What do you know about "White Christmas"?

Although white christmas might not be your favorite christmas song, this song has been played and sung for numerous times and might be being played somewhere now. There has not been enough information on exactly when and where Irving Berlin, the composer of the song wrote this song because his working places varied all the time, and he sometime stored some pieces for later use. According to biographers, his inspiration for the song came from his son's death on Christmas Eve 1928. After the success of the song, he also composed "I'll Be Home for Christmas" and "Have Yourself a Merry Little Christmas". http://online.wsj.com/article/SB10001424052748703499404574561734246276554.html   Se Hyun Kim

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여러 개의 메시지를 동시에 확인? 새로운 야후! 메일의 탭으로 가능해집니다.

web trends in 2010

We have all seen how social media has changed our world and our living, so what do we expect to see for social networking and technology trend in 2010. CNN recent column  by Pete Cashmore discuss 10 themes and trends that will define the Web next year.

What can arts administrators and arts marketers take note of what can help arts to grow or even survive in the community?

Among the trends, real time update seem to be the continuing trend, with the gratification on Google search, what if we could have shows and performances information update for "what to do around the city" on the smart phone, then find reviews on google or Layar, then with a click of an app, buy and pay tickets with mobile payments on the phone. Then finally walking into the theater or music hall without standing forever in the "will call" line. Instantly updating reviews after the show or even purchasing the recording of the specific performance on Instant Encore. Some of this is no new experience to many smart phone users, but as arts administrators leading the industry, we need to pay attention to the trend and be ahead of what audiences are expecting from us.

Cloud computing and social gaming is also predicted as a growing trend in 2010, perhaps symphony orchestras can build and store music electronically in a sever that can be shared by all members? What if composer can compose simultaneously across the country in a collaborative effort. Maybe instead of growing your own farm on facebook, we can build our own orchestra or opera company and trade with other players? produce performances?

The possibility is endless and innovation is unpredictable. But with information overloading our online world, we have to stay focus and send the precise message to the targeted audiences.

Unorthodox Fundraising to Save Colorado Symphony

In an effort to pull the Colorado Symphony Orchestra out of its financial woes, a fundraising campaign by Colorado Public Radio will benefit the Colorado Symphony Orchestra. The campaign, which had to be authorized by the FCC and will feature a live broadcast performance by Yo-Yo Ma, is the first time a broadcast company has been authorized to run a campaign for an outside organization since 1993. CPR is attempting to protect the orchestra's musicians, who in September accepted a 12.5% pay cut, four weeks of unpaid furloughs, and suspension of employer contributions to pension funds to avoid a deficit. 

With so many arts organizations in financial peril, there is one question that becomes a sort of "Tug O' War": whose responsibility is it to protect these organizations anyway? The public thinks the organization should be self-sufficient, the musicians think the administration should protect them, the administration thinks the public should pay for the art it desires. And while certainly the CPR campaign is welcome, it is extremely unorthodox. 

A logical person would probably say that an organization should be protected by some combination of these options....and finally, in Colorado at least, it looks some part of that is happening.  

--Chelsie

Big theatre + little theatre is a win-win

South Coast Rep, a large LORT theatre in Orange County, has announced that it will host another local company's production in its theatre.  The Chance Theatre will be re-mounting its acclaimed production of Wayne Lemon's "Jesus Hates Me" in South Coast Rep's 99 seat space.  South Coast Rep is offering the space free of charge to Chance Theatre, and clearly hopes to turn this into a series if the initial venture is successful.  I applaud this decision because it would be an excellent source of revenue, and vibrant theatre.  It is usually not cost effective to produce progressive work on a large LORT contract because of the added costs associated with it.  This way, South Coast Rep will be able to provide their audience progressive work on a much more affordable level.  In addition, Chance Theatre will be able to expand its audience.  

