Pasay Macho Dancer Bars

Remembering Solution Disco Macho Dancer Bar

This photo is the property of the Gonograd Resident

Lifted from the journal of the late Trog were these entries on one of his visits to Solution Disco, a down-market macho dancer bar on Pasay City’s Arnaiz Street, formerly called Libertad:

“There is a guy or two manning the wide entrance leading up to the second floor of the concrete building where the strip bar is located.  Take several flights up the stairway and you will see a non-smiling, burly looking man sitting behind a small wooden table.  He takes the entrance fee payment from host bar patrons (or hosto bar on the third floor) and macho dancer bar customers.   On other nights, a bored looking woman takes over.

“Entrance Fee (Cover Charge): lower entrance fee for women but higher for “bakla” men, meaning transvestites and effeminate men.  The latter entrance fee also applies to transsexuals.  If you choose this entrance fee option and you happen to be a truly manly gay guy with no hint of feminine traits, you must be brave enough to say you are gay (in the Philippine context, effeminate homosexual), lest you will be charged four times the actual entry fee.  The macho dancer bar charges more for straight guys and for those straight-acting, straight-looking, straight talking gay guys who are always mistaken for real men.  The establishment charges even more on big nights (Thursday nights) and special nights.

“It’s here where you occasionally spot a popular, noisy transvestite actor-television host who seems enamored with a serious-looking, tattooed macho dancer many customers go gaga over.

“But I kind of like Solution Bar and will definitely return, if only to catch my favorite stripper, that is, if he is still there.”



Macho Dancer: The Underpaid, Exploited Night Worker

THE enduring myth is that the Philippine macho dancers, those bikini brief or skimpy shorts-clad male dancers at establishments called male entertainment bars or mistakenly known as gay bars, make a lot of money, enough to make them instant rich guys.  But the painful reality is the dancers receive only a measly allowance called budget and can hardly make both ends meet.  They seem to live a hand-to-mouth existence.  These macho dancers are underpaid, working only on a commission basis.

A macho dancer’s (MD) standard budget varies amongst the different macho dancer bars in Metro Manila.  A standard budget can be 150 for a few Makisig boys, 250 for some Adonis erotic dancers, and 400 for several Big Papa strippers and non-strippers.  Their earnings are augmented with cuts on drinks when they are fortunate to be tabled and with tip money if the customers are willing to shell out some cash for the tabled performer’s company and time.  Do all customers who table dancers give gratuities to the latter?  No.  Only a few do.  Most customers or guests are content only with buying drinks for the dancers because they get commissions on their drinks anyway.  Macho dancers can also receive cash rewards from customers who are amused, entertained, or who enjoy certain dance shows or performances.  Remember the sabit thing?  Sabit is a cash reward.  Macho dancers who dance with enthusiasm, life, and confidence are rewarded with cash, which the customers tuck into their bikini briefs or shorts.  But then it RARELY happens that a dancer is given tips or cash reward by his customer or customers.  Only generous guests do that.  Most of the time, a dancer gets nothing and relies only on the commissions he gets from the drinks he downs.  Some bars give 100 pesos per macho dancer or male dancer drink ordered, while other establishments grant 80 pesos.  Still others offer only 60 pesos per male dancer drink.  Adonis and Club Maginoo, reputed to be the more popular and more established macho dancer bars, can only give a 50-peso cut on each male dancer drink, to think a single macho drink at either bar costs a whopping 450 pesos.  The painful truth is that a huge percentage of his drink commissions goes straight to the pockets of the waiter who serves the dancer and his guest, the bartender who thinks he should also get a share of the dancer’s meager earnings because he thinks the dancer owes him one for preparing his drinks, and to the manager who sits him with a guest.  The dancer is a milking cow in the macho dancing world.

Then there is the bar fine cut or VIP room charge commission that he is entitled to if and when he is selected but then it happens only once in a blue moon.  Besides, virtually all macho dancers detest the idea of being taken off the bar for obvious reasons or chosen for a private show in one of those tiny units called VIP rooms.

