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Visit the website of the World Who's Who in Jazz, Cabaret, Music and Entertainment, published by the Federation of American Musicians, Singers and Performing Artists. Read about the listees and purchase your copies at http://www.worldwhoswhoinjazzcabaretmusicandentertainment.com/
SERIOUS CONCERNS
Local cabaret and Jazz singers and independent artists are screaming murder!
A study conducted by the Federation of American Musicians, Singers and Performing Artists (FAMSPA) in March 2007 revealed how little big names in entertainment and music earn nowadays, when they perform in local venues, and at Sundays' brunches. FAMSPA’s Carol Lexter said: “Here we have a very well known jazz singer in Manhattan who gets only $150 per session! Ridiculous and alarming! Other gigs bring no more than $400 per performance, and I am taking about big names in the business.” Germaine Poitiers, columnist at CabaretVille magazine (www.cabaretville.com) and New York Monthly Herald (www.newyorkmonthlyherald.com) said that “unless they sell lots of copies of their CDs, Jazz and cabaret singers in New York and California and the rest of the country as well, will not make enough money to stay in business. Few gigs here and there don't pay the bills. And to sell lots of CDs, independent artists need a huge publicity and public relations budget. Few can afford it…”
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Less than 4% of local artists in New York City perform twice a week. Shoshanna Rosenstein, entertainment editor at the World Jewish News Agency (www.worldjewishnewsagency.org) and Stars Illustrated (www.starsillustrated.net) said: “without large promotion and constant articles and reviews, CDs released by independent artists will be forgotten or given away as gifts to friends and family members. FAMSPA’s study showed that only Rock, and Pop big stars are cashing in. Cabaret and Jazz singers make less than 2% of what big names in Pop, Rock and Heavy Metal usually earn from CDs sales, shows and royalties. The study also revealed that 85% of highly respected cabaret and Jazz singers (females and males), especially in big cities like New York, Los Angeles, San Francisco, Boston and Chicago don’t have a regular and or substantial income from live performances, because gigs are scarce. For every venue, there are more 700 artists, and in 99% of all cabaret and jazz conventions, artists perform free of charge. Less than 2% of local professional artists in New York City perform on a regular basis, 1% gets a gig at a Sunday Brunch, and less than 4% perform twice a week. If they answer their e-mails on Friday’s and Saturday’s night, this means they are out of work! Carol Lexter who helped in FAMSPA’s survey has first hand knowledge of this alarming situation. In addition to responding to thousands of requests from artists to be included in the World Who’s Who in Jazz, Cabaret, Music and Entertainment and “twisting-arms demands” from their agents and publicists, Lexter also received hundreds of calls and emails from leading Jazz, cabaret and American standards singers who urged Lexter to find them “immediate gigs” because they are out of work.
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Lexter said: “I tried to help and promote many of them, no strings attached…and I found out that it is much easier to book them abroad, especially in France, Italy and England than to find a spot or a gig for them in the United States. The market in America is saturated. Too many singers and musicians for too few clubs and venues in the United States. Just last week, five of the biggest names in Jazz and cabaret entertainment called me to ask for help; they need work. Two of them have to their credits 5 prestigious awards and yet are unable to find a job. This is terrible. I told them to get out of this mess is to explore the European market. Europeans adore American artists. And clubs in France, Italy and England pay well. I managed to book two of them on the spot at two prestigious concert-halls in London. The major problem arises when arrogant and “ineffective dormant” agents interfere. “Agents can be a pain in the neck. Sometimes, destructive, because they want to control the business of their clients and protect their fees.” said Lexter. “The major problem arises when arrogant and “dormant” agents interfere. I understand their concerns. They feared that help coming from an “outsider” could jeopardize their professional relationship with their clients. So they come up with all sorts of excuses to screw the deals.” Added Carol Lexter. American artists and especially female cabaret and Jazz singers work hard for their money. Unfortunately, their resources and means are limited…I am talking here about the lack of effective direct rapport with the music industry executives and decision makers. One way to overcome this dilemma is to attract the attention of the public. How to accomplish this? Don’t kiss asses, don’t knock on doors, instead promote yourself –without further costs- by writing directly to critics and columnists known for their support for the arts and entertainment. Mail them your CDs, press releases, ask for their help and BE HUMBLE! Records companies, music industry executives and “songs plugers” are easily influenced by the media. Keep your agents, but do your own homework, make noise on your own, do not stay distant…”
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