Reading Jerry Kathman’s post last week regarding brands brought to mind a thought I have been carrying around for some time now.

As most of you know, we live in the Land of Brands here in Cincinnati. The refinement by Procter & Gamble of the concept of brand integrity is among the most important building blocks of our Cincinnati commercial infrastructure. While I have been involved in the arts in Cincinnati for over 30 years now, I make my living as a qualitative research consultant for one of the world’s largest marketing research firms. Brands are now my life, and I increasingly see the need for arts organizations to follow their business cousins in embracing the need for brand integrity.
 
How does one define a brand? Effectively, it’s the story an organization or company tells, and the way it presents itself in order to distinguish the organization from competitors and convey its business standards, principles and unique qualities to potential customers. Brand integrity is achieved when all components of an organization function in alignment with and serve the essence of that brand.
 
An artist or musician or writer is free to create anything they choose for their own pleasure or satisfaction. However, once they decide to sell their creation to someone else, then it becomes a business transaction. Art for art's sake is perfectly fine, but artists or composers who become successful tend to develop a consistent, recognizable point of view that is identifiable as theirs – their brand.
 
For an arts organization to succeed financially, it has to develop its own brand. It has to find a way to be the middleman between creatives and consumers, to effectively market the artistic “product” they are selling in order to appropriately compensate those who are creating those products. This does not mean that they have to narrow or limit their brand, but they do have to 1) understand their audience and 2) consistently deliver on their marketing promises, whatever those might be. By so doing, they will build trust among that audience and reap the rewards of repeat business.
 
The challenge for many arts organizations is that they are not established or managed with brand integrity in mind. Programs and exhibits are often put together in ways that that can seem arbitrary to patrons. In many organizations, artistic product is considered the key element and marketing is not the driving concept. As a result, marketing directors face the daunting task of figuring out how to put people in the seats or get them to an exhibit without the benefit of a unified, integral message or concept. To achieve long-term organizational success, all facets of the organization must serve the same, agreed-upon objectives.
 
For the arts to compete with mass media and all the other easy distractions in our society, organizations must develop, serve and consistently deliver on a powerful and distinct brand message. More attention to branding and marketing will help make the arts more attractive to consumers and therefore more self-sufficient, and less reliant on governmental funding and private donations, all without sacrificing artistic integrity.
 
For more on this topic, see the next issue of Express Cincinnati, in print and online, available June 24.

Yesterday I talked about how easy it is in this Internet age to become engrossed in a story unfolding on distant shores (the Susan Boyle saga) and, yet, be unaware of what similar narratives exist in our own community.

Thanks in large part to our strong German lineage here in the Queen City, vocal music is a central force in our cultural heritage and contemporary musical life. Whether one was Catholic, Protestant or Jew, singing was an integral component of the lives of 19th century Cincinnatians, both in worship and as part of the social fabric of the city. These days, choral and vocal music have a much smaller role, but they do come to the fore during two important seasons of the year. Not surprisingly, the Christmas and Yuletide season remains the most prominent season for singing, with its strong sacred and secular traditions.

We are in the midst of Cincinnati’s “second season” of singing, stretching from Easter and Passover through the annual May Festival and Cincinnati Opera Summer Festival. The merging themes of rebirth and the joy of warmer weather seem to manifest themselves in song throughout the Queen City during spring and early summer.

As result of my musings here yesterday, I began to take an inventory of the vocal and choral resources we have at our disposal. Here are some opportunities for you to hear great singers and choirs this summer, and throughout the coming performance season, without leaving the comfort of your own metropolitan area..

