Eighth Blackbird is honored and grateful to have been awarded a second grant for support of its Blackbird Creative Lab, a training program for musicians and composers in the first of two rounds of 2019 National Endowment for the Arts #ArtWorks awards. A total of more than $27 millions dollars in awards will reach all 50 states, the District of Columbia, and Puerto Rico in 2019.

“Through these grants, the National Endowment for the Arts supports local economies and preserves American heritage while embracing new forms of creative expression.

‘The arts enhance our communities and our lives, and we look forward to seeing these projects take place throughout the country, giving Americans opportunities to learn, to create, to heal, and to celebrate,’ said Mary Anne Carter, acting chairman of the National Endowment for the Arts.”

Our $20,000 award will support The Lab’s long term goals for artistic and career development of its fellows with a series of regional showcases featuring 2017 and 2018 Lab alumni, including ongoing professional development and public performance events in Chicago in March and June. Additional summer performance opportunities alongside the ‘Birds will be announced in the coming weeks.

By some freak alignment of the stars, we were asked to be a guest on Live From Here with Chris Thile this past Saturday, which broadcast from our very own Symphony Center. We didn’t get much notice, so flights were changed, babysitters frantically booked, and lots of last-minute rehearsals added to the calendar. 

The production crew started working at the crack of dawn on Friday morning – there is SO MUCH equipment – and they were still there when we left after our sound check, which was around 10:30pm. I can’t remember the last time we had a rehearsal scheduled to start at 9:15pm, but this is the only way they can cram everyone in the day before the show. Chris Thile (AKA the musical McDreamy) met with us at the top of our rehearsal to run through a short Bach Prelude with Matthew and Nick and a Mozart duo excerpt with me. I was more than a little nervous meeting him and playing with him, because, come on, he’s famous. Like, not just musician-famous, really famous. He could so easily be a diva or a jerk, but I’m happy to report that he’s a pretty great guy.  Also, his production team and show band seem to really like him, which in my mind is the real litmus test since they’re on the road with him.

I don’t know where he gets his energy, but it is infectious. While playing through the duo with me, he kept uttering “ooh, amazing, awesome” in response to Mozart’s compositional wit as if it was the first time he had heard it, even though he probably knows it like the back of his hand. But his enthusiasm is genuine, his appreciation sincere, and it’s so refreshing to be around someone who still has child-like reactions to music when he could so easily be jaded. (And all this at the end of a gazillion-hour-day of rehearsal!)

We got more of an idea of how the show would shape up on Saturday during the afternoon rehearsal, but still had no idea of the running order. Every time we asked, we were told that they didn’t know and that “things keep changing up until the last minute”. So we watched the actors hone their very funny sketches and improv sets, heard snippets of Gaby Moreno’s incredibly versatile voice,  listened to the show band do everything from Alicia Keys to show tunes, and caught bits of Chris rehearsing his host duties, wondering how everything was going to come together. About half an hour before going live, we were handed a still-warm-from-the-printer set order with timings. I was reminded of Tina Fey saying about SNL: “the show doesn’t go on because it’s ready; it goes on because it’s 11:30”. This show is definitely the SNL of radio.

The live show starts with an audience warmup, where Chris goes out and takes requests. Apparently people always ask for Bach. So he launched into an astoundingly perfect, blazingly fast rendition of the Gigue from the D minor Partita. I was watching on the monitor backstage and I think I had to physically pick my jaw up off the floor when he was done. Remember when I said he was the musical McDreamy??

Because “dead air is the enemy”, we had to be waiting in the wings and walk onstage while the previous act was still on so we could be ready as soon as Chris introduced us. It’s a little less than ideal to be clutching your instrument backstage, getting cold, and then quite literally run onstage for a 3-minute piece, and then wait twenty minutes in the wings again before the next 3-minute piece. But I can’t say it wasn’t exciting. Plus, I was able to watch almost the entire show from the wings. 

