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Dirty-South Blues Harp forum: wail on! >
What is a pro?
What is a pro?
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bluzlvr
372 posts
Jun 13, 2010
4:09 PM
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Once in a while a player will be refered to as a "pro" by Adam or somebody else.
What would be the "pro" qualifiers? (Besides the obvious Kim Wilsons, Charlie Musslewhites etc.)
If you reach a certain level of competence on the harp without ever playing a gig would you be considered a pro?
What if you were terrible, but were somehow gigging all the time?
From a personal standpoint, I'm not presently gigging, just doing jams for the moment, but when I am, I always try to act in a professional manner.
I will not go into a venue with a band unless we are ready to kick serious blues ass and have rehearsed to within an inch of our lives.
From that aspect I would consider myself a pro.
But I have never made enough money to live on so, maybe I'm not a pro...
http://www.myspace.com/jeffscranton
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Tuckster
582 posts
Jun 13, 2010
6:29 PM
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In the strictest sense,I think of a pro as someone who makes his living at that profession. Maybe you could call yourself a semi-pro? Just asking.
But I think of Adam as a pro,but he doesn't make his living at it. Hmmm-good question.
Last Edited by on Jun 13, 2010 6:32 PM
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HarpNinja
504 posts
Jun 13, 2010
6:53 PM
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I think the mean income in the US is $20,000ish (correct if wrong). If you're making that or less as a "full-time" musician on the average year, are you really making an "income" as a musician? Just a thought.
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waltertore
655 posts
Jun 13, 2010
7:10 PM
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If it means making a living strictly off your playing/record/merchandise sales, there are a lot less pros in the blues world than you would think. You would be suprised how many musicians claim/imply to make their living strictly off their playing who don't. I have seen a lot of guys (many of whom were famous) who claimed this because they didn't have day jobs via these scenes:
the top scenario by far is: A woman bringing in steady dough being the main support. They make good money, buy a house, gear for their man, clothes, and usually have insurance benifits too.
the rest are distant second in no particular order:
families supporting the "pro" ranging from paying all their bills, drug rehabs, instrument purchases, recording sessions, etc.
living with family memebers/parents
dealing drugs was a semi regular thing back in austin, SF, and NYC.
inheritances also have supported many a person claiming to make thier living off music.
I could say what I think a pro is, but then it could be disputed a million ways different. Walter
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walter tore's spontobeat - a real one man band and over 1 million spontaneously created songs and growing. I record about 300 full length cds a year.
" life is a daring adventure or nothing at all" - helen keller
2,000 of my songs
continuous streaming - 200 most current songs
my videos
Last Edited by on Jun 13, 2010 7:52 PM
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HarpNinja
505 posts
Jun 13, 2010
7:34 PM
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So being a pro does not imply that one is "good" or even making good to average money? I think there are a lot of fantastic players, even who post here, who I consider professional harp players or musicians, but I don't think they make the bulk of their money playing music and/or they have other careers...one even posted in this thread ;)
So what is the term to use when referring to a performing artist who is bad@$$??? I don't care if they make a living doing it. Refresh me on the blues guitar player who builds houses for his income, but tour nationally. Alvin somebody???
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rbeetsme
277 posts
Jun 13, 2010
7:48 PM
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Can be a pro if you're a con, unless you busk in the yard.
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waltertore
656 posts
Jun 13, 2010
8:02 PM
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Speedy Sparks, bassist for the Texas Tornadoes, Doug Sahm and many other famous texas bands, is a good friend of mine. He played many a gigs as my bassist and took me into the recording studio several times with his record label. He gave a great analogy of being a full time musician. He said all full time musicians have their name on a big wheel of chance like you see on the new jersey boardwalks. Your name has x amount of clicks on the wheel depending on how famous you are. Regardless of how famous you are you can never have the whole wheel with your name on it. The wheel turns slowly and when your name comes up, you make pretty good money till it passes your name. The money you make then hopefully will carry you till the next time your name comes up on the wheel, or you go to things like driving a cab, like speedy does. The ups and downs I call it. Music goes in waves of ups and downs. Something happens that gets you some notarity and you are on the up, or as speedy puts it, your name is passing the clicker on the wheel. Lots of stuff happens and if it is successfull, a few more clicks are added to your name and your up lasts longer. But sooner or later your name is passed by on the wheel, and you go into a down. these ups and downs vary in intensity and duration based on your level of fame. Look at all the arena rockers that now play clubs of 3-500 people........ So what is a pro musician??? I don't really have a clue as to a universally agreed upon definition. Walter
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walter tore's spontobeat - a real one man band and over 1 million spontaneously created songs and growing. I record about 300 full length cds a year.