This is a clear win-win situation for everyone, and more theatres across the country should take notice.  

http://latimesblogs.latimes.com/culturemonster/2009/12/south-coast-repertory-to-host-a-small-theater-guest-production-for-the-first-time.html

-Brian

Consequences of budget cut

With the economy has been down for almost over a year and unemployment rate hits the highest point in 20 years, it is not news to hear for-profit company or not-for profit organizations cut back in production and staff. Some said that this is an excellent opportunity for organizations to reform on their structure and be innovative about their production expenses, especially for those that has huge fixed cost. It is also a chance for the arts to reform and survive economic hardship. However, have we thought about the consequences of the major cut back on staff and expenses? What about productivity and quality of the work? It is common to see lay off of a few administrative positions across various departments of an organization and the duty is either split between the lucky ones who escaped the lay off or took over by new part time employees. The work load of operating an orchestra or theater is not necessarily less during an economic downturn, it actually is more difficult and challenging if not less. The heavier work load and paid freeze on a smaller sized staff definitely has impact on the quality of their output. Can the marketing team come up with fresh and creative ideas for selling the holiday hits if they are simply under-staff and just try to meet one deadline after each other? If the Project Manager in the Education and Outreach department had to oversee more projects, will that affect the quality of the program because he can't be at all the places at one time for all that is happening? Leading arts administrators or CEO should really consider the long-term consequences before they decide where to put the axe.

A Little Edutainment: College Humor's "Web Site Story"

I couldn't resist posting this.  It ads a nice touch to our discussion of social networking sites, and satisfies the theatre geek in me.  "Web Site Story" has been around for a while, but if you haven't seen it, take a look.  I love the guys at College Humor ... Sondheim couldn't have said it better.  If the video doesn't show up, sorry about the gobbledygook.  You can watch it here: http://www.collegehumor.com/video:1913584.

 

--Joe

 

<object type="application/x-shockwave-flash" data="http://www.collegehumor.com/moogaloop/moogaloop.swf?clip_id=1913584&fullscreen=1" width="640" height="360" ><param name="allowfullscreen" value="true"/><param name="wmode" value="transparent"/><param name="allowScriptAccess" value="always"/><param name="movie" quality="best" value="http://www.collegehumor.com/moogaloop/moogaloop.swf?clip_id=1913584&fullscreen=1"/><embed src="http://www.collegehumor.com/moogaloop/moogaloop.swf?clip_id=1913584&fullscreen=1" type="application/x-shockwave-flash" wmode="transparent"  width="640" height="360"  allowScriptAccess="always"></embed></object><div style="padding:5px 0; text-align:center; width:640px;">See more <a href="http://www.collegehumor.com/videos">funny videos</a> and <a href="http://www.collegehumor.com/pictures">funny pictures</a> at <a href="http://www.collegehumor.com/">CollegeHumor</a>.</div>

Washington National Opera's Cutback on Staff and Programming

Rumors came true although nobody wants it. Washington National Opera announced that they are laying off staff and reducing their programming for the 10-11 season. WNO's programming has been shrunk each year from seven operas in 2007-2008 season to five for next season. In addition to these cutbacks, they will also reduce their annual budget from $32 million to about $26.5 million. The executive director, Mark Weinstein, will focus exclusively on fundraising and broad range financial strategic planning, and since the budget is down to $26.5 million, WNO will probably give up on international level. In addition to all these changes, what challenges WNO most is their general director, Placido Domingo. While WNO is financially struggling and making fundamental changes, their leader, Domingo is still not around, and he actually runs Los Angeles Opera and also keeps the busy life as an active  professional vocalist.   http://www.washingtonpost.com/wp-dyn/content/article/2009/11/30/AR2009113004073.html     Se Hyun Kim

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180° 달라진 야후! 메일
알아서 척척! 새로운 야후! 메일은 새로운 메일이 도착할때 마다 새 메시지를 받아온답니다.

NSO's Asian Tour

The National Symphony Orchestra, took its first Asian tour this summer in China and South Korea. They performed in Beijing, Xi'an, Shanghai, Seoul and Goyang, but the orchestra kicked off the tour with a first performance in Macau.

The writer pointed out some similarities and differences of classical concerts on the Washington Post's review of the NSO's Macau performance. The most interesting thing I found is that the writer observed a noticeably young audience, with many teenagers and families including children, and the writer wonders if a sponsor had stepped in.
The concert is scheduled as part of the celebration of the Grand Auditorium of the Cultural Center in Macau, and ticket prices are even higher than regular concert prices.