I must admit that I was never the biggest fan of Prairie Home Companion. I did listen to a few shows, and enjoyed many parts of them, but there was always something I didn’t quite get about it. I think the insider jokes about being Midwestern/Minnesotan were lost on this Los Angelean. In any case, Chris Thile has really made this show his own, and IMHO it’s more widely appealing and really entertaining. He’s a great personality and is a pretty unbelievable musician. If you didn’t catch the show live, go here to listen.  And if you haven’t listened because Prairie Home Companion wasn’t exactly your thing, give Live From Here a try – you won’t regret it.

We spent the last few days in the winter wonderland that is Bozeman and Big Sky, Montana. To say it’s gorgeous there doesn’t begin to capture the natural beauty that Montanans are fortunate enough to behold every day. It had just snowed quite a bit, and the landscape looked like the most perfect Bob Ross painting – in a good way. The trees were all sugar-dusted with snow and the roofs of buildings had picture-perfect meringue coatings. It never got messy or dirty like it does in Chicago. 

We played a concert at our beloved former board member Dennis Wentz’s home in Bozeman with the stipulation that it was tight on space and we couldn’t fit our usual setup in his living room. So we programmed an evening of duos and solos and ended with Peter Garland’s And the Days Run Away, for which we sprinkled ourselves in various locations around the house. The people were lively, the food was abundant and delicious, the bartender generous,  and it was a wonderful evening for all involved.

We visited with students at Montana State University for a couple of Q&A sessions and an open rehearsal, where we slogged through a new piece on our acoustic touring program for the first time. It doesn’t get more real than that – turning on the metronome, stopping every few bars, generally messing up a lot – and I think it’s really eye-opening for students to see how the sausage is made. 

The Big Sky Resort is a generous sponsor of the series, so we were put up there, where the bellhops are dressed in chaps and cowboy hats, and very cute young children clomped around in ski boots. It was a unique setting to celebrate Nick’s birthday, which we did over cocktails at one of the resort restaurants.  We performed at the Warren Miller Performing Arts Center to a sold-out hall.  They have this hilarious box that serves as the audience survey: take a penny from the tray and drop it behind the corresponding face of how you felt about the concert. I think we were about 50-50 frowney face and smiley face.  

photo: Kirby Russell ©2017

Dear Lab Community,

The two inaugural summer sessions of the Blackbird Creative Lab were some of the most inspiring weeks of music-making Eighth Blackbird has ever shared among ourselves, the extraordinary faculty, guest artists, staff and the sixty remarkable young artists who are our beloved Lab fellows. Years of research and planning as well as generous financial support were invested in launching The Lab, Eighth Blackbird’s most ambitious project to date.  We were thrilled with its success, evident in the ongoing collaboration within the Lab network – new ensembles, co-commissioned projects, recordings, festivals and performances curated to showcase each other’s work. This is a testament to the flourishing Lab culture of generosity of spirit, determination, intense creative curiosity and the desire to have meaningful human impact in the world.

Eighth Blackbird has been transformed by the experience as well. After months of artistic planning and re-examining our own artistic and organizational priorities with our board and staff as we gear up for our 25th anniversary in 2021, we have decided to focus capacity this year on long-term impact and exploring new models of sustainability for the Lab. As a result, we will not be holding a two-week intensive this June in Ojai.

Instead, we are actively supporting the work of the incredible Lab alumni by performing their music, finding new commission opportunities for them, and being involved in their creative and professional initiatives. We are also planning a number of regional Lab showcase events throughout the rest of our 2018-19 season. Thanks to fellows Tamara Kohler (’17)Allison Wright (’18) and Kaylie Melville (’17) for getting the ball rolling by spearheading a sold-out, pre-season Lab event with Matthew Duvall this past August in Melbourne, Australia! Subsequent events are planned for Winston-Salem, NC; Austin, TX; Chicago, IL; Los Angeles, CA; and Detroit, MI. Also, the Lab reunion weekend is slated for March 15-18, 2019 in Chicago. Please join us for any or all of the weekend’s program of performances, seminars, and camaraderie.  We will be sending out details for all of these exciting events soon, and are grateful for the enthusiastic support from local Lab fellows, supporters and partners for help on the ground.

