We're hiring!

The Silverman Group, Inc., a well respected Chicago-centric arts & lifestyle publicity firm now in its 13th year, has a rare job opening.

We are a small, but mighty, team of superstars and are looking for another one! Specifically seeking an account executive with at least 4 years of performing or visual arts PR experience -- agency or in-house; non-profit or hospitality experience, a plus. Among qualities sought: passion for the arts, drive to succeed, intelligence, creativity, the (somewhat trite) ability to work both independently and as part of a team, great communication skills (written and verbal), and a sense of humor wouldn't hurt! Ideal candidate maintains Chicago media contacts and has proven success pitching and placing wide range of media coverage.

Starting benefits include two weeks of vacation plus additional "comp" time and all major (and some minor) holidays; generous medical and dental insurance; 401K matching; and the invaluable access to free tickets and opportunity to work with creative clientele!

If you are the superstar we seek, please forward resume ASAP to Beth@silvermangroupchicago.com

Chicago, Chicago, That Toddling Town

Raised as a Pure Michigander, frequent trips to the Midwest's New York City were standard. Of course, Michigan Avenue is Chicago's main tourist attraction so during the weekend visits (aka shopping sprees with mom), we never made it further south than Grand (aka Nordstrom). Embarrassingly enough, we finally discovered Rush Street in just the past three years.

So I'm sure you can imagine my excitement when I made the decision to relocate to this magical city this past summer. I was determined to experience everything Chicago had to offer, everything I had been missing out on those weekends I was busy paying 4% more for the same sweater I could purchase in Michigan -- hey, I was on vacation! I had never ridden the train -- not that it's anything to write home about -- never visited the surrounding neighborhoods, never been exposed to the Theatre District, never attended one of the festivals, never been to the museums; the list goes on.

That's why I'm grateful not only for the invaluable career-oriented experience I'm gaining from The Silverman Group, but also the crash course covering the culture of Chicago. In the past three months, they’ve provided me with opportunities I would not have been able to experience in three years on my own. I've attended Joffrey Ballet rehearsals with reporters previewing the performances. I was able to compare the choreography unfolding two feet away from me with the press-attended opening night performances viewed from the back of the breathtaking Auditorium Theater. I've also had the chance to work directly with the promotion of the hilarious A Christmas Story, The Musical! TSG invited press members to a rehearsal at the Oriental Theater where I was able to assist and interact with the amazingly talented and mature cast largely comprised of kids under ten years old. TSG even trusted me enough to let me staff an event on my own last night! The Fulcrum Point New Music Project introduced me to, you guessed it, new music at their Benefit Concert. The unique performance was held at the Chicago Cultural Center, another one of Chicago's gorgeous gems I had yet to visit, and I was able to mingle with the musicians, board members and guests at the reception afterward. And the excitement continues next week! I’m anticipating I will “find Christmas” in the words of Cindy Lou-Hoo and my holiday spirit will skyrocket when I accompany Beth and Erin to the unveiling of LIGHTSCAPE on State Street.

These are just a handful of the exciting, one of a kind experiences TSG has allowed me to be involved in, and I'm sure many more are to come with the holiday season creeping in. Who knows, they may even suck me in for another semester! Stay tuned…

The All-Important (and Sometimes Unattainable) Agency Experience

Word's from TSG's awesome 2011 Fall Intern, Alina.

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I graduated in 2010 from a Big Ten school with a pile of student loans and no means to pay them back. How did I get here? I did everything I was supposed to do. I entered an accredited university, chose and excelled in a major broad enough to provide options yet focused enough to enjoy a specialized area of interest, I volunteered and completed three internships in my field, I joined a sorority, I built my network through experienced professors with connections, and I participated in my PRSSA chapter. So I’m sure you can imagine my confusion when I crossed the stage with a $40,000 piece of paper in my hand and I lacked the pool of job offers I was told a college education would guarantee.

Six months before graduation I began applying to all the big PR firms with offices in metro-Detroit. The common thread in the impersonal rejections: “no agency experience.” How could that be different than all the experience I had gained in internal PR departments? And if it is, how could I gain that experience if none of them would hire me?

Fast forward one year and a rainy relocation later: here I am, a graduate student working full-time between two internships in successful PR agencies. And guess what? The rejections were right.

