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In PrivateLessons.com interview with Eric Amada, we venture into the business side of music and entertainment. Born into a successful musical family, Eric was a Vice President at Columbia Artists Management, Inc. (CAMI) in New York, where he worked for 14 years. Now he is the owner of Arts Management Associates, a boutique firm that represents performing artists and entertainment acts.
You come from a family of performing artists. Talk about growing up around such talent.
Coming from a musical family, I was always around classical musicians. My mother, pianist Susan Starr, performed so much when I was little and I was exposed to many, many great concerts. She also taught piano from home and I can't tell you how many times I woke up to a student warming up with Pischna. In little time, I was able to tell who was going to get hollered at and I’d get out of bed faster! My grandfather was a violinist with the Philadelphia Orchestra, so I was also exposed to a lot of orchestral performances, especially during the summers at the Robin Hood Dell and at the Saratoga Performing Arts Center in Saratoga, NY. My sister, Lori Amada, was a very talented pianist who later moved over to French Horn. All three made their living performing and all went to Curtis Institute of Music. Almost everyone I knew performed an instrument at such a high level, but I was more of the black sheep of the family. I was obligated to choose an instrument to study and I chose clarinet, and was required to practice a minimum of one hour a day. I would have far preferred to be out playing baseball. As a teenager, I realized that most of my social life was due to the fact that I played clarinet yet I never seriously considered this as a profession for myself, especially after speaking with a neighbor one day who was such a talented clarinetist and him telling me he had no intention of playing professionally himself because he “did not want to be told what to play, when to play or where to play,” but simply did it for himself. Up to that point, I thought such talented people making a decision like that would be wasting their talent. However, it actually paved the way for me to realize that I did not need to go into the “family business,” and not all would be lost if I stopped playing as well one day. However, all of the exposure to such great musicianship and performances and studying music myself assisted me immensely later on in my chose field of Artist Representation as I had developed a really good ear for superior musicianship.
How did you become interested in arts management business?
While I do consider myself a natural candidate because of my early exposure, I initially wanted to be a sports announcer and went to Temple University to make this happen. I soon changed my focus to advertising, yet I was reluctant to move to NYC to work in that cut throat environment. After speaking to a few people in the industry, I landed my first job out of college working for the Florida Orchestra in Tampa as an assistant to the Director of Marketing. A year later, my name was recommended to Columbia Artists Management, Inc. (CAMI), as they were looking to fill a spot in the marketing department. So, I wound up in NYC after all. The director of sales there had worked with my mother years early and I guess he figured I had decent pedigree and he could turn me in to an agent. Well, he worked me hard, and after 14 years at CAMI, I started my own company in Philadelphia.
Many young artists dream of building careers. How does one get on the radar of artist managers? When is it the right time to engage in a business relationship?
A natural reaction is “how do I get concerts until I have an agent?” There are several organizations that prepare an artist for a career including Philadelphia’s Astral Artistic Services and Young Concert Artists, and a host of International Musical Competitions. The hard truth is that a majority of agents and managers want to manage careers, not artists.
Very, very few agents sign artists who contact them directly. I often get cold calls from young artists looking for representation. What I often tell them, if I find the time to reply, is that an effective agent is one who either believes in you and/or he thinks he can financially benefit. I think artists should be a little more careful and protective of their careers by not just signing with just any agent. I strongly believe artists need to carefully consider the magnitude of to whom they are entrusting their career. It’s almost like entering into a marriage. Just because you always wanted to get married one day and then you feel you are now ready does not mean you should just accept a proposal because that person seems like a good candidate on paper. Truth is that just because someone is an agent does not mean they will even book a single performance for you, and poof, you just lost a year or two of your life. An effective agent must be inspired and passionate about the artist they represent or it simply will not work.