Most self-righteous people including self-styled moralists condemn these nocturnal workers arguing they “always have a choice” to find a better job.  It is easier said than done.  In a Third World country like the Philippines, where people breed like rabbits, jobs for secondary school graduates or college drop-outs are a miracle waiting to happen.  It is even much harder for those armed only with some college education or vocational training.  Discrimination of all sorts is prevalent in that small, impoverished country south of Taiwan.  Do you think these macho dancers wanted to be dancers in the first place?  No.  Circumstances forced them to work as such to earn a living so they could bridge hunger.

Many of these men were duped and lured by floor managers, majority of whom are effeminate or transvestites, who promised them huge earnings each night they came to work and dance naked or half-naked … and dance to no end… before a captivated crowd.  They are amongst the most exploited workers in the so-called male entertainment industry but the bar owners, the floor managers, and the bar operations in-charge counter they do not exploit these workers.  They argue that the dancers are obligated to help generate income for the bars which undeniably stage nude shows involving some dancers who are forced to participate against their will.

It is true that circumstances goaded these men to enter the macho dancing industry.   Abject penury, the desire to improve one’s economic status, the absence of an employable skill, the pressure to support his parents and siblings or his own family, or the difficulty of getting a new job after failing to renew his work contract with a fast-food restaurant or a convenience store forces a young man to try his luck in a macho dancer bar.

Rather than end up as a bystander all his life, an unemployed, out-of-school youth in his late adolescent years (17 or 19), is convinced by a persistent mama sang, who “sees” a potential in the young man, to try his luck as a guest relations officer (GRO) or an MD.  If he is taken as a GRO, it won’t be long before he joins the rest as a dancer.

A recent high school or a vocational training graduate finds it extremely difficult to land a good-paying job and decides that a stint as a guest entertainment officer (or relations officer) or a dancer/model would be a better option, a move supported by a friend/dancer and a bar manager to whom he is introduced for audition.

A young man who has run out of money with which to pay his college tuition and has a tough time getting a job which imposes no restrictions on acquired college education or prior work experience, on the applicant’s height, appearance, or even background is convinced that his only way out of his current situation is by working as a macho dancer.

A roast pig store worker, who happens to have good looks, the height, and an athletic body, is “accidentally” discovered by a macho dancer bar floor manager who happens to be a customer at the shop where he works.  The manager hands him his business card, encouraging and convincing the shocked guy to no end that he can earn double, or even triple, the amount he earns monthly in his current employment.  The young guy seems impressed and, after much thought, he quits his job, contacts the manager, and shows up at the establishment one evening for an audition.

A country boy thinks that he can earn more as a macho dancer than as a farm help or as a full-time tricycle driver.  So he sets out for the metropolis (Metro Manila) in search of a macho dancer bar which may take him in as a performer.

The manager employs the same tactics while window shopping, hoping he can spot or bump into someone he thinks has what it takes to be a macho dancer.  He lies to the innocent man, he flatters him, he impresses him, he convinces him, he nags him, he tries to win his trust, he dupes him, and if he can hypnotize him, he will not hesitate to do so.

It seems there is no job in sight that pays a minimum wage, prompting a man in his early or mid-twenties to turn to his friend hoping the latter can help him get a job, even if the pay is low, as long as he earns.  Little does he know that his good friend turns out to be a bar dancer and he convinces the job-seeker to give macho dancing a shot despite the meager income he gets.  It is better this way, than go hungry, he tells his unemployed pal.  Hesitant at first, the desperate young man finally says “yes”, and on a scheduled evening, he will show up at the bar for his baptism of fire into the world of macho dancing.

Never mind if he is not “macho” at all when he starts working.  Never mind if he is small or lanky or a bit flabby.  Never mind if he is not pleasant looking.  He can “reinvent” himself along the way.

It is true those gifted with great looks and endowed by the Gods have an advantage over those who are not fortunate enough to be attractive.  The gorgeous and the hunky guys are the luckiest amongst them since they are going to be an instant hit and earn more dough.