Agencies provide a much deeper understanding of the practice of PR. My creativity and writing skills have been challenged as I’ve had to adapt to different clients and styles of writing. I’ve gained further insight into crisis management. I have sharpened my event planning and coordination abilities. My media relations knowledge has more than doubled in the past two months with the opportunities to accompany the executives to press events and interact with journalists one-on-one. And I have absolutely mastered the art of time management. Overall I’ve learned that PR offers a more sophisticated means of communication. My interest and faith in the industry has been restored by its unrestricted nature, and I’ve decided that publicizing the arts and entertainment fields is what I will continue to work toward.

So I want to thank The Silverman Group for taking a chance on someone with no agency experience and providing me with what truly has been a unique learning opportunity. And to all the recent graduates encountering the same problem, I encourage you to remain a current and viable asset in this industry. Enroll in graduate school and move to a more vibrant market. Join your local PRSA chapter and engage in interesting conversations with successful people. Volunteer, offer your services to local businesses, and inquire about job shadowing to get you one step closer to that hiring manager. Most importantly, don’t give up. Eventually your dream agency will recognize your potential and your increasing proficiency will transform you into the PR professional you’ve worked so hard to become.

5 Things I’ve Learned About Arts Publicity

Words from one of TSG's excellent 2011 Summer Interns, Deirdre.
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I’ve been an intern with The Silverman Group for a couple of months now and I can honestly say that I’ve learned quite a bit about arts publicity. A lot goes on behind the scenes of promoting art, theater, dance, music and other entertainment clients that I didn’t expect. I came up with a list of five lessons I’ve learned about arts publicity and will dive a little bit deeper into each lesson below. Warning: this list is not meant to scare anyone away from pursuing a career in arts publicity, it’s just a heads up on what you can expect!

1. Publicists are busy; Journalists might be busier.
My point here is that it is important to not waste a journalist’s time. I’ve noticed that they tend to be overwhelmed with endless stories to cover, so their time is precious. This was never more evident than the first time I was assigned to call up the major news desks to confirm they received a media advisory from us. Within seconds, I already felt like I was wasting their time, as they rushed me off the phone. With the decline of the economy, it’s no secret that many journalists now individually cover double to triple the amount of work that they used to. Since journalists are so busy, it is important for publicists to make a client’s event super easy to cover. We can do this by creating clear, concise media alerts. Make sure that the necessary information is laid out for them to see and that the supporting facts are easy to find. The less research an editor or reporter has to conduct, the more likely they are to cover a story.

2. Just because you think an event sounds newsworthy, that doesn’t mean reporters will.
Even the catchiest media advisory can’t save some events from little coverage. I learned this lesson at the first event I helped staff, in which no reporters (with cameras) showed up to film. I thought the event sounded like the definition of newsworthy. It was a collaboration event between a live music orchestra and some award-winning filmmakers. I thought I’d see as many camera crews as I did hipsters, but I was wrong. I guess it’s not always realistic to expect a lot of media coverage, which I’m sure seasoned publicists understand. All you can do is try your best to get the word out there and hope news outlets will show an interest.

3. A Publicist must be a know-it-all, of sorts.
At least it helps. I can’t count how many times the office gets phone calls from people—whether clients, reporters, or agents, asking unexpected questions. As a publicist, it helps to know as much as possible about your clients, the city you’re working in, the relevant news outlets, social trends, etc. Seemingly pointless trivia ends up being very useful at times! The more you know, the better. It’s vital to at least know the basic history of your client’s organization—when it was formed and how its existence has transformed over the years. When you already know a lot about your client, it makes work like writing a press release a whole lot easier!

4. The hours are long.
I learned this lesson while helping with the TBS Just for Laughs comedy festival. The festival lasted one week, which I spent staffing the press room and assisting with media relations at the events. When I factor in the time spent commuting, I think my shortest work day that week was 13 hours. Don’t get me wrong, I loved working at the festival. It was a great opportunity to get to see how press functions at such large scale events. I even got to escort some comedians around to their scheduled interviews. My only point is that an arts publicist probably can’t expect to have a standard 9-5 work day schedule. They are often handling media at events later in the day and sometimes even on the weekends. Which brings me to my last lesson learned…

5. It takes a true passion for the arts.
Life as an arts publicist would be quite dreary if you weren’t completely in love with what you do. You need a true passion for the arts to dedicate yourself to this field. You have to be willing to put in the time and effort that your client deserves!

CIMMFEST 2011!

