Tag Archives: how to do what you love

Profile Phriday: Jonah Nigh, Part 2

Jonah NIgh“You have to determine what success looks like for you.”

For today’s Profile Phriday we’re continuing the conversation with Jonah Nigh – if you missed last week, you can find his blog post about his undergraduate years in a liberal arts school, and how that education was a benefit as he transitioned out of singing. As you can guess, I had more questions for him, and he was both warm and generous in his answers. Here’s his story.

Jonah, you started as a voice major at Lawrence University. Grad school?

Grad school at New England Conservatory.

In your article you talk about the vocal incident that precipitated your transition out of singing. It must’ve been really difficult. Did you make the choice to opt out, or was the medical diagnosis severe enough to make the decision for you?

My come-to-Jesus moment happened during a follow-up appointment at the Massachusetts Eye and Ear Infirmary. I had had the surgery, had done the vocal therapy, and went in for a check-in. They said that I was healed, but I told the doctor that I just couldn’t get my voice to move the way it did prior to the surgery. He looked at me and said “I don’t know what to say.” The fact that, from a medical perspective I was healed, but that I had lost so much functionality made me realize that the pursuit of an opera career was not viable. I will say that the doctors said that my injury was most likely a genetic issue, so I felt better knowing that I didn’t do this damage to myself through misused technique. But, they also said the issue was likely to reoccur, and I knew I couldn’t go through the surgery again. But it was still a huge struggle – and I questioned whether or not I wanted to stay in the arts at all.

Why?

Well, because it felt like I had failed, and it was embarrassing. I didn’t want to continue to work in concert coordination, when my friends and peers were performing and I couldn’t. Prior to this I hadn’t really needed to draw a line between who I was and what I did –. So I gave myself some time away from the performing arts, and went to San Francisco. I enrolled in sommelier training.

That’s been a dream of mine for quite some time! But you’re not working as a sommelier now…

Correct – I am not. (I’m the Major Gifts Officer for the Graduate School of Journalism at Columbia University – more on that later.) I enjoyed studying and learning about wine, working for hotels, etc., but I had another one of those CTJ moments at an industry conference. Most of the other attendees were in the food and/or restaurant business, and they spoke about wine with a passion. I recognized that passion – it was the same that I felt when I spoke about music – but I didn’t share it. I realized that these weren’t my people.

Where did you find those people?

First, I moved to New York and took a job as a booking agent which I did not enjoy very much for a lot of reasons. In the meantime I was grant writing on the side to make extra money. I started getting more involved in fundraising at Opera America, and at the time I was considering working towards being a General Manager for an opera company, and many search committees look for people with that experience, for obvious reasons. It was a means to an end, and I never thought of it as a career unto itself. Most of my experience, up until I took my current position, was operatically or musically focused. My move to the Journalism School has been a big change – they approach fundraising in a very different way than the arts world. (Necessarily so – the project I’m working on is centered specifically on New York government accountability.)

Have you found that any of your skills from your training transfer over to your work in development?

Yes, certainly. One example is that I still practice – I may not be singing, but I’m practicing my talking points, working on my professional skills. In my profession, as in musical endeavors, I put in a lot of time preparing for a very short meeting during which I am quickly judged. I can’t riff as easily on New York politics as I could on all things operatic, so I plan out three different scenarios for every meeting and practice them. Just like practicing for an audition and trying to figure out how to manage a wayward collaborative pianist or other unforeseen circumstance, I like to make sure I have plan in case things go awry. (Ed. – I find that planning for that circumstance often seems to ward it away somehow.) I also think that studying music gave me that singularity of focus that allows me to really concentrate on one thing for a long time. It’s funny – the Dean for the School of General Studies here at Columbia, a bachelor’s program for non-traditional students, said his students are primarily former members of the armed services or former professional ballerinas, and that all the professors are frightened of the work ethic of the dancers. The discipline to focus for hours and hours at a time on a singular goal is a skill that is less common than one might think.

I’ve also found that I have an ability to read people from all of those years of working collaboratively on music and performing. I’m not afraid to call out the elephant in the room and find a way to work through it, rather than around it. And there’s so much to be said for knowing how to present oneself; in my position, having that kind of poise and confidence is crucial. (Especially when I’m not necessarily feeling confident about the subject matter at hand; I can at least fake it and make the presentation go smoothly!)