People sometimes find me through directories and know nothing about me or my agency… I think it is like someone finding a potential spouse on an online dating service and then talking about marriage before dessert is served. Wouldn’t you want to be introduced or speak to someone who knew your “date” before you went out? However, if someone I knew and respected set up this interview and said “she is fabulous, you are going to thank me,” I’d be a lot more receptive, right? If Martha Argerich or Fima Bronfman were to write to me and tell me I simply had to hear this pianist that they thought was the next Evgeny Kissin, do you think I might find that of interest? So, in a nutshell, I would recommend speaking to colleagues and teachers who are familiar with the managers and really familiarize themselves with how to prepare to make a good impression. This means knowing what is unique about your talent. What separates you from the rest? What conductors are ready to hire you if I were to call them? Do you have quality recordings and references and reviews?
You represent Igudesman and Joo, one of the funniest acts exploding on the music scene since Victor Borge. How did this relationship come about?
I saw one of their videos. I immediately recognized their uniqueness, and their marketability, and the fact that they were working with such musical luminaries as Gidon Kremer, Emanuel Ax, Julian Rachlin and Mischa Maisky, I knew they would be received well with the organizations who book talent. At the same time, I also knew they were not a household name, and were virtually unknown in North America outside musical circles…. which means a tough sell to the general public. They were in the process of changing their representation in the states, and I was quite fortunate to have contacted them when I did. Although they were already in discussion with far larger agencies, I think it was my familiarity with them and my obvious passion and enthusiasm for their artistry that piqued their interest in me. We have a long way to go before we are successful in getting them into the largest performing arts centers in the states, but they are clearly on their way… and 15 million views on YouTube does not hurt!
With emergence of Internet technologies, recording industry went through major challenges and changes. At the same time, how did arts management business evolve and adapt?
Record companies are no longer operating in the same fashion as they did even 10 years ago. They are now looking for what has been coined 360 deals, where they pretty much control all aspects of an artist’s career, including management, booking, publicity, music publishing, etc. Very few classical artists ever made money on classical recordings anyway. If a classical artist were to sell 10,000 CDs, this would have been quite extraordinary. Not like the pop artists. It seemed to me that they would go out on tour to generate more record sales, where the classical artists would generate recordings to help secure live performances.
While it is now easy to put up a wonderful video recording of yourself performing on your website, or on social media outlets and gain exposure, it also means 1,000,000 other people are also doing it. What is required is that you do something that really sticks out. Anyone can make a recording of Chopin Preludes or Bach Fugues. And it hardly matters if you play exceptionally well because that is practically expected. You need to find a way to make your outstanding performance stand out. Perhaps an agent can open some doors. Some artists have received attention for their appearance, whether it is because of how attractive they are, or because they have overcome physical limitations or even because of the color of their skin. If you are a pop artist and you write a hit song, no one does it better than you! In the classical world, what are you going to show me that I haven’t seen a hundred times and that my grandfather didn’t himself see?
It was not my intention to be so harsh here, but this is a tough and unfair business and this is because it isn’t about who is fastest or scores the most points. The same could be said about Hollywood, I guess. But I will share with you, paraphrasing what I used to hear my mother telling her students: if you can find happiness making a living doing anything else, you may be well-advised to pursue that avenue because you will undoubtedly find tremendous hurdles and damaged feelings. You should not venture down this avenue unless you truly know you wouldn’t be happy doing anything else and you are ready to sacrifice… tremendously.
In our interview with PrivateLessons.com member Jennifer Hamady, we discuss her book "The Art of Singing - Discovering and Developing Your True Voice". Based in New York City, Jennifer is a vocal coach and a professional singer. She worked with Stevie Wonder, Patti LaBelle, Def Leppard, Christina Aguilera, Wyclef Jean, Lee Ann Womack, Smokey Robinson, Jessica Simpson, Delta Goodrem, Babyface, Kid Rock and Usher on tour, in the studio and on television. Jennifer also toured as the lead singer in Cirque du Soleil's DELIRIUM.
What was the "aha!" moment that encouraged you to write the book? How many aha's did you have while writing it?
The book actually began as a series of emails. I traveled quite a bit when I started my practice, both as a coach and a singer, and would stay in touch with clients electronically while on the road. I noticed after a time that the same questions would come in, and that my answers seemed to be both unexpected and helpful. This- coupled with my growing belief that there had to be a healthier and more integrated way to both train the voice and educate the singer- led me to refashion my ongoing conversations into a manuscript.