• Cincinnati Opera Chorus: comprised of local professionals, as well as graduate students from CCM, Indiana University and other nearby college programs. Led by the inimitable Henri Venanzi, this is among the very best opera choruses in the world, bar none.
• University of Cincinnati College-Conservatory of Music: opera, recitals, choral concerts and musical theater by some of the best emerging vocal talent anywhere. Also, improving and expanding vocal programs at Northern Kentucky University and Xavier.
• The Vocal Arts Ensemble of Cincinnati: the area’s professional chorus is entering its fourth decade and a new era this fall under the leadership of dynamic music director designate, Donald Nally. 
• St. Peter in Chains Cathedral: in addition to its own all-professional choir that performs during mass and concerts during the year, music director, Anthony DiCello, has put together one of the most successful concert series in the city, consistently presenting renowned choral groups from around the world.
• Other excellent area church and synagogue choirs: some with their own performance series, featuring professional vocalists and CCM students as soloists:
• Knox Presbyterian Church, Hyde Park United Methodist, Christ Church Cathedral 
• Jewish High Holy Days services at Plum Street, Wise, and Rockdale Temples, among others
• Gospel church and volunteer choirs, such as Peace & Serenity Ministries
• Volunteer choral ensembles: MUSE, Cincinnati Men’s Chorus, Cincinnati May Festival, Cincinnati Camerata, Cincinnati Choral Society
• Vocal chamber music: Conundrum, concert:nova, and The Catacoustic Consort often feature professional vocal soloists from the area.
  

I’m sure that I have left out some organizations very worthy of mention. Please fill in the blanks for me.

This does not even touch on the myriad musical theater, jazz, pop and folk performances occurring weekly here in Cincinnati. I guess the point of all this is, if you enjoy singing or just listening to vocal music, get out and take advantage of all our region offers.

Check back tomorrow for some thoughts about brand integrity in the arts.

SoapBlog 1 - The Cinderella Saga of Susan Boyle and other Idol Thoughts
Thom Mariner

I will be the first to admit that when I watched the now ubiquitous first appearance of Susan Boyle via YouTube my eyes welled up with tears and my heart lept into my throat. Just seeing Simon Cowell’s eyebrows raise involuntarily was enough to render me mute, but smiling, for many minutes. After all, I have been a singer since the age of six; this is the type of moment all performers dream of.
 
Now that this saga has run its course, perhaps let's reflect on what's really at play here. Is Susan Boyle a truly magnificent, heretofore unhewn gem, or is she a simple person with a lovely voice who simply surpassed extremely low expectations? Did she blow us away because of her singing or was it because of our preconceived notion of what would come out of her mouth?
 
My sense is that our response is more a result of the personal drama than an objective evaluation of her singing. No doubt Ms. Boyle has a lovely voice, and it’s clear that she has been singing somewhere for many years. One just doesn’t open one’s mouth in middle age and have that pop out. Trust me. But it’s the tale that tickles our fancy here.
 
The real question is: What circumstances or choices hindered a person of her ability and obvious interest in performing from pursuing her dream? Apparently there were family issues involved, but it makes me consider the choices many of my local colleagues and I made along the way that led us to put down stakes in Cincinnati and practice our craft here rather than pursue the more verdant vocal/musical pastures of Europe, New York, Boston, et al.
 
This reminds me of how many singers reside and perform in our fair city who could have just as easily chosen to go on to the next professional level elsewhere. My concern is that, in our fascination with Susan Boyle, Paul Potts, Kyle Allen and other Idol contestants here and abroad, we fail to notice the gems around us. You might be surprised to find that your co-worker, or the mother of your daughter’s best friend, or the salesman who calls on you at work spends her/his evenings and weekends singing, and doing so every bit as well as Susan Boyle.
 
Cincinnati Opera seems to be doing their own bit of local searching via their Opera Idol competition that commenced this past weekend with some 165 entrants. Contestants have to be over 18 and not a paid professional. Other than that, the door is pretty wide open. Who knows who will walk through? The top singers will be chosen to perform for the next round, a public performance on June 24, to be judged by a panel of “high-profile” judges. Could be fun!

My charge to you is this: if you like what you hear from Ms. Boyle, and her story makes you want to hear talented singers in your area, simply ask around. There are plenty of opportunities to hear people every bit as talented, but who have, for whatever reasons, chosen to share your community. Drop by here again tomorrow and I’ll share my list of can’t-miss opportunities.