5 Reasons to be a Music Entrepreneur
1. Because you don’t have to do what everyone tells you to do.
You are an individual with unique values, goals, passions, and interests. As an artist, you may have broad and often conflicting interests while simultaneously you are deliciously engrossed in the minutia of a singular niche. For the entrepreneur, there are no rules that say you must give up any of your interests or passions for a career. If someone says you can’t make a living pursuing multiple passions, then you need to run the other direction.
2. It’s a dumb idea to say that a music career can be defined by any one kind of job.
Yep, I said it. That’s dumb. The truth is there are as many kinds of music careers as there are genres of music—literally thousands. When you consider the how many possible combinations of music careers there could be, the options are seemingly endless.
3. Creative people need freedom to create—and it’s okay to honor that need.
Musicians can be wonderfully creative, frenetic, sporadic, and illustrious people. When we have our freedom to create and experiment, we can accomplish truly unbelievable feats. But what happens when you clip a bird’s wings? It can’t fly. The same is true for the musician. When our “jobs” take over we can forget or ignore or suppress our spontaneous creative urges. The creative flame grows dull. This feeling does not just express itself in the lives of many musicians who have taken on the thankless “day job”. It can also be expressed in the lives of performing musicians whose orchestra or ensemble has become more a prison than a blank canvas for their art. Music entrepreneurship is built on the idea that the job/income is built around accommodating your individual artist needs.
4. There is a difference between owning your life’s work, and wishing you did.
That’s a bold statement, but it’s true. When you pursue entrepreneurial projects, you undergo a dramatic mental shift. You realize that your success is now in your own hands. This knowledge will give you incredible energy to pursue the path(s) you love. No doubt, you will face struggles and obstacles between you and your goals. However, you will own that struggle and it will only serve to temper your resolve to see your goal to its realization. Entrepreneurs make their own decisions and for better or worse.
5. Entrepreneurs aren’t victims.
No longer are you the victim in a world where (shudder) “the arts are dying.” Rather, you view yourself as part of the solution the arts need. You will view yourself as a positive force that fixes problems or addresses conflict in the arts world. By setting your own course, you are free to be flexible and agile when making career choices. When you experience a setback, you can change directions in a second and minimize or avoid the setback altogether. You have complete control over your entrepreneurial enterprises and can be free to take the action you feel is best for you. In short, you don’t allow yourself to be the victim of someone else’s circumstances.
Though this list is far from comprehensive, I hope that it showcases some of the benefits that an entrepreneurial career has to offer. It takes bravery to be a music entrepreneur as you may find yourself breaking from your comfort zone. Just remember, there is no feeling like owning your own successes, taking charge of your life, and putting your creativity first. There’s nothing like it in the entire world.
Happy Holidays from Tuxedo Revolt!
At the close of 2013, I want to say thank you for your support, your business and your encouragement over the past year. It’s been very busy with many exciting changes, but I’m happy to report that Tuxedo Revolt continues to grow in new directions.
This year’s artistic ventures included recording projects with jazz singer Chris McNulty and singer song-writer Gabriel Rios, a second collaborative recital with the Harlem Sound Project on the music of Paul Hindemith, and the completion of my first solo CD.
By far, the greatest change this year was my joining the faculty at the University of Massachusetts Lowell. It was a big decision for me, but the opportunity to help emerging artists and young professionals find sure footing for their careers is more rewarding than I could have ever imagined. From coaching my “Music + Multimedia” mixed chamber ensembles, to presenting community engagement concerts at the Huntington’s Disease ward at a nearby long-term care facility– I never cease to be amazed at the bridges music can build or the new perspectives it can introduce. I’m amazed at the ideas and level of perception students in my Arts Admin/Entrepreneurship class demonstrated as well. I’ve learned from my students that innovation is more than possible and that great ideas, well, are the stuff of magic. They really can transform our cultural perceptions.
Throughout this fall, I’ve been gathering material to post on the Tuxedo Revolt blog after the new year. In addition to new writing, stay tuned for several Tuxedo Revolt speaking engagements that might be happening near you this winter. In January, I’ll be a guest on a panel discussion about “Audience Engagement Strategies for the 21st Century” at the 2014 Chamber Music America Conference. Then in March, I’m presenting a workshop on engaging communities through social media at the 2014 American String Teacher’s Association National Conference. 2014 will be about Tuxedo Revolt attempting to reach more people than ever before.
