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Resides in Palmetto, FL. Includes Address 1 Phone 1 Email 1. Resides in Stahlstown, PA. Walker Hilpert Walker started with us as a yard hand in working summers during school and occasional afternoons. He's made numerous trips up to Yamaha's training center in Kennesaw, GA and is likely to be Yamaha's youngest Mastertech before too long!
Mikey Albert Mikey is our most energetic crew member and expert finish tech. He helps keep things rolling in the yard and really knows his stuff with regard to anything regarding detailing, body work and painting.
He has decades in the business which makes him a real asset to have around. Cindy Cindy has had an administrative role in area boatyards since She's been keeping us in line since As our office manager, her responsibilities include scheduling, invoicing and keeping track of our ever increasing parts inventory. She's most likely to answer the phone if you call during the week. Miss Betty Miss Betty is our chief landscaper and weekend office manager since If you notice something on our campus that's freshly planted or painted, she's probably the one who made it happen.
Vince Fairbairn Vince is a new hire who's helping out in the yard while finishing up his Master Degree in Engineering. He lives aboard a sailboat in the neighborhood that he's been fixing up. We cannot do the performances the way we want to, but we can do everything else and still provide a lot of value.
Then, I started reading postings from younger singers that not only are programs cancelling on them but they may or may not be getting their money back. Also, they have lost all the money they spent on audition fees, travel, and plane tickets. It occurred to me that there is no reason that I can't do another online program in addition to Spotlight on Opera; I would just do it earlier. So, I asked a bunch of really awesome people in the arts if they would sign-on. I told everyone of the faculty that I would pay them something, but it probably wouldn't be very much because this is a pay what you can program.
But the big point is that all of these people at the top of the vocal performing arts field are coming in wanting to help young artists and to keep art going. TB: One of the things you mentioned was the fees that students have incurred combined with the massive cancellations occurring. How do you think this will affect their businesses in the future? CS: First, we don't know what is going to happen.
I think it is premature to say the business isn't going to go anywhere. We are going to go through a tough time. But I do see many opportunities to demonstrate the importance of art in everyday life with people having to be isolated in their homes. Staying connected with our audiences is one of the most important things that we can do. Many artists do a great job of this, so keep reaching out to people. When possible, offer your community something that is not just presentational but interactive in some way.
The DIY program is also highly interactive, with programs to expose people to the arts to help people see and remember how vital the arts are. I am also studying for an MFA in Arts Administration, and the other night my professor said, "When we get through this, people are going to be desperate to go out. They are going to want human contact and to do things that they haven't been able to do. The company was wondering whether they should cancel, and anyone would come.
The performance was packed because people wanted to be together and wanted to escape reality. That is what the arts do for people. Especially in the classical arts, we have not entirely made that connection so that people continue to value the arts. We constantly have to fight for our place at the table. But I see this as an opportunity for hope. CS: The biggest thing I am seeing is many artists—especially older artists—who are having to make adjustments to their routine.
Of course, we are all making adjustments. But some of the master teachers have never taught online, may not be comfortable with the technology, and may not own the right technology. They are having to take their lessons online if they want to keep their livelihood going. Universities could be going online as well, but hopefully, they support their teachers to do so.
That is a big adjustment that many are having to make. It will also affect the way we teach because the technology that we have available to most doesn't allow for traditional teaching methods. Only one side can speak at a time because of delay. There are certainly ways to tweak things and setups that make delay better, but right now, that is just the fact.
To address that in the DIY program, we are going to have coaches record arias for students. They will be able to talk to the student, work with them, and record the arias the way the student wants to sing them, so then the student will have a recording of that to sing with. Otherwise, there is no way for us to do a concert with students performing live. So, it is an adjustment and a different kind of collaboration because most classical musicians don't know how to do this, and we will have to work it out.
CS: Well, six weeks ago, I had some voice students. I had this gig coming up, and my husband and I had lots of plans around that because he was planning to travel with me.
I spent a lot of time getting ready for our summer program: recruiting, working on the schedule, writing contracts for my faculty, and all that stuff. We like to go out to eat a few times a week, but it hasn't been a massive change for us because we already work from home.
First, I wrote a letter to my faculty to explain what was going to happen—I took time to write a letter to the students because I wanted to figure out what we would be able to do for them. Finally, I sent a letter to my voice studio saying that we would need to move to an online studio for now.
Several of them don't have the technology or understanding, so they didn't want to do online lessons. Others are concerned about their income—like many of us are right now, they can't see spending any money on voice lessons, which I understand entirely.
So, it has really impacted the studio and the way we shop for groceries. TB: Because you are always thinking and planning the next project, how do you envision the pandemic changing our musical landscape? CS: It is true that I do that, but I want to interject that I don't want anyone to think that I am endlessly strong: nobody is. In this kind of crisis, everybody will have days when they are the ones who need help.
And particularly people who tend to buoy other people. I want to caution people to look for the helpers.
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