In a recent profile, Jeff Gaynor spoke of music school as a trade school of sorts. Going from a liberal arts undergraduate program to a conservatory graduate school, were you surprised by the differences in the programs?

I was. At Lawrence there was a core curriculum to tackle, papers to write, Plato and Faulkner to battle through…I only wrote one paper as a graduate student. My graduate program really focused on honing our performance skills.

What kind of advice would you give to a student entering school?

I will say that my most marketable skill has been my writing, and I would urge any student considering a conservatory course of training to make sure that you get that piece.

I’d also tell them that your job for the next 4 years as a voice major is to focus on technique and musical growth. You don’t have to be at a conservatory but you do need a great teacher. Make that your focus.

Think of this as the start to your career path, and start with as broad a perspective as possible. My vision of success as an 18-year-old was very narrow; it started and ended onstage at the Met. But when you are in a career that relies on your body working in an extreme way, and opera is extreme, you have to be cognizant that you run the risk of injury and possible physical failure. The recent Winter Olympics offered case study after case study on that very point. I’m an example of one of countless stories of singers opting out for a variety of reasons; while I was embarrassed when I did it, looking around 10 years later I’m so grateful for having figured out a new path.

As a closing point, I’ll quote something that a professor once told me. “You have to determine what success looks like for you.” As you get farther along into your career, whatever that may end up being, you need to a take a dispassionate look at where you are and ask yourself if you are truly accomplishing what you set out to do. The landscape looks different for everyone.

Ed. – Links to last week’s posting and Jonah’s website with his original post added above and in this postscript. Mea culpa!

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Opportunity: Leadership Intensive

OpAmOpera America is again offering a fantastic professional development course for Opera professionals. The application deadline for their Leadership Intensive is January 31st. As a member of the inaugural class, I can tell you that the experience changed my perspective on the business and my role within it profoundly, and that’s in large part due to the people I met and worked with there. Their advice, expertise, and support have been really invaluable – and the fact that they’re great fun makes our continuing connection something I look forward to greatly.

It’s a wonderful experience – I recommend it wholeheartedly!

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Nigel Boon: A Leave of Absence.

Nigel BoonHappy New Year!

 For our first Profile Phriday of 2014, I’d like to introduce you to Nigel Boon. Nigel is the Director of Artistic Planning for the National Symphony Orchestra, a world-class ensemble based out of Washington DC’s John F. Kennedy Center for the Performing Arts. (Their summer home is our place – so I may be a tad biased about how wonderful they are, but that doesn’t mean it’s not true!) His story starts in childhood, and winds through different countries (and continents!) before landing him on our shores. Here’s his story.

Nigel, tell us a little bit about your childhood, and when the classical music bug really bit.

Well I grew up in the south of England, but my dad was  in the British Military, in the Royal Navy, so every so often we’d move away for a couple of  years and then come back home again. When I was ten, we were living in Malaysia, because he was stationed at a naval base in Singapore.  I had a 27-mile  each way school-bus commute that required my passport, journeying from Malaysia to Singapore each day to school. (Ed. In comparison to my “walking to school, barefoot, in the snow, uphill BOTH WAYS” stories, you win. Hands down.) When I got back to my school in the UK my new classmates all looked at me as if I was this freak with a suntan! But I had already experienced living in a different country, in a different culture, and that’s one piece of advice that I have for people: live abroad – it will change your perception of life, the world, your own country, yourself, and your own possibilities. After returning to the UK, I started grammar school (correlates to middle & high school here in the states), and fairly quickly found myself at the top of my class in music and languages.

Very cool. What was your instrument?

I never learned to play an instrument – it never occurred to me, never occurred to my parents. We didn’t have much classical music at home, so it  never really came into question. But I really enjoyed my general music classwork at school. However, when I turned fourteen I had to deal with a formidable timetable clash – I was forced to choose between continuing with music or studying German (which we will see later was a great irony). The British school system channeled you very early into specific educational directions, so I was forced to choose the direction of my future university course of study by the time I was sixteen. So I chose German over music and therefore subsequently ended up on a language and linguistics course at University in York. I wasn’t smart enough or old enough at the time to understand all of the possibilities and ramifications of my decisions.

