Mark Cormican Music

Athletes, performers and presenters across all disciplines know that practicing is only way to be sure of increasing the probability of consistently achieving the desired result. Assessing practice sessions in a constructive manner will develop a personal set of tools and strategies to overcome paralyzing stress, or deal with distractions that are often present in competition and/or performance situations. In basketball, it is common to see a player preparing to attempt a goal by repeatedly bouncing the ball. Then with single-minded focus on the hoop they aim and throw to make the shot. The preparatory bouncing of the ball is designed to tell the player’s mind and body to remember what they have practiced and to do it exactly as rehearsed, right there and then.

Preparing for a job interview requires the same practice discipline. An interview performance requires the applicant to

1 Listen and interpret the interviewer’s questions
2. Formulate and organize thoughts and ideas, and
3. Verbally present a confident response in an engaging manner.

The stress of an interview situation along with the surprise factor of hearing a new question makes concentration and logical thinking a challenge for many applicants. As a result their responses may not include all the requested information. A hesitant delivery will damage a candidate’s chances of being considered competent to perform all requirements of the role. In fact, the candidate may be qualified, experienced and capable, but let down only because they present themselves poorly in an interview situation.

This strategy has three simple phases – collect questions, present your response and review your answer for adequacy of content, organization and delivery performance.

1. Collect Sample Interview Questions. The wider the range of questions the better; both the standard interview questions on written, verbal and interpersonal communication, teams and organization as well as those specific to the role, discipline and industry sector being apply for. For example, if the job specialty is computers, then make sure to include technical questions. Surprisingly little time is required to search interview websites and copy text to create a list of over 200 questions. These need to be printed onto a sheet of paper, and then cut into strips so there is only one question per strip of paper. All are to be placed in a single container. HINT: Try not to read, interpret or think about questions as you gather them.

2. Practice Listening to Questions and Delivering your Response. To recreate the surprise element, questions should be pulled at random from the container. As most interview questions are asked by an interviewer, it is ideal to have someone read the question to you. However when this is not possible, simply select a slip of paper from the container, read the question and promptly launch into presenting a response. HINT: Read the question once or twice only, and then get rid of paper to avoid the temptation of rereading and disturbing the flow of your response.

It is important to play this game full out. Pretend that you are there in the interview. Like a musician practicing a piece of music, if you lose your place or make a mistake, recover and continue, do not stop your presentation. In a real interview this situation can and does happen. It only becomes significant to the interviewer, if you fail to deal with it in a professional manner, in other words, maintain composure and continue with your response to its logical conclusion.

3. Evaluate the Adequacy of your Response. Reviewing your delivery, content, organization and presentation is essential to improving your performance. If another person can observe you, then ask for their feedback. Were you convincing? What did they like? What could you improve? Sometimes it is good to give your evaluator a form with the specific areas you want them to assess, like “Did I talk too fast, if so, where?” If practicing on your own, staple the question slip to the top of a sheet of paper. Make notes about how you felt you performed, what went well, and indicate what you need to practice again to give a better response this question and why. These sheets become an excellent reference source for review of future responses or as checklists on similar subject matter.

Many people avoid listening to recordings of their voices, or even worse, seeing themselves performing on video. The rewards of reviewing your audio or visual interview performance far outweighs the impediments created by excessive self-judgement. Using recordings to confirm whether the required standard has been achieved, and to identify areas of improvement is now a standard practice for any serious performer. As World Public Speaking Champion, Ed Tate once said, “You look like that. You sound like that. Get over it.”

Listed below are the benefits of practicing a job interview response out loud, just as if you were there:

- Being able to assume a relaxed state prior to being asked a question
- Avoiding auditory paralysis brought on by excessive stress or fear
- Enabling the analytical and logical parts of your brain to work creatively together
- Allowing access to a higher intelligence to assess how the interview is progressing, and if not favourable, to have intellectual and emotional capacity to make adjustments to your presentation and/or engagement of the interviewer
- Becoming accustomed to instantly thinking and organizing your thoughts on any subject
- Increasing the likelihood of presenting confidently using appropriate voice and body language
- Confirm, practice and consolidate good performance techniques
- Develop and rehearse a repertoire of stories to illustrate a particular skill or competency 
- Identify and address any weaknesses in presentation, organization and content, and
- Practice talking about yourself in a positive way.

By: Melody Braithwaite

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Caffeinated Content

There is no question that the competition for teaching jobs is extremely tough. I have sat on teacher interview committees where we had narrowed it down to four people for the open teaching position and it broke my heart that I had to tell three of them they did not get the job despite being excellent teachers.

If you are getting calls for interviews, but you are not able to seal the deal and secure yourself a teaching position, you need to look at every aspect of the interview…you need to do every little thing to separate yourself from the intense competition.

There are many things teachers should do during the interview, but one of the most overlooked is asking questions of the interview committee.

I am always shocked at how many candidates simply do not do this…or don’t put as much emphasis on it as need be. By asking questions you are accomplishing two main goals. One, you are determining if this is actually the right teaching job for you, and two, you come off and giving the appearance of confidence…don’t underestimate this.

Also, by asking the correct questions at the correct time YOU begin to take over and control the job interview. The interview then becomes more of a two-way conversation between colleagues on the same level than it does a one-way interview in which the candidate is simply fielding questions from superiors.

I have always said that the best interviews are the ones that don’t “seem” like interviews…they felt natural…they felt more like conversations.

However, what questions you ask are also important. You don’t just want to ask questions for the sake of asking questions…you want to ask the right questions. And, by asking the right questions during your teacher interview you will separate yourself from the other candidates applying for the same teaching job.

