{"id":55237,"date":"2018-08-24T12:00:18","date_gmt":"2018-08-24T16:00:18","guid":{"rendered":"https:\/\/www.ludwig-van.com\/toronto\/?p=55237"},"modified":"2019-05-30T20:17:25","modified_gmt":"2019-05-31T00:17:25","slug":"feature-the-ludwig-van-guide-to-why-interviews-with-musicians-sometimes-suck","status":"publish","type":"post","link":"https:\/\/www.ludwig-van.com\/toronto\/2018\/08\/24\/feature-the-ludwig-van-guide-to-why-interviews-with-musicians-sometimes-suck\/","title":{"rendered":"LUDWIG VAN GUIDE | To Why Interviews With Classical Musicians Sometimes Suck"},"content":{"rendered":"
\"Insider
Insider PR advice on how musicians can improve their interview skills. (Photo: neonbrand)<\/figcaption><\/figure>\n

P<\/span>ossibly the most awkward interview<\/a> in classical music history took place back in 2011. Actor Alec Baldwin is the Radio Host of the New York Philharmonic, and he interviewed conductor Alan Gilbert during the intermission of a concert during the NYP season. The interview began innocently enough with a friendly talk about Tchaikovsky’s Nutcracker. Then, however, Baldwin threw in a question about contemporary music, suggesting that modern composers were intentionally obtuse, and that the music was difficult to enjoy.<\/p>\n

Gilbert bristled. \u201cI completely disagree, actually. With both parts of your question.\u201d<\/p>\n

Cue awkward silence. Baldwin made a joke about the NYP staff\u2019s research skills. Gilbert then threw the question back at Baldwin, and a clearly unprepared Baldwin gave a lengthy answer where he acknowledged, \u201can admitted prejudice where I think classical music has to be written in the 18th century. And certainly the 19th century. And some people in the 20th century.\u201d More bristling.<\/p>\n

It was not one of the award-winning veteran actor\/writer\u2019s better moments in the public eye. It\u2019s also a classic cautionary tale that illustrates the fundamental principle of a successful interview: don\u2019t go in unprepared. And second \u2014 avoid blurting out something you\u2019ll regret later.<\/p>\n

It\u2019s advice that any PR rep worth their salt would put at the top of the list. When it comes to dealing with the media, your publicist is your friend. They can help you refine your responses and anticipate issues that will come up. What kind of interview tips do the pros give their clients?<\/p>\n

\"(Photo:
(Photo: Sam McGhee)<\/figcaption><\/figure>\n

Adam Bello is the Manager of Media and Analyst Relations at Primoris Group Inc.<\/a>, a full-service public relations agency with a diverse client base that includes performers and organizations in the live entertainment industry, such as noted bass-baritone Mark Steven Doss, along with non-profits and a wide range of publicly traded companies. Before joining Primoris, Adam was a freelance journalist with more than 500 published pieces to his credit \u2014 so he sees the question of communications from both sides, in other words.<\/p>\n

\u201cIf you are properly prepared, it\u2019s going to make a world of difference,\u201d he says. That\u2019s where the expertise of a good PR firm comes into play. \u201cIt\u2019s important to work with a publicist.\u201d<\/p>\n

His approach to interviews is disciplined. \u201cReply promptly \u2014 ideally within an hour,\u201d Bello advises. That means a simple acknowledgment of the request, with a view to getting more information about what the interview will entail.<\/p>\n

Next, the preparation begins. \u201cBe ready to explain your work in short, clear sentences,\u201d Bello advises. It helps if the artist already has a kind of artist\u2019s statement in mind. What are you trying to achieve with your work? How are you different? What sets you apart? Those are some of the key questions that should frame a good artist\u2019s blurb. There may be relevant background materials you can compile, particularly where there are issues of factual accuracy. \u201cThe clearer your message is, the more effective you\u2019ll be.\u201d The good news is, prep time decreases as time goes by. \u201cIt will have long-term benefits.\u201d<\/p>\n

