 3 church services in the afternoon, and as part of an orchestra at another church for a midnight service. The next day (Christmas Day) includes three full-blown Christmas shows at Walt Disney World with a 55-piece orchestra and 400-voice choir with celebrity narrator for EPCOT’s Candlelight Processional. I literally have dozens of other smaller gigs leading up to New Year’s, too.

I cannot stress enough that if anyone wants a career in music, he/she MUST be willing to work holidays. The musicians who will be working with me on Dec. 24 will be some of my first call musicians for the rest of the year, and I know many contractors who feel the same way. The musicians who said “Ummm, no, I really don’t want to work that day so I can have dinner with my family” will not be my first call. Of course, I specifically asked “What time is your dinner?” and when I justified that each one would be home EARLY enough to be with their families, then the response was “yeah, well, I really don’t want to work that day.” True story. You can tell each of these musicians is still a student and don’t understand what it is really like to be a working musician.

On the topic of wrangling the musicians, this is probably where I spend most of my time. Currently, I have 26 people with whom I contract regularly for gigs. I know contractors and personnel managers who deal with many more, and it multiplies in difficulty the larger the ensemble. Plus, I have to determine who is the “best fit” for a particular gig based on many criteria: classical or rock? Show or background music? Who is the audience – conservative or hard-core? Fans or corporate clients? I have to make those decisions, and that includes understanding that there may be some hurt feelings from other members of the group as to why they were not chosen to do that gig. I know I cannot put a musician with lots of visible tattoos on a classical corporate gig unless he/she can cover them up. I have to follow the “Disney look” when I’m selecting musicians with whom to work at any of the hotels and locations at or near Disney. I specifically approve each clothing ensemble before I allow it on a gig. I have even had a musician show up in black jeans and shoes with no socks when I specifically told her and put it in writing to wear a long black skirt with black hose. I had a spare of these in my car and made her go change.

Good grief! I really could create an entire reality show just based on the day-to-day dealings with other musicians! Plus it might be interesting to record some of the interactions with the “celebrity” musicians I encounter on a regular basis, including when I do tours with larger name acts. For the technically minded, I think there is a HUGE audience for what Jerry deals with on a daily basis. Setting up the sound, running the mixing board, recording, etc. And, of course, his dealings with the musicians. Now to find a producer…

Just when you think have it figured out, there is always something surprising about corporate gigs. The key for doing these successfully is to be flexible and patient. This applies for every musician, regardless of experience and role. As much as possible should be clearly spelled out in the contract, but there are always last-minute changes. Corporate gigs are a completely different genre and audience.

At many corporate gigs, there is usually something else that is the focus of the event – dinner, reception, awards presentation, etc. The musicians are the entertainment that is either background or supplementary to the event. Rarely is the entertainment the focus as it would be in a performing arts theatre. I think this is why the meeting planners feel they can change everything on a whim. They are reading their audience and trying to fit the entertainment to them. They have no clue who will actually be listening or interested. Again, it’s not like a fan coming to see their favorite band. It is actually very rare for the audience to even be interested in the music, let alone take time to video the group and want to pose for pictures and autographs (yes, this happens almost every time I perform as the Vinylinist). I cannot stress enough how the band members have to be flexible in these scenarios.

Recently, I performed for two corporate events where this mindset HAD to be included. We got there more than thirty minutes prior to our scheduled setup time, and discovered the physical stage was not even set up! By the time the stage was actually put together so we could actually set up our instruments and monitors, etc. it was an hour after our original setup time. That gave us only one hour for setup, sound check, and trouble shooting before we were to start performing. Then the meeting planner changed our start time at the gig to EARLIER. We were ready and did as we were told, but it was very rushed. Then the meeting planner decided to wait another 15 minutes for our start time, change our playing time, change our break time, change what they wanted – all while the event was happening. Yes, we try to accommodate, when possible. Thank goodness our agent was on-site and could field many of these changes.

Sidenote – USE AN AGENT! AND MAKE SURE THEY ARE PRESENT ON-SITE AT CORPORATE GIGS! This prevents the musician from being the “bad guy” and allows them to focus on their job of entertaining.

Although we did do our job of entertaining, and the guests and meeting planner were very happy, it is up to the leader to make sure that all the musicians in the group are informed of changes, and that the appearance and professionalism of the group is evident. When it is “break time,” the musicians are still on the clock and must be able to be reached in case of other last-minute changes. We learned the hard way that cell phones do not work everywhere, so two-way radios must be used when possible. But it is still up to the musicians to WATCH THE CLOCK and be near or at the stage before the original scheduled call time. When a musician arrives to join the group AFTER the scheduled time and AFTER the group has already started, that is a terminable offense. Period. If that person was you, then you just cost that group and every person in it future gigs ($$$) and possibly a decrease in payment from the client for that gig.

Each musician is responsible not only to the leader, but to every other musician in that group. The leader can field any problems through the agent, but it is up the leader to make sure everyone is doing their job. It is a team effort to put on a show, and everybody has to work together to make it a success. It is a job, and it’s about time most musicians started treating it like one.