Unfortunately, many people just can’t seem to come up with the right questions.

Here are 10 questions you should ask during your next teacher interview:

1. How many classes would I be teaching?

2. How many “preps” does this position require? (Remember, you may only be teaching 5 classes, but if you have four different “preps” for four different subjects you may be in trouble)

3. Would I have my own classroom? (Having to teach in different classrooms can make teaching much more difficult)

4. Do you have a teacher mentor program? (A teacher mentor program can be a new teacher’s saving grace, but veteran teachers can benefit from them as well)

5. Will I have opportunities for professional development? (You want to give the impression that you plan to grow professionally)

6. What type of access would I have to technology? (Grade book software, email, united streaming, etc.)

7. What duties are required of the position? (Lunch, hallway etc.)

8. What type of extracurricular activities can I get involved with?

9. How much planning time do teachers have? (Don’t ask this question first…it will come across as planning time is your most important question. However, planning time is important and different schools will have different amounts of time allotted for teacher planning so you should make sure you know before you accept any teaching job)

10. What is the school policy on inclusion?

Again, by asking questions during your interview you will establish an air of confidence about you. However, more importantly, you will determine if the school is truly a good match for YOU.

By: Adam Waxler

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Music Interview

It is always difficult for a job seeker, to face the interviewer, especially for freshers who are just out of college, seeking a job. It is wise to prepare some hr interview questions before attending the interview.
Some of the difficult hr questions to face are as follows.

Tell me about yourself?

Start with the present and tell why you are well qualified for the position. Remember that the key to all successful interviewing is to match your qualifications to what the interviewer is looking for. In other words you must sell what the buyer is buying. This is the single most important strategy in job hunting.

So, before you answer this or any question it’s imperative that you try to uncover your interviewer’s greatest need, want, problem or goal.

To do so, make you take these two steps:
Do all the homework you can before the hr interview to uncover this person’s wants and needs (not the generalized needs of the industry or company)

As early as you can in the interview, ask for a more complete description of what the position entails. You might say: “I have a number of accomplishments I’d like to tell you about, but I want to make the best use of our time together and talk directly to your needs. To help me do, that, could you tell me more about the most important priorities of this position? All I know is what I (heard from the recruiter, read in the classified ad, etc.)”

Then, ALWAYS follow-up with a second and possibly, third question, to draw out his needs even more. Surprisingly, it’s usually this second or third question that unearths what the interviewer is most looking for.

You might ask simply, “And in addition to that?…” or, “Is there anything else you see as essential to success in this position?:

This process will not feel easy or natural at first, because it is easier simply to answer questions, but only if you uncover the employer’s wants and needs will your answers make the most sense. Practice asking these key questions before giving your answers, the process will feel more natural and you will be light years ahead of the other job candidates you’re competing with.

After uncovering what the employer is looking for, describe why the needs of this job bear striking parallels to tasks you’ve succeeded at before. Be sure to illustrate with specific examples of your responsibilities and especially your achievements, all of which are geared to present yourself as a perfect match for the needs he has just described.

What are your greatest strengths?

You know that your key strategy is to first uncover your interviewer’s greatest wants and needs before you answer questions. And from Question 1, you know how to do this.

Prior to any interview, you should have a list mentally prepared of your greatest strengths. You should also have, a specific example or two, which illustrates each strength, an example chosen from your most recent and most impressive achievements.

You should, have this list of your greatest strengths and corresponding examples from your achievements so well committed to memory that you can recite them cold after being shaken awake at 2:30AM. Then, once you uncover your interviewer’s greatest wants and needs, you can choose those achievements from your list that best match up.

As a general guideline, the 10 most desirable traits that all employers love to see in their employees are:

proven track record as an achiever…especially if your achievements match up with the employer’s greatest wants and needs.

Intelligence…management “savvy”.

Honesty…integrity…a decent human being.

Good fit with corporate culture…someone to feel comfortable with…a team player who meshes well with interviewer’s team.

Likability…positive attitude…sense of humor.

Good communication skills.

Dedication…willingness to walk the extra mile to achieve excellence.

Definiteness of purpose…clear goals.

Enthusiasm…high level of motivation.

Confident…healthy…a leader.

What are your greatest weaknesses?

Disguise a strength as a weakness.

Example: “I sometimes push my people too hard. I like to work with a sense of urgency and everyone is not always on the same wavelength.”

Drawback: This strategy is better than admitting a flaw, but it’s so widely used, it is transparent to any experienced interviewer.

BEST ANSWER: (and another reason it’s so important to get a thorough description of your interviewer’s needs before you answer questions): Assure the interviewer that you can think of nothing that would stand in the way of your performing in this position with excellence. Then, quickly review you strongest qualifications.

Example: “Nobody’s perfect, but based on what you’ve told me about this position, I believe I’ d make an outstanding match. I know that when I hire people, I look for two things most of all. Do they have the qualifications to do the job well, and the motivation to do it well? Everything in my background shows I have both the qualifications and a strong desire to achieve excellence in whatever I take on. So I can say in all honesty that I see nothing that would cause you even a small concern about my ability or my strong desire to perform this job with excellence.”

Alternate strategy (if you don’t yet know enough about the position to talk about such a perfect fit):

Instead of confessing a weakness, describe what you like most and like least, making sure that what you like most matches up with the most important qualification for success in the position, and what you like least is not essential.

