I may not have attended an actual concert yet this year, but I have recorded a podcast about one on 29 January, received a couple of new releases for review (Peter Donohoe’s Mozart collection, plus Emma Johnson and Friends, both on SOMM for release later in January). And I feel as though I’m keeping a closer eye on incoming press releases. In short, I feel like I’m a little more across things than I have been in the past. This is a good thing.
Part of this is to do with finding a way of talking about classical music announcements in a way that fits the mild shift in direction the Thoroughly Good Blog has taken in the past month or so.
PRs have a tough job
For all our pissing and moaning about some PRs efforts, I do think on the face of it they have a phenomenally difficult job. They’re issuing announcements about a comparatively niche art-form for inclusion on a limited number of platforms. They have to ensure that their language satisfies the intellectual aspirations of the recipient, and maximises exposure for the ultimate audience – the ticket buyer. They’re also (largely) having to enthuse about one-off events that the majority of people won’t attend. It’s a tough sell.
I see lots of people regurgitate press releases. I find this frustrating. I browse through some websites reluctantly because I feel I ought to be, if not reading then certainly seeing what everyone else is writing. When I see a blog post with the same structure as the press release I have in my inbox on the same subject, I gasp a little. Where’s the joy for the writer? Copying and pasting might help keep the wheels in motion, but it starves the self-publishing process of any creativity. Given that there’s little or no money in digital content, you’ve got to cling on to the creative opportunities however small whenever you can, it strikes me.
So I see myself responding to press releases now on an instinctive level, this
And yesterday, a string of announcements and releases which raise the eyebrows and get the creative juices flowing.
First, those SOMM recordings from Peter Donohoe and Emma Johnson.
Then, news that Saffron Hall (which I still haven’t visited even once yet) is running a series of dance events including names I’m wholly unfamiliar but at the same time demonstrate how the arts venue under the auspices of chief exec Angela Dixon is continuing to grow in confidence artistically. I do also think they have a beautifully simple website too. Pleasingly unfussy.
And after that, the big news of the day: China and its first international music festival in May later this year. This discovery came after the podcast record yesterday (more on that in a bit) which meant I was focusing more on the podcasting opportunities. As stories go I find it fascinating, especially if we are to assume the unlikely that Theresa May’s Brexit Homework does get a reluctant B- from MPs and our attention as a country starts to shift more beyond European shores. I make no apology for the fact that this is *straightens tie* something I’d love to feature on the podcast. I mean … just imagine .. a classical music competition in Beijing. What would that be like?
Recording a podcast with
Mozartists artistic director Ian Page
Which brings me to the other thing that happened yesterday. The podcast recording with Ian Page from the
“Have you been on the radio?” asked Ian before we started. “Have I heard you on In Tune?”
“I’ve been on In Tune once,” I replied, “to promote an Orchestra of the Age of Enlightenment gig years ago. I always wanted to be on the radio … ” I explained (and what I said next was the thing which really surprised me) ” … but never really got my foot in the door at Radio 3. I do sometimes wonder whether those who recruit probably have a good idea that someone who wants to be on the radio probably isn’t the kind of person they want on a production team.”
It was the first time in maybe 12 years I’d reconciled myself about the radio thing in such a calm, collected and grown-up way.
Ian is a fun contributor for a podcast which feels as though its found its feet now. Chat is the order the day. Easy exploration of shared passions. Allowing the contributor to introduce their subject using enthusiasm. Letting rapport lead the way means that the knowledge and expertise never slaps people across the face. Some surprising connections made in our conversation and I can’t wait for it to come out (although obviously I will have to).
What is it that you do?
When we finished the recording and I headed up to Barbican to speak to Jo Johnson from LSO about the Find Your Way leadership development scheme for the ABO conference podcast, one thought did strike me – a personal challenge I tussle with from time to time. It hung around when I was heading home to SE6 too.
At the risk of sounding like a show-off, work (paid and unpaid) involves a range of different activities, this underlined during my last engagement of the day – a visit to the dentist – which began with the question from the hygienist preparing me for the injection:
“What do you do for a living?”
I listed the things I find myself doing at the moment: “I shoot video, write about classical music, produce podcasts, coach people, and design and build websites.”
The hygienist looked at me with a blank expression. I took this to mean she wished she hadn’t asked.
The reality is that I love the variety that my work provides. But summing it all up in a way that makes it all sound enticing (and generates more of it) is tough.