Being brought up in this tiny and unique city of Macau, I am glad to see a full house for the NSO concert, and perhaps could give a better insight of the reason of the younger audiences demographic. There might be a certain private or corporate sponsor for each big cultural event. And since the cultural arts events are mostly government sponsored and operated, the size and noise of the publicity of each event depends on the budget. I remembered years ago, a poster of the world renowned violist, Yuri Bashmet, and his ensemble, is displayed on one of the biggest billboard in the center of the city around New Year's time. It is like seeing the Yo Yo Ma on Time's Square billboard during the holidays. The resources for publicity and advertising seem to be less struggling than here in the States.

As for why the audiences are noticeably younger than those here in the US, it is because of the availability. As the director of the International Festival of Macau pointed out in the article, the touring performers had expanded significantly in the past decade. My friends in Macau will get excited before the season brochure announcement, and they will discuss and decide what concerts they would like to go together. It is not difficult to find concert subscribers among the younger generations. They are excited because they do not get to see those high quality performing arts group often. It is not often that you get to see a world class symphony even if you are willing to pay the highest ticket price. You don't take something for granted if it is not always available.

http://www.washingtonpost.com/wp-dyn/content/article/2009/06/09/AR2009060903260.html


~Gloria~

Gaining Coverage in the Media: Sound Advice for all Non-profits

The Chronicle of Philanthropy just posted a transcript of today's online discussion titled Getting Good News Coverage: How to Persuade Journalists to Cover Your Cause.  Participants include Matthew L. Hale of Seton Hall University and Jan Still-Lindeman, senior director of public relations at the Boys & Girls Clubs of America.

The discussion is applicable to all non-profits.  The participants emphasize establishing and building relationships with journalists, and discuss the social media and blogs as methods to share news and build support.  Though much of the advice is basic, I recommend taking a look.  Here are some key ideas I took away from the discussion:

• In addressing the problem of static web pages, Mr. Hale suggests the use of a sophisticated blog, substituted for a webpage, and therefore easier to update.  This may be helpful to organizations that lack the resources to keep a website up to date.
• The moderator points out the common problem that organizations tend to "hide" the name and contact information for their press contact.
• Importance of linking what we do to the big picture, or as Mr. Hale puts it, "the current obsession."
• Positioning ourselves as experts in our area and how it links to greater societal movements and issues.
• "Pack Journalism:" a pretty self explanatory expression, but basically journalists tend to follow each other to the big story, or "current obsession."  Mr. Hale shares a particularly amusing anecdote about how to gain attention for a political campaign in L.A. during the O.J. Simpson trial.  Essentially, the campaign goes to the LA Courthouse where the media are camped-out. 

The conversation is insightful, and reminds us we have to remain vigilant in nourishing the relationships with journalists, and continually find creative ways of linking our story to the "current obsessions."

 

--Joe

Musical Medicine: The Music Therapy Debate

In his article "Harp Therapy: Music as Medication," David Was illustrates some of the benefits of music therapy. Was gives an abbreviated overview of how music therapy works, naming some specific benefits and recommending that "it can't hurt" to employ music therapy. While the article itself is by no means scholarly, the research cited therein does lend itself to further consideration. For example, if the most respected, major research hospitals such as the Mayo Clinic and the Cleveland Clinic advocate music therapy so greatly, why is it not more highly regarded as a legitimate means of healing? Or, more relevant to the field of arts administration: why don't we use this to our advantage more? Clearly there is reputable research showing the benefits of music therapy, yet it is uncommon to hear about organizations utilizing it. I'm all for it. 

--Chelsie

This Production of “Hairspray” is Not Lost in Translation

The Shaftesbury Theatre in London was the first to adopt the AirScript, a hand-held device that scrolls through a musical or theater work's script in eight different languages simultaneously with the action on stage.  Similar to opera's long(er) time use of supertitles, this device is meant to attract more tourists, but in contrast to projected overhead titles, it has a back-lit LED low-glare screen that minimizes the distraction for neighboring audience members.  

The article by BBC News sites advancements in technology as making this possible and more affordable for theaters to implement.  Audience members at the Shaftesbury can rent the device for 6 pounds at the production of "Hairspray."