Example: Let’s say you’re applying for a teaching position. “If given a choice, I like to spend as much time as possible in front of my prospects selling, as opposed to shuffling paperwork back at the office. Of course, I long ago learned the importance of filing paperwork properly, and I do it conscientiously. But what I really love to do is sell (if your interviewer were a sales manager, this should be music to his ears.)

Tell me about something you did – or failed to do – that you now feel a little ashamed of?

As with faults and weaknesses, never confess a regret. But don’t seem as if you’re stonewalling either.

Best strategy: Say you harbor no regrets, then add a principle or habit you practice regularly for healthy human relations.

Example: Pause for reflection, as if the question never occurred to you. Then say to hr, “You know, I really can’t think of anything.” (Pause again, then add): “I would add that as a general management principle, I’ve found that the best way to avoid regrets is to avoid causing them in the first place. I practice one habit that helps me a great deal in this regard. At the end of each day, I mentally review the day’s events and conversations to take a second look at the people and developments I’m involved with and do a double check of what they’re likely to be feeling. Sometimes I’ll see things that do need more follow-up, whether a pat on the back, or maybe a five minute chat in someone’s office to make sure we’re clear on things…whatever.”

“I also like to make each person feel like a member of an elite team, like the Boston Celtics or LA Lakers in their prime. I’ve found that if you let each team member know you expect excellence in their performance…if you work hard to set an example yourself…and if you let people know you appreciate and respect their feelings, you wind up with a highly motivated group, a team that’s having fun at work because they’re striving for excellence rather than brooding over slights or regrets.”

By: Chris Pr

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Create a video blog…instantly.

As an independent musician and/or recording artist, if you
did *NOT* earn $30,000 (or more) with your music alone
last year, let’s jump right in and get you started with doing
so this year.

Again, bear in mind that the main necessary ingredient is
“consistency” of every aspect, and on a weekly basis.

Remember! This is a worst case scenario, in regard to
what you should be able to easily earn within each aspect,
and you are very likely to earn much more.

The “lead generator(s)” in each aspect reflects the various
resources that you will use to obtain results in these areas.

So, here is the financial mathematical layout.

[---GIG EARNINGS---]

Practically any band should be able to market and promote
itself well enough to obtain, at least, one gig per week,
whether the band is based in a metropolitan or rural setting,
and whether it performs on a fulltime or part-time basis.

So, in our worst case scenario, let’s look at getting one gig
per week:

1 Gig X 1 Week @ $300 X 4 weeks = $1,200 per month

Lead Generators:

* Contacting venue managers and bookers directly

* Signing on with an area booking agent

* Placing low-cost ads in your area weekly newspapers

* Contacting area performance theaters

* Host your own gig at an area hall or theater

* Contacting high schools for performances

* Contacting college student activities offices for
performances

* Low-cost college newspaper ads for possible gigs

* Low-cost college radio ads for possible gigs

* Your website calendar gig notices/tours

Note: Provide your media kit and business card to
prospective clients.

[---GIG CD SALES---]

As you are already aware, most gig employers will allow
you to sell your music during performances.

So, in our worst case scenario, let’s look at getting sales
during gigs, with a minimum of 100 people at each gig, and
with 10% (10 sales) of the crowd who, after witnessing your
mind-blowing spectacular performance, suddenly realize
that life is not worth living, and they simply cannot go on
unless they own a copy of your CD:

10 sales X $10.00 (per CD) X 4 weeks = $400 per month

Our monthly sub-total is now $1,600

Lead Generator:

* Your incredible stage performance that left them
mesmerized.

* Your website for additional sales

[---TEACHING---]

Right now, in your own area, there are innumerable people
who would like to learn to play your instrument, or be able to
sing as half as well as you. So, why not teach them how to
do so while earning a bit of income doing it as well?

So, in our worst case scenario, let’s say you teach only one
day each week, with only two students, at one hour each,
while charging $10 per student, per lesson:

1 day X 2 students X $10.00 (per student) X 4 weeks = $80 per month

Our monthly sub-total is now $1,680

Note: If you decide to devote an entire day of the week to
teaching, say 8 students/8 hours, your income increases to
$80 per day/$320 per month.

You can also consider contacting area community colleges
that will likely be receptive to your classes within their
“Continuing Education” program, which can even pay a bit
more money. And, if time allows, why not get the best of
both worlds, so to speak, by teaching both independently,
as well as within the college system?

Lead Generators:

* Placing low-cost ads in your area weekly newspapers

* Contacting high schools to post notices/fliers

* Low-cost college newspaper ads

* Low-cost college radio ads

* News releases to area radio and print papers

* Feature interviews on area radio and in newspapers

* Your website with your class notices

Note: Provide your credentials to student prospects in the
forms of a resume and/or portfolio.

[---ONLINE SALES---]

Just a few noted sites include:

CD Baby ( http://www.cdbaby.com )

The Orchard ( http://www.theorchard.com )

Amazon.com ( http://www.amazon.com )

New Artist Direct ( http://www.newartistdirect.com )

With fairly decent online promotion, at the least, you ought
to be able to realize an average of 3 sales per week from
each of these sites. While all may not produce those 3
sales individually each week, some of them are likely to
produce more than 3 sales, dependent upon your
promotional efforts, of which should still average out to
3 sales each.