" life is a daring adventure or nothing at all" - helen keller
2,000 of my songs
continuous streaming - 200 most current songs
my videos
Last Edited by on Jun 13, 2010 8:05 PM
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kudzurunner
1568 posts
Jun 13, 2010
8:03 PM
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Here's my definition of a pro: If I had a gig and I couldn't make it, I'd want somebody who could confidently walk into that gig, with no rehearsal, and do the job that needs to be done. Somebody who knows the basic repertoire, can fake the stuff they don't know, can solo in a way that draws applause, knows how to stay out of the singer's way, doesn't have an ego that compromises their ability to get along with the band and deliver a good performance, and has equipment that gets the job done.
A pro is somebody whose experience enables them to do all that without too much strain--or, ideally, with no visible strain at all.
That's a pro. A pro is somebody whom another pro would happily send in as a sub. Making a full-time living at is has nothing to do with it. A pro is somebody who has paid all the necessary dues and can walk in and do the job--whether it's an amplified gig, an acoustic gig, or a recording session.
A pro is somebody who doesn't need any rehearsal. A pro is somebody who can walk into a gig cold, make some small talk with the band, set up his equipment, take all the band's cues, hints, groove-peculiarities, etc., in stride, deliver a great sound in the room, and sound to 95% of the audience as though he's been playing with the band for years.
Last Edited by on Jun 13, 2010 8:06 PM
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Buddha
2024 posts
Jun 13, 2010
8:24 PM
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100% agree with Adam
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"Musicians are the architects of heaven"
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Greg Heumann
531 posts
Jun 13, 2010
9:48 PM
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Both Tuckster and Adam's definitions are correct. The word "professional" is defined by Webster as follows:
1 a : of, relating to, or characteristic of a profession b : engaged in one of the learned professions c (1) : characterized by or conforming to the technical or ethical standards of a profession (2) : exhibiting a courteous, conscientious, and generally businesslike manner in the workplace
2 a : participating for gain or livelihood in an activity or field of endeavor often engaged in by amateurs b : having a particular profession as a permanent career c : engaged in by persons receiving financial return
Adam's definition is #1 above, Tuckster's is #2.
What's less clear is the degree to which one has to make one's entire living to be called a professional under #2, or whether one just has to get paid for doing it. I get paid to play but I sure as hell don't think of myself as a professional musician. It is not my major source of income.
/Greg
BlowsMeAway Productions
BlueState - my band
Bluestate on iTunes
Last Edited by on Jun 13, 2010 9:50 PM
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LittleJoeSamson
307 posts
Jun 13, 2010
10:18 PM
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A pro is someone that can play in any venue.
They don't need rehearsal.
They can play on the spot...and know when to lay off.
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Buddha
2025 posts
Jun 14, 2010
9:09 AM
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I recently had an issue with a PRO.
I needed a guitarist as the guitarist in my group had a death in family and the three other suitable subs I knew couldn't make a gig at the last minute.
So I put out an add on craigslist. I was very specific in what I wanted. National Level Acoustic Guitar Player needed. Must be able to improvise, must be able to play convincingly in multiple style of music to include, Jazz Standards, Blues, Irish, Rock, Folk, Eastern European, Arabic and avant garde improv jams. Must be highly creative and able to change directions, rhythms, time sig and keys at a given moment.
Then I posted videos of guys that I have played with before.
I got a total of 37 phone calls. Including one death threat because I wouldn't even listen to a sound sample and audition him.
The guy I selected, said he knew my guitarist and could play at the same level if not higher. Said he was a professional musician and spent most of his time working in Los Angeles.