Six days is all ladies and gentleman. Six days away from the cultural masterpiece that is known as the Chicago International Movies and Music Festival. I don't know about the rest of you guys, but i am giddy like a kid in a candy shop about some of the content that will be presented at this years festival. CIMMFEST, in its 3rd year, is a four day, multi-venue festival that emerges the world of film and music together and allows the creative community of Chicago to come together and celebrate the amazing world of music and film. The festival will showcase a lot of the fun and unique work created by artists, directors, producers and the creative community as a whole, and we have four days of it! (consider your weekend planned). The festival this year will feature the world premiere of "FIX: The Ministry Movie" focusing on the former Chicago industrial metal band, The Ministry. Bassist, Paul Barker as well as the films director Douglas Freel will be in attendance at the screening which takes place April 14th at 7:30 pm at the Music Box Theater. Seventy films from over 20 countries will be screened including features, documentaries, shorts, concert films, animation, and music videos, all of which have music at their center. Supplementing will be live performances by Mike Watt, stars from Chicago’s All Natural label, Tutu & the Pirates, Gurf Morlix, Tim Rutilli and Gillian Lisee (Fruitbats), plus panel discussions and numerous filmmaker appearances. There will also be plenty of free programming at the Chicago cultural Center throughout the weekend, see CIMMFEST webstie for details, www.cimmfest.org. Hope to see all your smiling faces there!

Dance Triumphs: Luna Negra and SPDW Dance Theatre

Luna Negra Dance Theater...

"'Flabbergast' an unrelenting blast of entertainment" (Chicago Tribune)

"Luna Negra's showing what dance can do" (Chicago Sun-Times)

"Luna Negra Dance Theater joins the ranks of the country's finest mixed-repertory contemporary companies..." (Time Out Chicago)

All the critics agree, this past weekend's performance by Luna Negra at the Harris Theater was spot-on brilliant. A spectacular display of exquisite dancing, beautifully honed artistry and new creative horizons, Luna Negra is raising its own already high bar, and we (the Chicago audience) get to sit back and enjoy the show.

And if you don't trust their opinions, you can trust ours. The show was indeed quite wonderful. My personal favorite work was Spanish choreographer Fernando Hernando Magadan's Naked Ape. It opened with four white-clad dancers standing center stage, flanked in the corners by luminous, three-dimensionally molded articles of clothing, like shirts and pants with invisible wearers. These pieces lit up from the inside, making the scene even more surreal and ghostly. A fifth dancer, clad all in black, observed the group like a detached researcher, speaking in Hungarian as he shaped the dancers' forms when they froze in their movement. The group morphed out of and back into their own series highly original movement that was tense, relaxed, strong, weightless, graceful, forceful, complicated and subtle. Wonderfully nuanced duets and solos emerged. It's hard to describe, but believe me, it was a gorgeous work, using simple yet imaginative imagery to create truly stunning tableaux.

Book-ending Naked Ape was Luis Eduardo Sayago's Solo una Vez, a very likable romp for three men and three women about the challenges and rewards of relationships -- to which we can all relate -- and then Gustavo Ramirez Sansano's wildly hyper but still focused Flabbergast, the kind of work that puts the Latino flair into Luna Negra's repertory just where it fits the best.

Overall it was a remarkable evening of some of the best dance I've seen this season. Should you have missed it this time around, don't make the same mistake next season. Luna Negra is on fire -- muy caliente!!

SPDW Dance Theatre...

And lest you think we're being partial to our clients, another show this past weekend that I cannot rave enough about is Same Planet Different World Dance Theatre's outing at The Dance Center of Columbia College. The debut weekend for the troupe at this ideally-sized dance house, the program of three works offered a lovely and delicious array of the company's many formidable talents.

Joanna Rosenthal's Grey Noise was essentially a character study through dance, the kind of work that puts the "theater" in dance theater, rich in subtext, individuality and unexpectedness.

Carl Flink's HIT was full of just that -- uncompromising, literal and forceful hits, the kind of "take that!" smacks that made the audience visibly and audibly react. I applauded the bravery of both this choreographer, for asking his dancers to be so harsh (and yet so trusting!) with one another, and his dancers for truly going there to make the theme of violence and aggression ring true.

The evening was completed by the silky bittersweetness of Shapiro & Smith's To Have and To Hold, a gorgeous work where the dancers used three long benches to create the simplest yet most profound images. The work's transcendent themes of love, death, loss, and the emphemerality of life were never so profound in a work of dance.

Given the fact that the company sold out its three-night run, I would safely say the performances were a huge success -- commercially and artistically!

And still to come...