However and again, let’s review a worst case scenario:

4 sites X 3 sales each X $7.00 = $84 X 4 weeks = $336

Our monthly sub-total is now $2,016

Lead Generators:

* Peripheral online sales from gig audiences

* Low-cost ads in area weekly newspapers

* Low-cost college newspaper ads

* Low-cost college radio ads

* Internet marketing and promotion on music message
boards, music forums, and within discussion list signature
files

* News releases to area radio and print papers

* Feature interviews on area radio and newspapers

* Your website sales

[---WEDDINGS---]

Though weddings occur within every month of the year, the
biggest and most traditional month for weddings is June.
And, right now, in your own area, there are quite a few
being planned for this summer. Weddings are one of the
most lucrative income generators for musicians, because
families generally are very liberal in spending on them, and
go all out, so to speak, for this special day for their
daughters.

So, in our worst case scenario, let’s say you can get, at
least, one wedding gig per month, at $1,000 per gig (more
wedding gig opportunities are likely during summer months
especially):

$1,000 X 9 months = $9,000

Our monthly sub-total is now $3,016

Lead Generators:

* Caterers & Catering Services

* Placing low-cost ads in your area weekly newspapers

* Your website notices of your availability for weddings

* Providing your business card to area upscale restaurants

that cater wedding receptions and banquets

* Your business card left with flower shops

* Your business card left with jewelry stores

* Your business card left with bridal shops

* Your business card left with tuxedo shops

* Your business card left with bridal services

Note: You should also provide your business card to
wedding attendants who inquire about your services for
upcoming functions that they may be hosting in the future.

[---WEDDING CD SALES---]

You may also be able to sell your CD at weddings, however,
ASK FIRST when coordinating your performance
arrangements. Attendants usually interact with the band, as
it is a happy occasion.

If you are allowed to sell your recordings at weddings, you
should do so passively by having your CDs placed near the
performance area in a conspicuous position.

However, I would not “hard sell” (repeatedly mention) the
CD from the stage, unless of course, a wedding coordinator
decides to do so, or states that you may do so.

So, in our worst case scenario, let’s say, at least, 100
people attend each wedding (more are likely to attend
many weddings), with 10% of them purchasing your CD:

10 sales X $10.00 (per CD) X 1 month = $100

Our monthly sub-total is now $3,116

Lead Generator:

* Your performance

* Your website notice

[---RETAIL STORE CONSIGNMENT SALES---]

Since stores won’t be laying out cash in advance for your
music, you should have very little problem consigning your
music to retailers.

A word of advice is for you to not consign more than five
copies per per store, per 30-day period, at any time.
Limiting copies to stores will allow for sufficient time in your
product moving off retailer shelves.

Consider getting your product consigned with, at least, five
area retailers. However, if there are not enough music
stores in your area, consider consigning it with other
retailers such as; bookstores, flower shops, jewelry stores,
and any other such retailer that gets quite a bit of traffic
and might be interested in carrying your music.

You will, generally, be required to present retailers with your
own consignment form, and I have created one that you can
freely download and customize for your own use at: http://www.MuBiz.com/CnsnmtFrm.html

Just be sure to duplicate it so that both you and the retailer
have copies.

So, in our worst case scenario, let’s look at your area retail
possibilities:

5 Stores X 5 copies X $8 (your take) = $200 per month

Our monthly sub-total is now $3,316

Lead Generators:

* Low-cost classified or display ads in area newspapers

* Low-cost radio ads

* Low-cost cable television ads

* News releases to all forms of media

* Feature interviews at local television, radio stations and
print media

* Music reviews in your area print media

* Your website listing area stores carrying your music

Note: Provide your media kit and business card to retailers
in order to further influence their decision in consigning
your product.

[---PRODUCTION---]

Did you produce your own CD? If you did, and if people are
raving about how great it is, why not consider producing
other area bands as well for some extra cash?

Between now and the end of this year, you should be able
to produce, at least, two acts for, at least, a $1,000 fee
each.

Lead Generators:

* Word of mouth and fellow musicians you know

* Placing low-cost ads in your area weekly newspapers

* Low-cost college newspaper ads

* Low-cost college radio ads

* Your website notice of your production skills

* Fliers in music instrument stores

Note: Provide your media kit and business card to contacts.

As our monthly sub-total is $3,316, providing a grand
sub-total of $29,844, when you add on your $2,000
production fees for both bands that you produce, your
minimum grand year-end total comes to $31,844.

As I stated at the beginning of this article, each of these
aspects contain ‘bare bones’ minimum figures in respect to
what your earning potential is within them.

* Special Note: In each of these areas, it is very likely that
you will experience repeat business, as well as word of
mouth promotion, which will further add to your annual
income this year, thus, creating the potential for doubling or
even tripling your income.

By: Kenny Love

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This band is one that is very hard to pinpoint. With members from all over central PA, you can’t even pick one home for the band. Their sound is somewhere between industrial, goth and alternative rock, with a dark vein running through it all. The band lists their influences from Nine Inch Nails to early 80’s new wave and still to Seattle grunge.

We recently caught up with the band at the Sterling Hotel in Allentown, one of their favorite places to play, and I can see why. As part of an all industrial line-up, Allentown crowds know how to appreciate good industrial rock. The band showcased a few songs from their EP, “The Telegraph,” as well as some new songs, with a decidedly different sound. Singer Jeff explains, “The new songs are available through myspace and also their website. Our sound is changing, I think. Getting a little more aggressive than The Telegraph. If you take Telegraph as a ‘goth, alt’ record, then the songs we are working on currently are more on the industrial side. We are also currently working on, not so much a group of songs with a concept, but more so themed. The Telegraph was more of a look into a diary , and the newer songs are being written with a different theme, or purpose in mind.”