We would like to say a great big thank you to the wonderful folks at Besant Hill School, who are disappointed the Lab will not be held there this summer, but have indicated that the door is still open.  And finally, a word of deep gratitude to the founding funders of the Lab: Dan Lewis, Maxine and Stuart Frankel Foundation for Art, National Endowment for the Arts: Arts Work Fund, The Colburn Foundation, Helen and Justus Schlichting, Russ Irwin, Judy Duvall, Marley Lewis and Gene Vilensky, Nancy and Joe Walker, Drs. Anne and Dennis Wentz and the many others who have contributed over the past two years. Without your support we would not have begun to realize this dream or continue to evolve. Thank you!

With Big Audacious Love,

Eighth Blackbird

The Business Manager has overall responsibility for the day-to-day business administration of Eighth Blackbird Performing Arts Association, including bookkeeping, payroll, budgeting, and financial management. The Business Manager will attend all regular finance, board, and staff meetings. Duties include:

FINANCIAL

Accounting

  • Manage the finances of the organization, including but not limited to accounts payable/receivable; bank & credit card reconciliation; relevant balance sheet account reconciliation.
  • Manage online expense reporting system.
  • Schedule 8BB Finance Committee meetings, draft agenda, and compile all necessary reports and documents.
  • Lead annual budgeting process in coordination with 8BB Finance Committee and COO.
  • Monitor independent contractor agreements and make payments accordingly.
  • Monitor cash flow and cash reserve use/policy.
  • Act as primary contact for bank, credit card, and money market accounts.
  • Manage company credit card program and oversee expenditure policy and approvals within online portal Abacus.

Payroll

  • Run biweekly and bimonthly payrolls with appropriate deductions; ensure timely payroll tax payments.
  • Provide accurate W2s, 1099s, and 1042-Ss for all paid staff, guest artists and contractors to both the individuals and agencies in a timely manner.

Reporting & Filing

  • Responsible for timely filing of:
    • Federal 941 quarterly
    • State 941 quarterly
    • IL UI-3/40 quarterly
    • Illinois sales tax quarterly
    • Annual W2s to employees and IRS
    • Annual 1099s to contractors and 1096 to IRS
    • Annual 1042-S’s to foreign contractors and 1096 to IRS
    • Annual report to IL Secretary of State
    • Annual 990 and ILAG990 through auditor
  • Communicate with relevant project leaders including Blackbird Creative Lab staff and ensure regular updates of project budgets and projections
  • Reconcile contributed income within Salesforce and Quickbooks Online on a regular basis.
  • Create templates for budgets and final reports for 8BB Grants Manager as requested.

Audit

  • Lead annual audit through independent auditor and steward its timely completion.
  • Compile necessary documentation requested including grant agreements, bank statements, outstanding payables/receivables, insurance policies, and board minutes.

ADMINISTRATIVE

Contracts

  • Draft Contractor, Guest Artist, Staff, and Commissioning contracts as necessary; manage approval and signatory process.
  • Review and execute on the COO’s behalf Presenter, Booking Agent, Residency, etc. contracts as needed.
  • Proof and approve all 8BB contracts before execution.

Human Resources

  • Assist the COO with administration and filing of annual staff performance reports and job descriptions.
  • Assist COO in annual review and revision of Employee Handbook.
  • Draft and file employee agreements with COO.
  • Manage all employee benefits, currently health insurance and flexible spending accounts, including open enrollment, renewal, new employee enrollment, and termination.
  • Assist COO in onboarding new staff and interns.
  • Track staff vacation time.
  • Manage liability insurance policy and renewal with 8BB finance committee.

Office

  • Manage digital archiving of official records, contracts and letters of agreement.
  • Liaise with ASCAP and BMI for quarterly reporting as needed.

 

Skills & Qualifications: 

Eighth Blackbird is seeking a seasoned professional who wants a permanent part-time position. The ideal candidate is organized, self-motivated, tech-savvy, flexible, a team-player with a passion for nonprofits and the arts.

  • At least 3 years accounting/bookkeeping experience; nonprofit accounting preferred.
  • Experience working directly with independent auditors.
  • Experience administering payroll, employee benefits, and enrollment.
  • Ability to self-direct and problem solve.
  • Experience with current systems a plus: Quickbooks Online, Abacus, Salesforce

The Business Manager will work 24 hours per week, days and hours to be determined mutually. Salary: $25 per hour, paid out in bi-weekly installments. Some flexibility in days and hours may be possible.
Reports to Chief Operating Officer.
Start date: December 17, 2018.