At university I rediscovered classical music. I had a friend who had what for me at the time was a huge record collection, with over a hundred-fifty classical LPs. I was looking through them one day thinking “Oh, I’d like to hear that! And I’d like to hear that! And that!” And that was pretty much it – I was hooked by music, and nowhere near as excited about my language studies. I thought that studying linguistics had only two possibilities: I could either teach or research, and I didn’t want to do either of those things. I just wanted to be able to speak languages.  So, come the end of my third year at university – the third year of a four-year course – I had managed to spend so much time and money listening and listening and listening to classical music that I had got myself into a situation where I had 80% of my university coursework to do in my last year.

Ouch.

Yes. My supervisor at the time – who also loved classical music, we had gone to a few concerts together in Leeds – he said “You know, take a year’s leave of absence. Go away, think about what you want to do, and I’ll sign the form for you, I’ll authorize it.” That, I thought, was actually fantastic. And I’m still on my year’s leave of absence!

Really? (Slow clap from the Editor.)

I really have no doubt that I was too young for university – I even took a year off between grammar school and university to be a language assistant in Germany, but still, it wasn’t enough time.  I was a very young 19 year old and couldn’t realize all of the possibilities at the time. (My alternate theory is that we live our lives in the wrong order. Because what could be better after a fulfilling life of work than to go and learn? And then when you’ve learned, what about just playing?) (Ed. LOVE it. I could totally get behind that timetable.)

So, there I was. I moved to London, applied for a job at a music publisher – Boosey & Hawkes – and was interviewed by someone who is still, these many years later, a very close friend. The official part of the interview must’ve lasted 5 or 10 minutes – it was an entry level gopher job –  and then we chatted about all of the concerts we had been to, the one we were coincidentally both going to that evening, and I think he recognized a like soul, someone who was almost fanatically passionate about classical music. And I was, I was like a sponge, it was like osmosis, I was sucking up everything that I could find anywhere and everywhere. Which, given what I’m doing now, turned out to be really useful, because my knowledge base is very broad, very wide.

I was at B&H for two years, during which time I realized that what I really wanted to do was to work for a classical record label. I saw an ad in the London Evening Standard one day, and it was a completely basic, banal ad, obviously placed by an agency, and it said something like “Record company seeks person.” I mean, really so basic! But I thought I’d look into it, and contacted the agency, and they sent me for an interview. Deutsche Grammophon was the label, which was strangely the only classical label I had ever wanted to work for. It was the perfect label for me. I went for an interview, and it turned out that the job was for stock control. So, during the interview I said “Well, I’m not sure that this is the job for me.” And they agreed, and said that they’d keep my name on file in case anything else came up. Of course, I was pretty disappointed and went back to my office…but later that afternoon I got a call, and it was DG saying “Forget the first job, we actually have another job that’s about to open for Advertising Manager, Would you like to come and do that?”  “Of course I would, thank you very much!” And for three years I did the press, trade and program book advertising for DG and its sister label, Philips, in the UK. After three years I got a call from the head office in Hamburg, (and here is the aforementioned irony), inviting me to move to Germany to work in their head office in Hamburg because I was fluent in German. My love for living abroad made it an easy choice, and in 1984 I moved, and although I initially thought I would be there for two or three years, in the end I was there for 15 years.

Amazing. You were in the thick of things, at one of the biggest, best labels in the world, right when the classical music recording industry was really booming.

True. I went in as Product Manager, responsible for all new releases, and then a few years later became Head of Product Management, which included back-catalogue re-releases and some marketing responsibilities.  But I remember my first day, when I was meeting everybody, and I met the producers. And I thought “Oh, that’s the job I really want, but it’s really not a job I’m ever going to get, because I have no musical education.” And then ten years later I became a producer! There were two types of producer at DG, Recording Producers and Executive Producers. Executive producers are rather like those in the film industry – they look after the recording careers of soloists and conductors, putting together their recording schedules & plans, deciding rep with the marketing department, and then putting it all together and making the projects happen – booking the halls, soloists, etc.  I was lucky enough to work with a number of extraordinary musicians such as conductors Oliver Knussen, Mikhail Pletnev, André Previn, Christian Thielemann, Neeme Järvi, and baritone Bryn Terfel.

That job, and this job at the NSO, have been the two most fulfilling jobs I’ve ever had – I’ve enjoyed them all, but these two were/are the best.

You’re obviously not still with DG now – what happened, and when?