Being a goth band in central Pennsylvania doesn’t exactly sound easy. “We are definitely a minority,” the band explains, which explains why the band plays with such passion and dedication. With all-industrial shows like those hosted by The Sterling Hotel, though, goth bands are finding more and more fans in the area these days. The guys in FTA generally have to travel out of their immediate area for goth/industrial shows, but they tell us they’re hoping to bring more goth bands to the local scene. “We’re hoping to identify more with music fans locally to bring in some goth bands and do some more goth shows here.”

There was one question we just had to ask, after hearing a certain rumor: We’ve heard that you’ve been labeled as a violent band. What are your thoughts on that? The answer: Honestly that surprises us to hear. If people say our shows or band is violent or extreme than that’s what they get out of our performance and music and I’m definitely ok with that. We try to convey real feeling and real emotion through our shows and in our music. So I’m definitely ok with whatever people get out of what we are doing. Whether its violent, dark, emotional, heavy whatever; If one person can take something away from us and keep it with them, if only for a second, then we are definitely achieving what we are trying to do.

By: Tonia Jordan

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Keith Lockhart is one of the finest conductors of our generation.

Fifteen years ago, Keith Lockhart became the 20th conductor of the Boston Pops. Boston welcomed him with open arms and warm hearts and reveled in his celebrity status. It seemed that not a day went by without hearing about the handsome, affectuous and single new conductor of the Boston Pops Orchestra.

Hearts around Boston broke in unison when Lockhart lost his single status, but it was around that time it seems when things calmed and the respected conductor Keith Lockhart became the revered Maestro Lockhart.

I remember my first Boston Pops concert and seeing the Maestro on stage. I immediately fell in love with his energy! It was exhilarating to watch him conduct the orchestra. He spoke to the audience, he had a great smile, he laughed, he educated us, and he showed us all how much fun it was to spend an evening at Boston’s Symphony Hall!

Fifteen years later, Keith Lockhart has lost neither his enthusiasm nor his sparkle, and it is as enjoyable to watch him today as it was when I first saw him so many years ago.

One of the things I love about his style of conducting is that it makes sense! I can follow along with him as he counts it out, one and two and three and four! I don’t have to guess which body movement belongs to which bar of music. If he points to the tuba, the tuba plays. If he raises his arms wide, the orchestra gets loud! Classical music neophytes don’t sit with their eyes glazed over, wondering how the conductor connects with the musicians. I’ve watched plenty of conductors with their own style, and I sit there confused. But with Keith Lockhart, it all makes sense!

One of Keith Lockhart’s great strengths is his ability to connect with an audience. Through his passion, enthusiasm and charisma, he engages the audience throughout the entire performance. He earns and gains our trust, and we leave feeling like we know the Maestro and can’t wait for whatever he brings next!

His tenure with the Boston Pops has taken him around the world. With the Pops he has recorded a dozen albums, and has conducted approximately 1,300 concerts, and he has been involved with more than 60 television shows with the Pops.

For fifteen years, Keith Lockhart has conducted the Boston Pops, and for the last 11 years, he has concurrently served as the Music Director for the Utah Symphony. Keith Lockhart has a full career and he has been blessed with being able to work with some of the finest musicians in the world.

One of the highlights of the Boston Pops concert season is the 4th of July Fireworks Spectacular. There are two nights of concerts, with the first night a dress rehearsal for the big celebration on the 4th. I had the privilege to interview Maestro Lockhart on July 4th, prior to the evening’s nationally-televised concert. We spoke briefly about the holiday, and then he graciously answered questions ranging from his own piano performances to his belief that music exists to be emotionally compelling!

Interview with Keith Lockhart – July 4, 2009

Betsy: Maestro, I’d like to thank you for the interview. I have a tremendous amount of respect for you and it’s an honor and a privilege to be given this opportunity. Thank you so much.

Maestro Lockhart: I hear you did a nice piece about the Buzz Aldrin concert that we did last month.

Betsy: Thank you! I really loved that performance. It was quite unexpected, and as luck would have it, I got to sit in the front row! Everything came together so perfectly; the “planets” aligned and I couldn’t help but write about it. It was marvelous.

Maestro Lockhart: That’s great! Thank you so much!

Betsy: I have, I think, a week’s worth of questions I could ask you, but it turns out that you answer many of them on a regular basis on KeithLockhart.com! So today I’m tasked with trying to find the best questions I can ask, and fit them into this quick 10-minute interview.

I’d like to start by asking, how do you think last night went?

Maestro Lockhart: Well, there is a reason we have rehearsals. It’s funny, because the last couple of years the rehearsals have gone so smoothly that you get lulled into a false sense of security. But I think people really enjoyed it.

We have a number of things that we need to correct, but that’s how you see them, by getting a chance to do a dry run. It would be very ill advised to try to do a show this big, with this many moving parts, without some sort of a dry run since it’s live television.

I’m glad that we did it, but it was a harder night than I had hoped it would be.

Betsy: For the audience, from our perspective, it was great! We don’t mind the glitches because we’re overjoyed to see it and to experience it all. But I’m sure that from your perspective, those types of things can be tough.

Maestro Lockhart: We look at it from a different perspective because that is what we were supposed to do.

Betsy: Well, it was wonderful evening, and the weather turned out to be perfect – finally, no rain! And thank you so much for doing the 1812! You had said that you wouldn’t be doing the Overture, so it was a wonderful surprise.

Maestro Lockhart: A couple of years ago we started doing the 1812 in the preview show, but in the past years we haven’t done it because of time restrictions on the rehearsal. But TV wanted it and they wanted the chance to get it right a second time, so we put it back in. We got everything except the fireworks!

Betsy: If you weren’t conducting the Pops for the 4th, where would you like to be?