\"Andrew
Andrew Kwan (Photo courtesy of Andrew Kwan Artists Management Inc.)<\/figcaption><\/figure>\n

Andrew Kwan Artists Management Inc.<\/a> (AKAM) is one of Canada’s most prominent agencies specializing in classical music. Director Andrew J. Kwan oversees a large portfolio that includes luminaries like The Gryphon Trio, Soundstreams, the Rolston String Quartet, and many others.<\/p>\n

Kwan begins the process when he\u2019s fielding an interview request. \u201cI often talk to the interviewers to surmise what topics they\u2019ll ask about. I try to protect where the topic of the conversation will go.\u201d That pre-screening can weed out inappropriate interview requests. As an example, Kwan recounts how a reporter from a major news organization called recently asking for a comment on the Hedley sexual assault scandal. As Kwan pointed out, his classical music clients operate in an entirely different realm than the Canadian alt-rockers, making the request somewhat nonsensical. (Really<\/a>?) It\u2019s not an uncommon situation, however, particularly when it comes to hot-button issues. \u201cNo agents will talk to them, so they go fishing.\u201d<\/p>\n

\u201cIt\u2019s important to understand who you are speaking to,\u201d Bello notes. \u201cAn entertainment reporter may ask you different questions than someone from a community newspaper.\u201d Different kinds of interviews require different approaches and preparation. It may be an artist profile, or it may revolve around a specific work, recording, concert, or tour. Sometimes artists are asked to provide commentary as a working professional on various aspects of the music industry. \u201cIf it is outside your scope, it\u2019s better to be clear about that.\u201d While it\u2019s crucial to be available for interviews, it\u2019s also about being realistic. \u201cThere\u2019s no point for either of you to take the time if it doesn\u2019t pan out.\u201d<\/p>\n

If the interview has to do with an event, then it\u2019s also important to know enough about the event and the organization throwing it to be able to make intelligent commentary. In the case of a music festival, knowing about the nature of the festival and perhaps even some of the other artists gives you something to talk about. The reporter\u2019s deadline is another factor to consider, as well as whether pictures are required.<\/p>\n

Bello advocates taking a proactive approach where an artist should try to anticipate what kinds of interview requests might be coming down the pipe. Is there a new recording being released? Get your notes ready before the interview requests come in.<\/p>\n

The difficult and anti-social artiste<\/em> who doesn\u2019t do interviews is no longer an option. Artists should be prepared to accept interview requests from reputable reporters and publications. \u201cAs a professional artist, you do need to make time for this type of work,\u201d Bello says. In an ensemble, there\u2019s a little more leeway. In a chamber group, for example, one member might take on interview duties for all of them, but as a soloist, it\u2019s all you.<\/p>\n

\u201cIt\u2019s part of the duties of a professional,\u201d Kwan agrees. Still, it\u2019s not something that necessarily comes naturally to musicians. Kwan likens a classical musician\u2019s background to the training regimen of professional athletes. Public speaking isn\u2019t necessarily a part of it, and PR coaching often comes into play. While music is about expression, that doesn\u2019t necessarily extend to the spoken word, especially when it comes to interviews. \u201cMusicians practice many hours. They let their instrument do the talking.\u201d<\/p>\n

\"\"<\/p>\n

Victoria Lord, of VLPR Inc.<\/a>, is a Toronto based public relations consultant with two decades experience in working with musical artists, including a stint with Universal Music Canada prior to forming her own agency, where she was PR Manager of the classical and jazz division. Her clientele has included a long list of artists, festivals, and even venues like Roy Thomson Hall, among other specialties such as travel and tourism.<\/p>\n

She finds many younger and more inexperienced clients often have an unnecessary sense of reserve and hesitation about interviews, and she tries to encourage them to open themselves up to the experience. \u201cThey\u2019re interested in what you\u2019re doing. Don\u2019t be scared,\u201d she tells her clients.<\/p>\n