He was very calm and confident on the phone. Name dropped like crazy and promised I couldn't be disappointed. Notice the world COULDN'T he didn't say WOULDN'T!
He said he didn't really have any sound clips to send and the CDs he was on were still packed away. When I told him I wouldn't hire him without hearing an MP3 he said he had one from about ten years ago.
I listened and thought it was pretty good. Not as good as my guitarist but then I factored in the fact that it was ten years ago and thought OK.
He shows up, big white BMW, ultra expensive custom made acoustic guitar. I thought for a moment I did well and it's not uncommon for me to meet and play with these millionaire musicians from LA.
Then the fucker started playing. He sucked. He didn't know shit. As it turns out the sound clip he sent, it was his friend and he was playing RHYTHM guitar. This fucktard was a total joke.
I was so frustrated with him just before the show, I told him I couldn't play with him. I ended up calling a person I played with years ago and didn't like that much but I knew he could at least play jazz and keep adequate time. The problem was, I told him he sucked about three years ago and told him I wouldn't play with him anymore.
Despite everything that happened in the past, he showed up just in time. We discussed what we were going to play and played it.
At the end of the night, I cut the pay of the craigslist guitarist and split it with the guy I had to call in. Two days later the craigslist professional guitarist calls me to tell me that he feels like I still owe him money and he was coming to my house to get it.
I told him he was welcome to come and take it from my rottweiler. Of course the asshat never showed up. Not only was he not a professional guitarist he was a pussy. I would have respected him more if he actually came to my house to collect but in the end he was simply full of shit.
The bottom line is, do not make up shit where your musicality is concerned. If you can't do it now, don't tell somebody you can do it tomorrow.
Do what you can and do what you are good at, that's the mark of a pro.
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"Musicians are the architects of heaven"
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kudzurunner
1571 posts
Jun 14, 2010
9:44 AM
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The word "pro," applied specifically to somebody who plays blues harmonica, is a judgment call. It can end up seeming a little clubby. One of my strongest initial motivations for uploading lessons to YouTube entitled "Blues Harmonica Secrets Revealed" was to undercut that clubbiness. But here's a little secret: I "gave it all away" without fear, because I know that nothing, ultimately, can replace the experience that a player accrues over the course of many gigs, many different KINDS of gigs, with many different players (and not just blues players). Somebody can study all my videos for years, and teach themselves to play some wicked solos, but if they haven't played in a bunch of jam sessions and then a bunch of bands, if they haven't played various sorts of recording sessions, if they haven't made money with their instrument in a variety of ways, then they can't possibly call themselves a pro. All of that experience takes a while to accumulate, and it makes a difference.
U.S. Historians write about a professionalization movement that swept through medicine in the last decade or two of the 19th century. That's the period of time when law and medicine decided to erect a line of defense against herbalists, chiropractors, "quacks" of various sorts. They established professional boards that oversaw the profession and licensed practitioners. The idea was partly to ensure a high level of professional training in anybody who called themselves a doctor, and partly to keep the territory to themselves.
Obviously there's no professional licensing board for blues harmonica players. But there's certainly the strong residue of....well, the pros deciding who their fellow pros are. If I had a gig coming up that I wasn't able to make, do you meet a standard that would enable me to say, "He's my sub" and know that you could handle the gig? That's not all that different from a doctor handing you off to another doctor.
When I watch YouTube videos, one thing I always ask myself is, "Is that player a pro? Does he have a good sound? Is he relaxed AND intense, and does he know how to move fluidly between those performance zones? Does he know how to comp in a way that lets the singer shine?"
Once I've decided that somebody makes that grade, I then raise my standards. I ask, "Is that player original, or derivative?" And here things get interesting. Because not every pro is, or wants to be, an original. Some just want to master their instrument and create good, solid music in an acknowledged style. And the truth is, I might NOT want somebody who was too forceful, too original, too edgy, to willing to mess with the boundaries of the idiom, as a sub--unless, of course, that person knew how to lay back, fit in, and make the gig work for all parties involved.
