For 5 years I worked as the chief software architect and software development manager for a company making a software suite to assist in organ transplants. The software I wrote is now in use in nearly every human organ transplant center in America and in Europe.
I was working in the Flood Building at the corner of Powell & Market where the cable car turns around in SF, and I heard a lot of street performers on the street below. I felt my life slipping away as I pined to turn my musicianship into a career. Yeah, I'd gotten a lot of abstract satisfaction knowing that our software was saving lives, and I guess I was happy about that, but it wasn't fulfilling for me.
After a time an investor came into the company and I was laid off because it was cheaper for them to hire indentured servants from India to write the programs under threat of deportation.
So, who's going to hire a software development manager/software architect? Nobody, actually. That position is almost always held by a co-founder, not a hired hand. I wasn't finding any work -- AT ALL. This was in 2001.
Thus, my wishful thoughts about busking came true in a very rude awakening. My fiddling was okay for jams, but wasn't up to par for solo and I couldn't find a reliable back-up who was willing to play for hours.
I then bought a button accordion because I realized that I could be a one-man band that way, doing both melody and backup.
Trouble was that I only knew a couple songs. So, I played in a different BART subway every day so that people wouldn't realize that I only knew 2 songs.
It was a test of fire. I didn't have the luxury of being able to develop an act over time. I had to start making CASH FLOW! So, I spent every waking moment trying to figure out what songs I could play, what fiddle tunes I could transpose to button box, and what kind of gimmick I could use to get tips.
I read what is perhaps the bible of busking, Jim Rose's "Freak Like Me", to try to pick up some pointers. No need to say he's an asshole, I already know that. I know too many people who've been screwed over by him, so don't bother discussing that.
BUT, and it's a BIG BUT, I knew that he was a professional who has been through the trenches and offered some excellent advice in the book.
I quickly learned to study every aspect of my act, how to dress, what to play, how to acknowledge audiences, how to position my tip hat, everything.
Within a couple weeks I was making about $7 an hour steadily. Not very good, but it was a start. As I tweaked the components of my act I began to make more and more money, and then I started getting $5 and sometimes $10 tips. Within about 3 months I had developed about 2 hours of music, had my "stage" personna set, and managed to support myself for 2 years at an average rate of about $35 an hour consistently. That means I could go to X street or subway venue and reliably come away with $35 an hour. I didn't realize at the time that few street musicians do that well.
One day I got a business card from a woman living on a houseboat who wanted me for a party. She paid me $100 an hour to play for her party for 3 hours. Not bad for a solo act.
However, over time I was getting asked about computer help, and knew that I could charge $100 an hour to do computer support, and few people thought my price was high. So, given the difference between $100 an hour sporadically and $35 an hour reliably, I choose to devote most of my time to the $100 an hour, but I back it up with $35 an hour on the streets and in the subways.
I was working in the Flood Building at the corner of Powell & Market where the cable car turns around in SF, and I heard a lot of street performers on the street below. I felt my life slipping away as I pined to turn my musicianship into a career. Yeah, I'd gotten a lot of abstract satisfaction knowing that our software was saving lives, and I guess I was happy about that, but it wasn't fulfilling for me.
After a time an investor came into the company and I was laid off because it was cheaper for them to hire indentured servants from India to write the programs under threat of deportation.
So, who's going to hire a software development manager/software architect? Nobody, actually. That position is almost always held by a co-founder, not a hired hand. I wasn't finding any work -- AT ALL. This was in 2001.
Thus, my wishful thoughts about busking came true in a very rude awakening. My fiddling was okay for jams, but wasn't up to par for solo and I couldn't find a reliable back-up who was willing to play for hours.
I then bought a button accordion because I realized that I could be a one-man band that way, doing both melody and backup.
Trouble was that I only knew a couple songs. So, I played in a different BART subway every day so that people wouldn't realize that I only knew 2 songs.
It was a test of fire. I didn't have the luxury of being able to develop an act over time. I had to start making CASH FLOW! So, I spent every waking moment trying to figure out what songs I could play, what fiddle tunes I could transpose to button box, and what kind of gimmick I could use to get tips.
I read what is perhaps the bible of busking, Jim Rose's "Freak Like Me", to try to pick up some pointers. No need to say he's an asshole, I already know that. I know too many people who've been screwed over by him, so don't bother discussing that.
BUT, and it's a BIG BUT, I knew that he was a professional who has been through the trenches and offered some excellent advice in the book.
I quickly learned to study every aspect of my act, how to dress, what to play, how to acknowledge audiences, how to position my tip hat, everything.
Within a couple weeks I was making about $7 an hour steadily. Not very good, but it was a start. As I tweaked the components of my act I began to make more and more money, and then I started getting $5 and sometimes $10 tips. Within about 3 months I had developed about 2 hours of music, had my "stage" personna set, and managed to support myself for 2 years at an average rate of about $35 an hour consistently. That means I could go to X street or subway venue and reliably come away with $35 an hour. I didn't realize at the time that few street musicians do that well.
One day I got a business card from a woman living on a houseboat who wanted me for a party. She paid me $100 an hour to play for her party for 3 hours. Not bad for a solo act.
However, over time I was getting asked about computer help, and knew that I could charge $100 an hour to do computer support, and few people thought my price was high. So, given the difference between $100 an hour sporadically and $35 an hour reliably, I choose to devote most of my time to the $100 an hour, but I back it up with $35 an hour on the streets and in the subways.

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