Archive for the ‘Creative Careers’ Category

Can Being an Artist Make You More Marketable?

Saturday, April 3rd, 2010
Daniel Pink speaking at the Chartered Institut...
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I love this topic. One might consider me biased since I’m an artist who now works in a more “conventional” field – but I cannot say my degree in music did anything to get me hired, from the standpoint of someone looking at my resume and concluding, “Why yes, I think your experience in the arts makes you perfect to work in the retail finance industry.” That never happened.

But could it be that the connections between music and finance, or the intense study of musical minutiae and the intense study of financial accounting statements are really tangible?

I’m not sure, but author Daniel Pink thinks so. In a recent speech he gave in California to teachers and administrators about “Innovation, Education, and The Changing World of Work,” he made the case that “whole-mind” education leads to better outcomes in education and ultimately, the workplace.

But there was more to it than that. Pink was in O.C. to talk about the importance of arts education in forming a well-rounded, competitive job-force warrior — apparently a subject of intense interest in Orange County, not only among teachers (of which there were many in the audience) but within the business community as well (they were the ones in the dark suits thumbing away on their Blackberries).
The buzz was palpable, and the mood among the people I talked to revealed the reason for all the excitement.

Teachers and school administrators are looking for new ways to justify the conservation of arts curriculum in an era of draconian cutbacks. H.R. types, trying to keep abreast of the rapidly changing needs and conditions of the workplace, are rethinking the definition of the well-trained and adaptive employee.

After Pink’s talk, the crowd was invited to break up into discussion groups. Among the topics: “Community-Based Arts Education Advocacy”; “Turn STEM into STEAM: Science, Technology, Engineering, ARTS and Math”; “Seeking Solutions to Closing the Arts Gap.”

“People are aching to have a thoughtful discussion and to hear an insightful speaker on this topic,” said Richard Stein, executive director of Arts Orange County. “Many people share Daniel’s belief that arts education should be a core curriculum subject. It’s a mistake to make it a frill or after-school activity. Many studies have shown that it’s key to the well-rounded education and creative thinking.”

It seems that the theory “a well-rounded employee does better work” makes sense, but how can this be tested, and proven. Furthermore, does it need to be? Does the overly-simplistic argument that “arts make us happier, better, more-creative people” have enough value to it? I know from my own experience, when I pull away too much from the arts, I feel the malaise of unproductivity – not because I’m not busy or not working, but perhaps its because my work tends to challenge only one part of me – the analytical and rational. Music and other arts are another outlet.

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Pop Star Lily Allen Cheats a Charity to Party

Saturday, March 27th, 2010
Lily Allen @ Bush Hall 18/07/06
Image by neil365 via Flickr

Lily Allen does a disservice to the arts and her image,

“Smile” singer Lily Allen reportedly blew off the Institute for Contemporary Arts’ Annual Fundraiser Gala Party on Wednesday so she could go clubbing.

Allen, who was scheduled to perform at the event, backed out at the last minute, claiming she had come down with tonsillitis. But the purported illness apparently wasn’t enough to keep Allen from partying—the 24-year-old songbird was reportedly spotted at London club The Social on the night she was supposed to be lending her talents to the charity event.

Well, that’s just kind of sad. I don’t think there is much else to say.

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Music Industry Profit Pie Chart

Saturday, March 27th, 2010

This is a pie chart breaking down where profits go in the music industry…I’d like to see a cost pie though.

Business Models for Artists: It’s Not a Day Job, It’s Diversification

Thursday, March 25th, 2010
Leonardo da Vinci is well known for his creati...
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Almost every working artist has a love/hate relationship with The Day Job. It’s the job we begrudgingly refer to with the tagline, “Hey, it pays the bills.” Is having a day job a hindrance to a creative career, or can it help an artist discover new competencies and diversify their skill set as well as income stream?

I think artists need to stop beating themselves up about their supposed failures to make a full-time living in a particular craft and instead, understand that by working in a day job or in a variety of industries, they are diversifying their skill set and making themselves much more valuable in all their career pursuits.

For some artists, the concept of a day job is not a problem, but finding the time and money to practice their art is. There was a time when I told myself I would be willing to go broke to become an opera singer. I quickly realized I was not cut out for the lifestyle and fiercely competitive world of a hopeful young emerging artist and decided that some combination of day job with flexibility to perform when I could was ideal for me.