While some may still remain skeptical of adding any additional electronics to the front of house atmosphere and the system still has its shortcomings (for example improvised sections of any given work), this cutting edge way of integrating technology to reach new and expanded audiences might just be the kind of advancement theater needs at the international level.
--Leah

Reteetable ads to add to the social network conversation

Viral marketing is nothing new, but according to a recent article in Brandweek, soon we may be seeing the "retweetable" ad, thanks to a deal between Federated Media and Tweetmeme.   So now, we may begin to see share buttons on advertisements allowing the consumer to more easily repost an ad they like on Twitter.  Apparently, Digg already has Dig-gable ads and is planning to expand this product.  The Brandweek article asks how much consumers will be willing to share ads in their tweets and status updates.  If the ads are as clever as many of the viral videos out there or add value to the conversations held over social media, they may indeed successfully increase click through rates. 

I was a spectator for last week's "biggest" holiday: Black Friday, and was stunned by the number of status updates about friends rising early to fight for the best deals at their favorite stores.  Some invited others to join them in the shop-fest.  One status update read: "Anyone want to meet at [outlet mall] at 4:30 am?"  What if the deals on HD TV's and irregular designer hand bags had been retweetable?  No doubt the word would have spread even faster.  Shopping for many is a social event.

The Arts may find another tool in the dig gable, shareable, and retweetable advertisement.  Our younger patrons may be willing to pass an ad along, provided it adds to their conversation.  That's the tricky part.  This tool may be an opportunity to explore when inspiring younger patrons to take part in group sales or spread the word about special 35 and under deals offered by many performing arts organizations.  I'm sure there are any number of creative ways an ad can "add to the conversation."  The retweedable ad gives us a new avenue to explore.      

http://www.brandweek.com/bw/content_display/news-and-features/direct/e3ie96e2720eadfdfa3c183445b50501131

--Joe

Fundraisers in a down economy

Attached is the plan for the Chattanooga Symphony's opera fundraisers.  It's wonderful that they want to bring back opera productions, but I question whether their fundraisers will bring in more money than they cost.  With an elaborate touring show and a new production, this seems like an expensive way to raise money in a down economy.  I wish that this article had included information on whether there had been any special compaigns or fund drives, which would cost less. 

How things have changed

Here's an interesting retrospective on changes in the classical music world over the last 10 years trhough an interview between Anne Midgette, music critic Washington Post, and Tom Huizenga, music critic NPR.  Almost all of the topics discussed involve the difference that the internet has made on music from availability to changing tastes.  I think her arguement that musical tastes are becoming more catholic is true in a fashion.  I'm not sure that people's tastes are changing to incorporate a melding of classical and other (rock, country, jazz) styles.  I think that it's more likely that people have always had these tastes, but now this music is more available.  The widening of what is appropriate in a concert setting, or even what is a concert setting always for greater enjoyment in the classical arts.  I also think that her message on branding is very timely and important.  The classical groups who reach out to the community and rebrand themselves as exciting, open or new offer more to today's audience.  She mentions the changing role of critics and the decent from the ivory tower of good taste as well.  Her section on Classical Radio though made me think that the organizations who are more open to the community should start doing classical radio.  Truly, most classical radio contains repeats of the greatest hits with an emphasis on soporific pieces.  With new and interesting material at hand, it may be another way for more avant garde programming to reach the audience.

Great Composer with Poor Trombone Skills

Sue Addison, a principal trombonist for the Orchestra of the Age of Enlightenment, recently discovered that Edward Elgar who was a world-famous composer and died in 1934 was a terrible trombone player. She researched his trombone which has been kept at Royal college of Music and found a letter from Elgar's friend, Dora Penny. In the letter, Penny said. "On one occasion, he [Elgar] got up and fetched a trombone that was standing in a corner and began trying to play passages in the score. He didn't do very well and often played a note higher or lower than the one he wanted...and as he swore every time that happened, I got into such a state of hysterics that I didn't know what to do. Then he turned to me [and said]: 'How do you expect me to play this dodgasted thing if you laugh?." It is hard to imagine one of the most remarkable composers plays an instrument, and the people laugh at his skills although he wrote a beautiful melodies for the instrument, but then, how many could world famous composers play trombone well? Even if they composed beautiful melodies or pieces for an instrument, it doesn't mean they are also good at playing the instrument. http://www.independent.co.uk/arts-entertainment/classical/news/great-composer-shame-he-couldnt-play-1824125.html       Se Hyun

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180° 달라진 야후! 메일
두둥! 새로운 야후! 메일에서는 메시지를 여기저기 끌어다 놓을 수 있답니다.