The naive or uninitiated soon realizes that everything works differently in the establishment he joins.  His earnings, acquired through hard work and constant shedding of sweat (it is terribly hot on stage thanks to the numerous lights on the ceiling), are not all his to keep.  He is obligated to share them with different persons he works with in the place.  He “owes” it to them, as they say.  If he does not give them something, he is certain he won’t be introduced to guests on the succeeding nights and they will despise him.  He has no choice but to share some of his meager earnings, leaving only a small amount for him to take home and whatever is left of his income is not even enough to make both ends meet.  Now, he realizes he is dancing so others can earn since the bar owner does not give them fixed salaries.  He labors for others to survive.   He does not only tire his body to feed himself and the family members dependent on him, but he also feeds the floor manager, the waiter, the bar tender, and even the props man or woman.  He unknowingly allows himself to be exploited by the bar owner who continues to rake in more and more money at the expense of his workers. Such is the reality in the macho dancer world.

It won’t be long before he finally grapples with the shocking, heart-breaking reality that besides his own family, some extended family members, and himself to support with his meager income, he has to help the following folks survive in this dog-eat-dog world:

Floor Manager (FM).  The term “floor manager” is synonymous with “pimp”, since he “parades” and “offers” the macho dancers to interested guests for their selection.  A successful attempt to let a dancer sit at a guest’s table means money for the persistent floor manager who does not only employ flattery, lies, and a lot of convincing, but who also will try to move heaven and earth to get a guest or customer to “table” (or invite) a dancer to join him or her.  The dancer is now “obligated” to give the floor manager a share of whatever he earns for spending time with a guest who may sexually harass him, if he turns out to be a perverted customer.  In the event the dancer declines to give the manager some cash, he is on his way to loosing favor with the manager.  The manager will label the dancer “ingrate” for not “recognizing” and “appreciating” the former’s “so-called efforts” to get him a customer.  The “disappointed” manager will now have a “valid and a justifiable reason” to NOT introduce and “offer” the same dancer the next time guests come to get dancers to spend time with them.  The manager will likely destroy the dancer’s image and reputation as a performer by making up baseless stories about him and his work attitude.   This is to the disadvantage of the innocent macho dancer whose only fault is not sharing his measly earnings with the floor manager on one particular night.  When this “black propaganda” intensifies, the poor dancer will lose customers, and regular and potential ones, brainwashed and duped by scheming floor managers, will now table new dancers.

Waiter.  They move around on the look-out for raised hands, which gestures mean new or additional drink/food requests, the check is needed, they need to go on errands for the guests, or they need to handle inquiries or complaints.  They race up and down if the bar is a two-story establishment.  They shuttle between the guests’ tables and the kitchen or the bar area, they buss plates and eating implements, they move or lift tables and chairs, and they check on each occupied table.  The waiters claim they are the second most overworked macho dancing bar workers, after the macho dancers themselves, yet they do not receive a regular and standard pay, except a nightly allowance of 50 pesos (an allowance is referred to as budget).  However, some do get 100 pesos a night.  No different from the floor managers, they indirectly demand a share of the dancer’s earnings, explaining they wait on tables and serve guests and dancers, whose every possible request the waiter will act on.  Both the waiter and the floor manager assume that a dancer earns a lot from tips every time he gets tabled by a guest.  Such is a myth and the reality is far worse.  The painful truth is that the dancer’s drink commissions go straight to the pockets of the waiter who serves the dancer and his guest, the bartender who thinks he should also get a share of the dancer’s meager earnings because he thinks the dancer owes him one for preparing his drinks, and the floor manager who picks him for a customer to table.  The  dancer is a milking cow in the macho dancing world.

Bartender.  There is not a night that you do not see a bartender with a frowned face.  The man behind the bar-counter seldom grins as if to say it is the end of the world for him.  But he tries to smile back or actually reciprocates your gesture when you flash a friendly grin.  His job is pretty easy, just making sure he prepares and serves the right drink or the requested beverage and logs each drink ordered.  Whatever the waiter requests as long as the product is available, he grants it, preparing drinks for the customers and the “tabled” dancers.  He seems relax standing or sitting behind the counter, sometimes with a kitchen staff, but most of the time, all alone.

