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PWYC spending habits

I believe it’s important for artists and art lovers to reflect strongly upon our spending habits in Pay What You Can (PWYC) situations.

Thus, I frequently ask myself:

Do I go out and spend $12 on a meal and espresso, and feel I can’t afford to pay a $7 /PWYC cover (or buy a $12 album)? I think it’s safe to say that most of us relate to this experience. To me, it points to an economic/value imbalance where I  unequally supporting venues and restaurants over artists. If I’m paying much more for food/drink at the venue to than to the artists, then I am implicitly putting much more value on the service the venue is providing, than on the work of the artists.

I love espresso, I love eating food, I love venues and I love music. I don’t want to choose one over the other. Venues are a necessity.  Art is a necessity.  They are also interdependent.

Ultimately, this has lead me to another question: in PWYC situations, how can I equally support artists and the venue they’re performing at?

In PWYC situations I have decided on a more or less equal split. If I have $10, I pay $5 to the artists and buy $5 worth of food and/or drink. This also means that if I am at a show, have $10 and am dying for a $7 beer, then maybe I can’t afford either. (For me, it can also points to a implicit belief that I value beer more than the music…) I can either cough up an extra $4, or buy a half-pint.

The following possibilities manifest: Perhaps I can afford an espresso out, make a nice meal at home, and pay cover. Or, I can make coffee at home, have a small meal at the venue and pay cover.  OR! Coffee and food at home, a beer at the venue, and paying cover.

This reflects the surface of my beliefs and ethics surrounding PWYC cover charges.

What is your view? Perhaps you have a different split, for different reasons?

 

 

Workshop in Free Music and Creative Process

Hi Friends.

I’m giving a full-day workshop at Silence in Guelph, Ontario on SUNDAY AUGUST 3rd. Below you’ll find the basic information!

What: Workshop in Free Music and Creative Process
When: Sunday, August 3rd, 2014, 11am-9:30pm (including a performance)
Where: Silence, 46 essex st,. Guelph, Ontario
Cost: $50 // PWYC // FREE

EMAIL admin@craigpedersen.com to RSVP!

CLICK HERE FOR MORE INFO!

 

Pedersen // Molnar at Silence, Guelph

Hi friends –

Mark Molnar and I are embarking on a short residency at Silence Guelph. We’ll be working together for 3 days, and then I’ll be working on my own for 3 days.

Here is the great schedule of concerts and workshops we’ve put together!

Free Music and Creative Process Residency at Silence

All events at Silence, in Guelph, ON. 46 Essex. FREE // PWYC // ???

// CONCERTS //

Saturday August 2nd, 8pm
Craig Pedersen, trumpet
Mark Molnar, cello

Sunday August 3rd, 8pm
Workshop participants

Tuesday August 5th, 8pm
Craig Pedersen, solo trumpet

// WORKSHOP //

Sunday August 3rd, 11am
Free Music and Creative Process
Workshop with Craig Pedersen

// OPEN REHEARSALS //

Friday August 2nd, 4:30
Monday August 4th, 4:30

Information // RSVP
admin@craigpedersen.com
(514) 502 6355

CP4 at FONT Canada Tonight!

Hi!

I’m super excited to play FONT Canada tonight in Montreal with the quartet.

Details here: http://fontmusic.org/upcoming-events/canada/

See you there!

 

 

B-Side Graphics

Hey –

Today I want to do a quick shout-out to B-Side Graphics. As many of you know, when Joel Kerr and I made It’s a Free Country, the beautiful cover was illustrated by Dave Cooper. However, what you may not know, is the back of the album cover was designed by a fellow named Jamie Breiwick, a phenomenal trumpet player and graphic designer in Milwaukee, Wi.

Jamie and I met on the internet about a year and a half ago. He bought my CD, then I bought his, then he bought mine, and then I bought his. Basically we passed the same twenty bucks across the border for a year. His trumpet playing and music is unreal. Check it out below.

 

Shortly after we met, Jamie announced that he was starting a design company called B-Side Graphics, and Joel and I were looking for someone to design the back of the album. Jamie was just building his portfolio, but I could tell right away that his work was that of an artist. As a designer, he truly understands historical jazz record design, and matches it will his own creativity and design skills. Furthermore, not only is his professional demeanour flexible and easygoing (especially given that sometimes I’m a pain to work with!), AND his work keeps getting better. (I will add, too, that I feel the same way about his trumpet playing – gets the history, has tons of skill, brings his artistry too it, and is better and better everytime I hear him.)
So, with this in mind, I wholeheartedly recommend Jamie’s work. Below are just a few of his recent posters. Check out his website and more of his work at http://bsidegraphics.com/

 

 



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