Picasso’s Napkin: Why Your Years of Experience Are Worth Paying For

The Art of Valuing Your Work as a Musician

Picasso's Napkin

Pablo Picasso wasn't just an artist but a revolutionary force who reshaped the art world. His creativity wasn't about quick sketches or effortless strokes—it resulted from decades of experimentation, refinement, and mastery.

I read a story about how much Picasso thought of his work. The story begins with him sitting in a Paris café. A fan approached him, asking for a quick sketch on a napkin. Picasso agreed, swiftly drew his iconic dove and handed it over—along with a steep price tag. The fan was stunned. "How can you ask for so much? It only took you a minute!" Picasso replied, "No, it took me 40 years."

At this stage in my career as a musician in New York City, I understand that sentiment completely. I no longer hesitate when stating my rate. If the pay isn't right, I walk away.

Knowing When to Say No

In March 2020, I was asked to participate in an online music project, for free. The idea was to bring joy and unity during the pandemic. It sounded noble, but the bottom line was clear: no payment. The project was connected to Ain't Too Proud, and I was asked to contribute a drum track. Our first video was great, but when they asked me to do another one, I hesitated. Instead of playing for free again, I passed the opportunity to a fantastic drummer, Q Robinson, who later became the drummer for the first national tour of Ain't Too Proud in 2021. I was more than happy for him to take it on.

In the end, none of it really mattered. Not only was I furious with local, state, and federal politicians for keeping us out of work for 18 months, but Ain't Too Proud closed in 2022, just three months after we reopened in 2021. My instincts were right—I had no reason to give away my work for free.

When the Math Doesn't Add Up

Recently, I was offered another project with a solid artistic foundation but terrible pay. The gig required eight weeks of commitment—rehearsals in town followed by an out-of-town run. A long contract is normally great, but the weekly rate was shockingly low. On top of that, they weren't offering a per diem while we were out of town.

Then, I found out they were lowballing me on the rental of my drums. I always rent my drums to productions that hire me, and if they don't want to pay my rate, they can go to a professional rental company like Boulevard Carroll. I know what Boulevard Carroll charges for weekly rentals, and I price my gear competitively. My setup saves them money, and I get to use my own equipment—a win-win situation. But this company offered me such a low rate that I told them to go ahead and rent from Boulevard Carroll instead. They ended up agreeing to pay the higher price elsewhere.

After thinking it through, I realized that the deal didn't make sense between the low weekly pay, the lack of per diem, and the fact that they weren't renting my drums. I would be stuck out of town for weeks, not making much money and passing up better opportunities in New York. So, I withdrew from the gig and passed it on to another drummer who was eager for the experience.

A few days later, I got a call to do a workshop in town for a short period. The production not only paid me a higher weekly rate, but they also rented my drums at my usual price. Ultimately, I made more money in less time, stayed local, and avoided the hassle of learning a whole new show and traveling out of town for a fraction of what I'm worth.

Lessons Every Musician Needs to Learn