Race to the Bottom?

Michael J Pfeifer · From: New York NY 10036

What is the Race to the Bottom?

The race to the bottom refers to a competitive situation where a company, state, or nation attempts to undercut the competition's prices by sacrificing quality standards, worker safety (often defying regulation), or reducing labor costs. A race to the bottom can also occur between governments to attract industry or tax revenues. For example, a jurisdiction may relax regulations or cut taxes and compromise the public good in an attempt to attract investment, such as the building of a new factory or corporate office.

Although there are legitimate ways to compete for business and investment dollars, the term "race to the bottom" is used to characterize unhinged tit-for-tat competition that has crossed ethical lines and could be destructive for the parties involved.

"The race to the bottom" Justice Louis Brandeis of the Supreme Court of the United States coined this term "race to the bottom" in a 1933 judgment for the Liggett v. Lee case, where he stated that competition between states to attract companies to incorporate in their jurisdiction was "one not of diligence but of laxity." He meant to say that states were relaxing rules and regulations instead of refining them to gain an edge over competitors.

We independent free-lance NYC club musicians competing with each other have our very own race to the bottom. We call it "pay to play," open mics, and open jams.

If you're not part of the solution, you're part of the problem. I am both and will continue to support fellow musicians who "pay to play."

Bobby Hearn · From: Henrietta, Tx

What I consider pay to play is supplying the food for a cookout and inviting my musician buddies over for a jam. I don’t partake nor condone playing pro bono anymore at venues that are profiting from my work.

Michael J Pfeifer · From: New York NY 10036

Hi, Bobby.

Here pay-to-play is widespread. Thanks for sharing

Donny Hinson · From: Glen Burnie, Md. U.S.A.

We have a musician in my area that demands at least $200 or...he doesn't play. He also does session work, for which he charges $200 per song. His philosopy is "That's my fee, take it or leave it." And this is the kind of attitude you have to have. You can't worry about the people who will play for less, or the people who don't charge at all. You can't control what others do.

So what can you do? You must choose, grasshopper! And your choice is "Am I playing for money, or am I playing for enjoyment?" And if you want money (and can't get it), you have to accept that you may not play a lot...or at all.

Michael J Pfeifer · From: New York NY 10036

Donnie,
Thanks for sharing

Bob Hoffnar · From: Austin, Tx

There is a serious demand for live music in Texas so the better bands and the ones that draw get paid more. So it’s not much of an issue. There are plenty of crappy gigs that don’t pay but if you get your playing together there are better gigs you can move on to.

The market in NYC is very different. Way to many wealthy people and artists that want to stars.
_________________
Bob

Michael J Pfeifer · From: New York NY 10036

Hey, Bob!

Glad you're doing well in TX. Thanks for sharing.

Mike Neer · From: NJ

Leading a band in NYC and playing clubs can make you dip into your own bank account, but you are hiring amazing musicians who can come in and instinctually give you what you need and elevate your music, and in most cases at very reasonable rates.

That's the kind of pay to play I can get behind.
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http://www.steelinstruction.com/
http://mikeneer.com

Michael J Pfeifer · From: New York NY 10036

Hi, Mike.

I'm glad that works for you. The race to the bottom I speak of is an open mic or open jam where participants pay to play or play for no pay. I like that T-Monk tune you play.

Jacob Yergert · From: Centennial, Colorado, USA

I guess I'm confused. In the spaces I run in, "pay-to-play" refers to predatory companies that either:

a. Require a certain number of ticket sales or they make THE BAND pay for the rest of the unsold tickets. (e.g. "You need to sell these 200 tickets, and if you sold 180 of them, you have to pay for the 20 unsold tickets"). Gorilla Music and Afton music come to mind.
b. Whoever brought the most people to the show gets to headline.

Both are generally targeted at young musicians who don't know any better or don't feel like they can get a gig.

But that doesn't sound like what you mean. Do people use this phrase differently in different parts of the country?

Michael J Pfeifer · From: New York NY 10036

Hi, Jacob.

Here in NYC, we have open mics and open jams, all of which are pay-to-play. i.e., participants either pay a minimum or are pressured into buying drinks or food.

https://www.local802afm.org/allegro/articles/lets-stop-pay-to-play/

Fred Treece · From: California, USA

We all start at the bottom. No money for playing. It was never a race for me, or anybody I knew who was there at the bottom with me. It was just understood, this is where it starts.

What Mike is talking about is not really pay to play, or a race to the bottom. He is obviously a highly skilled artist and able to attract the top players available in a very competitive area to gig with him, because he has earned their respect. Not intending to speak for you Mike, but my guess is you are clubbing in NYC because you can, you enjoy it I’m sure, and because it exposes your audience to the recorded music you have for sale.

I admit, I now play very cheaply on a rare occasion, but I have not done a bottom gig (bottom pay, anyway. A crappy band or two for sure!) in a long time and never intend to ever again.

John De Maille · From: On a Mountain in Upstate Halcottsville, N.Y.

I've played a few free gigs in the past. We had been approached by club owners, promoters and people who wanted to have a live band venue. So,e of them were benefit shows to help someone or their family. Others were some kind of cause or something like that. I got no pay for any of them. I ( we) thought we were doing a good thing at the time though. All in all, after all the driving to, setting up, playing a set, then breaking down and going home I came to the conclusion that we were all taken in by charletons looking to make a buck on my hard work. Unfortunately, we all believe in that we've got to play and want to do it, probably for nothing. The want to or have to in us is being exploited by others who espouse our exposure to others for another venue..... maybe?
On the other hand, if I get invited to play a jam with other musicians and nobody's making any money from me playing, I'd probably do it. But, I'll never play for any so called benefit or exposure time ever again. For fun with no profit to anyone, yes! But, other than that, a big no thank you. To me, none of the free stuff is worth my time.

