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.
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.
I’ve told many of you how the past year has been an experiment and personal challenge for me. On my 26th birthday, I had a major revelation that I felt I had wasted the previous year. I didn’t have much to show for the passing of 12 months and I essentially felt that time had slipped through my fingers. Standing on the corner of 207th Street and Broadway, I made up my mind that every day until my next birthday I would work to make my 26th year the most vibrant and productive year of my life. As my birthday is this weekend, it’s time for me to share with you what the past year has been like.
The first step for me was to determine my goals as clearly defined tasks. So with pen and paper, I set about making a list of all the things I wanted to achieve with Tuxedo Revolt, as a professional musician, and in my personal life. The list was long. Very long. After a few days and sleepless nights, I had my list of well over 200 itemized goals that I wanted to accomplish. Then I began.
Surprisingly, it was that simple. One day last July, I just started. I remember sitting at my desk, opening MS Word, and blurting out the first few sentences of a blog post. I’m not sure whether or not I ever used those first words, but they opened the floodgate and I’ve been putting my thoughts on the arts, classical music, audience building and arts education into the public arena ever since. When the Tuxedo Revolt Blog was featured on WordPress.com’s Freshly Pressed page, I was off to the races.
In order to keep the momentum going, I studied social media, how it can help spread your message, and how it can provide insight into a person’s artistic process. I learned how to connect with people, and this is how I began to see that people are at the heart of all that we do in the arts. That all this is about people to people connections on some level or another. I worked to share new perspectives on arts traditions to you as well as introduce new revolutionaries in the performing arts. Through interviews, to artist profiles, to concert reviews– I have been able to share with you what others are doing to shape the performing arts world.
Tuxedo Revolt consulting grew from my readers’ desire to ask my advice on their own artistic issues. I found that I really liked working with individuals and organizations. Each person I spoke to had unique talents, traits, and advantages that they could use to ignite their artistic work. Click here to see what some of them had to say about the experience. What I discovered though was that I have a passion for helping people this way, to help them achieve their artistic goals. It is incredibly rewarding and I am privileged to be a part of their artistic work.
The momentum from Tuxedo Revolt has fueled wonderful change in my personal life as well. I see the world as a place of opportunity for change and progress, not just in the arts but in all aspects of life. I’m not bothered any longer by doom and gloom forecasts that litter the arts world. In the past year I have taken a proactive stance. I believe that the arts can be as vibrant as ever, can be a fulfilling career, and is worthy of lifelong pursuit if we are willing to change our point of view. It is my (very real) experience that if we dedicate our lives to sharing our art with others–not just making our art alone— then we can live with artistic freedom and passion.
Thank you for being a part of my journey. Great things are coming in the next year.
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)
You probably follow the Tuxedo Revolt Blog because you support innovation in the performing arts. (If you don’t then you are on the wrong blog!). You probably also recognize that orchestras and performing arts organizations must work around the clock in order to come up with fresh audience engagement ideas. I talk a lot about how “good enough” or half-hearted efforts won’t cut it in today’s culture. If it doesn’t hit the bullseye of what modern audiences find accessible, then it misses the mark totally. I understand that is a rather harsh perspective. Yet, one of the greatest delights I have when I write posts for you is when I get to report on an organization who gets it right.
I just came off of a very busy week of playing in the Allentown Symphony Orchestra (Allentown, PA). I was doing a lot of commuting and performing which prevented me from writing. I knew as soon as I was able, I would write a post about the innovative performances in which I was able to play. “What made these performances innovative?” you ask. It was the use of original film to accompany Berlioz‘s Symphonie Fantastique that I found so fascinating and effective. Steve Siegel, a contributor to the Lehigh Valley Morning Call said the following of the performance:
“There was something to intoxicate everyone at the Allentown Symphony Orchestra’s “Psychedelic Dreams” concert last weekend…With the added feature of a full-length surrealistic video accompanying the Berlioz, about as high-inducing as one can get, at least legally, at a classical concert…[ASO Conductor, Diane] Wittry’s video, projected on an enormous screen above and behind the orchestra, combined still and moving images that complemented the music marvelously without detracting from it in the least. Just as we hear the beloved’s theme throughout the work, first sweetly on violins and oboe and then, in gross caricature on a clarinet, we see her haunting image float before us, hovering through smoke and clouds. The film’s creative imagery included shots of instruments being played, eerily in synch with the actual score. There was a dizzying sequence of a spinning chandelier during the sumptuous “Waltz” segment, frightening views of a guillotine in the “March to the Gallows,” and a “Witches’ Sabbath” sequence haunted by blood-red skies and flaming skulls. Adding to the surreal effects were the faces of the ASO musicians themselves, which, illuminated only by light reflected off their sheet music – there was no stage lighting other than the lights from the music stands – seemed to hover above their instruments.”
From Siegel’s description, you can create an image for yourself of what the performance was like. I have to agree with his description, and add that the ASO musicians did a great job collaborating with the conductor to meet the unique technical needs of making sure that the music aligned with the film as planned. Symphonie Fantastique is an incredibly complicated work. I have performed it in the past and also have attended performances of the piece by major orchestras and never have I seen so much effort put forth by an orchestra and its artistic planners to ensure that the audience would be able to relate to the music. If you are a classically trained musician, then you probably know the story and origins of Symphonie Fantastique by heart. If you don’t or would like a refresher course, click here.
Modern audiences don’t have the patience or desire to read through a verbose narrative in their program notes. The ASO artistic team boldly realized and accepted the fact that their audience needed another way to experience the narrative Berlioz defined for his music. Film was the obvious choice, but the film’s content could have proven fatal to the impact of the performance. The ASO should be applauded for rising to the challenge to create a film that both provided a point of understanding and a loose framework for the narrative, but yet, was still abstract enough to allow room for much individual imagination in the minds of each audience member.
This is one element of programming that I haven’t spoken about enough. If you desire to tell a very specific story with your performance, it is your prerogative to do so. But for large works performed by many artists, or works that are best interpreted in a variety of ways by individual audience members (for example, orchestral music), you must leave room in your presentation so audience members can use their creativity and imagination to make meaning from the music. It’s a tricky process that takes trial, error, experimentation and refinement. This kind of creative experimentation is where so many arts organizations fall short on their promise to deliver dynamic performances to their audiences. It is in this experimentation and refinement that we begin to understand what our audiences need and want from us and how we can best deliver it to them.
If a regional orchestra like the ASO can be a trailblazer and go out on a limb with projects like this, then I ask– why aren’t we all? Truly, if we want to continue to fill our seats and perform our music or other art form for large audiences, then we have to keep our finger on the pulse of what our audiences need as well as what they like. We have to lose our fear of pioneering new experiences, or maybe I should put it another way. We should become afraid of what will happen to our art if we don’t learn how to connect with modern audiences.
To the ASO, I say a job well done. To everyone else, I say take notice.