Talk to me about life on YouTube
When the planets align, it's a Friday and I have my act together, I interview someone far more knowledgeable than I am about specific marketing and publicity topics. Today we have Ben Chan, who I e-met when he interviewed Hilary via video Skype about the YouTube Symphony. In the spirit of Ben's extremely successful and time-consuming hobby, he has answered my questions on YouTube.
Ben Chan is a founder of ChamberHymns.com, a website dedicated to online instructional videos for violin, as well as the Music Chairman of WoogiWorld.com, a virtual world for kids that emphasizes Internet Safety and Education. He has won numerous prizes on violin, including a spot in the 2009 YouTube Symphony Orchestra, and has a growing YouTube channel with 1.5 million video hits.
How long have you been a YouTuber? How did you first hear about it? I don't remember YouTube's arrival on the scene, who even knows what I was doing...
What did you intend the channel to be, and what has it become?
You have 7,605 subscribers and 137,683 channel views (as of April 8 at 11:21pm)! Not too shabby. What about your channel makes people eager for updates?
What's the most positive feedback you've received? The most negative?
Is YouTube for everyone, or does it take a certain personality? Why YouTube for you: why not a blog, Twitter feed or podcasts? When should an artist absolutely not have a YouTube channel?
Have you seen any successful examples of arts presenter or orchestra YouTube channels? If not, what would constitute a successful presenter/orchestra channel?
Do you foresee a time - or are we there? - where master classes, lessons, auditions orchestra rehearsals can be, for lack of a better word, conducted on YouTube? What do we lose and what do we gain going from in-person to video?
You've performing with the YouTube Symphony next week! Do you think the YouTube Symphony initiative reached new audiences for classical music or was focused on connecting existing musicians around the globe?
How has the concert next week been promoted? Were print/banner ads taken out in NYC media, or was all marketing viral through YouTube and the press the project generated? Are they expecting the concert to sell out? Does that even matter?
Will Wednesday's concert be streamed live on YouTube? Was it ever a possibility to just have the performance at Carnegie (for the acoustics, cache, etc.) without a live audience? With "audience" members filming themselves watching the concert and applauding and then posting those videos on YouTube?
Best female violinist whose last name rhymes with "on" you've ever interviewed?
To make sure Ben's a real person, go see him live on April 15th. Tickets here. I'll be out of town, so I'm going to need some YouTube Symphony reader reports, namely, how full the house was, what the crowd looked like, and what the general atmosphere was, energy-wise.
Ben Chan is a founder of ChamberHymns.com, a website dedicated to online instructional videos for violin, as well as the Music Chairman of WoogiWorld.com, a virtual world for kids that emphasizes Internet Safety and Education. He has won numerous prizes on violin, including a spot in the 2009 YouTube Symphony Orchestra, and has a growing YouTube channel with 1.5 million video hits.How long have you been a YouTuber? How did you first hear about it? I don't remember YouTube's arrival on the scene, who even knows what I was doing...
What did you intend the channel to be, and what has it become?
You have 7,605 subscribers and 137,683 channel views (as of April 8 at 11:21pm)! Not too shabby. What about your channel makes people eager for updates?
What's the most positive feedback you've received? The most negative?
Is YouTube for everyone, or does it take a certain personality? Why YouTube for you: why not a blog, Twitter feed or podcasts? When should an artist absolutely not have a YouTube channel?
Have you seen any successful examples of arts presenter or orchestra YouTube channels? If not, what would constitute a successful presenter/orchestra channel?
Do you foresee a time - or are we there? - where master classes, lessons, auditions orchestra rehearsals can be, for lack of a better word, conducted on YouTube? What do we lose and what do we gain going from in-person to video?
You've performing with the YouTube Symphony next week! Do you think the YouTube Symphony initiative reached new audiences for classical music or was focused on connecting existing musicians around the globe?
How has the concert next week been promoted? Were print/banner ads taken out in NYC media, or was all marketing viral through YouTube and the press the project generated? Are they expecting the concert to sell out? Does that even matter?
Will Wednesday's concert be streamed live on YouTube? Was it ever a possibility to just have the performance at Carnegie (for the acoustics, cache, etc.) without a live audience? With "audience" members filming themselves watching the concert and applauding and then posting those videos on YouTube?
Best female violinist whose last name rhymes with "on" you've ever interviewed?
To make sure Ben's a real person, go see him live on April 15th. Tickets here. I'll be out of town, so I'm going to need some YouTube Symphony reader reports, namely, how full the house was, what the crowd looked like, and what the general atmosphere was, energy-wise.
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Life's a Pitch Why don't we apply the successful marketing and publicity campaigns we see in our everyday lives to the performing arts? Great ideas are right there, ripe for the emulating. And who's responsible for the wide-reaching problems in ticket sales and audience development? Boring artists? Greedy managers? Overstretched marketing departments? We're beyond debating who owns the problem. Let's fix this thing.
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Amanda Ameer left her position as Publicity Manager at IMG Artists in June 2007 to start First Chair Promotion. She currently represents Hilary Hahn, Gabriel Kahane, The King's Singers, David Lang, Eric Owens, Michael Gordon, Hélène Grimaud, Sondra Radvanovsky and Julia Wolfe, and serves as a consultant to Chamber Music America.
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Amanda Ameer left her position as Publicity Manager at IMG Artists in June 2007 to start First Chair Promotion. She currently represents Hilary Hahn, Gabriel Kahane, The King's Singers, David Lang, Eric Owens, Michael Gordon, Hélène Grimaud, Sondra Radvanovsky and Julia Wolfe, and serves as a consultant to Chamber Music America.
more
Contact Click here to send an email. more
Subscribe to the Newsletter Fill in your email address here.
more
Twitter I gave in and answered the siren call of Twitter. Click the button to follow:
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Now Play It
This site has musicians teaching viewers how to play their most popular songs on the guitar via downloadable video. more
This site has musicians teaching viewers how to play their most popular songs on the guitar via downloadable video.
MOMA - Eye on Europe
This microsite for one of MOMA's 2006 exhibitions is a(n extreme) lesson in what can be done digitally for special projects (world premieres?).
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This microsite for one of MOMA's 2006 exhibitions is a(n extreme) lesson in what can be done digitally for special projects (world premieres?).
The Metropolitan Opera
Sometimes, when the (performing arts) world gets me down, I go to The Met's website and feel better about it all.
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Sometimes, when the (performing arts) world gets me down, I go to The Met's website and feel better about it all.
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Laura Collins-Hughes on arts, culture and coverage
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Dalouge Smith advocates for the Arts
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Judith H. Dobrzynski on Culture
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Jan Herman - arts, media & culture with 'tude
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Howard Mandel's freelance Urban Improvisation
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Greg Sandow performs a book-in-progress
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Harvey Sachs on music, and various digressions
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Bruce Brubaker on all things Piano
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Kyle Gann on music after the fact
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Greg Sandow on the future of Classical Music
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Norman Lebrecht on Shifting Sound Worlds
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Jerome Weeks on Books
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Scott McLemee on books, ideas & trash-culture ephemera
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Wendy Rosenfield: covering drama, onstage and off
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Chloe Veltman on how culture will save the world
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Regina Hackett takes her Art To Go
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John Perreault's art diary
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Lee Rosenbaum's Cultural Commentary
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Tyler Green's modern & contemporary art blog
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