There is no magic formula to deciding how much of one’s time and resources can be devoted to beginning and maintaining an artistic career, which I think is akin to the capital investment needed for a small start-up company. Each new fledgling artists is an unproven idea. Even if they are exceptionally talented, no one knows about them yet and exposure is one of the hardest parts of being an entrepreneur.

I came across an article of interest for those of you who are struggling with leading the double life of an artist with a day job.

Managing the Day Job” asks, “Does being a creative only half the time make you less creative than those who are creative full-time?” The article goes on to discuss the demands of balancing a creative career with the demands and expectations of the day job career. I know many artists who excel in their day jobs, and get opportunities for advancement they have to turn down because it would mean “marrying” their job, and they are not willing to do that, even if it means a pay increase. These are the tough decisions many artists have to face until they can make their creative pursuits a full-time career.

Some of them never do – and that’s okay. I’m one of those people, and ever since I graduated from my undergrad in music I’ve had some combination of day job/creative job in various proportions, but I’ve never taken a foot completely out of either. I’ve always thrived on having a variety of jobs, so this type of career balance really suits me.

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Arts and Econ Links of Interest

Tuesday, March 23rd, 2010
Graph of CO 2  (green), reconstructed temperat...
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Artists who Give Artists a Bad Name

Sunday, March 21st, 2010
pacman food bank display
Image by eyesplash Mikul via Flickr

We know art school grads are trained to have expensive taste, so why ask them to compromise when everyone else has to? Check out the nouveau hedonism for today’s poor epicure, from Salon’s Hipsters on Food Stamps,

In the John Waters-esque sector of northwest Baltimore — equal parts kitschy, sketchy, artsy and weird — Gerry Mak and Sarah Magida sauntered through a small ethnic market stocked with Japanese eggplant, mint chutney and fresh turmeric. After gathering ingredients for that evening’s dinner, they walked to the cash register and awaited their moments of truth…

Magida, a 30-year-old art school graduate, had been installing museum exhibits for a living until the recession caused arts funding — and her usual gigs — to dry up. She applied for food stamps last summer, and since then she’s used her $150 in monthly benefits for things like fresh produce, raw honey and fresh-squeezed juices from markets near her house in the neighborhood of Hampden, and soy meat alternatives and gourmet ice cream from a Whole Foods a few miles away.

“I’m eating better than I ever have before,” she told me. “Even with food stamps, it’s not like I’m living large, but it helps.”

Mak, 31, grew up in Westchester, graduated from the University of Chicago and toiled in publishing in New York during his 20s before moving to Baltimore last year with a meager part-time blogging job and prospects for little else. About half of his friends in Baltimore have been getting food stamps since the economy toppled, so he decided to give it a try; to his delight, he qualified for $200 a month.

“I’m sort of a foodie, and I’m not going to do the ‘living off ramen’ thing,” he said, fondly remembering a recent meal he’d prepared of roasted rabbit with butter, tarragon and sweet potatoes. “I used to think that you could only get processed food and government cheese on food stamps, but it’s great that you can get anything.”

What are these so-called artists learning in art school? How not to make an honest living and how to mooch off others? Apparently, I should not be so judgmental, and assume these highly-educated artists are entitled to this support because of their creative output.

“At first, I thought, ‘Why should I be on food stamps?’” said Magida, digging into her dinner. “Here I am, this educated person who went to art school, and there are a lot of people who need them more. But then I realized, I need them, too.”

I’m really quite appalled at her rationale. Even from a graduate just out of school, I might understand, since this is the worst economy in decades. But these people are just a few years older than I am, plenty of time post-graduation to realize they might need to diversify their potential streams of income. I’m also an educated person who went to music school. Once I realized that I, too, was unwilling to eat ramen to make ends meet, I did not seek ways for others to subsidize my chosen career path. I found additional work and education that allowed me to support myself and my family while maintaining a level of artistic output I am happy with.

Am I totally alone in thinking other (admittedly) able-bodied, educated artists should find honest work, even if not in their chosen field – and save the food stamps for those who really can’t afford to live?

