Who's still booking poets and not paying them? I mean, really, are there organizers out there who think features are coming in from out-of-town to perform for free? Without even an explanation? This is actually happening?! Really
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Re: It's really an organizer's responsibility...hot_rod_poetJuly 28 2008, 21:51:32 UTC
If a touring poet is expecting to get paid, then they need to at least act professional. It's 2008--if they can't send an MP3 or a Myspace or YouTube link to you to demo their work, then they shouldn't be trying to survive touring.
That said, if I solicit a show and send a link to my website, which has MP3's and videos and enough of a bio to let an organizer know that I've been doing this shit for a few years, and they can't guarantee me enough cash to break even on gas and tolls for the trip, then I won't do the show. Been there, done that, felt used.
Your poetry earns your cash, not your odometer. True that, but I've driven two hours for a crowd of three. And one of those three was the organizer, who couldn't afford to buy my CD, but wanted to sell me her chapbook. There was no hat. The girl working the counter took pity on me and gave me a sandwich so I wouldn't be hungry on the ride home. Any venue can have a bad night, but it shouldn't be the poet with a thousand miles of road under his shoes who suffers for it.
Re: It's really an organizer's responsibility...scottwoodsJuly 29 2008, 01:27:06 UTC
Some really strong points here.
It's tough to get a gig at my place becuase we don't feature often, so when we do, it has to be someone we really think our audience will dig. It's worked into an interesting dynamic for us lately, in that we now have become sort of a place to go.
There is an open mic in Chicago that books features, charges at the door, but does not pay the feature. Sully and I featured there and didn't realize this. It wasn't a big deal because we didn't travel far to get there.
Unless they having something else to offer, that's pretty wack.
I'll use Palo Alto as an example cus Lee already mentioned it. We didn't get paid a lot for the show but they:
A) picked us up from the airport- saved us $20 B) put us up for the night- saved us $80 C) cooked ridiculously good food- saved us $40 D) let us watch Shaun of the Dead- priceless
Not every slam has to pay crazy money but they should make it worth your while.
There's a poetry night in our area where the hat pass has gone steadily downhill over the years. It was never high, but it's really plummeted in recent years.
I have always liked the venue and they like me, but I find that it's just not worth it to me to head out that way and do a night of poetry for eight bucks and no merch sales. The reading's essentially degenerated into a social circle for the locals, and that's been reflected in the hat pass, as they don't value an outside feature all that much. This is compounded by a lack of respect from the host, who (the last time I was there, and it was with Faro) talked throughout our set with a friend, and because they were in the front row, I could see it was about comparing notes about jewelry thye'd made.
No real extra point -- just an affirmation of how paying a feature is a measure of the importance of the feature to the reading.
Respect your art and ask to be compensated...blackestsheepJuly 28 2008, 17:40:54 UTC
It's not personal, it's professional. Poets are the draw, they are the talent, period. Features put butts in seats, and that equals a healthy poetry scene. Unless a feature agrees to appear gratis, they should be compensated. Otherwise it's pimpin' and that ain't hot...
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That said, if I solicit a show and send a link to my website, which has MP3's and videos and enough of a bio to let an organizer know that I've been doing this shit for a few years, and they can't guarantee me enough cash to break even on gas and tolls for the trip, then I won't do the show. Been there, done that, felt used.
Your poetry earns your cash, not your odometer. True that, but I've driven two hours for a crowd of three. And one of those three was the organizer, who couldn't afford to buy my CD, but wanted to sell me her chapbook. There was no hat. The girl working the counter took pity on me and gave me a sandwich so I wouldn't be hungry on the ride home. Any venue can have a bad night, but it shouldn't be the poet with a thousand miles of road under his shoes who suffers for it.
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It's tough to get a gig at my place becuase we don't feature often, so when we do, it has to be someone we really think our audience will dig. It's worked into an interesting dynamic for us lately, in that we now have become sort of a place to go.
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The only acceptable substitute for no cash is physical gratification.
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Unless they having something else to offer, that's pretty wack.
I'll use Palo Alto as an example cus Lee already mentioned it. We didn't get paid a lot for the show but they:
A) picked us up from the airport- saved us $20
B) put us up for the night- saved us $80
C) cooked ridiculously good food- saved us $40
D) let us watch Shaun of the Dead- priceless
Not every slam has to pay crazy money but they should make it worth your while.
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( not to mention a wicked set!!)
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There's a poetry night in our area where the hat pass has gone steadily downhill over the years. It was never high, but it's really plummeted in recent years.
I have always liked the venue and they like me, but I find that it's just not worth it to me to head out that way and do a night of poetry for eight bucks and no merch sales. The reading's essentially degenerated into a social circle for the locals, and that's been reflected in the hat pass, as they don't value an outside feature all that much. This is compounded by a lack of respect from the host, who (the last time I was there, and it was with Faro) talked throughout our set with a friend, and because they were in the front row, I could see it was about comparing notes about jewelry thye'd made.
No real extra point -- just an affirmation of how paying a feature is a measure of the importance of the feature to the reading.
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