\u201cOne thing that I have found, especially if someone doesn\u2019t have a lot of experience, the answer doesn\u2019t have to be short,\u201d Lord says. She advises her clients to turn the interview into a conversation as much as possible, avoiding curt yes and no answers. \u201cWhat they\u2019re really looking for is that human interest,\u201d Lord says.<\/p>\n

Savvy clients anticipate the opportunity, and some have demands of their own. Lord describes one client, an internationally renowned musician, who will only agree to an interview if she can provide them with personal information about the interviewer beforehand. In one case, for example, she found out that the reporter in question had studied the cello. The information reassured her client that there would be some common ground to connect with, and the interview went forward as planned.<\/p>\n

An easy pitfall in interviews is to simply get sidetracked and use up the time discussing possibly interesting, but not crucial issues. \u201cI\u2019ll remind them to focus on, to keep talking about upcoming concerts, tours, and so on,\u201d Kwan says.<\/p>\n

\u201cMake sure you know what take away you want to incorporate. Is it the CD? What is the story?\u201d Lord reminds her clients. It\u2019s important to have a good sense of your message. \u201cHow can you illustrate it?\u201d If the reporter doesn\u2019t go in the direction that you\u2019ve prepared, and doesn\u2019t address that take away you intended, there is often an opportunity to add your own thoughts at the end of an interview.<\/p>\n

Bello also sees the interview from the writer\u2019s point of view. A reporter is looking to tell a story \u2014 it\u2019s the artist\u2019s job to give them a story to tell.<\/p>\n

It\u2019s important to maintain a sense of control over the process. \u201cDon\u2019t be afraid of the silences,\u201d Lord advises. On radio and TV, in particular, empty air can tempt you to rush in just to fill the silence. \u201cYou don\u2019t have to rush to answer a question.\u201d<\/p>\n

The media landscape has changed, and that has changed the nature of interviews. It\u2019s not just all business anymore. \u201cEveryone wants that personal story,\u201d says Andrew Kwan. \u201cYou really need to keep your public profile fresh.\u201d Even those who\u2019ve received regular media coaching may not grasp the new realities of social media, where good interviews can make for a lot of useful content. \u201cThey were not trained on how to keep their stories fresh, but they have to.\u201d<\/p>\n

But, that doesn\u2019t mean you have to tell all. \u201cThink about what personal story to share.\u201d If you can anticipate personal questions and think of a good story or angle to talk about, it\u2019s clearly preferable to blurting out something off the cuff that you\u2019ll live to regret. It\u2019s important to remember, too, that there is already a wealth of information available online. \u201cTell me what I can\u2019t find,\u201d Kwan advises.<\/p>\n

\u201cArts coverage has to have a lifestyle element to it,\u201d agrees Victoria Lord. She notes that the contraction of the media landscape has meant that classical music and the arts are rarely given their own section or coverage anymore. That means it often gets lumped into lifestyle coverage, which broadens the scope.<\/p>\n

For artists, it opens up new possibilities. \u201cIt doesn\u2019t all have to be music based,\u201d Lord says. Someone who cooks, for example, can get a lot of mileage out of being the cooking musician. Those non-music related topics can serve as a new slant for magazine interviews or social media, allowing artists to branch out and expand their online and media presence. \u201cThey\u2019re looking to tell a good story.\u201d It\u2019s up to the artist to decide what that story includes.<\/p>\n

Lord finds that younger artists, in particular, seem to regard an interview as a kind of performance. \u201cIt\u2019s not.,\u201d she says, advocating a natural approach instead. Remember, you\u2019re going to impress them with your show or release, or even your cooking skills \u2014 the interview is about putting a human face behind it.<\/p>\n

After all the discussion and preparation, however, it\u2019s also important to keep it in perspective. \u201cIt\u2019s not as difficult as preparing for a political debate,\u201d Kwan notes. The good news is, the world of classical music is generally a more pleasant environment than other, more cutthroat sectors of the arts and entertainment biz. Certainly, it\u2019s nothing like the harsh light of scrutiny that the average pop star deals with on a daily basis. \u201cWe\u2019re in a fragile genre of entertainment. There\u2019s a security of comfort.\u201d<\/p>\n