When the clock strikes midnight on New Year’s Eve, for me, it will be off to the races. But for now, I’d like to pause to say thank you once more. I couldn’t do all this without your interest, your readership, and most importantly– the actions you personally take to keep the performing arts relevant and accessible.
Wishing you the happiest of holidays,
Ensemble 212 and Big Questions Answered
Some interviews are easier than others—but not my recent interview with Yoon Jae Lee, founder and conductor of Ensemble 212 based in New York City. I reached out to Yoon Jae a while ago because I admire his great entrepreneurial spirit and his ability to curate great concerts within Ensemble 212. It’s no easy feat to establish a successful chamber orchestra in NYC. So I thought, if anyone has had to grapple with some of the “big” questions surrounding engaging performance today, it would be Yoon Jae.
I asked him for his take on the culture, environment and challenges surrounding classical music in the United States. Here is what he had to say:
“I believe that the challenges facing “classical music” are numerous and extremely complex. Like most social issues in the US (immigration reform, health care, etc.) there are no easy answers can which solve all of classical music’s problems with the snap of a finger. However, there are many things that our generation, the young professionals, can and must do to make classical music a part of our everyday culture and at the same time enjoyable as well.
I often find myself asking this rhetorical question: What is “classical music” anyway? Is “new music” (defined as a sub-genre of classical music “classical”?!? Yet, aren’t The Beatles “classical” to most in the general public? What about Phillip Glass? Labels can be convenient but also limiting and harmful as music often defies categorization. For example, is Gershwin jazz or classical?
I think the single most problematic issue with “classical music” is that for the general public, it is something of a “fringe” interest and definitely not mainstream. We need to change that and make it relevant.”
Classical music as a fringe element? I’ve got to admit that even I hadn’t thought the general consensus was that classical music was considered to be that irrelevant. However, it is an interesting point– perhaps even a truth that all of us who love and cherish this form of art need to acknowledge. It cuts a little close to home, but isn’t the first step to correcting a situation to know and understand its full scope and breadth? Yoon Jae makes a great point, one with which I completely agree, that bringing classical music back into the scope of what is culturally relevant with audiences of today should be our first priority.
So where does this shift begin? Who is going to lead the change, and who will take responsibility for it? (I told you– all really big questions.) Yoon Jae had some powerful viewpoints on these issue that are worth sharing:
“I feel that music education in general needs a radical reform at all levels. I think the concept of having separate concentrations of performers and educators is fundamentally wrong. How many “performance” majors are going to be just performing and not teaching? I believe that most conservatories leave their graduates ill prepared to face the challenges described above. For me, it was only after I got out of school I realized what a perilous situation classical music and its professionals faced.
If we are not given the tools to teach properly or more specifically, have the ability to relate to the general public about what “classical music” is about and why we do it, how can we expect them to truly appreciate what we do and why? The recent derogatory articles on the SF Symphony’s strike is a clear example of writers who have no understanding about our profession. I don’t blame them 100% though, I think we musicians are partly at fault for not relating what we do to the general public.
I experienced difficulty relating to non-musicians once I left conservatory, especially working in a teaching capacity. We need to do a better job integrating our performing and teaching skills while still in conservatory so that when we go out into the real world, we can better relate to the general public and help them understand what music is about, especially for those who are willing…”
I believe in what Yoon Jae Lee is doing with his Ensemble 212. The orchestra’s stated mission ” to propel the careers of young professional musicians as they develop into the finest performing artists of their generation” is aptly suited to meet the demands of a changing arts culture. Ensemble 212 does not shape the careers of performers of past generations, but rather, shapes the careers of performers in this generation.
To learn more about Ensemble 212, check out their website by clicking here.
An Arts Marketing Civil War (and the South might just win!)
I just got back from a trip to Kentucky and I’ve got to tell you, I’m shocked at the amount of arts advocacy I saw in the mainstream public forum in this past week. It seems things are a bit different than when I left the Bluegrass State four years ago to study in New York City. It left me to wonder, how come the “leading” arts institutions in the Northeast aren’t as proactive about vying for the public’s awareness?
In my sister’s college graduation ceremony at the University of Kentucky (shout out to Sara-Elizabeth Bush, I’m so proud!), President Capilouto’s address to the graduating class of 2013 mentioned the importance of the performing arts multiple times. The pre-ceremony videos featured Reggie Smith Jr., a student graduating from the UK opera program and entering the world as an emerging artist with major performance engagements coming up in the near future.