Because the dancer engages the services of the bartender through the waiter, the former is now obligated to “pay” the bartender by giving him whatever the dancer can possibly spare for him.  That is the unwritten rule.  Anyone amongst the dancers who dares to challenge this rule is, in effect, “wasting” his chances of getting “tabled” by customers as the bartender, the waiters and the floor managers will now connive to paint a bad image of the dancer and fabricate malicious and damaging stories about him, which they will relay to any customer who may fancy that particular dancer. The dancer will be rejected and the brainwashed customer will choose a new and different dancer with a supposedly “clean” image.

Disk Jockey (DJ).  The disk jockey or DJ is the man responsible for playing the music and songs when the dancers perform one after the other.  The DJ and the dancers coordinate with each other, making sure that the performers are not behind schedule as far as stage presentations or performances are concerned, that the dancers know who dances next, that copies of the songs are submitted to him.  Occasionally, you hear a disk jockey kind of berate a dancer for a sloppy performance or for even a simple mistake, like the failure of the dancer to take off his shirt before he goes on stages.  The former receives instructions from the dancers concerning their choice of songs, when such option is available or granted, though almost always, the dancers dance to the tune of whatever songs the DJ plays even if such songs sound detestable and bad.  When a guest requests a dancer to dance for him, the DJ readily grants such a request so long as he is informed ahead of time, and before the requested performance is carried out.  Most of the time, dance requests are coursed through any of the floor managers or the floor manager himself overseeing the guest and the tabled dancer, and he, in turn, informs the DJ of the request.

The disk jockey has no salary and relies only on an incredibly small allowance given by the bar management.  And how small is small? We are talking about 50 pesos here.  His earnings are augmented by “donations” from the dancers who feel obligated to help him.  The former, along with the floor managers, the waiters, and the bartender, is a financial burden to the dancers who barely survive on their nightly earnings.

Wardrobe Man.  In certain macho dancer bars, management maintains a wardrobe man or woman, whose responsibility is to take care of the dancers’ costumes, including the dancers’ scheduled performance.  For this job, he receives any amounts of cash the dancers are willing to give him.  Instead of the bar management giving him a basic salary, it is the dancers who are “given” the responsibility of “paying” him for his services.

Bar Owner.  The Bar Owner, too, is a financial burden to the dancer.  Through the bar in-charge, he collects monetary contributions to defray the costs of production props, securing work permits and the drinking water supply.  One Quezon City-based macho dancer bar does not offer free drinking water to its dancers.  Everything seems to come with a price.  He not only complicates a dancer’s life, he also deprives him of what is legally due him:  no Social Security benefits and state health insurance membership, for instance.

Instead of the owner owing the bar dancers a debt of gratitude, it is the other way around.  He wants that the macho dancers “worship” the owner as a god or goddess, and what better way to show such homage to him or her than to plant a kiss or two on the opportunistic bar proprietor or proprietress, short of porking him or her.  He or she does not fail to impress upon the dancers the false reality that without him or her they, the dancers, won’t earn.  What an evil thing to say to the very people who labor from mid-evening until after sun-up, or worse, until almost 8AM at one particular Quezon City-based macho dancer establishment, just so the bar generates revenues.  The macho dancers allow themselves to be exploited by bar owners and floor managers in exchange for a small work allowance, which sadly and disappointingly cannot even allow one to survive on a single day.  What can you get with a 200-peso nightly work allowance?  At some macho dancer bars, 150 pesos is the basic nightly work allowance given to the poor dancers.  And if you think 150 pesos is the smallest amount one can get paid for dancing all night, think again.  At Quiapo-based Apollo 14th KTV Disco Bar and Resto, a sprawling, dark and hot place located in the basement of an old building, 75 pesos is what a few dancers receive each night.