The crunch of the dance season came a bit early this spring, happening around late February. But it's not over yet -- this coming weekend brings one of my favorite companies back to the Harris Theater stage -- Hubbard Street Dance Chicago! (The show runs Thurs. through Sun., March 17-20.) The spring engagement brings two Israeli dance powerhouses to the Chicago audience: Ohad Naharin (yay!) and Sharon Eyal. Hubbard Street fans know who Ohad is (re: Minus 16, a HSDC staple), and Sharon is another visionary artist from Tel Aviv's Batsheva Dance Company. HSDC is presenting new works by these artists, and I simply cannot wait! It should be a powerful, beautiful, and very fun program. I hope to see you there!

Joffrey's "Merry Widow" a lighthearted, fleet-footed delight

Last night the curtain rose for the opening performance of The Joffrey Ballet's latest production, Ronald Hynd's The Merry Widow. Widow is a three-act story-ballet adapted from Franz Lehar's operetta of the same title. In order to turn a dialogue-heavy opera into a wordless ballet, Hynd worked with composer John Lanchbery to adapt the original music into something more dance-friendly. Using a combination of lyrical dancing and gestural mime, Hynd tells a story of love and scandal with a glamorous Parisian setting.

But if you think you can just sit back and watch, and then completely grasp what's going on, think again. Pay close attention to those program notes, or you might be asking yourself who that old man is, where that lady in pink came from, and why everyone is constantly swigging champagne.

Allow a little crash-course on the plot: Picture It! Pontevedro, turn of the century. (No, Pontevedro isn't real, it's a made-up French principality.) Pontevedro's bureaucrats realize the country is broke. Ah, but there's a ball coming up at the French Embassy, and look who's on the guest list -- a rich widow, Hanna! And, being far younger than her late husband, she's still quite a catch. So the natural solution is to have Pontevedro's sovereign, Count Danilo, capture Hanna's heart and thus secure her wealth for their country.

Meanwhile, an affair is revealed between Valencienne, a Baron's young wife, and Camille, a young French attache. More on that shortly.

Cut to the ballroom scene, with plenty of sparkly dresses and light-as-air waltzing. Danilo and Hanna meet, but alas, the already know each other! Turns out they met when she was a penniless peasant girl and he was an up-and-coming nobleman. He broke her heart then, but now the tables are turned. Long-scene-short, Hanna and Danilo still have strong feelings for one another but are both too stubborn to admit it.

Two more scenes unfold, and when Valencienne and Camille are almost discovered, Hanna smartly steps in to replace Valencienne, coming up with the rouse that she and Camille are engaged (much to Danilo's chagrin). Still with me?

Cut to the final scene at Chez Maxim, a glitzy French cafe. Valencienne is furious at Camille, poor Camille is almost done over in a duel with the Count, and everyone is beside themselves as to whom Hanna will end up with. While I doubt this will spoil it for anyone, I'll leave out the details for now and suffice it to say that everyone lives "happily ever after."

Now The Merry Widow isn't like last season's Othello, as there's no dark, brooding drama. And it isn't quite like Cinderella, which had everyone enchanted from the first moment with the familiar tale of everyone's favorite rags-to-riches sweetheart. But nonetheless, The Merry Widow is a lighthearted, charming and rich ballet full of absolutely gorgeous dancing. Hynd constantly surprises you with his choreography, adding a creative tilt of the head, an unexpected lift, or a beguilingly supple line just when you think you know what's coming next. The evening is magical, the characters endearing, and the Joffrey shines doing what they do best -- a little of everything!

Promoting A Mayoral Debate: Exit Comfort Zone, Enter Spin Zone

So vis-a-vis our relatively new client, Chicago Tribune Special Events, Laura Silverman and I had the rare opportunity to promote and staff a major political event: the recent televised Chicago Tribune/City Club of Chicago Mayoral Debate (aired live from WGN TV studios). Scheduled participants (in alpha order): Carol Moseley Braun, Gery Chico, Miguel del Valle, and Rahm Emanuel. Was a good challenge to step out of our comfort zone (which is promoting the arts to reporters with whom we've worked for years) and instead communicate with a new group of press with new types of questions (predominantly related to the technical aspects of the broadcast and the sharing of "pool" photography and video). Not to mention, with the timing of this debate in particular, Emanuel was in limbo as to whether his name was to be included on the ballot or not (based on ongoing residency challenge). He fully intended to participate in the debate - the Tribune had kept him on lineup- and the affirmative decision was actually handed down by the Illinois Supreme Court within an hour and 1/2 of the live debate airing! Given the confab of candidates and cameras all gathered at WGN TV's north side studio, that was definitely the place to be for anyone following the campaign.

