Zigaboo

George Farmer, Zigaboo Modeliste and I having a moment (of fun) after his soundcheck at Freight and Salvage across the street from The Berkeley Repertory Theatre back in October of 2017.

We were fortunate to have the opportunity to watch his soundcheck in between our shows at “Ain’t Too Proud.” We had the chance to chat with him for a good 45 minutes. I asked a million questions and he seemed like he had a million answers for me. I had three million more to ask but he was reminded by his manager to get some food before he had to work…so we let him go-lol!

He was great to talk with. I’m glad we had the chance to meet a living legend and an amazing musician.

I was about to call out sick to my show but remembered that I had no subs in Berkeley to fill in for me if I were to take off…damn..damn…DAMN!

I sure would have been dancing to some good ol’ NOLA funk if I were at his show. He’s so good!

I love that music and love me some New Orleans.

By the way, it appears as if Zig made a choice that I’ll be making soon…moving to the Bay Area. He’s been there for a while.

GOOD CHOICE sir!

I’ll have to catch one of his shows soon. Maybe in 2018 at the Jazz Fest?

Clayton Craddock is a stay-at-home father of two children in New York City. He has a B.B.A from Howard University’s School of Business and is also a 17 year veteran of the fast paced New York City music scene. He has played drums in a number of hit Broadway musicals including “tick…tick…BOOM, Memphis the Musical and Lady Day at Emerson’s Bar and Grill with Audra McDonald.

He has worked on other musicals; Footloose, Motown, The Color Purple, Bare, Rent, Little Shop of Horrors, Evita, Cats, and Avenue Q and is currently the drummer in a new Broadway bound musical titled Ain’t Too Proud.

Clayton has written for A Voice For Men, The Good Men Project and is writing a memoir about fatherhood.

 

Three Tips On How To Get Paid What You Are Worth For Gigs

I often hear musicians talk about the amount of money certain gigs pay. People chat about the tip jar having to be passed around because club owners pay so little. They might get paid a few dollars here and there for the gig,  but hey, at least they get a meal out of it. They complain about how hard it is to make a living and how tough it is. While some of those things may be true, it’s not always the reality for musicians. There is money to be made in the music business. The tip jar isn’t required if you get paid well. There is a lot of money out there. As a freelance musician, you just have to know where to find it and how to negotiate for the most money you can make.

I love the art of negotiation. I think it’s fun. I love going into a car dealership and hassling with the salesperson. It’s like a game to me. I tend to do it almost wherever I go to see how far I can push people in any business. I was in the market for a car a few years ago and went to a couple of dealers just to see how things have changed since my last purchase. I wasn’t necessarily in a position of power because I  needed a car, and they had the goods. The way I looked at it was like this; I was willing to walk away if I didn’t find what I wanted. In fact, that is what happened in the end. I walked away from the dealers and I found a car from a private seller and purchased a used car with cash.

When dealing with musicians, business owners or any kind of production where they need your services, always keep in mind that if they are reaching out to employ you, they want what you have to offer. While you may not have much leverage, you still have power. You must realize that there is a way for the both of you to win in this game. You just have to know what some of the rules are.

1) People want to make a profit:

Whatever someone is intending to pay you, you must understand they are making money from your services in one way or another. They are trying to pay you as little as they can so that their profit margin can be as wide as possible. Don’t feel bad asking for as much as you can because there is more often than not, wiggle room to play with. The person offering you a gig has a budget and they are trying to keep their expenses low. With this knowledge, you can go into any deal making process with less of a personal connection because it is all about money in the long run. Once you take any personal feelings out of the equation, you can get down to the business of increasing your profits while they are trying to do the same. In the end hopefully you find a way to help each other achieve similar goals without anyone feeling abused and/or taken advantage of. Look for a win-win scenario.

2) Get to know the general rates for your service in your area:

For many years, I was paid a certain rate for club dates (weddings/corporate events) as a drummer in the tri-state area. I thought I was getting paid a lot of money for a four hour gig on a Saturday night until I found out people were making $100 to $150 more than me. I then started to get hired for bands paying those amounts and realized there is even MORE money than what I was now getting paid when I asked around. I even found out that other bands had backline. When I discovered the going rate, I raised my own price and the bands that recently hired me agreed to my new fee without any hesitation. Think about what I said above. Why would someone pay you the higher rate when you don’t ask for more? They are trying to make as much money as they can. Why can’t you?