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More Fun with Arts Labor Markets

Tuesday, March 16th, 2010
A panoramic scene of Covent Garden, London and...
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In a move sure to make many in the arts cheer, Prime Minister Brown launches a new program to help arts “graduates break into showbusiness“. According to BBC News, “The Creative Bursaries Scheme is designed to help graduates secure what would otherwise be unpaid internships.”

So, what is it that will keep these talented artists in fiscally viable positions once their paid internships run out? Does the availability of government-sponsored internships have any historical correlation to the availability of long-term life-sustaining work in an artist’s chosen field? As I’m sure we all know, talent is no guarantee of a payoff in life or in the arts. I’m sure any of us can point to dozens of supremely talented colleagues that have not yet gotten the lucky break they deserve so much. At the same time we could point to supremely financially well-off artists whose level of talent leaves much to be desired. (A coloratura who pointed to the ceiling each time she hit a high-E in a Michigan Opera Theatre production of Die Zauberflote comes to mind.)

Could these paid internships be sending the signal that a life in the arts is not only super fun, but more affordable than it really is?

I would say so. As I argued in my recent post, subsidizing an otherwise already desirable activity means you will get more people wanting to do that activity, not less. Even subsidizing less desirable activities (like low income home-buying) means you’ll get more of it (and more of the supposedly unforeseen and unintended consequences). This is public policy 101.

Furthermore, compensating differentials ensures the arts market will always be flooded with shiny, happy, eager labor – subsidy or not. Just ask any dozen or thousand fledgling sopranos looking for work if they would like to sing at Covent Garden for free. Don’t you think they would all beg, borrow, and steal to make sure they were on that stage? Do you think they would consider themselves as being exploited? Perhaps after a certain amount of time, but the evil, evil market would ensure that at some point, no soprano would be willing to sing for free forever. That is, unless she was Florence Foster Jenkins.

To quote Professor and Economist Bryan Caplan, from his econ syllabus,

A. Do people always choose the highest-paying occupation open to them?  No.  “Man does not live by bread alone.”

B. Conversely, does everyone refuse to do the truly miserable jobs (like garbage man)?  No.

C. Easy to analyze this using S&D: the funner the job, the more labor supply increases; the more horrible the job, the more labor supply decreases.

(And yes, this is the theoretical textbook effect, and yes, this is keeping all things constant.) So when subsidy is thrown into the mix, i.e. Fun Job with Higher Wage Than What the Market Demands – everyone gets really excited about it and compensating differentials ensures a steadily increasing stream of labor to the newly subsidized arts market.

As far as I can see it, there are roughly two sides of the argument. One says, “Good for the artists that get the jobs and the government probably should subsidize more. No worries about the other effects, as long as some people are better off.” The other, “A life in the arts is hard. That’s about it. No amount of subsidy will permanently change the labor market. The more you subsidize, the more enticing it becomes, and the steady stream of unemployed artist hopefuls will just keep rising.”

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Business Models for Artists: Jingle Punks

Monday, March 8th, 2010

I hope this post becomes the first in a series of presenting successful business models for artists and those pursuing otherwise creative careers. In my experience, artists think far less about business and financial matters than they should, making the already-competitive world of the arts even more difficult to navigate successfully.

I love this idea and in fact, wished there was something like this for myself and my students years ago. There is nothing more discouraging than having students walk into my studio with oodles of talent, ideas, and finished original music with few outlets for it besides the local music scene and relying on the off-chance some producer, somewhere will discover them at a show or open a demo they sent without an introduction from someone in the business. Furthermore, until now, it seems most online submission sites have had costly fees and dubious results.

Enter Jingle Punks,

After an initial screening of your music and a bit of paperwork, you’ll be ready to get your music in The Jingle Player giving countless TV Networks, Production Houses, Film Producers, and Ad Agencies access to your music. What more could you ask for?

The Contract Details

NON-EXCLUSIVE: Continue to market & sell your music elsewhere.

50 / 50 SPLIT: Half of any licensing fee we get for you music, is yours.

OWN YOUR STUFF: You remain in control of all rights to your music.

1 YEAR: The initial contract is for one year.

NO FEE: No cost to give it a go.

Learn more about how the Jingle Punks creators came up with their idea, collaborated and executed what is now a thriving small business in this CNNMoney clip.