Maestro Lockhart: Oh, I don’t know. I have worked every 4th of July probably since 1988. So at this point, I have no idea what people do for the 4th. I think that on a nice day I would be on a nice beach somewhere with a summer drink and sandals on. I probably would not want to join 500,000 people to hear a concert. [laughs]

15 YEARS WITH THE POPS

Betsy: You’ve been with the Boston Popsnow for 15 years. It’s a tremendous milestone. Congratulations! I remember when you came to Boston and you were the talk of the town!

Can you sum up the last 15 years for me? What have been some of the greatest moments for you these past years? What have you been most proud of, and where have you experienced your greatest growth?

Maestro Lockhart: I think with the Pops it’s such an ongoing story. There are certainly moments that stand out with the Pops. Most of them are just the accumulation of work that we’ve done together. I’ve done, I think 1,200 or 1,300 concerts with the organization. I’ve been to Japan and Korea with the Pops, and I think to maybe 34 or 35 states.

All that takes such a huge amount of time and my plate has been so full. Things like the 4th of July concerts are all wonderful and spectacular. But certainly some of the TV work we’ve done, and the Super Bowl appearance, those are all very memorable.

In terms of growth, I think that actually my greatest growth has been personal rather than professional. When I came to Boston, I was totally unprepared for not only the amount of work that I was going to take on — not just here, but elsewhere over the next couple of years — but I was also unprepared for the amount of pressure and scrutiny the position brings with it.

I think the hardest part was figuring out how to have a life in that context, how to enjoy my life and how to manage the private versus the public parts of my life. And I think I’ve learned a lot about that. It hasn’t always been easy. But I think at the end of the day, life feels much easier and much more pleasant now than it did at the beginning of my tenure, even with all the great work that I still got to do.

Betsy: You earned your music degree in piano performance.Do you still perform?

Maestro Lockhart: I have not played in public for a couple of years now, so, yes, kind of. It’s one of those things that if you don’t have sufficient time to practice you just stop playing. And it’s a vicious cycle because when you start playing again you hate yourself because you don’t play well.

But one of my New Year’s resolutions this year was that I was going to dust it off, because conductors are wise to continue to make music themselves. Otherwise you become one of those people who doesn’t do it themselves, but just tells other people how to do it.

Betsy: So you don’t much play for leisure?

Maestro Lockhart: No, I hardly ever play for leisure. I hardly ever have any leisure! And the last thing I want to do when I have any leisure time is do music.

BECOMING MAESTRO

Betsy: At what point did you know you wanted to be a conductor?

Maestro Lockhart: Oh late in undergraduate school. It was not the kind of thing where I was 8 and wanted to conduct. It was probably when I was around 20 or so.

My music teachers said that I seemed to have a skill set that might be really good for conducting and asked if I’d ever thought about it. I told them that I hadn’t seriously considered it. But then I got to thinking about it seriously and I took some baby steps, and they worked. That was 30 years ago, next year.

Betsy: I think we are all the better for it. You’re a wonderful conductor and so charismatic. I think you bring so much to the world of music and to the public that you don’t see in a lot of conductors. Your personality, you connect with the people.

Maestro Lockhart: It’s really important, in this particular job, because the Boston Pops is all about connecting with people and audiences, and a lot of audiences who are not real classical music fans. So it’s important to be someone they can relate to.

Betsy:Did you ever think you would be conducting one of the most beloved institutions in the world?

Maestro Lockhart: Nope! It never entered my mind! The job had only been held by one other person since Arthur Fiedler’s 50-year tenure beginning in 1930. It would have been a hard job to set your sights on. [John Williams became Conductor in 1980.]

Betsy: What does being the conductor of the Boston Pops mean to you?

Maestro Lockhart: It means that I’m living my dream. It means that I have the opportunity to do what it is that I truly love and as we say in this business, you look around and say, “I actually get paid to do this… this is great!”

You don’t go into classical music for fame or wealth or any of those things. You go into it because it’s what you feel you really have to do. To have gotten to make so much great music with such a great orchestra for so many people, I couldn’t be luckier.

Betsy: I am new to the classical music world. My grandmother played Arthur Fiedler recordings when I was little. But she never passed down her love of classical music to me. And when my parents would listen to classical, I always wanted to hear something ‘else’.

Today, I am like a classical music sponge and I’m trying to soak up all I can. And I owe the inspiration for the love of the music to a very good friend of mine with whom you previously worked in Salt Lake City. I don’t know if you remember him, but his name is Jed Moss and he is a pianist there.

Maestro Lockhart: Yes, I do know him. How do you know Jed?

Betsy: Jed and I have been close friends for about three years.

Maestro Lockhart: Well I had a wonderful ride in Utah. I just wrapped up 11 years with the Utah Symphony as the Music Director in Salt Lake. It’s a great community for music and they have a wonderful orchestra.

Betsy: I read also that as the Emeritus Music Director of the Symphony, you’ll be going back a few times each year.

Maestro Lockhart: Yes, that’s the best part of the job. You get all the fun and not all of the work!

INTERESTING OR COMPELLING?

Betsy: Over the past three years, Jed has opened up so much to me classically, and he has really been my musical guide. He talks to me like I understand everything that he’s saying, which I don’t…

Maestro Lockhart: But you nod appreciatively right, that’s what counts! [laughs]

Betsy: What I do is write down things down and go look them up after our conversation! Through Jed’s recordings, he has introduced me to such a vast range of composers and styles. I have Mozart, Beethoven, Brahms and Bach, but then there are pieces from artists like Jeff Manookian that, to me, are kind of crazy and ‘unappealing to my ears’. But I can’t help but respect them and listen to them so that I can learn to appreciate the style and period.