In this respect, Billy Branch is the quintessential pro. He's bold, original, powerful, but he's also played on a zillion session and he DOES know how to hold back. I watched him do some masterful minimalist fills behind Carlos Johnson on Saturday night.
Rob Papparozzi is another consummate pro. He's played a zillion different kinds of gigs, from straight ahead blues gigs to big-arena show gigs. He's played on hundreds of sessions, jingles, commercials, whatever. He's played with "Big River" and several other Broadway shows. He's a great front man, but he knows how to listen and he knows how to serve the music.
So actually the best pros ARE strong and original, but they're also completely disciplined about when they cut loose to put themselves out front and when they simply serve the music. There are other sorts of players who are clearly pros but who may fall more into the category of competent journeymen. They may not strive to be original, or to make their mark on the music--the way that Dennis Gruenling, for example, is making a mark on the music. They may just be weekend warriors who have played an awful lot of gigs in a particular local scene. But they're fully acculturated, they can walk into a gig and very rapidly size up their fellow players, they instantly get the energy flowing, and they'll help make the evening a success.
The thing to understand here is that there are other kinds of players who may at first appear to be more exciting, "original," powerful, but who are, in fact, less fully acculturated, much more ego-driven, and who will not handle the gig particularly well. Certainly we harp players are familiar with guitar players who fit this category!
One sure sign of a pro is somebody who neither brags about how great they are nor apologizes for their playing in a way that suggests insecurity. Blues pros may of course have a rough edge or two, but my experience teaches me that the best of them are pretty easy to get along with. They know what they can do; they show up and do it. They also know what they can't do, and they're secure enough to admit it--although they may prefer to fake their way gracefully through it and then, after the set, chuckle with you about how they haven't played THAT song since whatever.
My first experience with pro musicians can in Big River, when I played with Ernie Reed and Rick Molina, a fiddle player and a guitar player who were consummate professionals. Ernie told me that he had played a thousand shows of "Best Little Whorehouse in Texas" on Broadway. He was relaxed. No ego at all.
Trip Henderson, who will take part in Hill Country Harmonica 2011, helped turn me into a pro. He shared a thousand tips. "Look like you're having the best time of anybody on that stage," he'd say. "Even if you're not."
Last Edited by on Jun 14, 2010 9:55 AM
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earlounge
97 posts
Jun 14, 2010
9:46 AM
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Adam is 100% correct, but remember most "Pros" usually have a very narrow expertise. They may be a "Pro" blues player, but can't hang with jazz, latin or reggae (unless you have someone really amazing like Buddha).
I've had numerous musicians that claim to be a "Pro" and not be able to do what my group needs. Jazz guys that can read charts all day and rip solos over progressions that can't improv or hang with a freeform improv session.
Here is a funny story... Once I hired a sax player to fill in. He was a schooled jazz dude that is killer. I sent him charts of all the lines and a CD of what our sax player does. He played the horn lines with our section perfect, but then came the solo... lol! Ornette Colman and John Zorn would have been proud of how "out" he was. Sometimes they can hang, but just don't produce what you want.
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Benjamin Earl
NOONE3NOONE - My Youtube
Benjamin Earl - My Bio
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kudzurunner
1572 posts
Jun 14, 2010
9:52 AM
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Absolutely true. A guy like Rob Paparozzi can handle jazz gigs as easily as blues and rock gigs, because he plays jazz on chromatic. But most blues harp guys would die in a straight ahead jazz gig.
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Buzadero
434 posts
Jun 14, 2010
9:53 AM
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" One sure sign of a pro is somebody who neither brags about how great they are nor apologizes for their playing in a way that suggests insecurity. "
That is a very deep sentence when understood in the context of not only musicians but pretty much anything I've ever been around. Dead on, right.
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~Buzadero
Underwater Janitor, Patriot
Last Edited by on Jun 14, 2010 9:55 AM
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Buddha
2026 posts
Jun 14, 2010
10:06 AM
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"One sure sign of a pro is somebody who neither brags about how great they are"
I disagree. While a player's ability is generally immediately apparent, many of the "greats" I have met when doing the jazz fest in MN, all talk about how good they are. Many don't but I have encountered more that do and I suppose that's something that has rubbed off on me.