But first, a quick summary of the preliminary publicity work that got us to that place.



Advance efforts were typical of other special events we're promoted, basically drafting and distributing a press release and then following up with the media to secure advance coverage and on-site attendance. However, there were two key differences: (a) We didn't have at our disposal a local "political" media list, since we don't usually dabble in that arena, so a list needed to be compiled ASAP and thanks to some good old fashioned sleuthing (Hello, Google!), it was not too laborious. (b) Among the myriad more technical rules about how to secure footage via Chicago Switch (a connector of broadcast signals so that other TV stations could pull video from WGN TV) was the disclaimer that only one reporter per media outlet would be allowed to cover the debate on site and needed to RSVP to me within 48 hours of debate. Apparently much of the technical info was written in invisible ink as I started getting requests to bring their own cameras (no), to bring a producer (um, no) and to bring a third reporter from their newspaper (NO!). That said, I did persuade client to allow the Sun Times to bring a second reporter just because it felt like right thing to do, although ultimately only one showed but I'm glad we made allowance.

Despite the tenuous situation with Emanuel's residency status hearing, from a press standpoint, it was all going smoothly - all the A-list media were accounted for and ready to attend (and get all necessary audio and visual feeds) - until the day of the debate. Suddenly, out of the woodwork popped up some of the aforementioned reporters requesting a ticket even though their media outlet was already set, not to mention one "reporter" who somehow managed not to have seen or heard anything about the Debate until within 5 hours of it taking place, when we had turned down others because of capacity, and then accused me of playing unfair and threatening "you haven't heard the last of me" (and I didn't, and will perhaps explain later).

So, off the phone and flash forward some five hours, our job was to man the "Spin Room." And yes that's what it was called.



(Outside the Spin Room was the main entrance to the actual Debate studio, and there was tight security there. It was funny seeing a very hirsute former Alderman Burt Natarus getting wanded, as though he was a threat of any sort.) So basically, we monitored the room where the press were allowed to sit and watch the Debate on a big screen TV, as it happened live in the studio next door. Most of the press that RSVP'd actually showed up, but given the breaking news about the residency issue being resolved, some reporters ended stuck at their desks it turns out. From a publicist-geek standpoint, was interesting to see the "old school media" (Carol Marin, WMAQ TV) who propped their laptops on a table (replicating a desk top computer?) and plugging in, while the younger crowd (Sam Hudzik, WBEZ FM) balanced laptops on their lap. The oldest of the old (Mike Flannery, WFLD TV) took notes on a pad of paper!

The two most contentious during Debate were, not surprisingly, Emanuel and Chico- and their constant name dropping (of the President and Mayor, respectively) got old quickly.

Then, following the Debate, the four candidates were shepherded in to take FIVE MINUTES of questions from the group, press conference-style. Really, the canned-idates answered the questions from the press with the same canned responses they'd provided in the Debate so there were no revelations but I think the press at least appreciated the perception of one-on-one time.

Glad to have "worked" only one debate... and I still don't understand the Rahm tax.

O hey, It's the new guy...

Well hey everybody, this is officially my first personal blog post as a new member of The Silverman Group Chicago so I'll take a second to introduce myself. My name is Demetrius and I'm a current senior at Columbia College Chicago, in my last semester after 5 grueling years in America's higher education system. I hail from the lovely Midwest town of Kansas City, MO and this is my 3rd year in the Windy City. The arts have been my personal love attachment since i was just a runny nose kid playing Lego's and my opportunity to be a part of the artistic community here in Chicago comes at the perfect time.I came from a stint at the alternative weekly newspaper, The Chicago Reader and The Silverman Group has welcomed me with open arms and let me dive head first into some fun and unique projects that they are a part of here. I'm excited about my tenure with this hip organization, and yes, they are about as hip as it gets :). I have the opportunity to play a big part in the publicity for the Peace on Earth Film Festival which is to take place February 25-27 at the Chicago Cultural Center's Claudia Cassidy Theatre which I'm extremely excited about and invite everyone to take part in some portion of the festival. February is going to be a big month for us with The Joffrey Ballet's performance of "The Merry Widow", Avalon String Quartet, John Lequizamo@ the Royal George Theatre and many other exciting events that will keep all of you art and culture junkies foaming at the mouth. Chicago is the place to be for entertainment and all of us lovely personnel here at the Silverman Group will make sure that you know about some great events happening here in the City. Well anyway, back to work, i would love to hear some of your responses about events that you have attended and your overall feedback on the blog!