In 1999 the writing was on the wall for the major classical labels. When I started in 1981 there were, I don’t know, maybe 15 complete Beethoven symphony cycles on disc. But by 1999 there were perhaps three or four times as many.  But there weren’t three or four times as many buyers and costs had increased, sales were down, and it was clear that product was flooding the market. The labels were looking for the next 3 Tenors, the next blockbuster, which didn’t fit with my aesthetic. And I was ready for the next challenge. I went to London and worked in artist management with Harrison Parrott. It wasn’t a great fit for me, because I was suddenly on the other side of the fence.  I think I felt more at home as a “buyer” and much less so as a “salesman”. It’s a subtle shift of perspective, but one that I struggled to make. I stuck it out for 2 years and then I was offered a position back in Germany, but I wasn’t quite ready to move back there or to take on that particular position. So I freelanced for a bit – I worked with a Baroque ensemble in the UK, a contemporary group in Oslo in Norway, a contemporary music festival, a music publisher, a couple of individual artists – and then three years later I got two almost-simultaneous phone calls.

One call was from Boosey & Hawkes – their Director of Publishing, who had joined B&H when I was first there, asked if I’d consider being Head of Promotion for 6 months, while the incumbent was on maternity leave. The focus was on promoting the work of living composers, and I was excited by the thought of taking on something I had not done before. After a month they asked me if I would want to stay on beyond the original six months, and when my colleague returned from maternity leave we found that neither of us wanted a full-time job, so we very amicably divided the composers between us and continued to work together. It was the perfect job share.

The second call was from a former colleague at Deutsche Grammophon – she and conductor  John Eliot Gardiner had married, and he had made recordings of all of the Bach sacred cantatas – 57 cds – over the course of a year. DG had decided to not release them. But her invitation, “We’re going to set up our own record label – would you like to help?” was irresistible. So we set up a very special small record company that is still putting out recordings – Brandenburg Concertos, Brahms Symphonies, wonderful things all with John Eliot. I divided my time very happily between this new label and B&H for about two years.

I have to say at this point that I’ve been very lucky, and more than once – I’ve been at the right place at the right time a number of times, and I’m very aware of my good fortune.

Then, in the middle of 2006, I got another phone call, this time asking if I’d be interested in talking about an opening at the NSO, the programming position . It was again something that I’d never done, and it was again abroad – I was, of course, interested! I had an hour-long phone conversation with Rita Shapiro (the Executive Director of the NSO), and came to interview in September 2006. I started in February 2007, and here I am.

It seems, looking backwards, that you found the things that were interesting to you, and just kept looking for opportunities to learn and grow.

I have to admit that I’ve never really known what I wanted to do. I knew I wanted to work in music, I knew I wanted to work in the recording industry, but I had no idea of what my career trajectory would look like. However, now that I’m in this job, and only now, does everything I’ve done up to this point make any kind of sense. Because when the phone rings in my office, it’s almost always someone that’s doing something that I used to do. Artist managers, record company representatives, publishers – I have experience in all those industries and can put it to very good use in this job.

It sounds like your approach to going wide as far as skills and repertoire have served you well. What advice do you have for folks struggling to figure out their career path?

For me one of the most important things is to not force matters. When things don’t work out, or aren’t immediately clear, don’t feel you have to push to try to find an immediate answer. Don’t necessarily feel you have to make a decision under forced circumstances. Frequently if you wait for two weeks the answer will materialize, and the thing will suddenly somehow fit together.  Also, don’t feel you have to have your career path mapped out before you when you’re 18 or 20 or 22.  You don’t.  Try things out.  Learn from them.  Don’t worry if one thing doesn’t work.  Usually something else will work.  If you’re open to change and are flexible, it will appear to you that there are more possibilities.

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Reading Room

On my reading list for the holidays? This new book from Clara Pressler. She says, in a post on the Fractured Atlas Blog:

When I went through my career transition, I couldn’t find any resources that spoke to my challenge of positioning my performing experience as the right fit for another job or industry.  And so I did a ton of research and pieced together my own process for finding a new career that was an even better fit.  In my second career as a marketer, working with arts service businesses, it’s become clearer to me what can be done to strengthen a performing career or gracefully transition to an entirely new role.

 

One of the most daunting things about the career transition is figuring out how to translate performing experience into language that other fields can understand and value…it can often feel like hammering a square peg into a round hole. With her performing experience and marketing savvy, I’m betting she has great tools, and I’m geekily excited to dig into this book. If you’re in NYC and attend one of her events, please let me know about it!

