Northwell Health’s Post

"Behind every performance, there's a story waiting to be told. And when those performances are by students at assisted living facilities, the stories are even more heartwarming and inspiring." On April 28, my students will perform at an Assisted Living facility in Highland Park. It's a great opportunity to share connections across the generations. For students, it's an opportunity to share their passion for music with an appreciative audience. They get to see firsthand how their talents can bring joy and happiness to others. And for residents at assisted living facilities, these performances mean so much more than entertainment. Many residents may not have the chance to attend concerts anymore due to mobility issues or other health concerns. So when students come in and perform for them, it brings back cherished memories and reminds them that they are still valued members of society. Have you ever attended a performance at an assisted living facility? Share your experience below! Let's spread the word about the power of these heartwarming interactions. #AssistedLivingPerformances #IntergenerationalConnections

In a post to mark #MentalHealthAwareness Month during May, Courtney Lang writes, "Musicians face a multitude of difficult challenges such as ... the pressure to constantly create and innovate, infringers trying to steal their creativities, and the unpredictable nature of the music industry. But by prioritizing self-care and seeking support from friends and professionals, [they] can better navigate the ups and downs of their careers." Learn more here: https://bit.ly/3oHuDzx

What's wrong with the classical concert experience? Insightful article across the pond from Steve Wright. Wanted to share a few highlights below to continue bringing awareness to performance-based organizations who are looking at building capacity to address “what does being relevant look like at our organization?” From the article: (link in the comments) “The study, commissioned by the Royal Philharmonic Orchestra (RPO), considered a number of potential innovations to the classical concert experience, and asked respondents how much they would like to see these changes. Top 10 innovations that would make people more likely to attend an orchestral concert (national average results) 1. Shorter concerts of an hour, rather than having them in two halves – 27% 2. Having access to information before the concert so I can understand the music a little better - 27% 3. More daytime or matinee concerts, so I can take family and friends – 24% 4. Not having to dress up to go to a concert – 24% 5. The conductor speaking to the audience before a performance – 20% 6. Meet and greets with the players / soloists after a concert – 17% 7. Digital programmes I can access in advance on my tablet or device – 12% 8. Being allowed to take photographs or film clips of the concert with my phone - 12% 9. Being encouraged to applaud between movements, or when I want to – 12% 10. Being encouraged to react on social media during the concert – 11%” Great suggestions from the study. Would love to see more performance-based organizations innovating and promoting #Accessibility, #Inclusion, #Respect, #Time, and daily #CulturalAwareness (themes resonating from the data). Performance-based organizations, go back to your WHY. Creating cultural change in the arts sector (i.e., new audiences, equitable and inclusive student to professional artists pipeline, accessibility, balanced representation from historically excluded and marginalized people in the arts, developing a true sense of belonging and not additive, etc.) starts with establishing “the WHY.” Respectfully, Dr. Roque Diaz #Relevant #Orchestras #Operas #Performance-based #ArtsOrganizations #YourWHY #Innovate

In March 2004, I left the music industry to begin my career in the creative recruitment industry. As I enter my 20th anniversary in this industry, I wanted to take a moment to reflect upon some of the insights that I've learned from my time. In this video, I share some of the ones that have stood out the most to me. #creativerecruiters #creativerecruitment #creativeindustry

We're big Queen fans at home, so when I heard about the IMAX showing of a 1981 concert in Montreal I knew we had to go. The experience was amazing - a larger-than-life immersion directly into the stage, which made us vibrate and rock and roll for almost (too short!) two hours. But this is LinkedIn, so other than encouraging you to go see it, I wanted to bring a few reflections on #teamwork. 1. #Connection: I'm not an expert on rock bands, other than being happy in the audience, but I couldn't help noticing how well the four members of Queen interacted with one another. Freddie Mercury would go to Roger Taylor and you could almost put your finger on the exact moment they "connected", and magic happened. Brian May would be doing his (amazing) gig, and Freddie would connect with him and they'd perform even better, instantly. John Deacon was there on his own, but you could see he was paying attention to the general vibe and responding to it, too. How important is it in our teams that we know how the others are feeling, so we can connect in the same vibe, or help bring them to a better place? That's how magic happens! 2. #Support: I don't know how you call that function, in concerts, that is responsible for bringing the microphone / taking it out, depending on what the lead singer needs; but the guys on that concert were amazing! To the point where it actually got my attention. Again, this is an IMAX Queen concert I'm talking about, and I'm focusing on how effective the guy was! Freddie Mercury would not wait a millisecond, and the microphone would be in his hands exactly when he was starting the movement from the piano to front stage. That's not a function on the spotlight, but that part of the team was as important as everybody else for the success of the concert. And that includes all the technical crew! 3. #Spotlight: sure, Freddie Mercury is everyone's favorite and he really steals the show. But you could feel how balanced that team is, how each one of them knows they shine on their own, and they shine even more when they're working together. That's the essence of good teamwork, right? We're all good performers on our own, but when we're connected, supporting each other, each one is great, and the end result is amazing. And I'd add a 4. #Resilience: it was a breathtaking concert of a band in its prime, and still... when you looked at the audience (in all its early 80's fashion splendor!), you could see that some people were simply not impressed. It was really funny to see; and a great learning => you can be one of the greatest bands in rock history, perform marvelously, and still not get the appreciation you deserve! And that didn't, as it shouldn't, impact the team; they were grooving on their own vibe, they were happy to be performing together and they knew they were doing great. From now on, whenever I tell someone in the team that "hey, YOU ROCK!", you can bet that I'll be thinking of that concert and these learnings! 😉

Watching the Eras Tour in theatres didn't make me a Swiftie, but it did cement my respect for the brilliant Ms. Taylor. She is a sophisticated business woman and it's clear that she knows EXACTLY how to leverage and monetize her talent, her brand and her intellectual property. "Taylor's Version" has record labels scrambling for a tighter grip over artists' rights to their music. It's not going to work. Record labels cannot demand an increase in the grant of rights for an extended term while simultaneously providing less value to the artist. A&R is practically non-existent, marketing and promotion relies heavily on the artists' own social media platforms, and labels have not adequately adapted their profit model in the face of streaming and the low margins of touring. So why in the world would artists (and their representatives) agree to increased limitations on their ownership? Before these c-suite middlemen demand more from the creative class, they need to do some deep introspection to determine why, if at all, the creative class even needs them.

