For Love or Money
Adapted from several posts and letters to caller friends
over the years
Bill Martin wrote:
> If a dance looks
like it will be a real party –
> “great music and huge crowds of enthusiastic
dancers” – I would pay to play!
Other musicians and callers have touched in recent postings
on their reasons for playing or calling. Some in the dance community are trying
to earn a livelihood from their work; for most of us, it is something we do on
the side.
The longer I’ve been calling, the less eager I am to repeat
this scenario:
– drive two hours
– unpack and set up the PA system
– discover that the piano has not
been tuned
– wait for the dancers to arrive
because the usual caller starts half an hour late
– take down PA
– drive home
– receive $50 for the evening’s
work
Some years ago, I realized that I needed a simple guideline
and I found it: I’ll take a job “for love or for money.” This means
that I’m less likely to accept a job to call for a generic evening of dancing
at a generic dance.
The “for love” category includes a myriad of
reasons— working with musicians I respect, traveling to a locale which is of
interest, doing a benefit for a Good Cause or to help out some friends, being
with a group of dancers whose company I enjoy, calling a special program that
interests me, helping get a series started… When I hear of a potential gig
and decide that it is in the “for love” category, I don’t worry about
getting paid. I often don’t discuss money at all; I know that I’ll enjoy
myself. If I get paid, too, fine; it comes as a pleasant surprise.
If, on the other hand, it’s a wedding, folks whom I don’t know
who got my name from someone else, who are having a catered affair at a posh
place for 200 guests, then I don’t have as much vested in the job. I know that
I’ll be working extra hard, doing more cajoling than usual and (possibly)
dealing with folks who have had too much to drink. That’s not fun, and these
events often involve extra travel as well.
If I’m going to give up a beautiful summer afternoon into evening and
spend a lot waiting around—weddings almost always run late—then it feels like
work. If I take the gig, I’d like to be well compensated and I’d also like to
offer a good payment to each of the musicians.
Callers: Don’t sell yourself short. Keep track of the CDs you
buy, and dance books and admission to dances where you’re picking up new material.
Those expenses add up—ain’t no one getting rich as a caller. If someone offers
you a good price, it’s okay to take it. Later on, you may feel better about
donating your services for your local school group that wants a dance.