Michael J Pfeifer · From: New York NY 10036

Fred,
Thanks for the kind words.

John,
Thanks for sharing.

Here in NY, if you're a free-lance independent club musician not part of a clique, then you are paying-to-play, which is our race to the bottom. Open mic and open jam have outnumbered club gigs.

Don R Brown · From: Rochester, New York, USA

I understand the frustration accomplished players must feel at this situation. But let me offer a different perspective.

Every discussion with long-time country musicians leads to stories of the 80's, when there was a country bar on every corner and if you could spell "pedal steel" you were playing 7 nights a week. I believe it was Herb Steiner who called that era the best teacher ever, because you could learn as you went and nobody cared if your skills had not been perfected.

Well we're in 2023, gigs are far fewer, in some places there are 50 year players waiting for the phone to ring. And you have people like myself - I took up steel after retirement and I'm about 12 years in. I probably learn slower than some but I'm having fun. I still need instruction and guidance, but the biggest thing I need is SEAT TIME. I WANT to become a better steel player than I am. I don't have to explain how one evening live is more beneficial than a month with YouTube in my home.

I don't think anyone ever complained about paying to go to Jeff Newman's courses, nor resented paying Paul Franklin for his instruction lessons. An open jam gives the opportunity to play different songs, with different musicians, and builds experience and hopefully adds confidence. Playing open jams for free can be the equivalent of attending a class - perhaps not on the level of the aforementioned teachers but helpful regardless.

Where is any learning musician, of any age, supposed to go to get the live experience we so obviously need?
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Many play better than I do. Nobody has more fun.

Michael J Pfeifer · From: New York NY 10036

Hi, Don.

I dig where you're coming from.

Open mic and open jam have a place; they just aren't in a club. Thanks for sharing.

Don R Brown · From: Rochester, New York, USA

Let me add an observation which somewhat helps both sides. Most of the open jam places I've seen do so on an "off-night". Three that come to mind have the jam Monday, Tuesday and and the third on Thursdays. Each of those 3 venues has paid bands on Fridays and Saturdays.

Maybe in NY City, there is so much night life that every night is busy. But for other places, it can well be a chance to bring in a few more people on what would otherwise be a dead evening. In fact, the venue with a Thursday jam is only open Thu-Fri-Sat. Without the jam, they'd probably be a 2-night-a-week operation.

So in that respect the open performers nights are likely not taking anything from the "pros" and are actually helping the venue with their bottom line.
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Many play better than I do. Nobody has more fun.

Brooks Montgomery · From: Idaho, USA

Fred Treece · From: California, USA

Brooks-
The San Francisco Bay Area was the same 40 years ago as New York is now. Some managers and owners saw their clubs as billboards, waiting for bands to put up their advertisement for a fee. As far as I know, it is still that way. Depending on the kind of music you played - originals vs covers, punk vs country, etc., what you looked like, the quality if your product, and (most of all) your popularity and the crowd you could draw, you could get gigs and get paid well, badly, or not at all. Along with all the other sleaze and danger that a life in the music business entails, it appears that those particular realities have not changed much.

Michael J Pfeifer · From: New York NY 10036

Hi, Brooks.
Bar, Club, and Honky Tonk are synonymous. Amateurs have underbid pros with their willingness to pay-to-play. This is our race to the bottom, and it is widespread. If you use public transportation or drive to play at a Jam and buy a drink at the venue, then you are paying to play. Capiche?

We independent free-lance NYC club musicians competing with each other have our very own race to the bottom. We call it "pay to play," open mics, and open jams.

If you're not part of the solution, you're part of the problem. I am both and will continue to support fellow musicians who "pay to play."

Brooks Montgomery · From: Idaho, USA

Thanks Fred and Michael,

Michael, so your statement still has me confused: ‘Open mics and jams have a place, just not in clubs’.

Open mics and jams, where then? If Clubs, bars, honky-tonks are the same thing. ?
_________________
A banjo, like a pet monkey, seems like a good idea at first.

Michael J Pfeifer · From: New York NY 10036

Fred,
Right on!

Brooks,

You are an intelligent man. If clubs were not an option,where would you play?

Michael J Pfeifer · From: New York NY 10036

Atul
7 years ago
The London scene is nowhere near as bad as the New York scene. I was on holiday in New York and decided to perform at an open mic night at The Sidewalk Cafe in East Village Manhattan. I kid you not, there were probably around 70-80 musicians there on a Monday night, everyone *had* to buy food or drink from the bar as it was their unwritten rule. Most musicians got to play just one song on the night, and the night went on till about 3am. I played at 1:30am (thankfully I was on holiday and a late Monday was ok for me). To top it all off you were not allowed to ask the promoter which slot you were performing in once they were drawn out of a hat (literally!) at the start of the evening at 7pm….just in case you ‘disturb’ him by asking too many questions. And here is the icing on the cake ; the promoter passed a hat around through the night several times and the musicians tipped him for organizing the night!! Incredibly the place is so well known that New York musicians will still play there despite effectively paying to play to perform one song at a slot they don’t know when! It’s free market economics totally destroying live music. London isn’t that bad in comparison…

Brooks Montgomery · From: Idaho, USA

Michael J Pfeifer · From: New York NY 10036

Brooks,

You can do better than that. I don't have a TV.What about the public library? Come on,man. Put your thinking cap on.

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