The owner, upon the constant advice of his OIC, stands pat on his decision to not grant a salary to the bar dancers, waiters, and managers.  The only salaried bar members are the OIC and the doorman.  The rest rely on drink commissions and on gratuities.  Standard monthly salaries are frowned upon because giving such will only affect the owner’s monthly net income and he does not want to incur additional operating expenses, a large chunk of which is the regular police protection payment.  The lesser the expenses, the better it is for the owner to earn more and continue to be rich.  The no-salary-for-the-macho dancers-policy is justified as “legitimate.”  The proprietor does not care about the welfare of the dancers.  His law is plain and simple: you dance, get “tabled”, drink and drink more when the guest agrees to buy him drinks, and earn money for the bar, and if you don’t like your job, by all means, pack up and leave for good.

The owner owes the macho dancer a debt of gratitude for the latter works and enslaves himself for the establishment to earn.  It is not the other way around.

How much is left of the dancer’s earnings?

Maybe 200 pesos, 250 pesos, 300 pesos, 350 pesos, or 400 pesos.  If he is tabled and given a tip money of say, 500 pesos to 1,000 pesos, he goes home with his budget and tip money while his drink commissions are left with the floor manager who sits him with the customer, the waiter or waiters who serve him and the guest, the bar tender who prepares his drinks, and the disk jockey who plays his songs.  If his tip money is not secretly given to him, that is the floor manager or waiter sees how much is handed to him, the FM and the waiter will get a large chunk of his dough.  If he happens to be a dancer at a particular Pasay City-based male entertainment place, he is expected to share at least 500 pesos with the floor manager who gets him a customer.  Whew!  500 pesos means much to the dancer and the floor manager has the nerve to demand that he be given that amount.  If he gives anything lower than 500 pesos, the floor manager will feel bad about him.

A macho dancer’s life is tough; it’s full of hardships and challenges.  Each night that he is outside his home, he faces danger and uncertainties.  In his work place, he projects a happy disposition but behind that happy face are sadness and worries brought about by the circumstances he is in.  He has several mouths to feed and expenses to shoulder like a sibling’s tuition or his own tuition fees if he is studying, electric and water bills, and installment payments for his motorcycle loan.  He is bogged down by all these things, yet he has to work just so he can earn a measly amount and, in the process, is exploited.  If he is lucky to be tabled by a generous customer who tips him, he knows for sure he has something on the table for the next two days.

He is a human being, too, and deserves to be treated as such and with respect and dignity.

Don’t Forget His Tip Money

A sissy guest strides into a macho dancing bar on Timog Avenue in Quezon City, escorted by an unusually happy effeminate floor manager who helps him find a seat.  The former decides to sit at one of the coffee tables fronting the small makeshift wooden stage.  The latter joins him as a serious-looking waiter approaches to take the newly arrived customer’s order.  In common with the majority of guests, he asks for San Miguel Beer Light, also the most requested drink of virtually all macho dancers.

It is well-nigh 12 midnight and the bar is gradually filling up.  At the instance of the manager and in his wish to spot an attractive, sexy young dancer to table, the guest requests an all-cast dance show.  At the manager’s signal, the boys, clad in white or black tank top (called sando in the Philippines), skimpy shorts, and knee high-sized boots assemble on stage for their choreographed dance as the diminutive in-house disk jockey prepares to play the standard all-cast-show music.

But even before the dancers can perform, the effeminate customer sees a boyish-looking young dancer with a chiseled body. He wants this macho dancer (MD) with tempting looks so he tells the manager who, in turn, pulls the boy out of the group and takes him to the customer.

The predator, oops, the customer is all smiles as he offers him a seat while extending his warm hand for a handshake.  They exchange pleasantries.  The mama sang cannot contain his laughter as the satisfied customer jests that he has fallen in love with the dancer already.  The young man, who is rejoicing deep inside because he has a guest which means money for himself, appears amused by the funny yet perverted behavior of his customer.  The accomplice, sorry the manager, tells the guest to enjoy his time with the model and to ask for him if he ever needs anything.  Before departing from the scene, he reminds the dancer to take care of his guest – a monotonous reminder floor managers love to repeat.

The model tells his guest he is just going to get something only he knows and excuses himself but not before assuring the guy he won’t be long.  Of course, he is coming back.  He has a guest!  And after about a few minutes, the model is back with a mobile phone in his right hand.