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More Loveland to Love

Sunday, March 7th, 2010

For those of you who caught my original post about Jerry Paffendorf’s Lovelandhe’s since been featured on NPR as well as announced he’s coming out with Loveland Season 2 Pre-Game: The Legend of the Ghost Inches which means, in plain english,

The second property hasn’t been purchased yet, so Jerry calls the investments “ghost inches.” When you purchase an inch, you get a nice little deed package containing a magnifying glass to better survey your territory. The little money from deed sales goes back into the project. He also hopes to use the “profits” to provide microgrants to other innovative urban development projects in the city.

Again, I’m a fan of this quirky idea. I only wish the property being inch-auctioned off was the glorious ruins of Michigan Central Station. Then again, would having tons of micro-investors help the historical site fare any better?

I’ll be curious to see how, and if, the micro-investing concept evolves. What kind of steps will micro-owners take to develop their tiny plots, if any? Or will it be just a novelty like when your high school boyfriend bought a star and named it after you? (Yes, there is a star out there with my name on it, I even have the coordinates.)

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Arts Labor Markets: An Informal Case Study

Thursday, March 4th, 2010

I did not think my last post would generate such lively discussion – so I propose we refocus and delve deeper into one particular economic aspect of the conversation that I think is critical. While this informal case study I offer is by no means exhaustive, I hope it will be informative to readers interested in arts labor market economics. Having said that, it is rather long for a blog post, so I hope you will all bear with me or bookmark for later.

In discussing whether the proposed legislation of setting a maximum duration/minimum wage for arts internships makes economic sense (in that it achieves its intended effects), we should first review the effects of setting price floors and determine if, indeed, there is an economic benefit to imposing a maximum duration/minimum wage for internships.

According to the economic laws of supply and demand, setting a price floor for wages above the equilibrium wage, ceteris paribus, will do two things:

  1. Increase the demand from workers for the wage.
  2. Decrease the supply of the jobs offering the wage. (Hubbard and O’Brien, 2006)

Looking at each of these points individually, we can see that imposing legislation requiring arts organizations to pay interns a minimum wage after a certain period of time would likely result in more interns wanting those higher-paid jobs (point 1), as well as a decreased ability for organizations to offer the jobs due to the impact on their budgets (point 2). As a result, the increase of interns supplied will cause net higher unemployment in the arts, not less. However, it does not seem this is a point of concern for those in favor of the legislation so we will not address it here. Instead, I suggest we focus on the net effect on the poor, since that is what seems to be a main point of contention.

Now, it is likely that point 1 will not be considered significant or negative by those supporting the legislation – as they may consider an increase in potential interns a benefit (perhaps due to the externality of arts appreciation, etc). However, a closer look at the effect can be seen as detrimental in particular to the poor (who the legislation is ostensibly attempting to help obtain gainful employment), due to the fact that flooding the market with additional supply of workers will result in even stiffer competition, with those winning the even better paid positions being those who already have more experience (who we seem to agree are more likely to be those already better off or able to afford the unpaid internships).

As we’ve already agreed thus far, poorer interns are unlikely to have such experience, and as a result they are even less likely to win the paid internships than when they were unpaid. This is because an organization offering work for free is likely to be more discriminating about their intern choice once the same position is  offered for pay and can have a positive or negative effect (however small) on their bottom line. Furthermore, we are not talking about hiring relatively unskilled labor where the difference in prior experience is largely irrelevant, such as janitorial services or working in a fast food restaurant.  We are talking about serving the needs of arts organizations, which would seek to hire interns with basic proficiency in computer skills, verbal and written communication, and some prior education in the arts for a paid position.

As already noted in the comments, volunteers are more likely to fill unskilled positions like ushering, stuffing envelopes, or posting signage for events, for example. There is no reason to believe organizations offering new paid positions are going to seek less qualified interns to fill them. So, the effect of the legislation will be to price poorer/inexperienced potential interns out of the market altogether, effectively eliminating the bottom rung of the ladder as it were, leaving them with less opportunity to advance their arts careers, not more. Therefore, the effects of the legislation will actually harm those it is purporting to help and simply help more experienced interns get better jobs – which is not in and of itself negative on an absolute basis – but it is certainly not achieving the intended effects of the legislation.