You can see it in the harmonica world. Without naming names there are constant discussions about which player talks more about himself xxx or xxx (I'm not included) I was once at a SPAH in 1994 and they were both sitting at a table and each other did nothing but try to one up each other. It was pretty funny for those that were paying attention.
I don't have a problem with playing talking about themselves. I certainly like it a lot more than those guy who say "I play a little bit" etc....
If you're good at something then say so. I see Adam talking about his run times, nobody has an issue with that but if he started talking about how fast he can play this or how much he does that on the harmonica, people would have issue. I don't.
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"Musicians are the architects of heaven"
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captainbliss
141 posts
Jun 14, 2010
10:08 AM
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@All:
Some interesting comments/experiences. Brain food. Thank you.
/What is a pro?/
Someone who has the awareness, skills and discipline to do the job they're hired (or asked, if there's no money involved) to do...
EDIT: ...and who knows what they can and can't do...
EDIT 2: ...and who is honest about that.
xxx
Last Edited by on Jun 14, 2010 10:10 AM
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waltertore
659 posts
Jun 14, 2010
10:12 AM
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Buddha: I agree that music is full of people claiming their greatness. For me, I feel great because my music is something that makes me feel great, and no one else can do it just like me. People can interpret that any way they like. Walter
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walter tore's spontobeat - a real one man band and over 1 million spontaneously created songs and growing. I record about 300 full length cds a year.
" life is a daring adventure or nothing at all" - helen keller
2,000 of my songs
continuous streaming - 200 most current songs
my videos
Last Edited by on Jun 14, 2010 10:14 AM
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GEEZER1
58 posts
Jun 14, 2010
10:19 AM
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I thought if you made your complete living expenses off of a job, you were a pro in any profession. In any line of work. maybe i'm wrong.
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7LimitJI
196 posts
Jun 14, 2010
10:38 AM
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Personally I like the music to do the talking and generally tell people, who are about to hear me, or in the near future, that I "play a bit"
Its ingrained into society in the West coast of Scotland, that you never big yourself,or your family up.
The biggest accolade you'll get here at a gig is that
"You were awright"
This actually means you were excellent!!
Its a cultural thing.
Adam explains a "pro" best above.
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Those Dangerous Gentlemens Myspace
Youtube
Due to cutbacks,the light at the end of the tunnel has been switched off.
Last Edited by on Jun 14, 2010 10:44 AM
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kudzurunner
1573 posts
Jun 14, 2010
11:41 AM
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I'll certainly agree with Buddha that some great players talk about how great they are. Often there's an element of playful self-aggrandizement about such talk: "Now you know, brother, when you deal with me, you're dealing with a badass, and I WILL tear you up." Etc. That leaks into the blues world by way of the black street world more generally, with all its woofing, styling, and profiling, and it's understood to be an infinitely fluid mixture of posturing and real belief about how badass one is. Dennis Gruenling's use of the word "badass" on his new website is in this vein. Sure, he's a badass, but he's sort of playfully putting on his brag, too.
I played with a guy who called himself Satan, remember, and preached as though he really WERE a deity of some sort: the ultimate badass. But he also had a sense of humor about that identity--when his wife ragged on him, for example.
I don't mind a little ego. The question is, Does it get in the way of the gig? Does it turn the gig into a one-man "Hey, look at ME" show? If it doesn't, then most guys I know don't have any problem with it.
On the other hand, we all know rock guitarists who....[ finish sentence with appropriate epithet].
When I see an ad for an "all-pro blues jam" in a big city, led by a guy who looks like a rock gunslinger, I know that 9 times out of 10, I'm going to be dealing with the OPPOSITE of a blues jam, which is to say, a bunch of talentless, uncultured (in blues terms) rock guys whose idea of blues has been formed by Clapton, Stevie Ray Vaughan, and Jimmy Page and who haven't the faintest idea how a guitar and harp might actually work constructively to make the harp sound good. So be very, very afraid when you see the word "pro" associated with the word "blues" in that sort of context. Posturing and ego are going to be the name of the game. As for the drummers one encounters at such jams: all over the map. Some can be fantastic, actually, but others wheel in the Big Metal, like a bunch of monster truck hupcaps: clang! crash! Watch out.