Maestro, you’ve been able to mix your styles with your audiences well, but I imagine that some audiences are quite stubborn, and tried and true, and want their more traditional composers and pieces. But in cities like Boston, you probably find audiences that are receptive to more contemporary pieces.

So I am wondering, as a conductor and music director, how do you decide where and when it’s safe to bring a more contemporary piece to an audience?

Maestro Lockhart: Well I think audiences can be made to be receptive in all sorts of situations. There are audiences that don’t know what it is that they would enjoy. They react based on a partial knowledge of a situation and say, “well, I know that I like that person because I’ve heard of them before”.

So my job is to always give them something you know they should hear, not like eating their spinach, but getting them to do it and getting them to trust you and then planning things so that they say, “Oh, I never heard of that before. That was pretty exciting.”

There is always a balance, whether you’re conducting the Boston Pops or the most serious symphonic organization in the world. It’s a balance between entertainment and education. You always have to balance those two elements or you won’t have an audience where people have the entertainment side of the coin. And you won’t be doing your job as a musician if you don’t open their ears and their eyes to the musical world around them.

Betsy: With Contemporary composers that write maybe more avant-garde pieces, where do you see them fitting in today as well as in the future?

Maestro Lockhart: Well, for one thing, there are a whole lot of composers whose works that I don’t do, including Contemporary; because if I can’t find a reason to love a piece of music, I’m not going to force it on someone else.

I don’t think music exists to be intellectually interesting. I think music exists to be emotionally compelling.

So in a Contemporary scene, there are, well, there really isn’t avant-gardeto speak of right now. I think composers by and large turned back and are realizing that it’s their job to connect with an audience, not just to shock or push away an audience.

I’m a big fan of that approach, because I don’t see the point in playing music that leaves people having a negative feeling about what music is for.

Betsy: Thank you so much for speaking with me!

Maestro Lockhart: You’re very welcome.

I’d like to thank the Boston Pops, the Boston Symphony Orchestra and the BSO staff for their generosity and for their dedication to bringing the finest music and musicians to Boston. I’d especially like to thank Maestro Keith Lockhart for all that he gives, including making time on the 4th of July to speak with me!

By: Betsy Hijazi

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As the summer season approaches some high school teens are making plans to work. For many, this could be a first job. As you consider where to work and what kind of work you want to do, you should also get your high school resume as well as prepare for your interview. Here are eight interview questions employers ask high school students in interviews. These tips will serve as a guide to help high school teens come up with the best answers in the job interview.

Q. Tell me a little about yourself?A. The interviewer wants to learn more about your skills, abilities and some of your interests. This response sets the tone for the rest of the interview and it is a good idea to make the answer as brief as possible. A rough rule of thumb is to say something about the recent past, something current and a plan for the future. Here is what one freshman student shared in her interview, “Past- My family relocated to this region three years ago and I went to XYZ Middle School. Present – I am currently a Freshman at ABC High School and I take all honors classes. I am a part of the drama club stage crew and enjoy the theatre and arts. Future – My goal is to pursue Theatre Arts in college.

Q. Why do you want this part time job?A. Tell the interviewer why you applied for this position. Talk about your skills and your availability, not the employee discount. As a high school student, you can speak to the flexibility that the job offers, the proximity of the job to home or school or that you are saving for something specific like a summer trip, sports camp or your first car.

Q. Are you involved in extra curricular activities?A. High school teens should speak about after school activities, elective classes taken outside of school or any volunteer work or family obligations you might have. Do not be afraid to talk about activities such as music lessons or band practice.

Q. What would teachers say about you?A. This is a good chance to speak about your good performance in your favorite classes. Speak about teachers who you know would be able to give you a good letters of recommendation.

Q. Tell me about a problem you had and how you solved it?A. The interviewer wants to learn about you problem solving skills for handling challenges or conflicts. Make sure to give specific examples where you might have had a problem you actually had to solve. Don’t forget to talk about great outcomes.

Q. How many hours can you work?A. Share your availability to work daily or weekly. If you are looking for a job in retail, do not forget Saturday and Sunday. These might be the days where the employer needs you most.

Q. Tell me about your last job?A. Share information about job skills or accomplishment on the job. Do not speak badly about any prior employers. Keep this part of the interview very positive and upbeat.

Q. Why should we hire you?A. Here is an opportunity to talk about your job skills, behaviors and achievements and how they could be an asset on your new job.

Interview preparation is really key to interview success!

For extra help, teens can take the job description to the career counseling office at their high school and ask if for assistance. Ask to do a practice interview as well.

By: Marcia C Robinson

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So now that you’ve entered your pageant, you’re going to need a pageant interview suit. So how do you select a pageant interview suit that creates the perfect impression? Here are 5 simple guidelines to help you look like the top contestant that you really are!

1. Style – Pick an interview suit that is stylish, without being too trendy. Don’t select a suit that has tons of embellishments, is an unusual color, or is so “loud” that the judges remember the suit, but not you! Look for classic styles with a few style details such as an interesting neckline (great for seated one-on-one interviews), interesting detailing on the sleeves (perfect for standing panel interviews!), or a flounce at the hem (to highlight great legs!). Think Jackie O or Audrey Hepburn here. Pick a suit that highlights your strengths without being too boring or too trendy, that’s the key to pageant suit style!