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Profile Friday Roundup

Greetings from San Francisco! (I bet that curtain weighs hundreds of pounds...)

As I try to acclimate myself to the west coast (it’s been three days and I’m finally waking up at 5:30am, rather than 4am. Progress!), I hope you’ll skim through the profiles that we’ve featured here over the last few months.

(Listed in order of appearance.)

Mark Bradley Miller

James Lynn

Melissa Collom

Joseph Craig

Jennifer Empie

Tonya McKinny

Sean McAuliffe

Kim Pensinger Witman

Tracy Cherpeski

Vic Muenzer

Stephen Brody

Annie Burridge

Tom Wright

Peter Zimmerman

Gia-Ninh Chuang

At the very least, there are some salient points to be taken from each of these journeys. At best – and that’s personally where I think these stories and intentions belong – they’re tales of discernment and courage.

 

 

 

 

 

 

 

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On standby.

Tuesday is Travel Day!

Posting will be light for a while, as I’ll be on the road for our Annual Autumn Audition Extravaganza…over 500 auditions in eight cities across the country over the next four-and-a-half weeks. It’s an exciting and challenging time for us – we’re vetting repertoire choices as we’re listening to singers, trying to find the right mix for our 2013 season.

During this time, I’m always reminded of my own circuitous journey, that brought me to my seat on the other side of the audition table. I’m happy with where I am now, but I’d be lying if I didn’t tell you that it was a rough path getting here. I’m hoping to post some reflections, and a little bit of inspiration, during this year’s tour.

This Friday I’ll post a recap of the profiles we’ve seen thus far. And – if you have a story that you’d like to share, or want to nominate someone whose story you’d think would resonate with readers, please email me at indirectroutes@gmail.com.

If you’re auditioning this fall, please know that I am in awe of your courage and that I’m sending you good wishes from my side of the table. And if you’ve decided that this is your last audition season, or that your heart’s not really in it, or that you need to try something else but are too scared? Well, I hope you’ll check back for a little bit of support and some real-life examples.

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Gia-Ninh Chuang – From Singer-Pianist to Fitness Professional

Ok, Gia-Ninh. Let’s start at the very beginning (“…a very good place to start…” I think there might be a few musical theater asides in today’s profile. It’s just a hunch.)

Well, starting at the beginning does indeed start with a musical! The Sound of Music, to be exact. I was obsessed with that movie as a child, and went to elementary school knowing solfege! I attended a private elementary school affiliated with the Southern Baptist church in my town. My non-practicing Buddhist Mom and non-practicing Catholic father wanted me to be challenged, and even though it was a sacrifice for our family they opted out of the public school. I was a boy soprano – with super high notes – and no stage fright. I sang in the choir. I remember the first time that I realized that I enjoyed performing was during the Christmas pageant. I played the shepherd Jesse, the shepherd that was leading the 3 Wise Men to the baby Jesus.  It was the first time my entire family came to see me perform, and having that support and buy-in felt fantastic! (Full disclosure – some of my relatives didn’t really get the story… one uncle still calls me Jesse the King.) (Ed. -That will be a great WWF wrestling name someday. Keep it!)

When I reached middle school, I hit the opposite side of that fantastic performance coin:  my voice changed in the middle of a solo at the Regional Choir Concert. I pulled a total Peter Brady. It was traumatic! When the teacher suggested that I lip-sync for the rest of the school year, I was crushed and stopped singing. I had started piano lessons the year prior, and threw myself into practicing – hours a day, just because I enjoyed it so much.

When I hit high school, I got back into singing, and found a strong role model (more on her later) in my choir teacher. I accompanied people, started an a cappella group (back before Glee made it cool…we were called The Suspenders – get it??), made it into All-State. As I approached senior year and college I started thinking about being a choir teacher. I won a piano competition at the Peabody Conservatory, and it seemed like studying music was going to be my thing.

So, you went to school for music.

No.

You see, once I started preparing for scholarship competitions and such, I realized that it was going to have to be my livelihood. And that took much of the joy out of it for me. I was struggling a little bit at home, too… I was in the middle of my coming out process, and it was tough. So, I started my freshman year at the University of Maryland with a Psychology major, and a minor in Opera.

Well, those two things aren’t mutually exclusive. But when did your path change?