Last Edited by on Jun 14, 2010 11:46 AM
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kudzurunner
1574 posts
Jun 14, 2010
11:44 AM
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Don't get me wrong: I love SRV and Clapton. But the guitarism that they engage in isn't really a style that lends itself to supporting the harp, and those who work that stylistic vein tend--in my experience--to know very little about the non-rock side of the blues.
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nacoran
2116 posts
Jun 14, 2010
12:26 PM
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Buddha, running is one of the most objective sports though. You either run the time or you don't. And even there there is an element of hubris. Adam had a post where he talked about the fact that he wasn't a top notch runner, but he was good enough so if he had a good race and a couple runners didn't show up or run well he could win. Society doesn't tend to punish people who have a realistic perception of their abilities, or people who undersell their abilities, but people often find people who say they are the best off putting. In sports, look at Barry Bonds, before the steroids. He was already loathed by the press. He knew he was a superstar and he let everyone know he knew. For a while he got away with it, but as soon as they saw weakness they jumped all over him.
If I had to guess why society acts that way, I'd guess it's actually a pretty adaptive behavior. If everyone went around all day thinking they were the greatest thing since sliced bread they'd end up lion food pretty quickly. Playing harmonica, or playing baseball, or running competitively (as opposed to running away from lions!) isn't particularly dangerous, but I think we are hard wired to cut down people who start bragging they can outrun the lions. And actually, maybe some of the social science guys on the site can back me up (or correct me) but puffery tends to get you in trouble in a lot of societies where you face constant life or death situations like the Kung! bushmen and latchkey societies.
And, to paraphrase an old joke, I don't have to be able to outrun lions. I just have to be able to outrun you! I used to be pretty quick, but I suspect if it came down to it I'd be a chew toy pretty quick these days.
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Nate
Facebook
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HarpNinja
506 posts
Jun 14, 2010
12:32 PM
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I like Adam's definition. Let's go with that one.
A sorta funny story: There aren't too many sideman-harp players around here, so sub work is spotty with that. However, I get calls about subbing on vocals and almost always end up getting to play harp too.
This past week I learned 20 songs for a wedding - all jazz and reggae. It was a super fun gig! I was subbing for an African-American woman who is a professional (as in job) musician. I thought the contrast in frontpersons was totally hilarious.
Going from an attractive black woman singing reggae to a white-male harp player with red hair singing songs from Jamaica and playing the heads to Coltrane tunes...
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Last Edited by on Jun 14, 2010 12:33 PM
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Buddha
2033 posts
Jun 14, 2010
12:37 PM
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I think society is filled with average people and they all live in a little box, when something is outside of their box or sphere of influence then they revolt to average things out. It's a coping mechanism.
I'm not encouraging anybody to be anything other than to simply be themselves and acknowledge that you have something to offer whether or not you believe it.
Being average sucks so why choose to live that way? If you want to make your mark on this world then you need to rise above the bullshit and be who you are. If you don't care then continue to drink the cool aid while you watch Fox news.
Today I am wearing a blue t-shit, I am a very good musician and I can run a mile in less than 45 minutes. Those statements hold equal weight in my book.
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"Musicians are the architects of heaven"
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bluzlvr
373 posts
Jun 14, 2010
12:59 PM
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I think Adam hit the nail on the head with his first post.
If you use the strict definition of a pro as someone who earns a living at it (especially in the blues), there would be very few pros on the planet indeed.
At one time for a while I was carrying around two 4x10 cabs, one for guitar and one for harp, a couple of guitars, harps, harp mics, a pa and all the various cables and spare parts needed - no room for passengers in my car.
All this to feed my addiction, not for the money. I was lucky to break even.
I'll do it again in a heart beat because when everything comes together and the band is firing on all cylinders and the whole house is rockin' and dancin' on the tables, the last thing I'm thinking about is the money.
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http://www.myspace.com/jeffscranton
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Buzadero
438 posts
Jun 14, 2010
1:03 PM
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I made no reference to weight, body-type or BFI.