2. Color – When picking your pageant interview suit, pay close attention to how the color works with your hair color and skin tone. Make sure the color is neither too bright nor too dull. If you close your eyes and the first thing you notice when you open them is the suit, the color might be too bright (the first thing you should see is your face). If you always get compliments when you wear certain colors, consider purchasing a suit in one of those colors. While, generally speaking, teens don’t wear black and Mrs. don’t wear pink, go ahead and bend the rules if the suit looks age appropriate for your competition division. The important thing here is to wear a color that flatters you!

3. Fit – There’s nothing more disappointing than a talented contestant in a suit that clearly doesn’t fit. The judges will get the impression that you really didn’t pay attention to your competition wardrobe and that you won’t pay attention while you’re the titleholder either. Allow time in your pageant prep schedule to take your suit to a good tailor and have it fitted; your suit should be neither too big, nor too tight. Make certain the jacket fits well in the bust and waist area to show off the fabulous physique you’ve worked so hard to achieve. Generally speaking the hem should be just below the knee, dead-center on the knee, or just above the knee. Make sure the sleeves are not too long or too short. By getting the fit right, you’ll leave a positive impression with the judges!

4. Price – I’ve had pageant contestants win in $1,500 suits as well as $99 clearance suits. The trick is to make sure that you are purchasing a well constructed suit. Choose a suit that has a full lining in both the jacket and the skirt. (If you must wear an unlined jacket, wear a camisole underneath the jacket and a half-slip underneath the skirt.) Look for fabric that holds its’ shape and doesn’t wrinkle easily. Check the shoulder area to make sure the seams don’t pucker. It doesn’t matter if you spend a fortune or buy something from the sale rack, the important thing is to find a suit that will keep its shape and hold up to any necessary tailoring.

5. Shop Early – Have you ever had the experience when you absolutely needed a new outfit, but couldn’t find a thing at the mall? And another time when you’re “just browsing”, you find tons of fabulous outfits? Well, don’t put your pageant interview suit shopping off until the last minute. Start shopping early and allow plenty of time to find the perfect suit and matching accessories!

Now that you know the secrets to finding the perfect pageant interview suit, get out your keys, jump in the car, and head to your favorite mall or boutique. Shop carefully and make a careful, informed purchase. Use your new pageant interview suit knowledge to create the image of a well-dressed, confident pageant interview contestant. Happy shopping!

By: Valerie Hayes

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Here in another installment of The Article Guy’s Article Marketing Interview Series. Today I interview Leann Weiss, author of Hugs for Friends & Heartlifters for Mom.

1. How did you get started writing articles?

April 1996, I went to a Christian writers conference to find out how to protect my copyright on a personalized product I was desk top publishing. At the conference, I scheduled an appointment with Lee Grady to discuss the possibility of writing a devotional for Charisma Magazine. Lee delivered the keynote at the luncheon before our meeting. During his presentation, he said that his magazine only accepted devotionals if you were a national speaker or author. So I went up to him after lunch to cancel our meeting. He asked what type of writing I did.

He was surprised when I explained that I wasn’t a writer, I had only registered to learn more about copyright protection. Lee asked what I did for a living. When Lee learned that I was a political consultant, he asked me a series of questions. An hour later as we wrapped up our discussion about Christians in politics, he asked if I could meet a two week deadline to write about the topic we had just discussed. October 1996 my first article was published in their election issue.

2. What has been your biggest mistake?

My first article started with over 4000 words. It took me almost two weeks to cut it to 1200 words.

3. What has been your biggest success and/or accomplishment?

Article writing quickly led to a book contract. I now have almost 7 million copies in print.

4. Where do you get your ideas?

Listening to the radio (music, talk shows, & news), browsing bookstores once a week, t.v. commercials, reading popular magazines, bill boards, networking with a wide variety of people, listening to conversations while I’m at airports or public locations & skimming a ton of books.

5. What has article writing and article marketing done for you and your business?

To be honest, I haven’t really written many articles the last eight years because I was so busy writing books and articles seemed to be so time consuming. But I’m re-examining the possibility as your templates will make it much easier to write without monopolizing my time. So your article teleseminars have been very helpful. THANKS! And I hadn’t really thought of writing articles for the web.

Points we can use

1. You never know where an interview will take you.

2. 11 different sources of ideas – “Listening to the radio (music, talk shows, & news), browsing bookstores once a week, t.v. commercials, reading popular magazines, bill boards, networking with a wide variety of people, listening to conversations while I’m at airports or public locations & skimming a ton of books”

3. One article can lead to a book deal.

4. One article can launch a career.

By: Jeff Herring

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Create a video blog…instantly.

Your resume should be like your greatest-hits compilation, not your complete collection.

If you want to learn about an artist or a type of music, which would you do first — Delve into a deep study of what he or she does, or listen to a sample of their best work? Most of us start with the sample.

Your next boss is faced with the same type of decision — over a thick stack of resumes. Hiring managers don’t have the time or interest to learn in-depth about your every activity at your last job — at least, not yet. What they want is an overview of what you did best, so they can find a reason in 10 seconds or less to put your resume into one of two smaller piles they’re making: “Call for an Interview” or “Not for Us.”

I’m not saying to leave entire jobs off of your job history. I am saying you don’t have to mention everything that happened on every job. Hit the highlights! Keep things 100 positive and 100 percent true, and you can’t go wrong.

If you were going through a bad time and you were put on probation or some sort of review, you know you’re not going to put that on your resume. (In fact, you may want to write that down on your “Avoid this subject at all costs” list!) But meanwhile, what did you do for your company while you worked there? What were the big benefits that your project and your work brought the company? That’s what belongs on your resume.

By: Scott Shane Holt

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