A pal of mine from the UMD Chorale was teaching aerobics classes at the campus rec center, and pretty much dared me to take a class. It was SO MUCH FUN, and I was instantly hooked.  I thought, “Wait, I could get paid for having fun like this?” Within a month I was enrolled in instructor training.

It allowed me to perform – which was something I enjoyed immensely – but it also allowed me to communicate with people, to translate concepts in ways that they could understand and use (which used the linguistic training I learned as a music minor). Plus, I was surrounded by music – the pulse of my classes was set to music, and having a strong knowledge of musical forms allowed me to customize my spin classes and aerobic choreography in a finely-calibrated way. So I switched my major from Psychology to Kinesiology.

Cool. What happened next?

I dropped out of school.

What?

Well, I was teaching full-time, in addition to my classwork.  But my passion for teaching and helping with my students eclipsed my academic goals.  And I won this big competition – the first ever winner of the AAAI/ISMA Aerobics Star Search in 2002… think American Idol for instructors.  I also had success in fitness competitions as an athlete.  I was 23, and suddenly had all of this visibility and momentum, and I pretty much thought this was my path. Heck, I was on Oprah and ESPN in the same year – if that’s not making it, what is? I decided to stop taking classes and ride that train.

But that certain path that I thought existed: win the competitions, teach great classes, give workshops at a conference, get a sponsorship, etc… well, that momentum started to slow down.  So in 2005 I went back to school. (Stay in school, kids…stay in school.)

When I was back in school, a pal told me that Equinox – a fitness company with a reputation for being the best in the industry – was opening its first location in the DC area. (Ed. – This is where I first met Gia-Ninh…I think it was a kettlebell class? I might’ve wept from the muscle soreness two days later, but I went back for more!) She suggested that I apply for the Group Fitness Manager position there. It was a great place to be – I taught, but I also used that psychology background to support and balance the diverse personalities of my instructors; I really felt that my job was to take care of my staff, so that they could do their best job.  And it taught me some valuable lessons about putting the success of my program and my instructors above feeding my own ego. It was both instructive and humbling.

So, from a boy soprano to a successful fitness professional…what skills or habits transferred?

You know, actually quite a number! A large part of singing well has to do with small, precise muscle coordination, and in fitness, you’re coordinating larger groups of muscles. Plus, both disciplines require a strong commitment to healthy living.  Both singers and fitness professionals ask their body to perform set skills on cue to do their job. Taking care of your body is taking care of your livelihood.

I referred to my high school choir director, Dr. Barbara Baker before, but I cannot overemphasize the influence she had on me, both professionally and personally.  There are several things that she said that have stuck with me through the years, the first being this:

  • The stronger your foundation (or, in musical terms, technique), the more you’ll be able to do, especially in less-than-optimum circumstances. Nerves, illness, they’re all things that performers have to work through… the key is to be able to do so without hurting oneself. I find that this particular message transfers tidily to my work in fitness, too – the better your form and technique, the more you can do and the faster you reach your goals without injury.
  • She also taught us humility, and to realize that we were just one part of a larger whole. No FIG JAM. (Ed. – Huh?) FIG JAM stands for “[expletive] I’m Good, Just Ask Me.”  Let your work speak for itself; everyone else will figure it out.
  • I was also constantly amazed at the ways in which she could ask us/inspire up to do more than we thought we were capable. Even as a fitness professional, my approach is about asking others to stretch themselves…don’t show them what you can do, show them what THEY can do.

What advice do you have?

Be nice. I’ve always wanted to be the guy who was amazingly good at his job, but that’s not enough; I want to also be the guy that people enjoy being around and is fun to work with.  When people want to work with you, countless opportunities to collaborate, learn, and gain exposure come your way.  Now, I’ve not always been 100% successful, but it’s something that I work towards constantly.

Protect your body. Being healthy and having a strong physical foundation in your discipline, lays the groundwork for making life easier and more enjoyable.

No FIG JAM. Don’t tell me how good you are, show me. No one wants to work with people who think they’re the better than everyone else.  It’s shorthand for staying humble and always thinking about how my decisions affect the people around me AND my own reputation.

Just do it. At this point in my career, I’ve taught over 15,000 classes. I take a huge amount of pride in the quality of my teaching, and also have found a deep confidence in that amount of experience.

Gia-Ninh has recently relocated to Idaho, where he is continuing his studies and maintaining a private fitness practice. For more information on him or his services, you can find him on the web at http://kineticedgefitnessconcepts.com/Home.html

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Thursday Link-O-Rama.