I had always assumed that your choice of tight t-shirt (combined with your eyeliner) was in keeping with your metrosexuality. On the fashion forefront, as it were.
Besides, I'm going to be away from this Forum for a while. I gotta get 'em in while I can.
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~Buzadero
Underwater Janitor, Patriot
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Buddha
2036 posts
Jun 14, 2010
1:07 PM
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you said it with your eyes Buzadero, the eyes don't lie.
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"Musicians are the architects of heaven"
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Buzadero
439 posts
Jun 14, 2010
1:12 PM
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I need darker glasses.
They were on my list already. Along with a 'blues hat'. I'm currently incomplete.
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~Buzadero
Underwater Janitor, Patriot
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Buddha
2037 posts
Jun 14, 2010
1:14 PM
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"Besides, I'm going to be away from this Forum for a while. I gotta get 'em in while I can."
It sucks those half way houses have such strict rules.
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"Musicians are the architects of heaven"
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nacoran
2118 posts
Jun 14, 2010
1:22 PM
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When I watch Fox news my eyes bleed, which I believe, is what they are going for. It's a secret liberal-killing death ray.
My T-s*** smells.
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Nate
Facebook
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Buddha
2038 posts
Jun 14, 2010
1:23 PM
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sounds like the treatment is really helping this time.
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"Musicians are the architects of heaven"
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Buzadero
441 posts
Jun 14, 2010
1:25 PM
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Oh yes. I love everything and everyone.
I think they've even stopped following me for a while.
The helicopters are still there. But, I'm pretty sure they're for someone else.
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~Buzadero
Underwater Janitor, Patriot
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Buddha
2039 posts
Jun 14, 2010
1:28 PM
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that's great!!
Please don't buy one of these.
http://www.dailytech.com/WickedLasers+Unveils+Lightsaber+Powerful+Enough+to+Set+People+on+Fire/article18681.htm
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"Musicians are the architects of heaven"
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ridge
10 posts
Jun 14, 2010
1:28 PM
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I don't want to be a pro, but I do aspire to be an exceptional harmonica player that helps other harmonica players.
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kudzurunner
1577 posts
Jun 15, 2010
4:45 AM
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Everybody who ends up a pro was, at some point early on, a bit of a faker. An aspirant. It's the same with waiters: Nobody will hire you unless you've got "experience." So how are you supposed to get "experience" if you don't have it yet? You need to get that first job.
So early on in my career, I was a guy who hadn't actually played a lot of gigs, but was willing to sit in with any band, for free. It's understood that you're going to be a little raw, but you're also adding some excitement.
Every player who ends up a pro with a fair bit of experience in recording studios began at some point with zero experience in recording studios, being paid for his or her first session. I tended to be apologetic early on: "If you don't like what I give you, you don't need to pay me." But then I heard some of the crappy harp playing that people were willing to accept on recordings--and LIKE, apparently--and I realized that I shouldn't apologize so much.
I pestered Trip Henderson a lot, early on, because he had all the experience that I was trying to accumulate. It helps to have a mentor of some sort. It can save you a lot of mental wear and tear.
For example, I remember Trip telling me at some point that he was being flown in to Anguilla for a private party one weekend in the late 1980s to blow harp with a band. He said he was bringing along his little tweed Champ, and that that would be plenty loud once they miked it through the PA. That's when I first got whiff of the small-amp/ big PA concept.
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slowblowfuse
23 posts
Jun 15, 2010
5:23 AM
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I am not a pro, not by a long, long shot. But I try to act like one, meaning: showing up on time, having my gear in order, making a point of it to introduce myself to whoever is tending bar and/or running the soundsystem, not drinking too many beers, not being an obnoxious git with an attitude, etc.
Where my playing is concerned: doing my darnedest to fit in, not trying to play stuff I know I can't play anyway, step aside to be out of the way so punters can see the drummer etc.
Sofar I haven't been kicked off stage, so I must be doing something right...
I do not think that making a living playing music is the only criterion for pro/non-pro. There are loads of pro musicians - making a living - that act up, get sloshed during gigs, have an attitude, are rude/arrogant etc.
Bye,
Ruurd
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