“Last time I checked there isn’t an orchestra in the US that can fill an auditorium like major pop names.”

NYP-Central-Park

The quote in the title of this post is from a Chip Michael’s piece from a few years ago.

It’s also something that is symptomatic about what’s wrong with comparisons between different kinds of musical genres. In the end, yes, what we’re talking about is live music played by live musicians for a live audience, but as the old adage goes, “The Devil’s in the Details.”

Continue reading

Casino Gigs, Classical Music, and Younger Audiences

Vegas_slots

Over the years I’ve had the opportunity to play a number of casino gigs.  These are often some of the best paying gigs for musicians of any stripe and the competition for getting into a roster of acts for them can be pretty fierce.

Last night after filling in for Sweeney Todd at CenterStage here in Louisville, a few of the musicians went out for some drinks and near the end of the night I had a conversation with a family member of one of the players about her experiences working at the local casino. She was relating how there’s been a bit of a push for bringing in Younger Audiences. This is often done by a shift in entertainment.

Continue reading

5 Things Classical Musicians should know about being in a Band

MercyAcademy_NewAlbanyIndieFest

So, why aren’t you in a band anyway? One of the things I think all Classical Music students (especially performers) should be required to do is play in a band.  No, this doesn’t mean they should take up a guitar, bass, drums, or sing.  What this does mean is that it should become an integral part of the performing experience–even if for just a semester.  Learning the ropes on how to put together a set, getting booked, and dealing with a non concert hall type of venue would do more for teaching kids about the business of music than a class would, I’d think.  Along the way, students would also be able to dispel a lot of myths about the Pop Music scene that we romanticize as a result of media representation or unrealistic portrayals of the industry through engagement with big name Pop Superstars.

Continue reading

[Music] entrepreneurship will favor the very few and marginalize the vast majority

MusicMoney

The title of this post is from a recent piece by Andy Lee taking to task some things that Claire Chase (Artistic Director and CEO of the International Contemporary Ensemble) said at a convocation address at Bienen School of Music at Northwestern University. The full quote is actually in the comments section of the piece:

I think a slight clarification on (what I hoped to make) the thrust of my piece would be that I’m saying that entrepreneurship under current conditions will favor the very few and marginalize the vast majority. I’m not saying it isn’t a path to success, but I see it as the great hope that others seem to.

Continue reading

When Ticket Revenue Doesn’t Equal Attendance: What’s Opera Doc?

ticketsalesattendance

*THANKS TO AARON ANDERSEN FOR POINTING OUT A GLARING ERROR I MADE (see strikethrough texts below and my comment following Aaron’s)

I was reading a piece about the sharp decline of NASCAR ticket revenue and was intrigued. In NASCAR’s three publicly traded companies, all have seen a sharp decline over the years.

For example, at Daytona Beach, the International Speedway Corp.lost more than 40 percent of its ticket revenue, falling to $144 million” while the Charlotte Speedway Motorsports Inc.has lost more than a quarter of its admission revenue, falling to $130 million.” Dover Motorsports Inc. took the biggest hit “with admission revenue falling nearly 60 percent, to $13.6 million last year.

The piece gives various reasons for the decline in ticket revenue, and offers some solutions the different franchises are considering or actively doing, yet, this statement is interesting given what can amount to a loss of 57,000 (current capacity of Daytona Speedway is 147,000) butts in the seats:

Continue reading