Cheers,
Demetrius

Peace on Earth Film Festival 2011 (POEFF)

The 2011 Peace on Earth Film Festival (POEFF), along with the Board of Directors of Transcendence Global Media, will showcase an intriguing exploration of film in the areas of peace, nonviolence, social justice and an eco-balanced world at the Chicago Cultural Center’s Claudia Cassidy Theater, 78 East Washington, Friday, February 25 through Sunday, February 27. All screenings are free and open to the public.

“The Peace on Earth Film Festival was designed to encourage filmmakers to craft films in the genre of peace, nonviolence, social justice and an eco-balanced world,” says POEFF Executive Director Nick Angotti. “However, we have taken the festival beyond showing films and awarding filmmakers and have helped showcase Chicago’s effort for peace and environmental protection while providing an education element to the audience".The 30 films being screened were chosen from a field of 148 international films addressing similar topics.

Admission to all screenings and events are free and open to the public on a first come, first served basis and held at the Chicago Cultural Center’s Claudia Cassidy Theater, 78 E. Washington Street, Chicago. For more information visit www.peaceonearthfilmfestival.org.

Your MLK Day Cultural Activities

So you have the day off on Monday for the Martin Luther King, Jr. holiday, and you're wondering how to fill your day while at the same time honoring the reason you're off in the first place. Allow us two fun and culturally active suggestions:

African Dance Master Class at Joffrey Ballet

Hosted by the Academy of Dance, Official School of the Joffrey Ballet, this class will be led by Andrea Vinson accompanied by live drummers Deshon Newman and Seneke. Open to adults and kids age 10 and up, this fun and lively class is perfect for the whole family. And no dance experience is required -- it's appropriate for all skill levels. So come learn some groovy African moves while celebrating Dr. King's civil rights legacy.

• 12:30-1:30 pm
• At Joffrey Tower, 10 E. Randolph St. (between Wabash and State)
• $10 per person
• Register in advance by calling 312-784-4600. Walk-up registration may be available.
• More info: http://www.joffrey.org/academy/classes/martin-luther-king-jr-day-january-17

Chicago Sinfonietta presents A Dream Unfolds, Annual MLK Tribute

In this beloved musical tradition, guest conductor Leslie B. Dunner joins Sinfonietta Founder Paul Freeman in a celebration of Dr. King's pioneering steps forward, allowing listeners to reflect -- through beautiful and stirring classical music -- on his indelible mark on American history. This will be an especially moving event because it will be Maestro Freeman's final time leading this program, as he will retire at the end of the current season. The highlight of the program will be Gershwin's classic folk opera Porgy and Bess, arranged for orchestra by Robert Fussell Bennett, where the Sinfonietta will be joined by vocalists from the Chicago Community Chorus.

• 7:30 pm
• At Orchestra Hall of Symphony Center, 220 S. Michigan Ave.
• Tickets range from $26 - $96
• For tickets call 312-236-3681 ext. 2, or available by walk-up at the Box Office
• More info: www.chicagosinfonietta.org

Even if you don't have the day off, don't let Winter keep you inside -- take this opportunity to enjoy some good ol' Chicago culture. Hopefully we'll see you there!

Care to dance?

My, my, it's a busy season for dance in Chicago. It seems it happens this way every fall and every spring, all the dance events are piled around the same time. What's a dance fan to do? Why, get out and enjoy it!

We just had a couple of modern dance festivals wrap up. Weekend before last we saw the final run of The OTHER Dance Festival, a three-week showcase of some of Chicago's most adventurous modern dance companies and independent artists. We also saw the inaugural Harvest Chicago Contemporary Dance Festival, a three-night showcase with a different line-up of artists and companies each night. This is a brand new fest, so look for the roster to get steadily stronger as the producers get a few more years under their belts.

This past weekend was the fall engagement of Hubbard Street Dance Chicago, and what a show! Resident choreographer Alejandro Cerrudo presented two new works, Blanco and Deep Down Dos, both of which were beautiful and beautifully danced. Always a "cinematic" kind of choreographer, Cerrudo displays a masterful control of the stage image and is never short on inventive, original theatrical devices. We also saw Victor Quijada's new work, the hip-hop-infused PHYSIKAL LINGUISTIKS, which was a fun piece that allowed the dancers to explore some new movement vocabularies. And then came the delicious dessert that was Nacho Duato's Archangelo, the last section of which was worth the ticket price alone. It was truly stunning.