To Apply: 

Please send cover letter and resume to: employment@eighthblackbird.org. If invited for an interview, three references will be required.

Last week in Eugene was jam-packed. I mean, in four days we did a concert at a retirement center, a concert at a medical center, an NAACP event, two youth concerts for 2800 third to fifth-graders, a chamber music masterclass, a seminar for composers, a concert at a high school, a flute masterclass, AND a performance of On a Wire with the Eugene Symphony. I gotta hand it to them, when they say community engagement, they mean it. 

But it was all really delightful. I especially loved the youth concerts, because the energy and enthusiasm of kids is so infectious – you can’t help but feel the same way no matter how tired you are. We taught them the first counting sequence of one of Tom Johnson’s Counting Duets, and I challenge anyone not to smile when you hear how excited kids are to scream the number 10. And when you see those kids outside afterwards and one of them spontaneously hugs you, it’s all over. I almost took that kid home with me.

We played for a much more intimate gathering of band and choir students at a local high school, and their enthusiasm was no less intense. In fact, they had listened to our recordings and watched some videos, so the pump was primed for them to see us in person. They had all sorts of questions and were so palpably engaged in our performance. If only audience members were that psyched all the time.

Finally, on our last evening, we performed with the Eugene Symphony. But not before making at least two videos of in-the-piano demos for social media, one done by Maestro Lecce-Chong himself, who could give any E! host a run for his money. The Hult Center performance hall is enormous, with a ceiling design that makes you feel like you’re inside a woven basket. Despite the small Eugene population, the hall was pretty full. We met a lot of the audience during intermission. They’re the kind of people who aren’t shy to come up to you and just talk (I had a long-ish conversation with one woman about breastfeeding!), which is what’s so great about small towns. I also got to meet the parents of original Eighth Blackbird flutist Molly Barth, who until recently was teaching at the University of Oregon. Her parents moved to Eugene to be near her, but she has just left them to teach at Vanderbilt, which they say they’re fine with. 

Now we’re back in chilly Chicago, which greeted us with mountains of fallen leaves and some of the first snowfall of the year. I’m going to get my Amish turkey today and hopefully get rid of my rotten Halloween pumpkin as well before the extended family descends upon our home for the week. Happy Thanksgiving, everyone!

It’s that time of year again. You know, when you kick what’s left of your crumpled Halloween costume from the middle of your bedroom floor to a dark corner of your hallway closet and treat your sugar hangover to five concerts of electroacoustic music…

…And what a treat it was this year! I was struck by how many firsts I encountered. I can’t say whether they were actual firsts for the festival, but they were first for me in my memory of the festival for the past 7 years. I’ll just go in order of experience:

  1. Melodica trio. Chris Chandler’s cicada song featured not one but three melodicas. And they were in tune. Oh, and the piece was remarkably beautiful.
  2. Haystack. Mike Frengel brought his own haystack with him as a prop for his electric guitar piece Country Roads, which was a kind of wild one-man country jam band improv session. You gotta admire the attention to authenticity.
  3. Player piano. Okay, maybe this isn’t a first, but it’s the first time in my memory, which is admittedly fallible. Clifton Callender wrote a series of Infinite Canons for player piano which have some kind of nerdy process I won’t go into here, but suffice to say they aren’t playable by any human (or at least by any one human at a time) and are extremely delightful.
  4. Belly dancer.  Aurie Hsu and Steven Kemper developed  a wireless sensor interface for belly dance. It was as amazing as you think.
  5. Candles. I don’t know how the festival got around the building’s smoke detectors, but this piece for candles and myaku, which translates the intensity variance of light into sound waves, was mesmerizing. It was like attending a techy meditation/seance.
  6. Pamela Z. The second half of the last concert was dedicated to Pamela Z’s works, which she performed to great effect. I’ve seen almost all of them before, but never with the accompanying video. Pamela is an electrifying performer (no pun intended) and her works don’t get old. Syrinx, in which she slows down a bird song to the point where she can replicate it, then speeds up her version to mimic the original, is a favorite of mine. We are so excited to be commissioning her and premiering it in June at the LA Phil Noon to Midnight series. More on that later…

In addition to these firsts, our very own Nathalie Joachim played an excerpt from her project Fanm d’Ayiti, and Nick Photinos played works by Mark Snyder and 2018 Lab Fellow Gemma Peacocke. 

