Musicians:

Musicians:

What do you think you're doing? 

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FTM kitteh

FTM kitteh

Its one thing that the person checking ID's and charging cover at the door gets a better guarantee - and is often paid better  -- than the musicians.  It's insult to injury that the musicians, who have zero guarantee themselves, usually have to pay the sound and door people out of their own "gate," meaning money fans have paid to see THEM, not the door clerk.  The final insult to injury to injury to injury is that it is the musicians, not the sound or door staff, have done a lions share of the advertising, bringing in most of the income for the whole club, are the last to be paid, and may end up owing money at the end of the night.  Kitteh play house koncert next time.  

Money for New Instruments

Money for New Instruments

Fans tend to forget how expensive gear is, and musicians apparently like buying it so much that they forget to figure the cost of amps, strings, cables, repairs, drums, heads, cymbals, mics, cases, effects, stands, etc. etc. into their overhead costs.  

Music = Trabalho / Music is work?!

Music = Trabalho / Music is work?!

OK, for those non-lusophones: Panel 1: "Rock  show today! Half off with this flyer!"Panel 3: ("amp comes back broken") Panel 4: "And they say music isn't work?!"  

Can't pay rent with beer

Can't pay rent with beer

Even Canada Cat has to make rent. 

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Exposure Kat 1

Exposure Kat 1

from 'four things every musician's gotta know' #4: “Exposure” kills.It’s no coincidence that this term refers to what kills you in bad weather. Although genuinely valuable exposure opportunities show up, they’re quite rare. “Exposure” is almost always offered as a feeble excuse to try to get naive performers to work for low or no compensation, based on the mere chance of an intangible commodity of dubious real value. The term is so common that booking agents will tout their venue’s excellent exposure opportunity, yet tell you (in the same breath!) that the place has no built in draw and you'll have to bring your own following.  

HOBBY?!

HOBBY?!

from 'four things every musician's gotta know' #1: Hobby vs. Service.  A hobby is noncommercial. You can start and stop whenever you want, you don't have to work continuously to hone it, spend time and money advertising it, or carry equipment. However, when the time, place, duration, and high quality are all specified, that's not a hobby any more-- It's a service, especially in a business BASED on (making money from) that service.

For The Love, Brau!

For The Love, Brau!

There's nothing wrong with 'Doing it for the Love..."  when conditions are right.   If  absolutely everybody's donating their time, play your heart out.Otherwise, if you're doing it for the love and someone else is doing it for the money, that's not love.  You are getting screwed. Moreover, we're all in this same bathtub and it's not very big. So, like it or not, that gets us screwed, too! Stop it! Get a guarantee or say "no."

Bands are small businesses -- name your brand carefully!

Bands are small businesses -- name your brand carefully!

Look, Fair Trade Music is about helping musicians make better music by getting them at least a minimum wage. We're not here to save these miserable turds!  Raising the minimum to something above zero minus expenses does not preclude a meritocracy --  It's still up to venues to hire acts they think will make good business partners. Bands still have to do half of the promotion and entertain the crowd, keeping them there dancing, drinking, and wanting to come back.  If the band's good enough to hire, they're good enough to get a minmium wage. If they do their job well, they're worth more. 

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