There simply isn’t enough time in the day, much less the year, to share all of the ‘aha!’s I had while writing the book. Each page contains the result of so many of these moments; understandings born from revelations as a singer and/or in working with other singers that not only supported, but indeed created in many ways the foundation of my ideas and approach. And it is an evolving one; I believe that there is no certain wisdom any of us can possess… in singing, teaching, or in life. I’m fully aware that in a few years I’ll sit down to work on a second edition armed with completely new and possibly even contradictory experiences and insights.
Perhaps the biggest ‘aha!’ in the book writing process, if you’re up for a story, occurred about seven years before it was finally released in 2009. At that time, I’d just finished writing the manuscript, and went with my family to Italy for the summer… a vacation for them, and an opportunity to do a final edit of the book in style for me. So it was with great horror that not only was my laptop stolen when we first arrived in Rome, but that the files I’d left at home were corrupted. Meaning… that I had to write The Entire Book Over Again…
Having no other choice, I decided to do my best to recapture what I’d spent years meticulously and loving compiling. This proved to be a losing battle… and happily so. So much had happened to me and in my life since completing the first version of the book… as a woman, a singer, a student, and a teacher. My desire to prove myself in all of these areas in my early twenties had shifted into a passion to witness and humbly share, and I believe the current version of the book reflects that shift, and is vastly if not altogether improved for it.
Another revelation came from my decision about the cover art. Writing a book is a very personal process, and as you progress, it becomes more and more challenging to imagine releasing it to your editor, much less to the world. So it was a beautiful lesson for me to follow my instincts when they whispered that I should turn the cover completely and entirely over to my friend Randall Hasson. I literally handed him the manuscript one day, told him I loved and trusted him, and waited with bated breath for the result. It was one of the best decisions I’ve ever made. Randy poured himself into the project, and gave me such a gift with his beautiful work of art; I couldn’t have dreamed of anything more special or reflective of what I believe the spirit of the book to be.
All of this came into being for me- the book, the cover, the learning- from a series of grand ‘aha!’ moments in the area of ‘letting go’… of right and wrong, of good and bad, of perfection, of control, of ‘shoulds’ and ‘what if?’s. This release is, I believe, one of the greatest gifts we can give ourselves. It opens up the possibility of powerfully partnering with others and truly sharing ourselves with the world.
You talk about trusting one's instincts, unlearning bad habits and envisioning before creating. Please elaborate.
Much of our learning today is additive. Meaning, we’re constantly taking in information and trying to reconcile it with what we already know, rather than standing without prejudice or intent in the face of new ideas. Because of this, we continue building up the dam of ‘what we believe to be true’ that blocks, rather than allows, the freshness of wisdom to flow to us, through us, and change us.
In singing, as in other areas of our lives and learning, we need to deconstruct this dam that’s been built for us by society, and by us in our compliance with it, before we can properly survey the landscape and ascertain what structure is truly best. In the realm of singing, this means addressing our culture’s subtle and overt perceptions of singers and singing, as well as our understanding of the nature of our voices- and the bodies in which they’re housed- and what the use of our instruments mean to us as people. While these ideas may seem simple, they in fact involve very complex relationships that transcend vocal production, including issues of fear, ego, control, expectation, perfection, personal value and worth.
In my experience, to properly begin the exploration of vocal training, the aforementioned issues must be addressed and resolved. Once they have, instincts and intuition step in... they’ve always been there, but are often hushed by the louder voices that plead for perfection, control, and notoriety. In the stillness, we can listen to ourselves and hear the whisperings of where we as people- and as singers- want to go… not because we should or need to in order to validate some personal or societal expectation, but because we dream and long to go there. When we are solid in this vision, its creation becomes a joy-filled journey.
Discuss learning how to learn, becoming one's own best teacher, and breaking away from negative conditioning.
The third chapter is dedicated to the realm of learning, and in my opinion, is one of the most important parts of the book. After all, the answer to the question of what we learn follows, rather than precedes, how it is that we will learn.