\u201cYou don\u2019t find that an issue in the arts,\u201d agrees Victoria Lord. \u201cI\u2019ve rarely seen it.\u201d<\/p>\n

Still, the results may not always turn out as planned. What can you do if an interview seems to be heading south? It does help if you are aware of any potential pitfalls in advance. \u201cWhatever is best known, or what is best documented about you, is what reporters will go back to,\u201d Bello says. \u201cIt\u2019s fair game.\u201d If a reporter seems to be focusing on a negative or undesirable angle, it\u2019s an opportunity to steer the conversation towards a more positive direction. Don\u2019t let them go on and on, in other words, and keep emphasizing the new and the positive.<\/p>\n

There are certain things any artist should steer clear of in an interview. Don\u2019t speculate or gossip about other artists. Stay inside the scope of your expertise. In giving commentary about the industry, for example, make sure you know your facts and avoid guessing. \u201cYou are less likely to end up in situations where you will have to address it in controversy,\u201d Bello notes.<\/p>\n

It\u2019s important to stay on point. The days of between you and me gentleman\u2019s agreements are long gone. \u201cThey need to treat everything as on the record,\u201d Bello says. \u201cAnything you say, be willing to stand by.\u201d<\/p>\n

After the fact, if you don\u2019t like the way the interview went, by all means, do not go on social media to complain. If the interview hasn\u2019t been published yet, you or your publicist may still be able to contact the reporter to get things straightened out. \u201cAllow the reporter to do their job,\u201d Bello says.<\/p>\n

When it\u2019s published, promptly review the article for accuracy, and make any corrections known immediately to the editor. \u201cJust be polite and respectful,\u201d Bello advises. Critiquing the article isn\u2019t a good move. \u201cIt\u2019s more likely to antagonize the reporter and publication.\u201d Creating an antagonistic relationship isn\u2019t in anyone\u2019s best interests, and those interview requests may just dry up in the future. \u201cIf you prepare properly, a lot of these challenges will be minimized.\u201d Think about the next time, and building a rapport with the reporter. A simple thank you, and making sure they have current contact information, can go a long way.<\/p>\n

When it\u2019s a good interview, it\u2019s a great opportunity to help spread the word. Who will you share it with? Comments or quotes can be used in future PR materials. \u201cIf you want to use the article, ask the reporter and publication,\u201d Bello adds. Even if the interview doesn\u2019t go so well, it\u2019s still an opportunity. \u201cLook at it this way: there\u2019s always room for improvement.\u201d<\/p>\n

LUDWIG VAN TORONTO<\/em><\/h3>\n

Want more updates on classical music and opera news and reviews? Follow us on\u00a0Facebook<\/span><\/a>,\u00a0Instagram<\/span><\/a>\u00a0or\u00a0Twitter<\/a><\/span>\u00a0for all the latest.<\/strong><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Classical music public relations professionals offer advice on how classical musicians can improve their chances of nailing an interview with the media.<\/p>\n","protected":false},"author":64,"featured_media":60871,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"jetpack_post_was_ever_published":false},"categories":[14761,4967,20834],"tags":[2176],"yst_prominent_words":[21919,21929,21934,21932,21931,7765,21936,21921,21922,6715,21917,21918,21925,21935,21933,21923,6616,21924,10142,21920],"acf":[],"jetpack_featured_media_url":"https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2018\/08\/OMNI-6.jpg","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p9bakr-emV","amp_enabled":true,"_links":{"self":[{"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/posts\/55237"}],"collection":[{"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/users\/64"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/comments?post=55237"}],"version-history":[{"count":11,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/posts\/55237\/revisions"}],"predecessor-version":[{"id":60873,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/posts\/55237\/revisions\/60873"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/media\/60871"}],"wp:attachment":[{"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/media?parent=55237"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/categories?post=55237"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/tags?post=55237"},{"taxonomy":"yst_prominent_words","embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/yst_prominent_words?post=55237"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}