Coming up, one can't overlook two of my favorites (and--full disclosure--our clients), The Joffrey Ballet and Luna Negra Dance Theater. Joffrey is presenting a selection of ballet heavyweights in All Stars (maybe the title "Top Choreographer Masters" was taken), which runs October 13-24 at the Auditorium Theatre. The program includes George Balanchine's Stravinsky Violin Concerto and Tarantella, Christopher Wheeldon's After the Rain, and Jerome Robbins' The Concert (Or the Perils of Everybody). I don't know which piece I'm more excited for-- Stravinsky is devilishly difficult, with super fast tempos and hard-to-count rhythms. It will be a task for the dancers, but they're up to it. The Concert is also hilarious, with some zany, over-the-top characters. It's a beautiful example of exactly what Robbins was best at, combining physical comedy with stellar dance technique. Don't miss your chance to see the beauty and fun, get tickets here.

Luna Negra is presenting the first season under new Artistic Director Gustavo Ramirez Sansano in one performance only on Saturday, October 16 at the Harris Theater, which is followed by the annual Noche de Luna gala. The program for the performance will showcase a brand new duet by Gustavo called Toda una Vida ("All My Life") inspired by his mother and father and their endearing (and enduring) love, the kind of love that keeps people together through thick and thin. They will also present a North American Premiere by Brazilian choreographer Fernando Melo called Bate (pronounced "batche," which means "heartbeat" in Portuguese), a work for five men that balances a touch of humor with some powerhouse movement, including one section where the men, laying prone on their stomachs, literally pop off the ground like popcorn (I'm still not sure how they do it). And rounding out the program will be Luna Negra founder Eduardo Vilaro's Deshar Alhat ("Leave Sunday"), which was inspired by the Sephardic Jews in Latin America and their struggles and trials. It's a beautiful, non-linear piece for the whole company--who are looking especially strong these days--and the music, by Stefani Valadez, is poignant, bittersweet, and haunting. Get your tickets here.

A few others I'm looking forward to this season (this is by far not an exhaustive list): the all-female, Afro-Cuban-infused group Lizt Alfonso Dance Cuba stops by the Auditorium Theatre, Oct. 28-29; Ballet Hispanico visits Chicago with Eduardo Vilaro now at the artistic head, at the Harris Theater, Nov. 5; SPDW Dance Theatre and Hedwig Dances co-presented Walking...Drifting, which runs at the Hamlin Park Fieldhouse, Nov. 4-5 and 11-12; and the Chicago Human Rhythm Project presents Global Rhythms IV, an extravaganza of jazz, tap, hip-hop and other rhythm-based dance companies, at the Harris Theater, Nov. 26-28. Fall is the perfect season to "fall" in love with dance, so get out there and take advantage of all the beautiful work!

Photos by Herbert Migdoll, Cheryl Mann and Jonathan Mackoff.

My Personal Fall Preview at The Silverman Group!

There’s a first for everything and I’m so excited to be writing my first blog entry as TSG’s Fall 2010 intern! I’d like to introduce myself briefly, explain why I love Public Relations, and share what I’ve been up to so far this Fall.

My name is Allison, I’m a senior at Columbia College Chicago and I will graduate in December (yes, two and a half months from now, ah!) with a degree in Marketing Communications and a focus in PR. I came to Columbia after transferring from the University of Iowa, and I am so happy I made the switch to such a wonderful city school. During my first semester at Columbia I focused on Advertising, but after one Intro. to PR class I was hooked.

PR encompasses so many things I love: writing, event planning, working with people, and getting exposed to different cultural events. Practicing PR is like an ethnographic study of your city as you interact with so many different people and discover what is important to them. At The Silverman Group, I can relate to many clients thanks to my personal love (read: lack of talent) for music, theatre and the arts. It’s safe to say I’ve had the entire scores and lyrics of Phantom of the Opera, Les Miserables, and Joseph and the Amazing Technicolor Dreamcoat memorized since age five.

In other internships I have been one of 15 interns, so being the only one here makes a huge difference! I am so happy to have already been allowed the opportunity to write several press releases and a media advisory, attend the Black Ensemble Theater’s groundbreaking ceremony, and tag along with Laura to an interview at the Jane Addams Hull House Museum. Outside of the office, Beth was so kind as to include me in an outing to the Bank of America Theater for a performance of Rock of Ages, a stage musical featuring tunes from 80’s rockers Poison, Styx, Journey and Foreigner. Loved the show, thanks Beth!