Reflecting on Paul Hodgins' observations, the resurgence of music events post-pandemic underscores the enduring appeal of in-person experiences. This sentiment resonates deeply with me, especially as someone who appreciates digital content but finds solace in the authenticity of face-to-face interactions. My recent engagements with The Greater Pittsburgh Arts Council and Creative Generation reaffirm the widespread desire for in-person connections, confirming broader trends indicating a notable uptick in attendance compared to early pandemic metrics. However, amidst these positive trends, the classical music sector presents a complex narrative. While it shows signs of revival, there's an urgency to address longstanding issues of diversity and relevance. As an advocate for inclusivity, I recognize the importance of celebrating successes while holding the sector accountable for fostering greater representation and innovation. Conversely, the nonprofit theater and dance sectors confront a more challenging landscape, marked by closures and uncertainties. Recent surveys reveal a sobering reality, with top-tier regional theaters projecting a significant decline in productions compared to pre-pandemic levels. This decline prompts critical reflections on programming choices and audience engagement strategies. Furthermore, it begs the question: Is it time for a reassessment of the aims and structure of the regional theater ecosystem? In my view, the key to revitalizing the arts lies in fostering intergenerational collaboration and embracing fresh perspectives. However, entrenched systems and prolonged tenures in leadership positions pose formidable obstacles to innovation. To overcome these challenges, we must advocate for pathways that empower individuals at every stage of their careers, coupled with a commitment to change. As Michael Bobbit (Executive Director of the Mass Cultural Council) suggests, addressing these complex issues requires a collaborative effort involving diverse stakeholders. We must look beyond traditional boundaries and seek insights from disciplines such as economics, entrepreneurship, and futurism. By fostering inclusive dialogue and leveraging expertise from diverse fields, we can chart a path toward a more vibrant, resilient, and sustainable future for the arts. #Arts #Culture #Music #Theater #Dance #Innovation #Diversity #Inclusion #AudienceEngagement #CommunityEngagement #Leadership #Collaboration #Resilience #FutureOfWork #COVID19

"In concert halls, a familiar scenario unfolds with remarkable consistency: some of the audience will approach a classical concert with trepidation. They often mention the same things, “I’m not sure if I’m listening correctly,” or, “I read the program notes but I’m not sure if I could detect the intricacies mentioned in the notes.” I hear this a lot from patrons. There is a desire to follow perceived rules, to be correct and proper, and assume that program notes are the key to enlightenment and acceptance. However, people learn and listen differently so there is always a good percentage of people who feel a disconnect to a concert. Program notes, pre-concert talks, and educational videos cater to some, but certainly aren’t for everyone. The fact that so many people seek rules to attend a concert is restricting the very art that should be freeing them. There is no right or wrong way to experience a concert. Despite this, the desire for self-imposed rules persists, creating an environment where newcomers often feel anxious or as though they are missing something essential or going about the whole experience wrong. Ironically, it was during a prison concert this past November that I experienced the freedom that many concertgoers might lack"....READ MORE: #prisonmusic #prisonreform #concerts #programnotes #nowronganswers #yourexperience #concert #presconcertlecture #rules #patrons #prison #listening #agency #ownership #involved #classical #orchestral #orchestra #symphony Arts Capacity Wichita Symphony Orchestra

The future

Concerts probably aren’t that topical for LinkedIn. Please let me have my moment, okay? It’s accessibility related though I promise... Last weekend, I was lucky enough to see Taylor Swift at one of her shows in Liverpool. Taylor tickets are like gold dust. When you add accessible tickets into the mix, it’s pretty much a treasure hunt. After making over 1000 calls to try and purchase accessible tickets, I didn’t think I had a chance of attending the Eras Tour. Somehow, luck was on my side! Fast-forward 11 months, and I lived my wildest dreams. There’s something about a Taylor Swift concert that hits different. It’s unlike anything I’ve ever experienced before. The entire gig was unreal from start to finish. She truly is an icon. I still can’t stop thinking about it. Not only is a 3 and a half hour set remarkable, the show is also brought to life by the staging. The transitions between eras make many of the songs come to life even more. However, for blind and visually impaired fans like me, we’re left out of those spectacular moments. Although singing my heart out was the therapy I needed, I can’t help wondering what it would have been like to have experienced the jaw-dropping transitions, each song being brought to life before your eyes, plus the staging and choreography. Oh and we can’t forget about the glitz and the glam of Queen Taylor Swift herself. That’s why I wish more concerts had audio description. Granted, it’s not something you might want, or even need at every concert. For concerts like the Eras Tour, the visuals are as much of a part than the music. I’d love for the music industry to embed accessibility at every stage –from buying tickets to the show itself. You can read all about my experience of attending the Eras Tour in my new blog post. https://lnkd.in/eK5wD-du #Accessibility #Disability #Inclusion #TaylorSwift #TSTheErasTour