The waiter serves the drinks including those of the tabled young man who is having San Miguel Beer Light too.  As soon as the waiter leaves, the customer moves closer to the dancer, puts his right arm around his waist.  The young man, a few inches taller than his guest, looks uncomfortable in this situation but reluctantly reciprocates the guy’s gestures and places his left arm around his shoulders.  Such show of feigned sweetness is part and parcel of his job.  Oh, the customer feels he is in cloud 9.  He buries his face on the model’s left shoulder as he squeezes the boy’s fat-free thighs.  He seems to be on his way to sexually harassing the model, as he is wont to do.

They drink, smile at each other, make small talks.  The customer, already in his early to mid 40s, tightens his grip of his table-mate, who wants to try to free himself from the hold of the predatory pink-blooded mammal but cannot seem to do so.  He feels awkward finding themselves in this position while his guest is instantly infatuated with the tabled show boy.  At one point, the guest, already overwhelmed with concupiscence, salaciously plants a kiss on the model’s cheek.  Or, is it a stolen kiss?

The waiter also serves fried chicken to go with their beer.  The waiter returns with additional bottles of beer.  The man in heat has downed three bottles of the alcoholic beverage while his sexy tablemate has gulped five bottles of the low-calorie beer.

It is now almost an hour and the boy excuses himself to check with the disk jockey if it is now his turn to dance.  The boy comes back after two minutes.  He tells the forty-something guy he is dancing after the turn of the seventeenth performer.  The guest beams with unusual excitement and lust as his tablemate returns to his seat.  Anew, they toast, chuckling.

As the lights dim for the next dancer to get on stage, the lecherous guest launches yet another assault on the boy.  With the boy’s arm around his shoulders, the salivating guest places his right arm around the latter’s waist only to slowly move his hand towards the model’s crotch.  The crawling fingers instantly jolt the young man prompting him to quickly hold the intruder’s hand to stop it from finally reaching the “gates of heaven”.  Smilingly, he tells the lustful guy not to do it as he finds it rather humiliating, especially so that they are close to the stage and in an area where people pass through when going to the loo.  In a jestingly manner, the intruder protests saying there is nothing salacious about what he is doing and he is not going to grab his dick.  The boy, still maintaining his composure and politeness towards his guest, counters he feels uncomfortable seeing someone touching his crotch, much less his rod, and that while he may be a macho dancer, it does not mean customers can simply touch his private area whenever they want. Flashing a smile but now appearing a little bit embarrassed, the guest explains he simply wants to show some affection to him.

The two resume their drinking session while chatting about life and work.  The waiter shows up again, asking the customer if he wants to order another bottle of beer for his tablemate.  The guest says ‘no’ because he is leaving in a short while. Tsk. Tsk. Tsk.  In reality, he is devastated by the model’s tough stand.  He never expects that a macho dancer can rebuff him for his sexual advances.

It is an hour and a quarter before 2am and the customer suddenly realizes it is time to go.  He gestures for the waiter to bring the check.  The waiter nods.  He comes back with the check with the same floor manager in tow.  The customers goes over the details, then pulls out some bills enough to cover the damage, and hands them to the waiter, reminding him to keep the change, loose change at that.  The manager, feigning sadness over the fact the customer is leaving earlier than expected, inquires about the sudden departure to which inquiry the guest responds that he still needs to catch some sleep for his 9AM work shift.

Both the manager and dancer walk the guest to the door with the manager thanking and “urging” him to come back the next time when he is free.

He boards one of the cabs parked on the street.  As the vehicle thunders down Tomas Morato Street, the customer, who is in the backseat, flashes a grin and waves at them.  The manager waves back.

He and the model return inside.  The latter tells him he has no tip money.  The former laughs out loud, cursing that after all the sexual advances, the poor dancer gets nothing.  The macho dancer chuckles and curses too, swearing he is going to ignore him the next time he comes to the bar.

