Are there any metro/street musicians here?

Hello Alexey! 08 Mar 01 17:06, Alexej Antipov -> All: [skip] AA> it’s scary/stressful/profitable to be a musician in passages/in the subway/on AA> street? I have music here. I have education in the flute class myself [skip] AA> Therefore, questions for street musicians (especially flutists), k AA> having such musicians among their acquaintances or other people AA> otherwise aware of the _real_ situation: AA> 1. What a person needs to know first of all, who decides to play for the first time AA> metro, besides music. literacy? Hmm... Basics of life on the street... (Lots of different points!) AA> 2. What is the relationship between musicians AA> by the police? Do they have to pay anything for the right to play, or just AA> driven away when your presence in a given place is undesirable? How AA> it’s better to declare yourself - just get up and start playing, and wait AA> until the cop approaches, or maybe you should approach first AA> policeman on duty and ask permission to play here. When and how. There is no need to ask in advance. AA> 3. Which ones AA> relationships between musicians and local “authorities” collecting AA>tribute AA> from traders, and also just from the gopota? Are there any problems? When drunk they can “learn how to play correctly” or they can try to play themselves (ends with rendering the instrument unusable). Gopota "not local" maybe bullshit, but as a rule, there is always a local bastard nearby who will meet guests as needed. In 97%, aggressive influences remain in the circle of listeners. AA> 4. Which AA> is the relationship between street musicians and their colleagues accepted? AA> Is it possible for a situation when you are playing and a competitor approaches you AA> and says: “This is my place, I bought it, and I’ve been playing here for a long time”? If AA> he will say so, can it be true? _?!_ Nobody buys anything from us. This is nonsense. If a person is there all the time plays, then...he is there all the time. and a circle of “fans of talent”. Not difficult to notice. AA> 5. For which music more AA> they throw money - for simple tunes that everyone can hear, or for AA> complex, masterly conceptual, but little known AA> works. In particular, from the point of view of the Russian mentality, why AA> _flutist_ (there’s no way to sing) they’d rather throw money away - a) AA> "Taganka", "Belovezhskaya Pysha"; b) "Turkish March" by Mozart, "Joke" AA> Bach; c) "Stairway to Heaven" by LED ZEPPELIN, "One for the vine", AA> "Supper's ready" by GENESIS? Evening - "Taganka" and Zeppelin Day - everything else AA> How much is realistic on average per day AA> street musicians earn money in Moscow (and as in other cities AA> world)? A question of luck. With me, a friend raised about 1.5 tp in 1.5 hours on the metro. And sometimes very little. But they always serve beer. AA> 6. What do you have to talk about with listeners who want to communicate? - But you know this one..... - But you can play..... - Hello, how are you today? (y constants) - Oh-oh, what a sound, what acoustics in this transition! (y.......) Here. :))) AA> 7. Are there frequent cases of musicians receiving ZIPs for being “in the wrong place AA> are you standing there, are you whistling incorrectly? Read above. Exactly 3 percent. AA> 8. Where is it more profitable - in the transition AA> between metro stations, at the exit from the metro, in a street passage, near AA> wholesale markets or, say, on Arbat? In the underground passage connecting the exit from the metro and several exits to the street. AA> It is clear that it is warmer in the metro. AA> By the way, I often see musicians in the subway in winter without outerwear. AA> Where do they store it? a) Backpack b) At the stall of a familiar saleswoman c) In the hands of friends/acquaintances/fans :) Anto