NOTES

Chapter 2: Struggles and Triumphs of Western Musicians

1.  George R. Marek, Beethoven: Biography of a Genius (New York: Funk & Wagnalls, 1969), pp. 93, 94.

2.  http://www.beethoven-haus-bonn.de/sixcms/list.php?page=museum_internetausstellung_seiten_en&sv[internetausstellung.id]=31561&skip=9, accessed July 2014.

3.  Ibid.

4.  Jim Whiting, The Life and Times of Giuseppe Verdi (Hockesin, DE: Mitchell Lane Publishers, 2005), p. 40.

5.  Peter Davis, The American Opera Singer: The Lives and Adventures of America’s Great Singers in Opera and in Concert from 1825 to the Present (New York: Doubleday, 1997), p. 134.

6.  Ibid.

7.  Ibid., p. 135.

8.  Ibid., p. 129.

9.  “Bubbles—Beverly Sills,” www.diarci.com/2012/12/10/bubbles-beverly-sills/, accessed May 1, 2015.

10.  Ibid.

11.  William F. Baker and Michael O’Malley, Leading with Kindness (New York: Amacom, 2008).

12.  Anthony Tommasini, “Beverly Sills, Acclaimed Soprano, Dies at 78,” New York Times, July 2, 2007, accessed May 20, 2009.

13.  Anthony Tommasini, “Lessons in a Year of Crises,” New York Times, January 8, 2014.

Chapter 3: The Performing Arts as an Industry

1.  Michael Cooper, “Met Opera Tax Filing Reveals Pay for Gelb,” New York Times, June 16, 2014, http://www.nytimes.com/2014/06/17/arts/music/met-opera-tax-filing-reveals-pay-for-gelb-and-angers-unions.html?_r=0, accessed May 28, 2015.

2.  Ibid.

3.  U.S. Census Bureau, “Industry Statistics Portal, Business Data from the U.S. Census Bureau, 2012 NAICS 71—Arts, Entertainment, and Recreation,” http://www.census.gov/econ/isp/sampler.php?naicscode=71&naicslevel=2, accessed June 1, 2015).

4.  Ibid.

5.  “Giving USA 2011” (Chicago: Indiana University Center on Philanthropy, 2011), www.givingusa.org, accessed June 1, 2015.

6.  U.S. Census Bureau.

7.  U.S. Department of Labor, “May 2014 National Industry-Specific Occupational Employment and Wage Estimates, NAICS 711100—Performing Arts Companies,” http://www.bls.gov/oes/current/naics4_711100.htm#27-0000, accessed June 1, 2015.

Chapter 4: The Digital Revolution and the Performing Arts

1.  Louis Menand, “Crooner in Rights Spat: Are Copyright Laws Too Strict?” New Yorker, October 20, 2014.

2.  Luis Cabral, The Economics of Entertainment and Sports: Concepts and Cases (unpublished academic paper, 2015).

3.  Richard Campbell et al., Media and Culture: An Introduction to Mass Communication, ninth edition (New York: Bedford/St. Martin’s Press, 2004).

4.  Martha Mendoza, “How Facebook Likes Get Bought and Sold,” Huffington Post, January 5, 2014, http://www.huffingtonpost.com/2014/01/05/buy-facebook-likes_n_4544800.html, accessed June 5, 2015.

5.  Michael Tilson Thomas, TED 2012.

Chapter 5: Reading and Understanding Financial Statements

1.  Johann Wolfgang von Goethe, “Wilhelm Meister’s Apprenticeship,” [1795] trans. in Eric Blackall, ed., Goethe: The Collected Works, vol. 9 (Princeton, NJ: Princeton University Press, 1995).

2.  “Michael Tilson Thomas, Worth Every Penny,” Los Angeles Times, December 14, 2008.

Chapter 6: Essential Lessons from the Great Managers

1.  Peter Gelb in email correspondence with Evan Leatherwood, December 14, 2014.

2.  Nicole Gelinas, “The Met’s Fiscal Tragicomedy, When the 1% Stop Giving,” New York Times, August 4, 2014.

3.  Peter Gelb in conversation with William F. Baker and Evan Leatherwood, March 25, 2013, on the campus of the Juilliard School, New York City.

4.  Anita Elberse and Crissy Perez, “The Metropolitan Opera (A),” Harvard Business School Study 9-509-033, March 23, 2009 (Boston: Harvard Business School Publishing), p. 12, Exhibit 2D.

5.  Ibid., p. 4.

6.  “New York’s Met Faces ‘Social Rejection of Opera,’ ” http://www.dw.de/new-yorks-met-faces-social-rejection-of-opera/a-17595752, accessed August 31, 2014.

