OT: Kinda new job

[jaylegroove]

Hey folks ! Been busy lately so I did not post much here.

Two good news.

1/ Besides my regular job as a bass player in a "famous" cover band (I mean, famous in our region), I formed a trio for small venues in bars, small clubs etc. This trio, called Panama, was formed last Tuesday by the reunion of the three members. Two days later, which means last Thursday, the (female) singer calls me : "Hey, got two gigs for us : first is on Nov 16". Wow. Great challenge. 50 songs to prepare in a 3 week deadline. Great.

2/ Second good news is that the boss of the cover band (...Orchestre Baccara...VariétéRock... .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:.) just "promoted" me yesterday as the musical director of the band. This means even more work to do, but hey, you'll never hear me complain about having too much work, especially into music (I'm kinda hyperactive).

One bad news.

No new EBMM in my arsenal yet.

 

[bassmonkey]

Congrats Jay.

You must have worked hard and impressed to get the promotion.

Regarding the new EBMM, why not?

Sort it out, chap. It's easy, just call your local dealer, ask him to order you one, job's a good 'un!

 

[jaylegroove]

Thanks for your kind comments. Well, what did I do that led me to this new responsibility ? I guess, nothing more than using my musical skills (I'm neither a beginner nor Tony Levin, but probably somewhere in-between...), and showing - while doing it the most natural way ever - I'm someone dependable. Never late at an appointment, always at the right place where and when I have to be, and always doing what I'm employed for, while trying to do it the best I can. And always smiling, no matter what happens.

This cover band business here is an ocean full of sharks. The best way to deal with it is doing a good job while being discrete. And never believe anyone unless they proved to be totally fair and trusty to you. And always keep an eye open on what's happening next door (= among and around the other cover bands).

About the additional EBMM (oh damn I want it so much, that all-black SR4 tuned Eb/Ab/Db/Gb), that's nothing else than a money issue. But the new job(s) I have now will sure help me get the funds. Though, we French artists/musicians (and even show-business techs) have a very special status. Let's make it as simple as possible, we are considered as artists who are unemployed most of the time, and have a minimum of paid gigs to do in a time lap to have our unemployment rights open (43 gigs in a 10 months 1/2 time lap). The fact is, my hand accident last year "killed" my "paid gigs collection" for this status (forced to stay out of music for 3 months). Most of my incomes came from this status so far, and it'll be over (at least for a few months) in next January. So it's not time for me to take financial commitments I could not stand. Things will work out much better as of April or May '08.

Now, Coué method

 

[Alz®]

Unemployment rights for playing bass???

Tell me more!!!!!

 

[jaylegroove]

That's a French specificity. It has been set in 1969 in the name of what is called "French cultural exception". It's a good thing for musicians to be sure to have some incomes whatever happens (at least for some time), but the system is now showing its limits and unwanted effects. Many people reach this status while having nothing to do with music. For example, some TV prod companies even pay their secretaries and accountants with that system.

So now the cost of a gig (or show) salary is high, due to mandatory contributions to that system. The bad effect now is that many cities or clubs etc. who employ bands try to talk the prices down, even if some (or even all) of the band members are illegally undeclared.

Back to 1980, I was 21 : I had up to three paid studio sessions per day. Working approximately 365 days a year. This means I used to earn a lot of money (up to $ 15,000 per month, but average about $ 8,000), and I never had to use the status, since I wouldn't have any unemployed day. And anyway, even if I had a few unemployed day, I wouldn't use the status, since I earned so much money and needed nothing.

2007 : I have to find 50 paid gigs and/or studio sessions a year, and they're not that easy to find.

1980 : a studio session or a gig were paid about $ 200.
2007 : a gig is paid about $ 150, often less, seldom more.

This system had been created to save the professions around music, cinema, theater, etc. It is killing them now.

So I recently told myself : "hey guy, you did some prods thru the 80's and 90's, just open your prod company and bill your gigs with it". Wrong. This is not allowed here. The only way to be paid legally for a gig is a musician's payroll, which means contributing to that dying system.

And the worst is yet to come : if you do anything besides this musician's job with its payrolls, no matter how many gigs you did, no matter what you do besides (electricity temporary job, prod company, etc.), you lose the status instantly.

This means I can't use my unemployed time (as a musician) to do anything else.

So the future is clear for me : try to keep the status at least until late 2008. Then I'll do the prod company (because I have prod projects anyway), and if I have some gigs or studio sessions, well I'll have payrolls. They'll be useless, but they're mandatory.

Once again, France is the only place in the world where these weird things happen. Very uncomfortable to deal with, and IMO dangerous for the future of artists' jobs.

Sorry if I've been much talkative. Alz, don't get fooled by envy about this status. It's another kind of a jail.

 

[oli@bass]

Merci beaucoup Jean, that was very informative!

So, even more reason to congratulate you on the new jobs, and send best wishes along for your success!!!

 

[jaylegroove]

Many thanks, I'll try to do my job the best I can until things become impossible. Then I'll probably leave my country, rather than quit music.

 

[EBMM7181]

Thanks for your kind comments. Well, what did I do that led me to this new responsibility ? I guess, nothing more than using my musical skills (I'm neither a beginner nor Tony Levin, but probably somewhere in-between...), and showing - while doing it the most natural way ever - I'm someone dependable. Never late at an appointment, always at the right place where and when I have to be, and always doing what I'm employed for, while trying to do it the best I can. And always smiling, no matter what happens.

This cover band business here is an ocean full of sharks. The best way to deal with it is doing a good job while being discrete. And never believe anyone unless they proved to be totally fair and trusty to you. And always keep an eye open on what's happening next door (= among and around the other cover bands).

About the additional EBMM (oh damn I want it so much, that all-black SR4 tuned Eb/Ab/Db/Gb), that's nothing else than a money issue. But the new job(s) I have now will sure help me get the funds. Though, we French artists/musicians (and even show-business techs) have a very special status. Let's make it as simple as possible, we are considered as artists who are unemployed most of the time, and have a minimum of paid gigs to do in a time lap to have our unemployment rights open (43 gigs in a 10 months 1/2 time lap). The fact is, my hand accident last year "killed" my "paid gigs collection" for this status (forced to stay out of music for 3 months). Most of my incomes came from this status so far, and it'll be over (at least for a few months) in next January. So it's not time for me to take financial commitments I could not stand. Things will work out much better as of April or May '08.

Now, Coué method

Hey Jean, good luck with the new job , ...........and that bass you want......... it looks familiar .....

 

[jaylegroove]

Indeed, it does.

 

[Alz®]

Great write up Jay. Very interesting system that.

Best of luck with all your future endeavours!