Many of us had less than optimal experiences in school, where the memorization and regurgitation of facts trumped the process of learning and its enjoyment. We may have believed that we were passive and second-class receivers of information rather than co-creators of relationships with curiosity, experience, and eventually, wisdom.
I have found that in all learning, particularly in singing, we must bring to the table a sense of equality and confidence as students if we want to participate optimally. That doesn’t mean that other people don’t hold incredible amounts of wisdom for us to absorb. It simply means that the process of empowered learning is in the context of relationship, with the specific information being the byproduct rather than the goal of the dance. When this respectful balance is achieved, new wisdoms easily and powerfully replace previously held ideas, stereotypes, and illusions- both mental and physical- because we had a both a say and a role in creating them.
Your chapter on fear covers a range of issues. Talk about managing fear.
These are such great questions… all with answers that could fill an entire book if addressed comprehensively. Perhaps the best way to briefly summarize my view is that I believe fear to be a positive, rather than a negative force. Our fears are, in my opinion and experience, calls to action that encourage us to move into new areas and experiences.
Unfortunately, many of us hear this call to action as a cry to retreat. We resist fears when they come, dismissing the pull to somewhere new in an effort to remain still, safe, and often, stuck. Our pride and egos compound the issue, frantically insisting that any effort to stretch out of our comfort zones will necessitate risking personal annihilation. And so we remain, longing for a great adventure while floundering in mere survival. We’re alive, but we’re not thriving.
In reality (my reality, anyway...) ‘failure’ is a myth. It’s an illusion. One look at nature will demonstrate this point. There is no wrong or right in the birth to death cycle. There is no judgment upon how a flower or a tree sprouts, blossoms and reaches for the light. Things simply are. It is we human beings that decide to create and impose the illusions of good and bad on what is simply an experience of and participation in the passing of time… an imposition which keeps us from really enjoying and being present in life. Look at young children… do they fear failure? Do they fear rejection? Do they worry about how it will look if they fall when learning to walk? Hardly. It is time we unlearn these illusions and remember the truth.
Interestingly, many singers are drawn to the profession in order to work through and reconcile these issues of fear and failure. Often, they have become convinced- incorrectly- that in an otherwise ‘unsuccessful’ life, their talent is the thing that will make them valid and worthy. Yet when this theory needs to be tested upon the metaphorical and literal stage, the fear that created this bizarre agreement rears its head and insists on neither trying to succeed (for fear or failure) nor giving up and pursuing something else (for pride and fear of ‘looking bad’). It’s a painful dance to both experience and witness. Fortunately, this very struggle, if approached with care, can result in its eventual resolution, and thus, personal and vocal freedom.
Define a healthy voice.
In my opinion, a healthy voice entails three equally important things: a healthy vocal instrument (larynx, vocal folds, strong and connected support mechanism, etc.,), a healthy body (physical health and somatic wellness), and a healthy mind (lack of stress, a sense of humility and confidence, and trust and faith in one’s place in the world). They are wildly and fascinatingly interrelated; without one, there will be a struggle in the long, if not the short term.
Recording sessions have their challenges. How do you achieve a sense of live performance in the studio?
In my opinion- and experience- the biggest piece of ‘technology’ that gets in the way in the studio is the mind. Certainly there are audio variables that in both their newness and foreignness to the natural singing process can cause problems (see below). But generally, it is concerns regarding the experience that singers bring to a recording session that exacerbate, if not cause, a less than optimal performance.
This is largely due to the inherent nature of a recording session. In a way it is a performance, but in another way not, as it will be immediately revisited, checked, tweaked, tuned, overdubbed, and ‘fixed’. It is hard therefore to be in the creative moment- which necessarily involves releasing the moment and performance- when we know that in one minute or less, we’re going to clinically analyze and even alter what we just created.
I therefore suggest to singers that they treat their recording sessions as live performances. I find that it’s best to walk into the booth and sing a song straight through, without thought, without listening back, and without thinking too much about headphone levels and mix and such. Just go for it. Afterwards, you can put your analytical thinking cap and intellectual listening ears back on to critique and, if necessary, correct what you’ve done.
