Probably depends on what ecological niche you occupy. You were much more 
diverse in your talents than I am musically, so your opportunities would be so 
different. My stubbornness to only play acoustic blues as a solo act kinda 
forced me into certain directions to make it work. I rely on a few agents in 
different states for the majority of my work.

Since your day the tyranny of the record labels is replaced by the tyranny of 
social media which opens up the field on one hand and shuts out the money on 
another. There is always a phenom in the Philippines who is more amazing than 
whatever we do! And people know about that little F'er now and he will work 
practically for fee! (That sounds like the programming world too right!)

 But indie artists can now self produce their own shit, find a niche market and 
roll with it. That is kind of my world. I still play an eclectic array of gigs 
in any week which I find stimulating and challenging both. Same old formula as 
in your day probably, keep your overhead low, save when the money is pouring in 
and don't let the business end of the business crush your personal growth in 
areas less commercial.

I know you toured but I think you were also a session guy right? That is a 
different world from what I do. I know so many great musicians who went into 
computers and found it very satisfying, playing gigs on the side. In many ways 
the day job is a huge boon for focusing on your personal musical development. I 
recently expanded my world by adding African musical instruments into my show 
so I can get paid to do what I love learning about. I am exploring the roots of 
blues in specific African countries and music style that came to the New World 
in the various waves of slave ships. Cuba is so much ore pivotal than I had 
realized.

But here is a chuckle from your days gone by: Person calls you for a private 
party gig. Here is what they want, play classical during cocktails, soft rock 
and oldies during dinner, entertain the toddlers while the parents set up the 
dance floor, then play every song they ever heard JUST LIKE ON THE RECORD. And 
BTW, you can rap too right because Uncle Whoever wrote a cute rap for the 
birthday girl. And after a prolonged fist fight haggle over your pittance of a 
fee, you get to the gig and it is a freak'n mansion with the asshole who 
chiseled you out of your regular fee lighting his cigars with hundred dollar 
bills. 
On the plus side he hot 3rd wife corners you in the bathroom before you leave. 
Gotta keep our eye on the little positives right brother!
 

---In FairfieldLife@yahoogroups.com, <noozguru@...> wrote :

 So how is the music biz these days?  I've been hearing that old musicians I 
know and used to work with in the Seattle area are having a tough time getting 
work and they're exceptional players (some played with famous folk).  I'm glad 
that I stopped depending on music for a living back in the late 80s.  Writing 
software to me was like writing music.  Unfortunately there is not much work 
for old programmers these days either.
 
 On 10/28/2014 11:20 AM, curtisdeltablues@... mailto:curtisdeltablues@... 
[FairfieldLife] wrote:

   At least you can avoid purple to fit in. I've had booking agents tell me 
that my act is a harder sell because I am white! Skin melanin as artistic 
street cred, who knew?

 
 
 ---In FairfieldLife@yahoogroups.com mailto:FairfieldLife@yahoogroups.com, 
<no_re...@yahoogroups.com> mailto:no_re...@yahoogroups.com wrote :
 
 When I was trying to make a living doing "art," I met "real artists" who were 
so artistically superior that I was ashamed to present my stuff -- and yet most 
could not make a living selling their art.   At one time I was in three 
galleries and never came close to selling enough to "cut it." I met one guy who 
had major works in many museums and still couldn't sell enough to quit his day 
job. 
 
 And the gallery owners are all about the money.  I had one tell me, as he 
looked at one of my canvases, "Oh, I couldn't sell this.  Purple never sells."  
See?
 
 Try to use purple after that.  The true artist is up against such a wall of 
ignorance.  
 
 Each one is like a preacher on a stump in the public square -- speaking an 
unknown dialect.


 
 

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