Point 2 is likely to be explained away as it was in an earlier comment as to have a negligible change on the finances of a larger arts organization. This may be true, but it may also not be true – we cannot know without additional information and review of the finances of arts organizations, which are often far more sensitive to changes in allocation of capital due to the volatile nature of their business, so it would stand to reason that imposing additional financial burdens (however small) would affect them on a more than negligible basis*. Furthermore, the point is not only to address the finances of larger arts organizations as they are not the only ones affected by the legislation, but all arts organizations that offer internships, which no doubt span small to large in size of operations.

However, even if we accept a high likelihood of larger organizations being able to afford paid interns (and even if we neglect to perform financial feasibility studies to determine the marginal revenue product of labor – which is clearly more important when paying employees than when letting them work for free), the replacement rate of paid jobs for the previously unpaid jobs is unlikely to be 100%, otherwise there would be no need for legislation and interns would already be paid (that is, if we accept the premise an equilibrium wage rate can and should be found). So, otherwise, under force of legislation would the paid job replacement rate be 90%, 50%, or 10%? Again, we cannot know without additional information.

But even if we accept a generous 90% rate of ability to pay interns providing the same amount and duration of internships (i.e. opportunity) by larger organizations after legislation is imposed, we can then anticipate that rate will decrease in some proportion (more or less) in relation to the decrease in size of an organization’s operations and their particular financial situation. We can probably also agree smaller organization’s finances are likely to be even more volatile than large ones, have less expendable income, and rely more heavily on both volunteers and unpaid interns. As a result, this legislation is likely to more than proportionately negatively affect the operations of smaller arts organizations because it is well-known that small arts organizations struggle more than their larger counterparts to win both private and public dollars.  The likely result of forcing them to pay their interns will be less ability to offer positions than their larger counterparts and may require downsizing their operations and offerings, again due to their heavier reliance on volunteers and interns.

It can be seen that the result of the legislation in economic terms is a net loss of opportunity offered by all arts organizations and made available to all arts interns, affecting smaller organizations and poorer interns more than larger organizations and well-off interns**. While economics cannot determine with finality which decisions should be made, it allows the conversation to then inform the philosophical arguments of whether or not more or less opportunity in the arts is beneficial and whether offering more or less opportunity to the poor is good or bad. Clearly those in support of the legislation are not concerned with the net loss of opportunity and are misguided in thinking the poor would be the primary beneficiaries of what positive results (possibly more paid positions) are obtained.

Another correct point mentioned above is that this type of legislation is administratively and logistically laborious to police and punish, if not near impossible. This is another point against it, since the addition of government employees needed to monitor the exploitative behavior will probably not be made due to low priority (since the type of so-called exploitation is hardly as serious as other criminal activity that is far more prevalent and detrimental than the supposed horrors of lengthy unpaid internships in the arts) or monitoring will be unsuccessful due to the ease of participants finding loopholes.

So in reality, this may be glamour legislation that can do little to stop the unwanted and promote the intended behaviors, but may win legislators some votes come election time because it sounds like a nice thing to do according to those who have imperfect information regarding economics. I can only hope what is more likely is that its net effect on actual finances/interns in practice is very small. I imagine there are/will be more “volunteer” opportunities in the arts than “internships” and that hopefully they look just as good on these poor struggling student’s resumes.

* A highly-contested study, Minimum Wages and Employment: A Case Study of the Fast-Food Industry in New Jersey and Pennsylvania (Card and Krueger, 1995) on price floors in labor markets have offered some evidence that the net effect of price floors in the fast food industry has negligible effects in terms of decreasing the supply of labor (and by extension wages set at a minimum) and output of businesses in that industry. However, these studies are not the final word on price floors, and even if they were, they cannot provide us significant insight into the arts industry’s labor market – which is vastly different than the fast food industry whose price elasticity of demand (for labor) is relatively inelastic (meaning when the price/cost of labor increases, there will be little impact on amount supplied to workers), whereas the price elasticity of demand in arts markets is arguably more elastic (meaning when the price/cost of labor increases, there would be more impact). This analysis is only theoretical at this point, and would require further study to determine with finality.

** Which proves my original quick analysis of the legislation was faulty! Since the title of the original post was “Let’s Level the Playing Field by Making Everyone Worse Off” and I have determined that not everyone would be worse off, only the poor would be worse off, I think this has been a valuable exercise.

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