3) Negotiation is risky.

I was in a negotiation recently where I was going to have a production rent my drum set instead of them purchasing a brand new kit. We went back and forth over a few emails and they decided to buy a new kit instead of renting mine. I lost out on a whole lot of money but in the end had the chance to play on a top of the line drum set, brand new cymbals and sturdy hardware. It was GREAT. The downside is that I missed out on all of that money. Sometimes you win, sometimes you lose, but you have to be willing to say no or you might forever be taken advantage of. In this case it was still a win-win. A brand new kit? I’d rather play on the new kit than my 20 year old one.  The same situation occurred on other gigs. I’ve asked for certain amounts and was turned down. Well, that is one of the downsides of any negotiation. But you must understand what your self worth is. If you value yourself and your services, you should demand a price that makes you comfortable and be willing to walk away when your conditions are not met. You also have to be able to deal with being told “NO” and not getting hired, or getting the money you requested.

Think about this; when you go into buy a product from the Apple store, is there any negotiation? No. You are paying for the reputation of the company and the generally great products they have to offer. You can go to Best Buy and get a Windows product and buy something else too. That is your choice. You get what you pay for most of the time. The same applies to your services as a musician. If you present yourself as valuable and price yourself accordingly, you will be surprised at how many people will pay what you request.

Sometimes you lose, but the overwhelming majority of the time you win when you approach negotiation with this in mind. Don’t be afraid to be bold. You didn’t get into the music business to be poor, behind the curtain or undervalued. This is a business more than it is about music. Deal with the money so that you can feel freer to create the music and high art you were put on this earth to do.

Clayton Craddock is a stay-at-home father of two children in New York City. He has a B.B.A from Howard University’s School of Business and is also a 17 year veteran of the fast paced New York City music scene. He has played drums in a number of hit Broadway musicals including “tick…tick…BOOM, Memphis the Musical and Lady Day at Emerson’s Bar and Grill with Audra McDonald. He has worked on other musicals; Footloose, Motown, The Color Purple, Bare, Rent, Little Shop of Horrors, Evita, Cats, and Avenue Q and is currently the drummer in a new Broadway bound musical titled Ain’t Too Proud.
Clayton has written for A Voice For Men, The Good Men Project and is writing a memoir about fatherhood.

New Temptations Musical AIN’T TOO PROUD Extends at Berkeley Rep

I’m happy to be a part of this amazing show and amazing cast!

Come see it if you are in the Bay Area!

Due to an overwhelming demand, Berkeley Rep has announced that the world premiere musical of Ain’t Too Proud-The Life and Times of The Temptations will extend for two additional weeks. Originally scheduled to close on October 8, the popular musical will now run through Sunday, October 22.

Starting today, tickets for the added fifteen performances can be purchased online at berkeleyrep.org and by phone at 510 647-2949.

An electrifying new musical about the life and times of The Temptations, the greatest R&B group of all time (Billboard Magazine 2017). They were five young guys on the streets of Detroit when they were discovered by Berry Gordy, who signed them to his legendary new label. After 24 attempts, they finally had a hit and the rest is history-how they met, how they rose, the groundbreaking heights they hit, and how personal and political conflicts threatened to tear the group apart as the nation fell into civil unrest. Kennedy Prize-winning playwright Dominique Morisseau, Olivier Award-winning choreographer Sergio Trujillo, and two-time Tony Award-winning director Des McAnuff bring you this thrilling story of brotherhood, family, loyalty, and betrayal. Iconic hits like “My Girl,” “Just My Imagination,” and “Papa Was a Rolling Stone” and the signature dance moves that made the “Classic Five” Temptations part of our cultural history forever.

Read more HERE:

https://www.broadwayworld.com/article/New-Temptations-Musical-AINT-TOO-PROUD-Extends-at-Berkeley-Rep-20170907