In a past blog life, I’d make lists of things that I stumbled across that were interesting and/or relevant. So, in that vein, I present The Inaugural Indirect Routes Link-O-Rama!

  • My fellow introverts? Proof that we know how to have a good time.
  • I tend to panic when I wake up (every night, ahem) at 2:30am, wide awake. This article says that maybe it’s not such a bad thing, and moreover, maybe I should leverage it for some real creativity.
  • The to-do list: more than an organization/procrastination exercise.
  • Creativity. Profanity. Beauty. Wayne White. Can’t wait to see it!
  • It might be heresy, but I wonder if we shouldn’t be thinking of work along these lines more often?

I’m in the thick of the annual talent search (a.k.a. the Dream-Crushing marathon), looking at student résumés and wishing that more of them were better proofreaders…I’m pretty forgiving, but the blatant typos are starting to wear on me. (I’m pretty sure Los Angels refers to the baseball team, and not the town…right?) Final passes for Cincinnati, Chicago, and Houston applications tomorrow, and screening for the home stand on Friday. But, most fun? (Boy, I wish sarcasm read better in print…) a big chunk of time spent trying to figure out exactly how many pennies we have for next summer and our best options for squeezing the most we can from them.

It’s easy work to do, until I try to do it thoughtfully and consistently…then it takes all of the time and brain cells I have. So, if you have brain cells to spare, or advice? I’ll take it!

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Peter Zimmerman – from Performer to Presenter

Peter Zimmerman is the Director of Programming for the Wolf Trap Foundation for the Performing Arts. He’s responsible for booking the majority of the 200+ shows that the Foundation presents each year in two vastly different spaces: a 7,000 seat outdoor amphitheater (The Filene Center) and a 375 seat rough-hewn jewel box (The Barns). Peter’s a colleague and friend, and we’ve talked often about his path…I’m excited to share his story with you today!

So, Peter; start at the beginning. When did you know that performing was your thing?

Back in the 3rd grade! I played the little drummer boy in my school Christmas pageant – I really wanted to play that drum! And I still vividly remember being on stage, the audience all looking at me… and thinking “I really like this!” I played instruments all through high school – was in the school symphony, played in the pit bands for the musicals, but I was really interested in playing in bands. I wasn’t really planning to go to college: I figured I’d gig for a few years and then be a rock star.

But you went to school – where, and why?

I went to Adams State in Colorado. I initially majored in French Horn performance – got a full scholarship through my H.S. orchestra teachers Craig Bailey and his younger brother Brent Bailey. I really explored everything I could in the arts, and found myself more drawn to the acting side of things. It got to the point where I lost my scholarship because I wasn’t participating in any of the ensembles – I was taking Shakespeare and acting classes (as well as the education requirements that my mom insisted on), and they became my priorities. I was awarded a B.A. in Theater Arts, Speech Communications, Secondary Education and Music. (Editor: Please tell me that it took you more than 4 years to do all that!) I did it in 4.5 years.

Incredible! So, then you’re out of school. What were the Seven Stages of Peter’s Career? (Ok, that riff on the Seven Ages of Man didn’t quite work…forgive me.)

Well, my first gig was as a gravedigger – an important first experience for any arts administrator. (Editor: Seriously? That explains a lot…) I taught for four years in public high schools in Colorado and took the summers to work on my own artistry. I was part of the IATSE crew for the Denver Theater Center, but also acted in the ensemble. (It was a repertory company – talk about learning how to multi-task and prioritize!) Eventually I moved to New York, mostly because I wanted more visibility in Denver, but was told I had to go to NYC to achieve that. I lived there for 2 years and acted – film, tv, stagework, touring -with some real success. But I had some hesitations. My physical type was really common, and I wasn’t a triple threat the way my competitors were; it was going to take a whole lot of work to get me to the next level. And I had a three-year old…the schedule was making it really difficult for me to be the kind of father that I wanted to be.

So, how did you make the jump from acting to presenting?

