Dear kindly readers of this blog: A while ago I instituted an interview section here on Mind the Gap (1, 2) and then canceled it like a promising TV show. Well, today it’s back because I just read about composer James Holt’s contemporary music performer profile podcasts, and in this economy who wouldn’t have a few questions. Here we go...
What first gave you the idea that the world needed “My Ears are Open,” a podcast featuring the words of “musicians who have dedicated their lives to performing contemporary music”? Didn’t most of these people go to conservatory specifically to avoid ever needing to speak in public?
Over the past few years, I spent a lot of time asking myself, “If I were to create a podcast, what would it be?” Should I talk about my music? Should I talk to other composers about their music? None of it seemed to matter because 1) I’m basically broke, 2) I didn’t think I had the right production equipment, 3) there’s probably zero audience (who would want to hear me blab on and on about my music?), and 4) there’s only a slightly larger audience that would want to hear other composers talk about their own music.
It all seems so obvious now, but once I realized that I could “borrow” (read: hijack) my cellist girlfriend’s sexy digital recorder, and that I could be portable with it, everything started to fall into place.
I made some editorial decisions right away, which I’ve continued to stick to. First, talk to as many different “kinds” of musicians as possible (everyone is welcome and can say whatever they want). Second, no leading questions. I ask everyone the same four (very open, very vague) questions and let them answer however they want. I don’t interrupt, and I rarely ask a follow-up. I really want to know what these musicians think, and I really want them to be honest. Third, my voice should not be part of the interview. The podcast is a forum where all the attention is on the musician and what they have to say. Finally, keep the the podcasts short. There are a couple episodes that come close to 20 minutes, but I try to keep them around 10-15 at most.
Regarding your question about musicians avoiding public speaking–every single person I’ve invited to be part of this project has said yes right away. No arm-twisting or bribing necessary. Most of them seem very happy that someone is interested in what they think.
What sorts of shocking things have you learned about the backstage lives of the classically trained?
Surprisingly very few shocking stories have come up. However, if you are interested in things like this, I would strongly recommend listening to the episode with pianist Laura Barger, and the episode with clarinetist Evan Ziporyn. Both recount situations where composers asked them to do something publicly that, to most people, is really not cool. Trust me, these stories are funny now, but I’m sure they were not funny as they were happening.
What kind of equipment does it take to podcast and how large is your production staff?
I wish I knew what the “big kids” use, because I’m just learning as I go, but I can tell you what I personally use: a Zoom H4 portable digital recorder and (believe it or not) Garageband on my laptop–that’s it. I also use a program called “Feeder” that helps me publish the audio files to my web-server and “pings” iTunes and some other sites. I also (rather embarrassingly) took one of the Apple Store’s free classes on podcasting, which helped orient me through some of the basics.
Production staff? Really? Seriously? It’s just me. I meet a musician, go home, edit the audio, and post it to the web. Next you’re going to ask me about my “budget”, right?
Well, it often sounds like you have caught your subjects in restaurants and at airports. Do you find that ambushing artists in this manner and sticking a mic in their face is the best way to get them to confess things?
I’ve been trying harder and harder to find quiet spots around town (and I have a few preferred secret corners), but it can be tricky. I definitely want to thank Tom Chiu for inviting me to a bar to conduct his interview–at the time I thought it wouldn’t be an issue (maybe it was the beer…), but I know the background is too loud and distracting.
Also, I don’t actually ambush anyone before or after a concert (but thanks for that), and if I do, it’s only to ask them to do an interview some other time. Sometimes the only place I can meet a musician is in a coffee shop other public place between rehearsals or gigs. In my mind, getting the interview with the least amount of disruption to the musician’s life is important to me. If I could only do the interviews in my apartment, then the podcast would never happen. (Incidentally, if you see me in an airport and want to confess something, come talk to me.)
I’ll keep that in mind. I notice there are no tinkly music sounds in these podcasts. Is that an artistic statement or are you just afraid of the RIAA?
I’m not afraid of the RIAA (am I?) and I’m not trying to make an artistic statement. Lack of tinkly sounds is just another editorial decision – I don’t want people to start an episode, be influenced by a musical choice, and then listen to the episode in the context of that music. The whole idea is that we hear from the musicians – I don’t want any musical samples, or intros or outtros, to distract from what they have to say.
Okay, now, be honest, Mr. James Holt, composer-at-large: Has this all just been an elaborate ploy to butter up performers so that they’ll play your music, or do you secretly want Anderson Cooper’s job?
If I said that this project is 100% altruistic, I suppose I’d be lying. I think I can say, however, that it is 99% altruistic. I’m a shy person, and the podcast has been a great way for me to meet and talk with a lot of musicians that I’d normally just walk by, wondering what to say. I never talk about my music with the interviewees, though, because I’m afraid that if they perceive a hidden agenda, they won’t be honest or won’t want to be part of the interview. If any of them ask for some of my music, I’m happy to show it to them, but that’s not what it’s about. The podcast is about listening and trying to learn from other peoples experiences.
Funny that you should mention Anderson Cooper. You’re the second ArtsJournal blogger who has asked me if I’m trying to position myself as a journalist. “JH360” just doesn’t sound right to me. But I am enjoying the free press materials that have started coming my way!
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“My Ears Are Open” podcasts currently include interviews with Rose Bellini, Charlton Lee, Derek Johnson, Jeff Anderle, Tom Chiu, Sato Moughalian, Erica Ward, Laura Barger, Blair McMillen, Evan Ziporyn, Alex Lipowski, Elizabeth Weisser, Nadia Sirota, John Pickford Richards and most recently Seda Röder. New episodes are made available every two weeks. Subscribe via iTunes.