Don’t Quit Your Day Job

The stereotype of the young and struggling artist always seems to include the demoralizing day-job, usually boring temping or grueling restaurant work. And while many coópera: POM artists have worked in either or both of these situations, a young performer’s path is usually more complex (and more interesting) than the old story of years of tedious employment until one moment of breakout success – it just doesn’t fit as well in a movie montage. Many of us have found that doing a variety of things at the same time gives us the chance to explore all the aspects of ourselves, to be more well-rounded individuals and ultimately, perhaps, even better artists. It is a situation born of necessity but which can ultimately bear creative fruit in our lives and lead us in surprising directions. I’ve read that the average person will have three different careers over the course of a working life; we just choose to have those all at once.

Obviously, some musicians pay their rent by piecing together many different jobs related to music, such as teaching, church and synagogue jobs, and various random gigs. Although this lifestyle can mean no medical benefits and unpredictable income, it also has the advantages of variety and constant exposure to music, and, often, flexibility. Sometimes, these can become far more than just ways to pay the rent, especially for those who find a sense of community in religious worship or a passion for teaching: not everyone is cut out for it, but for someone who loves music, what could be better than to pass that on to others? Of course, there are dozens of careers other than performing that involve music or helping other musicians, such as music therapy, Alexander Technique, music criticism, arts administration and classical radio. Another potential benefit of these careers is that the artist might work with supervisors and colleagues who understand and support his or her passion for performing as well.

Some artists choose to maintain the most boring possible day jobs, in order not to be distracted from their true focus. But for others, employment outside of music can offer opportunities to explore other interests, and this can be quite fulfilling. We’ve had friends and performing colleagues work in law, finance, advertising, linguistics, technical theatre, non-profit work, childcare... I could go on. Depending on the person, the situation, and the position, some of these can be very rewarding matches. Of course, most of us realize that, were we to be offered our “big break,” we would have to leave even the most satisfying of day jobs immediately, which can be an uncomfortable knowledge to live with. How can you put down roots knowing you might have to pull them up at any time? We cross that bridge when we get to it.

There are artists that find creative ways to provide their own flexible and interesting employment: some singer friends in Baltimore started a real estate business to support themselves and their families while still having time for opera. On the other hand, for some people, these interesting day jobs make it tempting to leave music altogether – and, if that’s the way life takes you, then why not? One of our amazing orchestra members left music to go to law school after working as a paralegal. Music can always be a part of your life, but some people end up finding it equally if not more rewarding to perform without the pressure of it earning your bread and butter. (Then, of course, the challenge becomes finding the time to devote to your art, but it is certainly not impossible.)

Our society, until recently, has tended to value specialization, not Renaissance men and women. But, throughout history, the artist has always had to become good at many things. Think of the conductor, who usually begins with a primary instrument, and often ends up composing, teaching and/or coaching as well. Music encourages a wide range of skills and interests. Some economists are saying that the current economic recession may be guiding us toward a workforce that is less specialized, where jacks-of-all-trades are the most valuable because they are the most adaptable. More and more people are developing hyphenated careers out of necessity or choice. Perhaps this new societal trend will mean that the adaptable young artist will no longer seem like a salmon swimming upstream.

There is more than one way to make a life in music. Each musician finds his or her own way, sometimes following a direct and straightforward path, sometimes through one that is more meandering and roundabout. Some of us might end up having hyphenated careers for most of our lives, whether by choice or chance. And, for some of us, that might be the most interesting life we could imagine.