Quite often a band member’s classmates at school would ask if the band could play for a dance. Members could keep their ears open and offer their band’s talents for dances put on by other classes at school. Obviously band members knew when dances were to be held and could promote their band for these dances. There were parties that could be played for, although many times these were done for free. It was good advertising. There were other routes to take for getting playing jobs.    One approach was to solicit jobs by sending out a promo package to area schools. These packages ranged from a simple letter of introduction with a description of the band and what music they played to packages that included photos and quotes from satisfied customers. As cassettes gained in popularity, a band could send a tape along with the package to further promote the group. Sometimes this promotion would be a group effort; sometimes one or two individuals in the band would do all the work.    Another approach was to get a manager. This could be a very rewarding experience or a very discouraging one—it depended on the manager. Many times someone local would hear of a band and offer their services as a manager. Dollar signs loomed large in the minds of these folks as the novelty of bands playing for dances assured good turn outs—and good money to be made. If the band was smart the money issue was watched fairly closely. It didn’t take too much time to figure out when a manager was taking more than their agreed upon share.    Using a booking agent was another avenue towards acquiring playing jobs. Sometimes these agents would be well established, having been around for a long time. Others appeared seemingly overnight as the garage band phenomenom took hold. Resourceful college age individuals could—and did—start a booking agency and make respectable money doing so. Agents took a straight percentage of the gig, much like managers did with one difference. Playing jobs obtained through agents were contracted jobs with the money spelled out up front. Any band knew exactly what they—and the agent—would be making before the gig took place. Here’s a few comments on playing out and getting those opportunites.
help home words bands songs posters store music leave contact
	David Sternquist: (during the A–Go–Gos) Again, not only was he the one that inspired the band, but Don was the one that got the jobs down. His wife, Barb, was originally from Fort Dodge so the bulk of our playing was in Fort Dodge. At the time Fort Dodge was a very live town. There was almost a band in every lounge and bar that was up there.
					Russ Musilek: (during Liberty) We'd rent halls and take our lumps. We'd promote them ourselves. We'd rent a hall–a Masons Hall, Oddfellows Hall, places like that. We'd put up flyers and posters all over town and take our lumps or make money. Just like a dollar to come in the door. That was fun. That was good stuff for us. We'd go crazy and rent amps for the dance so we looked pretty good.    (Also) I think Jim Barkwill worked on (getting jobs). I think that was kind of how he wanted to be the manager guy so he helped along those lines.
	Joe Boesen: (during Jury) By the time we were in Jury it was still word of mouth (to get jobs). I don’t remember if we went on much of a calling campaign thing. It was basically word of mouth within a 20 or 30 mile radius of Boone and Ogden.    (during Burntshoe) We got some jobs from Terry Drey and Walt Subert. (They) had a booking agency (they) ran through their dorm at Iowa State. We worked with Barry Pyatt also. He had his own booking agency and this other fella (whose name I can’t remember right now) and then Terry and Walt; those were the three booking agencies we belonged to before we disbanded.    Barry would never get us high paying jobs. He would send us to places that nobody else wanted to play, because we were so happy to play. I remember going to Lone Tree, Iowa–south of Iowa City–to play for a prom. That was a 3 to 3 and a half hour drive, play til midnight and then tear down and drive back home. I remember the sun coming up when we were getting home.
				Keith Berg: I think we went out and got them mostly ourselves. Sounds over in Boone did a lot to help us. We bought a lot of equipment over there from them. It was a give and take. They worked really well with us. When we started there wasn’t much competition around here; that’s why we got so popular. I mean, we didn’t play bad music, but there wasn’t any competition to speak of.
	Larry Kelley: (during the Telstars) It was me (doing most of the booking). I was it. A few times the fella in Mason City (would get us some jobs). I would call him up and see if he had anything going. He would book a few high school dances. That was mainly the thing he booked for. I went out and booked the Cellar in Ames and a lot of other things around. We started putting some of our own gigs on. A lot of schools would call. I’d sent some newsletters out. We sent these newsletters out to schools and a lot of places and that’s how we got a lot of gigs.
					Brent Larson: (while playing in Shekina Glory on performing in general) (Al) was notorious about changing lyrics to songs at each event we would play. It was tough to know where we were in a song until he would turn around and cut us off for the ending. I remember sometimes doing 3 verses to a song and at the next concert doing four.
		HOME  WORDS  BANDS  SONGS  POSTERS  STORE  MUSIC HELP  LEAVE/LINKS