He checks with the waiter about his drink orders: a total of eight drinks (five bottles of beer, one bottle of water, and two bottles of Del Monte Fit N Right fruit juice).  80 peso-commission per drink multiplied by 8 drinks and that is 640 pesos in commissions.  And you think this is all his to keep? Think again. There is the floor manager, the waiter, the bar tender and the disk jockey.  Wow! Four mouths to feed in the bar.  His budget is just 250 pesos and the only amount he may probably go home with after his shift.

The pervert should have given him a tip money of say, 500 peso to 1,000 pesos, which means much to the young model.  But the opportunistic forty-something thought the drinks were enough, to think he used the guy to satisfy his sexual desires.  Tsk. Tsk. Tsk.

That predator must be burnt at stake!  It’s just a joke.

If you table a guy, you are obligated to give him a tip money.  And the more you should give him dough, if and only if you attempt to make advances on him.  Tabling a macho dancer or model does not give you, the customer, the right to harass him.  Allowing himself to be hugged as if the guest were his girlfriend or wife, petted, or licked and his wang to be fondled are not part of his job, if in case you do not know.  No matter how you justify your advances and perversion, you cannot get away from the fact that what you are doing to him is absolutely wrong, is putting him in an embarrassing situation, and literally reducing him to a mere sex object that you can play with at your whim.  Surely, there still is an ounce of respect left in you, and it wont cost you a million pesos to show a little respect for the macho dancer.  If the macho dancer were to do all these things to you, how would you feel?  You do not want him to grab your Johnson or mash your tits or flower in full view of other customers, do you?

Macho dancers are not prostitutes.  Even callboys detest the idea of being petted by a stupid client right where he picks him up.

Give A Tip Money But Do It Discreetly

IN any macho dancer bar, you are tempted to reward a dancer, who stages a spectacular show, or your dancer-tablemate with some cash, your way of thanking him for his interestingly superb performance, or for the wonderful time you have with him and for his politeness.  The money you give to him constitutes a gratuity, popularly known as a tip, definitely a favorite subject amongst floor managers and waiters, who depend on it too.

Should you wish to leave some amount with a macho dancer, you must exercise caution and act as smartly as you can.  You WANT him to receive the money and ONLY him.  You must know when to hand it to him  and how to give it to him without you being noticed or seen by the people around you.  It must be carried out discreetly for the benefit of the dancer if you do not want others to have a part of it.

Never mind those customers who flaunt their wealth for people to notice and talk about.  They do not know what they are doing, despite their frequent trips to macho dancer bars.

You ought to know better.

So how do  you do it?

Prepare the tip money when you are in the john and put it separately so that when it is time to go you know where to pull it out.  You do not want to look at the contents of your wallet or purse and count bills in full view of the bar folks.  Remember that there are eyes watching your every move minutes before you leave the bar.  Inside the rest room, you may decide how much to give to the dancer, but make sure you do not let drunkenness gets in the way.

The customer and the tabled dancer are usually seated inches apart.  You can drop your tip money, folded or rolled to the shape of a cigarette stick, into one of his boots.  Do not forget to tell him about this.  Or, secretly place the dough in his hand without even looking at it.  For once, try to be a good actor worthy of an Oscar Award!  It won’t cost you so much.

The smart dancer knows you are giving him something because he can feel a hard material being pushed against the skin.  A simple wink can get the message across.

If your table-mate happens to sit across the table, fret not.  Let your imagination run wild.  Send him an SMS, because you already have his mobile phone number by now.  Never forget to ask for the phone number just for this purpose and send him a message that you are giving him some cash and that he needs to retrieve the dough tucked under the ash tray as discreetly as possible that no one actually notices the transaction.  Learn how to outsmart the enemies.

Learn how to carry out a mission under cover of darkness.  When the lights dim, you have the best chance to hand him your tip money and the folks around you do not even see the silhouette of your hand moving towards the dancer.

There are several ways to leave some cash amount with the macho dancer without being seen doing it.  That is something between you and the dancer.  He will like you and love you for doing it.

Before you forget, remind the dancer of this important advice: You never tell anyone, especially the floor manager, how much tip money you received.  You must be good at making up stories about the dough you get (that it is too small an amount, that the customer is not generous) if someone nags you about it.  A little white lie is not bad at all.  Your guest gave you fifty hundred pesos and you told them that?  You are not being smart!