Another highlight of the festival for me was the mini synth building workshop led by Douglas Geers. I barely understand how a light switch works, so I was intrigued by the possibility of learning how to build my own square wave synthesizer in two hours. Among other things, I learned that a clarinet only sounds odd overtones, which not only explains its singular sound but also why they’re impossible to tune with. Douglas is an inordinately patient teacher armed with great instructions, slides and pictures, and a lot of infectious enthusiasm. At the end of two hours, I had an adorable mini wooden suitcase that goes beep boop to take home for my son to destroy, and a (very) rudimentary understanding of what a square wave is, how breadboards work, and (hopefully) how not to electrocute yourself. 

On Sunday, September 16, we had the pleasure of playing at Cedille Records’ Annual Soirée. Alongside performances by Civitas Ensemble and Patrice Michaels, we played excerpts of David Lang’s composition as explanation, a new work we’ll be recording with Cedille. The evening was a spectacular success for Cedille, thanks in big part to a total of $55,000 raised for our recording of composition as explanation. The night was made even greater by an appearance by Supreme Court Justice Ruth Bader Ginsburg. We were thrilled to be in her presence, and we even got a photo with her! A big thanks to everyone involved for having us!

Photo by Elliot Mandel

composition as explanation was commissioned by The Arts Club of Chicago on the occasion of its centennial.

Eighth Blackbird is thrilled to share that at its annual meeting this summer, the board elected member Kate Bensen to serve as its chair. Kate joined the board in 2015, has co-chaired its Nominating Committee and in 2018 served as chair to the organization’s most successful Benefit & Bash to date. Kate brings not only immense nonprofit board development experience, but a deep passion for arts advocacy and leadership development. She steps into her position as board chair at a pivotal time in the ensemble’s history, and as it gears up for its 25th Anniversary season in 2021-22. Her deep commitment to Chicago is shared by Eighth Blackbird, as is her infectious drive to make excellent initiatives and organizations sustainable.

Kate joined The Chicago Network in April 2010 as Executive Director and became its President and CEO in 2013. Previously, Kate led the nonprofit capacity building practice for Conlon Public Strategies and was a partner at the law firm of Schiff Hardin LLP, specializing in corporate and public finance.

In addition to chairing the board of Eighth Blackbird, Kate serves as a director of the Arts Club of Chicago and the Chicago Club. Kate is a member of the Commercial Club, Economic Club, Chicago Club, International Women’s Forum, Executives’ Club and the Women’s Board of the University of Chicago (past Chair). She also serves on the President’s Advisory Council for Governors State University. Her board work focuses on governance. In 2008, she received the University of Chicago’s Alumni Service Medal for her work in securing an Alumni House for the University.

Kate received her AB in economics from the University of Chicago and her law degree from Loyola University of Chicago School of Law. View her full Linked-In profile here.

Eighth Blackbird is so grateful to past chairs Peter Nicholson, Sarah Mirkin and Chris Joyce, who continue to serve as a member on the current board.

Last summer, soprano Justine Aronson and flutist Erika Boysen wowed everyone at the Blackbird Creative Lab with their amazing performance of Kate Soper’s Only the Words Themselves Mean What They Say. Simultaneously haunting and humorous, the piece is a whirlwind of extended technique and ensemble interplay between the two performers. We’re excited to share their newly released video of the performance. 

Only the Words Themselves Mean What They Say from Wayne Reich on Vimeo.

Blackbird Creative Lab Alum, Nina Shekhar was recently featured by New Sounds on their playlist, Stories of Mental Health and Rehabilitation. This playlist comes at a good time, as today is World Suicide Prevention Day. 

On Nina’s piece, host Jeff Schaefer writes “Hear Southern California via Michigander composer Nina Shekhar’s piece, “Quirkhead” for soprano and string quartet about her giving a name to her own special obsessive rituals and compulsions.”