Remember this: never burn bridges. My student teaching supervisor from college, Ken Foster, and I kept in touch throughout my public school years and my sojourn in New York. That connection got me my first presenting gig, at Penn State, where Ken headed the department. I started a little bit at a time, at first throwing myself into implementing Ken’s vision, and eventually to bugging him for more responsibility. He let me create a children’s theater series – and actually witnessed one of my biggest flops…Peter and the Wolf…don’t ask. He gave me the freedom to succeed OR fail – he was both a safety net and a sounding board, but if I didn’t seek it, it wasn’t forced upon me. And, even after the Peter and the Wolf fiasco, he never chastized me – just asked me what I had learned from the experience.

I cherished his mentorship – I stayed at Penn State for 9 years. I found that I could still be involved in the theater, but could also have the stability I needed in order to have a family.

Heck, I can’t imagine leaving – what could’ve been better?

Well, actually, there was something! I took a job as the CEO/Executive Director of the Colonial Theater in Keene,  New Hampshire. (Keene had been a big town during railroad heyday, but when I was there the population hung right around 60,000.) It was a beautiful small vaudeville theater with a lot of character, and interesting programming – The Kinks, Little Feat, the Smothers Brothers, all acts that I got to know when I was there. I LOVED it. It fit all of my skill sets: raising money, grant writing for 2 successful capital campaigns for theater and marquee renovations, presenting live acts and film. We increased our staff and our budget was in the black, so I think I was good for the theater, but the job was great for me, personally, as well.

OK, now I’m totally stymied: were you looking to leave the Colonial? How did you end up at Wolf Trap?

Actually, it was a personal ask from (Wolf Trap President & CEO) Terre Jones. Through some common acquaintances and a star-crossed raffle at APAP,  we got to know each other. It seemed like time to take a risk, to step up. And it was a good move – I’ve been here for almost 14 years.

What aspects of your current job/profession give you the greatest satisfaction?

I am a fan of the deal. There’s a price on my head for how much I have to book, how much money I need to make for the organization. Confirming a booking gets me jazzed – closing a deal and following through to completion is the best feeling. Speaking honestly, however, there are lots of amazing acts that get away – probably two for every one that actually takes the stage.

I also loved teaching – I feel that impacting young people is important, and I get a lot of professional satisfaction from mentoring. If I had to go back to teaching at this point, I think I’d love it!

And I’d be lying if I didn’t admit to getting a bit of a rush from being one of the folks that has access to some of the best performers in the world. There’s a status that’s accorded the level of access that I have, and while it’s not the whole picture, I still feel pretty awesome when a performer that I respect calls my cell to say hi.

Indeed! I’d kill for a few of those numbers, myself! So, it’s advice time. What words of wisdom do you have for the next generation?

Make connections: there are geographical ramifications to this business, and it can be hard to advance in the same geographic/organization. Extend your network!

There’s weren’t any Master of Arts Management programs when I was starting out, so I’d recommend talking to a talent buyer who’s in their mid 30s-40s to get the lay of the land. And examine the differences between non-profit and for-profit companies – the cultures are very different, and the goals are as well.

Find out how your current skills overlap with the job you want. For example, I learned budgeting and marketing when I was gigging in college…from there it wasn’t so hard to parlay that into production schedules for my educational theater productions or to Penn State or the Colonial. I learned time management when I was working that rep/IATSE job at Denver Theater Center. It all transfers.

I’d also learn how to say no. In my business, ‘no’ is the 2nd best answer. (‘Yes’ is obviously the best!) Maybe is my least favorite word – decisiveness saves time and money.

As I said before, don’t burn bridges. No matter how crappily you’re treated, suck it up. I have a million stories from colleagues across the nation to back that maxim up, but it bears repeating. Show up early. Stay late. Make yourself indispensible to your superiors

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Profiles, from another angle.

I am a big fan of Lifehacker. I get it delivered to my inbox, and make a habit to scan the whole thing before filing (yes, filing…sending them to the trash would be akin to throwing away gold on most days.) it away for future perusal.

They have a great feature that’s called How I Work. In it, they feature profiles of interesting, creative people like Maria Popova and Christopher Jobson, and track the ways that they use technology to make life easier, their secret abilities, and the best pieces of advice that they’ve received. (I am a big fan of Maria Popova’s Best Advice. Sometimes simple is indeed the best.)

I invite you to hop over to Lifehacker for some words of wisdom (I’ll be spending some time with this), and then join me back here tomorrow for a new Profile Phriday. (This week? My pal and colleague Peter Zimmerman, a reformed-performer-turned-talent-buyer.)

originally viewed on Colossal (www.thisiscolossal.com)

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