It does not make sense giving five hundred pesos to the floor manager who got you a guest.  You sweat on the stage, brave sleepiness, are exposed to customer perversion and you want to give away five hundred pesos?  Learn to love your self, okay?

Those customers who readily hang bills on the seam of a performer’s bikini brief are actually robbing him of what is his and doing the floor managers and waiters a favor!  You are just being stupid, if no one has told you that.  Now that they see how much money the stage performer is getting, they rejoice because they know they are assured of a bigger share of the pie.  Better tuck or insert the paper bills into his bikini brief in such a manner that they are not visible anymore.  Do not display both the money and your arrogance.

On one occasion at Solution Disco in Pasay City, a female guest gestured for the dancer who was dancing in the middle of the floor to approach her table.  The performer obliged.  She placed ten 1,000-peso bills in his bikini brief with portions of the bills still dangling from the seam of his bikini – very much the way you hang clothes on the clothesline.  That was a whopping 10,000 pesos and the floor managers and waiters were all smiles knowing they had a good share of the huge amount the dancer received.   What was more surprising, though, was the dancer’s dance performance was lousy because he did not know how to dance.  And yet he got rewarded by a stupid customer.  Learn how to give that amount to a dancer without anyone seeing you handing it to him.  Possible?  Yes, it is!  You just have to be imaginative and ingenious.

Never emulate what one regular homosexual guest at an expensive macho dancing bar near Timog Avenue in Quezon City loves to do when he is in the bar.  Twenty thousand pesos to forty thousand pesos for a cute dancer who cannot even dance and giving the dough to him while he is performing?  What are you trying to tell the world?  That you are rich?  If you are, then by all means, get that boy out of his job, buy him a house, a lot and a car, give him a business to own and run, and shower him with five millions pesos.

You are not helping the dancer if you let other people see and know how much you are tucking into his underwear.  The managers, the waiters, the DJ and the bar tender will get a lion’s share of whatever the dancer receives from you, the customer.

If you want to give him a tip money, do it secretly.  Have mercy on the dancer, will you?

Lest The Prying Eyes Of The Floor Managers See You 

DISCREET transactions are necessary lest the prying eyes of the floor managers see you.  You do not want to compromise your dancer-table-mate’s earnings for the night, do you?  Do not be intelligent when you are in a macho dancing bar.  Be smart.  That is the rule of thumb.  As a customer, it is your duty to be on guard.  Do not be gullible but do not be rude either.  Try to be nice and firm and act professionally in your dealings with the bar folks.

When you table a macho dancer, you are, in effect, using his time and you, therefore, have to give him a tip money.  You are obligated to do so.  And when you leave some amount of cash with him, by all means do it secretly.  Avoid getting seen or caught giving money to your tablemate.  The dancer deserves the tip money you are giving him and it is his to keep.  He deserves it more than anyone else.

The floor managers are like hunting animals: alert, observant, and opportunistic.  They watch every move of the customers towards the last minutes of their visit hoping to fish something from them before they say good bye and good night.  Almost every customer is considered well-heeled and walking automatic teller machines they can extract money from in the same manner that they deem the macho dancers as milking cows ready to supply them with cash.

Given to flattery, these mama sangs (and papa sangs) can be irritating at times.  Their actions can sometimes spoil a customer’s visit and they still have the nerve to ask for a tip money.  However, if you happen to chance upon a floor manager who seems to be different from the typical, if not stereotyped, floor managers, and who treats you like you are a very important person (VIP) without hinting at tips, you may probably think of tipping him, which is an excellent way to help him motivate himself to do better in his job.

Spending time in a macho dancer bar can be costly on your part and the more expenses you will incur if you decide to get a dancer to join you at your table, because you are obligated to buy drinks (and food) for him.  If you want to see and spend time with him again and you feel the bar is just too expensive and risky a place for you, you can always meet up with him outside his workplace – that is, during his free time.  And again, do not forget to tip him for his time.