7.  Fred Plotkin, “What’s Ailing Opera in America?” http://www.wqxr.org/story/174092-whats-ailing-opera-america/, December 2, 2011, accessed August 20, 2014.

8.  Elizabeth Maupin, “Orlando Opera to File for Bankruptcy,” Orlando Sentinel, http://articles.orlandosentinel.com/2009-04-28/news/Opera_1_orlando-opera-united-arts-sabol, April 28, 2008.

9.  Bettina A. Norton, “Opera Lovers Stunned by Opera Boston’s Closing,” Boston Musical Intelligencer, http://www.classical-scene.com/2011/12/23/opera-boston-closing/, December 23, 2011, accessed August 20, 2014.

10.  James B. Stewart, “A Ransacked Endowment at New York City Opera,” New York Times, http://www.nytimes.com/2013/10/12/business/ransacking-the-endowment-at-new-york-city-opera.html?pagewanted=all&pagewanted=print, October 11, 2013, accessed August 28, 2014.

11.  Peter Gelb in email correspondence with William F. Baker, December 8, 2014.

12.  Peter Gelb in conversation with William F. Baker, March 26, 2014, on the campus of the Juilliard School, New York City.

13.  Ibid.

14.  “The Met: Live in HD Fact Sheet 2012–13” (New York: The Metropolitan Opera, August 20, 2012).

15.  Ibid.

16.  Ibid.

17.  Peter Gelb and Matthew Dobkin in email correspondence with William F. Baker, April 3, 2015.

18.  Ibid.

19.  Gelb in conversation with Baker, March 26, 2014.

20.  Ibid.

21.  Ibid.

22.  Michael Cooper, “In Surprise Finale at Metropolitan Opera’s Labor Talks, Both Sides Agree to Cuts,” New York Times, August 18, 2014.

23.  Robin Pogrebin, “Metropolitan Opera Receives $30 Million Gift,” New York Times, http://www.nytimes.com/2010/03/27/arts/music/27gift.html, March 26, 2010, accessed August 19, 2014; Gelb and Dobkin in email correspondence with Baker and Leatherwood, April 3, 2015.

24.  Gelb in conversation with Baker, March 26, 2014.

25.  Ibid.

26.  Sir Clive Gillinson in conversation with William F. Baker and Evan Leatherwood, February 26, 2014, on the campus of the Juilliard School, New York City.

27.  “Behind Bars: Music at Sing Sing,” video posted by Carnegie Hall: Weill Music Institute, https://www.youtube.com/watch?v=TBYRMgPny-k, viewed April 14, 2015.

28.  Gillinson in conversation with Baker and Leatherwood, February 26, 2014.

29.  “Behind Bars: Music at Sing Sing.”

30.  Meredith “Max” Hodges, live presentation, January 22, 2014, on the campus of the Juilliard School, New York City.

31.  Ibid.

32.  Ibid.

33.  Ibid.

34.  Ibid.

35.  Ibid.

36.  Ibid.

37.  Ibid.

38.  Ibid.

39.  Ibid.

40.  Ibid.

41.  Annual revenues for the Paul Taylor Dance Company: 2011—$6.7 million, 2010—$6.3 million, 2009—$5.2 million, 2008—$9.1 million. Source: U.S. Department of the Treasury, Internal Revenue Service, Form 990 for the Paul Taylor Dance Company, accessed from www.guidestar.org February 15, 2014.

42.  Max Hodges in email correspondence with Evan Leatherwood, March 10, 2014.

43.  Hodges, live presentation, January 22, 2014.

44.  Ibid.

45.  “Tell Me, What Is It You Plan to Do with Your One Wild and Precious Life?” from Portrait Project by Tony Deifell, http://www.hbs.edu/PortraitProject/2010/HodgesMax.html, accessed September 16, 2014.

46.  Hodges in email correspondence with Leatherwood, March 10, 2014.

47.  Rachel S. Moore interviewed by Evan Leatherwood at the offices of American Ballet Theatre, New York City, May 2, 2014.

48.  Ibid.

49.  Rachel S. Moore in conversation with William F. Baker and Evan Leatherwood, April 23, 2014, on the campus of the Juilliard School, New York City.

50.  Ibid.

51.  “United States Congress Honors American Ballet Theatre,” May 5, 2006, Ballet Theatre Foundation, http://www.abt.org/insideabt/news_display.asp?News_ID=160, accessed November 13, 2014.