The Lexington Airport featured ads for classical music events on well designed billboards throughout the airport. That wasn’t the only advertising I saw to support classical music either– the mall at Opry Mills in Nashville featured large artwork of orchestral instruments and I also ran across mainstream advertisements for classical music events in the Nashville airport. The impact of these small awareness campaigns is much greater than the sum of their parts. Where is all this chatter and advertisement in the Northeast?
The one exception that immediately comes to mind is the Metropolitan Opera. Their photography and advertising campaign is, in my opinion, the best classical marketing effort I’ve seen in the past 5 years. New York’s WQXR radio station comes in at a close second place with their “Obey Beethoven” campaign that flooded subway ads for time in 2011. But that’s two notable campaigns in the last 5 years— just two. Where are all the other “big” organizations? Or for that matter, where are advertisements for individual classical artists the way Gaga covered the 7 train with vinyl wrap ads?
Advertising is expensive– but what is the more costly: a long term decline in audience growth, an inability to be seen as relevant by the public, or worse— the public simply not knowing your organization exists at all? Advertising must be a centerpiece in sustainability plans for arts organizations. Even though online advertising may reach more views than traditional print, seeing traditional ads lends a credibility to branding and also helps bring your organization and its work into the general public’s eye. If you want to catch salmon, fish in a stream. If you want to catch everything possible, go fish in the ocean. That’s what traditional advertising does. It can help bring traffic to your (hopefully by now awesome) online presence where new audience members can acces lots of information about what you do and why you do it.
This is an opportunity to be innovative. Photography is not as off-limits as it was 10 years ago and you no longer have to hire a Don Draper marketing firm to handle your organization’s image. With some basic graphic design skills you can create the image yourself and focus on increased distribution rather than increased cost to produce it. When was the last time you saw a bill board alongside the interstate for an orchestra? A massive subway campaign that was hip and cool which featured the orchestras in a comical or memorable way? Or (OHMYGAWD) a TV commercial? The Met puts commercials in movie theaters. Why have so few caught onto this?
I can’t tell you how proud I was to see arts organizations in the South promoting themselves and raising the public’s awareness of their work. It was so refreshing because there was not a drop of elitism to be found anywhere, just a genuine southern invitation to come and see for yourself the great work these organizations did. The ads I saw came off like a warm southern smile, telling you to come spend time with them and experience the art they had to offer. That’s a great way to put it–they advertised experiences, not events. They put potential audience members at ease. They sparked interest, and they unobtrusively entered the public’s field of awareness. It was brilliant.
I want to know your thoughts on arts marketing. What ideas do you have to help performing arts organizations connect with the public?
I’ll stay tuned to hear from you,
- The International Society for Performing Arts and Acceptd Announce… (prweb.com)
- New Season for Classical Music (tuxedorevoltblog.wordpress.com)
- Classical Music’s Role Today (shacklesandcynicism.wordpress.com)
New Season for Classical Music
You can’t help but smile a little when you see the tell-tale signs of Spring. More daylight is to be enjoyed, the trees are heavy with buds just waiting to blossom, and you can see the little shoots of green pushing right out of the mud. Spring is a time of renewal and also for contemplation of the future. There is a sense of inevitable possibility and imminent change that fills the air every time you walk outside your door. Maybe it is time for us to lend a feeling of possibility to our careers in the performing arts as well?
It is time to look forward and not on the past. We must innovate and move into uncharted territory– both as individuas and as performing arts organizations. But rather than letting apprehension get in our way, let’s embrace a spirit of discovery and exploration. Let’s challenge each other to be more innovative than any other artist in our respective disciplines. Let’s focus on being problem solvers and strive to always present at least three possible solutions to situations encountered with which we disagree.
This spring, I encourage you to invest yourself in your performance and in your audience. Set aside time to read and research new methods of performance. Think big and set large goals for yourself in the upcoming performing season. Make lists like crazy, collaborate with friends, arrange to meet new colleagues; do whatever you need to do to get your creative wheelhouse turning.
Most importantly this spring, I urge you to think about what you can do in your upcoming performances to make strong connections with your audience. There is no one way to go about strengthening the relationship with your audiences and you should feel free to experiment with all kinds of audience engagement ideas. Brainstorm on this by yourself and with your friends and colleagues. Imagine how you can make stronger connections and then put those plans into action on you performances in the coming months.