While I’ve learned over the years to embrace and enjoy the process of performing in the studio, certain sessions still present challenges for me. I recently did a gig, for example, where in my headphones I was singing powerfully and perfectly in tune to the track, only to hear after stepping out of the booth that I was a quarter-tone flat throughout the whole line.
It is in this moment that the quality of a session is determined… it is in this moment that a singer has a choice: to get frustrated, embarrassed, angry, and critical of others, or to remain practical and curious about the cause of and solution to the discrepancy. Nine times out of ten, lowering the volume of my voice and/or the overall track in my headphones, or removing one headphone will correct my aural perception and therefore, pitch and performance accuracy. This seems to be true for most of my clients and colleagues as well.
Therefore, remain calm and committed to doing your best rather than to perfection. The former you can control, the latter you cannot. Any attempts at the converse will inevitably weaken your performance, as well as your experience.
You provide an example of how The Washington Post critic dismissed Andrea Bocelli's operatic skills while the audience was enthralled with his passion. What value did the critic bring to his readers?
I think the critic shared quite a bit of value regarding standards in and ideas about classical vocal technique. My issue was not necessarily with the content of his commentary, but rather, the lack of context, which included a moving and powerful presentation that left people in tears and cheering. I felt that this omission did a disservice to an accurate encapsulation of the performance and experience.
My intention in including the review was to provoke a conversation about this very issue… how in our desire to measure ‘quality’ of technique and levels of talent- in all forms of art- we often relegate to the background the effort and passion that leads artists to step onto the stage in the first place. In my mind, this passion is as valid an art form as the ‘technique’ itself. I loved this example because the reviewer’s staunch dislike of Bocelli’s performance was in such sharp contrast to the audience’s reaction. As singers, we are familiar with this conversation… whether it involves a debate of classical versus commercial technique, or training versus inherent ability, there often seems to be very little middle ground. I wanted to open that space up, and encourage us all to spend some time breathing and dancing in much larger ideas of ability and success…
How do you advise your clients to remain centered and unaffected by negative reviews?
I love the Tao Te Ching, and reference it often. It, along with the tenants of Buddhism and other eastern philosophies, discuss the nature of duality, and how a lack of attachment is the first step on the path to peace. I agree with these views, and feel readings in these areas would benefit all artists, and indeed, all people.
One of the most foreign and challenging of these concepts for us Westerners involves releasing attachment to both the negative and the positive. We must not only let go of the bad reviews. We too, while appreciating them, must also let go of the good ones. If we’re attached to either, we’re attached to both. Once we are able to achieve this full release, the process of singing and being in the present moment open up with a thrill that far surpasses any external or internal validation.
It is tempting to dismiss these ideas as spiritual mumbo-jumbo, but before you do, consider those performances and performers that you feel to be top-notch. Those you remember and think of as truly transformational. I’d bet that for most of us, it is those artists that from the moment they step on stage powerfully draw us into their worlds and experiences. We are attracted not to their ‘perfection’ but to their sincerity… to the permission they give us through their own vulnerability to bring forth a similar honesty within ourselves…
Certainly we all need critics, and I suggest that clients welcome reviews and constructive criticism as opportunities to see themselves through new eyes, to stretch, and to grow. But while on stage, let prior, future, and even current opinions fade- including your own. They no longer and do not yet exist. All that is present is the moment. Do your best, open your soul, and share your song.
You were a lead singer in Cirque du Soleil's DELIRIUM, touring in 16 countries. What was it like to perform for over 1 million people?
Mind blowing. Breathtaking. Frustrating. Humbling. Surreal. Awe-inspiring. Spiritual. Like a beginning. Like coming home.
I remember when we walked into the arena in Budapest… the largest we played on tour- something like 20,000 seats- we all stood there for a moment before sound check and just listened to the stillness… the quiet. The space was filled with expectation for what was to come… for what we would deliver to That Many People. I still get goose bumps thinking about it. Thank you for allowing me to re-experience that.
And thanks to you & your readers for sharing this wonderful conversation with me. Always a pleasure.
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