52.  Moore interviewed by Evan Leatherwood at the offices of American Ballet Theartre, New York City, on May 2, 2014.

53.  Ibid.

54.  Rachel S. Moore in email correspondence with Evan Leatherwood, March 31, 2015.

55.  Moore interviewed by Leatherwood, May 2, 2014.

56.  Ibid.

57.  Ibid.

58.  Jeanne Sahadi, “Top Ten Millionaire Counties,” CNNMoney.com, http://biz.yahoo.com/special/trophyhome06_article1.html, accessed November 13, 2014.

59.  Moore interviewed by Leatherwood, May 2, 2014.

60.  Ibid.

Chapter 7: Essential Lessons from the Artist-Entrepreneurs

1.  Claire Chase interviewed by Evan Leatherwood, February 15, 2012, on the campus of the Juilliard School, New York City.

2.  Claire Chase interviewed by Evan Leatherwood, Autumn 2013, at ICEHaus, headquarters of the International Contemporary Ensemble—New York Chapter in Brooklyn, New York.

3.  “The Ensemble Modern’s History,” https://www.ensemble-modern.com/en/ensemble_modern/history, accessed April 10, 2015.

4.  Chase interviewed by Leatherwood, Autumn 2013.

5.  Ibid.

6.  Chase interviewed by Leatherwood, February 15, 2012.

7.  “International Contemporary Ensemble Foundation,” Andrew W. Mellon Foundation Grants database, http://mellon.org/grants/grants-database/grants/international-contemporary-ensemble-foundation-inc/41000660/, accessed October 14, 2014.

8.  “ICElab a New Model for New Music,” http://iceorg.org/icelab, accessed October 14, 2014.

9.  Chase interviewed by Leatherwood, February 15, 2012.

10.  Diane Wittry, live presentation, January 29, 2014, on the campus of the Juilliard School, New York City.

11.  Daniel Talbott in Los Angeles interviewed by Evan Leatherwood in New York via phone, March 16, 2015.

12.  Ibid.

13.  All information about AEA requirements from Actors’ Equity Association, “Basic Showcase Code” (New York: AEA, January 2006), www.actorsequity.org, accessed April 10, 2015.

14.  Talbott interviewed by Leatherwood, March 16, 2015.

15.  Ibid.

16.  All information about AEA requirements from Actors’ Equity Association, “Basic Showcase Code” (New York: AEA, January 2006), www.actorsequity.org, accessed April 10, 2015.

17.  Talbott interviewed by Leatherwood, March 16, 2015.

18.  Christopher Dylan Herbert interviewed by Evan Leatherwood in Brooklyn, New York, September 9, 2014.

19.  Ibid.

20.  Ibid.

21.  Ibid.

22.  Ibid.

23.  Ibid.

24.  High figure of about $30 based on rates posted online in November 2014 per class for Gibney Dance ($17 for a pro ballet class), Alvin Ailey Extension ($32 per class), Paul Taylor Dance Company ($14 to $16 per class), and New York City Ballet ($22 per class).

25.  Assuming that you took five classes per week at the lowest available rate ($14 at Paul Taylor Dance Company), that would come out to $280 per month.

26.  Miriam Kreinin Souccar, “Workin’ Hard for the Money: Dancers on Poverty Line,” Crain’s New York Business, http://www.crainsnewyork.com/article/20120227/ARTS/120229923/-workin-hard-for-the-money-dancers-on-poverty-line, February 17, 2012, accessed April 14, 2014.

27.  Loni Landon and Gregory Dolbashian interviewed by Evan Leatherwood, October 1, 2013, at Fordham University’s Lincoln Center Campus, New York City.

28.  Ibid.

29.  Ibid.

30.  Ibid.

31.  Elena Hecht, “The Playground” in “2013 25 to Watch,” Dance Magazine, http://www.dance-magazine.com/issues/january-2013/2013-25-to-watch, January 2013, accessed April 14, 2015.

32.  Alex Lipowski interviewed by Evan Leatherwood, September 24, 2012, at the Talea Ensemble studio, Long Island City, New York.

33.  Ibid.

34.  Ibid.

35.  Ibid.

Chapter 9: Auditions, Agents, and Angela’s Story

1.  Paula Poeta and Dustin Flores interviewed by Evan Leatherwood and William F. Baker on the campus of the Juilliard School, February 11, 2015.

2.  Gavin Bond, “The X-Files 1993/2002,” Entertainment Weekly, October 25–November 1, 2013.

Chapter 10: The Graduation Speech

1.  Kim Nowacki, “McDonald’s Pianist: I’m Loving It,” WQXR Blog, December 23, 2011, accessed July 2, 2015.