National Suicide Prevention Lifeline: 1‑800‑273‑TALK (8255)

Us!

We were honored to be awarded Performance of the Year for Holly Harrison’s Lobster Tales and Turtle Soup for our performance of the piece during our Musica Viva tour of Australia in 2017! Matthew had the pleasure of representing us at the eighth annual Art Music Awards in Melbourne, Australia. The following day, Matthew joined our powerhouse Creative Lab alumni down in Oz for a small reunion performance.

Thanks to APRA AMCOS for their continued support, and to Kaylie Melville, Tamara Kohler, and Allison Wright for a fun time at The Brunswick Green. 

For a full list of winners, click here

Composer and Blackbird Creative Lab alumnus Nick Benavides recently reached out to us to share an article he wrote about identity and vulnerability. In Nick’s words, “It was fun to write words for once, not notes, and explore some ways I’ve grown this year.” He writes about learning to represent his culture musically, and how his work with Gabriela Lena Frank has helped him discover himself in new ways. 

Check out the full post here. 

This year, we had the great pleasure of hosting friends from New Music USA at the Blackbird Creative Lab, our two-week tuition-free summer intensive in Ojai, CA.  It’s often hard to convey the magic that takes place at the Lab in words, so 2018 saxophone fellow Nick Zoulek was asked to showcase his experience in a photo journal. Among Nick’s many creative talents is a striking ability to take beautiful photos, and he was able to capture so much of the beauty of our time at the Besant Hill School. Head on over to New Music USA to check out Nick’s photo journal.

Photo by Nick Zoulek.

After another successful Blackbird Creative Lab, we are back home in Chicago and taking a moment to process. The second week always goes by faster than the first because of the performance prep and concerts added to the schedule. The fellows get the full Eighth Blackbird experience of adding lighting, staging with our resident choreographer Ros Warby, and in some cases video projection to their pieces. We are lucky to have an incredible staff and stage crew that makes it all happen smoothly and seamlessly behind the scenes!

~Nois performing the world premiere of Gemma Peacock’s “Dwalm” with visuals by Xuan Zhang, choreographed by Ros Warby. Photo by Kirby Russell.

In addition to concert prep, the fellows got to learn from our final three guest lecturers. On Monday, Kristy Edmunds, Executive and Artistic Director of the Center for the Art of Performance at UCLA, Skyped in to our seminar hour to talk about the difference between curating and presenting. Kristy has an incredible talent for articulating her role in the arts, and the fellows walked away with tips on how to talk with donors and presenters, the importance of relationships and flexibility, and how to curate a culture beyond the individual project.

Nico Muhly was with us the entire second week to work with composers in one-on-one sessions and lead a seminar talk. He brought such a vibrant energy, and a wealth of knowledge and experience from a life rooted in community building. Just about every composer after their lesson with him said “I’m not entirely sure I understood everything…but I’m sure that my life changed for the better,” or something to that effect. Bonus: he also performed with our final guest artist, Shara Nova.

Shara Nova and Nico Muhly performing. Photo by Lab fellow Nick Zoulek.

Shara was one of the most anticipated by the fellows (read: there was lots of fan-girling). Her own work is community driven, so she invited all of the fellows and staff to participate in a rockin performance of “Pressure” at the donor dinner. She presented a Ted Talk-style overview of her career, and explained how she grew as an artist with each new collaboration and project by staying open to learning new things and being curious.  

Donors and friends from New Music USA chat with Matthew Duvall and percussion fellow Dan Reifsteck. Photo by Kirby Russell.

We ended the week with a donor event, including guests from New Music USA’s New Music Connect group (featuring Justus Schlichting who, along with his wife Helen, has now commissioned all 12 of the composer pieces that have been premiered at The Lab). And of course two absolutely stunning final concerts, with performances we will all remember for a very long time to come.

We truly believe that this year’s Lab was another powerful experience. The two weeks were not only musically intense, but also pushed fellows to dig deep into themselves and think about why they do what they do, hopefully emerging with a clear vision for their career. We can’t wait to see what the future holds for this year’s group, and also to continue watching our 30 inaugural alums. Onward and upward!