For What It's Worth.

I seem to have gotten into some hot water on my comments on the types of promoters and "why they do, what they do." So I thought I would take the time this article to explore just a little bit more on this slippery slope. Fact is that the music world is in the midst of a revolution. Corporations have taken the ability to exploit artists to such extremes that they are caving in on themselves in a domino of mergers, ending with the result of having the density of anti-matter. The effect of this is that less and less bands are being signed, with just a core group of "superstars" being touted around like chimps on tricycles.

In the world of promotion, like most systems that come from a capitalistic base, there's always a bottom line, and that line is equated in dollars and cents. It's easy to see why organized crime always had it's hand in the world of music, there's just too much money to turn a blind eye to. Combined with the revenue that a bar can make in one good evening, show biz can be a very lucrative deal even when not run by a corporation. Many promoters I know have their roots deep in the local scene. They attend other peoples shows, always try to get local bands gigs, house bands at their homes, are in bands themselves, are married to or date people in bands, and generally live their life for music. So as not to sound too insulated here, of course I know there are many types of promoters, but I think if you look at all genres of music, be it Hip-Hop, Country or Jambands, you will find this type of "sub-culture" generated around scenes. From the punk DIY clan to the hippie extended family to the rasta's………… music culture is vast.

One cannot truly benefit a community of musicians if they are in the business of promoting events that do not incorporate the local scene. Bill Graham always consistently worked the local bands into his bills, taking chances on line-ups as diverse as the Dead and Miles Davis. It was his belief in local talent that changed the face of music history, as we know it today. When a promoter tells me, "I don't want to take a chance on local talent. I don't want to change music history. I just want to book known sellers and have a nice show." To them I respond, "then sell hot-dogs."

Many larger acts will balk at the idea of having local bands open up for them. Often you will find, right there in the rider that is longer than your arm, the words, "No Opening Acts." Riders, for those of you in the dark, are the attachments to contracts, promoters are expected to fulfill, besides the financial compensation. Bob Dylan will often request, as part of his rider, 24 cases of whisky. Bands I have worked with have requested: Cartons of cigarettes, White Chicklets, A case of Hahnes Beefie-T shirts, Vegetarian Fondue and a rash of other items that I look at as "wish lists." And not being Santa Claus, I routinely cross everything off and send it back. When they call back furious that I cannot fathom how important it is for the band to have 5 chilled cases of Sammy Adams, I negotiate, "Look we get the beer, and you let local band X open up the show." Works every time.

If it weren't for Allen Ginsberg, we would have never heard of William Burroughs. And if it weren't for promoters supporting the local troops we would never have heard of everyone from The Airplane to Nirvana. So take a chance, get involved and stay local.