The music video industry is booming again, yet for many dancers it remains one of the most misunderstood opportunities for employment. This misunderstanding may arise because video is a relatively new employer compared with Broadway, the Rockettes or Las Vegas.

To unveil the truth about music videos, let's start with a brief history. Music videos, featuring singers and musicians, made their debut in the 1960's as a way to promote an album or song. At that time they failed to catch on as the quality was wildly uneven and the public just wasn't ready for the technology.

They returned to a much warmer welcome in the late '70's but the big breakthrough did not occur until the early '80's, where for the first time, dancers were used to promote music. 

What changed this medium for everyone was "Beat It", performed by Michael Jackson and choreographed by the late great Michael Peters. The music video "Beat It" was the first time a large group of dancers were used to help promote a song. Michael Peters used the art form of dance to tell a story and create a feeling. "Beat It" had a budget of $165,000, a very large sum of money at the time. "Thriller" by Michael Jackson followed with a budget of $1,000,000 and again Michael Peters had many young dancers working.

Unfortunately, in the late 80's and early 90's music producers began to cut the budgets of music videos. Well-known choreographers couldn't afford to work with the smaller budgets and fewer dancers found employment in this new market. But that's history, today the cycle has turned and dancers are once again working on music videos in record numbers.

To tell you more about this exciting job opportunity, I've interviewed Tim O'Brien. Tim is the Director of the Dance Division for the Kazarian Spencer Agency in Los Angeles.

Don Mirault - Tim, tell us why music videos are once again a great vehicle for dancers?

Tim O'Brien - There is a lot of work right now because certain singers are hot. Think about it, Brittney Spears, Jordan Knight, The Backstreet Boys, Ricky Martin, Cher and many others are using dancers. The latest trend in music videos is that they're being tied to a new movie release. A few recent examples are Austin Powers, Wild Wild West, Mystery Men and LL Cool J in Deep Bleu Sea. That makes for a lot of opportunity.

Don - In the past, I've told dancers not to expect to be able to make a living on music videos, but that's not the case today is it?

Tim - You can make a living today on music videos. A few dancers I know are doing it but it's very difficult and never a smart plan. You still must be able to do everything in order to be a professional dancer and no one knows how long this particular cycle will last.

Don - Give us an example of the pay scale for a typical music video.

Tim - Right now, there is a $400.00 a day rate for a ten-hour shoot. There is overtime pay of $60.00 per/hour after ten hours and a double time rate of $80.00 per/hour after fourteen hours. Rehearsal pay is $200 per/day. Often the filming of a music video can take quite a while and a dancer can have an excellent day financially. There is also hazard pay for dancing on cement or on a high platform. I've recently spoken with MTV and we're working on "buyouts."

Don - Would you please explain the term buyouts?

Tim - An example of buyouts is where I can get additional money for the dancer if MTV decides to do "the making of" a particular video. MTV has a weekly program now where they give the viewers a behind the scenes look at how this video was made. Now that MTV has this series, I can get extra money for the dancers because this show is a separate project. It's not always a lot of money but the industry keeps on improving for the dancer.

Don - Did the Screen Actors Guild negotiate these minimums?

Tim - No, actually the Screen Actors Guild minimums are much lower and a little behind the times. The Dancers Alliance negotiated these minimums.

Don - Tell the readers about the Dancers Alliance.

Tim - The Dancers Alliance is a group of dancers that have been involved in the dance community in Los Angeles and especially in the music video industry since the beginning. They have successfully negotiated minimum salaries for dancers, rehearsal pay, hours of work and many other basic dancers needs.

Don - How difficult is it to get this type of work? I want dancers to know the truth.

Tim - It is extremely difficult. Darrin Henson Tina Landon, Russell Clark, Fatima and Robin Antin are some of the hottest choreographers out there right now and they want it all. They want versatility, talent, technique and good looks. You can't get by with less. Also, you have to be represented by an agent. It is almost impossible today to get a music video without representation. Once you're represented, you should constantly be in class and showcasing.

If you are a street dancer and you think you're going to get right into music videos, you're wrong. If you're new to the Los Angeles area, you've got to take class, meet the choreographers and learn their styles. Many choreographers hate to do auditions because they don't want to turn down some of their friends, so they'll hire on the phone. I'm telling you the truth, it's very difficult to get this type of work. That's why dancers need to be prepared for all types of work by being versatile, talented and by constantly taking classes.

Tim O'Brien sees dancers seeking representation on the second Tuesday of each month at Desiree's 5:30 p.m. class at The Dance Center and on the last Tuesday of each month at the 11:30 a.m. jazz class at The Edge.