This month I am looking forward to working on the Loop Art Crawl, which will launch Chicago’s inaugural Art Loop Open, WBEZ’s Climb the Tower at Lake Point Tower, planning for the McDonald’s Thanksgiving Parade, and much more! I am thrilled to be at The Silverman Group during my last months of college and experience great hands-on work in PR for the arts!

Say HELLO to ALO!

It has been a while since our last post, so I thought I would take the time to announce an exciting new project that we have been working on over at the TSG offices. Chicago Loop Alliance - who is always thinking of innovative new ways to engage Chicagoans in our city's rich culture - has joined forces with the Chicago Artists' Coalition to present ART LOOP OPEN.

This name might seem kind of confusing as we spent the entire summer promoting ART LOOP 2010 and Tony Tasset's much talked about EYE. However, since this is another CLA public art initiative it seems sensible to keep the names similar for branding purposes. Art Loop Open (or ALO as we have taken to calling it) is a Chicago-wide art competition. This may seem simple and straightforward...but it is not. There are so many facets surrounding this project that I am still trying to wrap my mind around it. Don't get me wrong - in order for this project to be successful it must have many working components, but in order to explain myself better I'll break it down in 3 parts: VISIT, VIEW, VOTE.

VISIT - as with everything CLA does, the point is to bring visitors into the Loop area and ALO is no different. This initiative is reaching out to tourists and Chicagoans alike. If you are a Loop employee and you need a quick coffee break, you have the opportunity to step out of your drab office and into a world of culture by visiting one of the many participating venues (Macy's, theWit, Palmer House...to name a few) and check out the many installations created by artists within the Chicagoland area. OR if you are a tourist and you are picking up your annual supply of Frango Mints at Macy's you might also realize you in the middle of an art gallery featuring sculptures, paintings and video projects. I mean...how often does that happen at the Woodfield Mall?

VIEW - this part is pretty self-explanatory. CLA and the Chicago Artists' Coalition are essentially turning some of the biggest venues in the Loop into public art galleries. The participating venues will be opening their doors for the sole purpose of showcasing some of the most incredible art to the public. Each venue will contain a range of pieces and let me tell you...no two pieces are alike.

VOTE - this is the exciting part. WE, the people of Chicago, determine the winners of ALO. That means you don't have to have an art history degree, be a student at SAIC, or have curated a rave-reviewed exhibition at the MCA in order to place your vote. All you have to do is go into one of the venues (or a few or ALL!) in between Oct. 15 - 21, check out some pieces and vote for some of your favorites. Then on Oct. 22 the Top Ten pieces will be announced and you get to vote for your absolute favorite. The winners will be announced on Oct. 29.

There are many ways that you can place your vote. First you can text in your vote, or use a special Smart Phone application, OR you can visit HUB 37. No, this is not the restaurant on Dearborn and Hubbard. This is a special area in Block 37 that will be the hub of communication during ALO. HUB 37 provides many different and innovative ways for ALO participants to engage and immerse themselves into the project, but I do not want to give too much away beforehand...so go check it out!

That is all for now. There will be more updates to come...but until then GET EXCITED.

The Time Has Come to Break New Ground!

I've worked on a HUGE variety of clients and events since joining The Silverman Group almost three years ago (exactly three years will be this coming Friday Sept 17)! Anyway, during my time at TSG some of the more unique clients I've had the opportunity to promote include the World's Toughest Rodeo at the United Center, the International Kennel Club of Chicago Cluster of Dog Shows, a President Obama themed Advent Calendar, Altar Boyz - a musical about a Christian Boy Band, in addition to more mainstream theatre, art, comedy, and non profit events. However, until this past week I had never worked on a ground breaking! I've helped open new buildings, but that was it... until now!

This past Friday, September 10 the Black Ensemble Theater held a ground breaking ceremony for their new Black Ensemble Theater Cultural Center. Originally I had a personal conflict and may have had to miss the event, but I'm so glad I didn't. It was tremendous! Albeit running a little long, the ceremony was incredibly smooth! Governor Quinn, Mayor Daley, Alderman Shiller and Schulter, Congresswoman Schakowsky, and Senator Raoul were all present at a ceremony emceed by Actor Harry Lennix. Joining them were members of the Black Ensemble Theater family including performers, donors, and members of the general public. Everyone who spoke praised Jackie Taylor and for good reason!

And from a PR standpoint, because really that's what this is about, it couldn't have gone better! Every single local TV station covered the event as did the Chicago Tribune, Sun Times, Time Out Chicago and more! What does that mean? Each outlet was represented by either a cameraman/photographer, a reporter, or both, basically equaling some great coverage!

Jackie Taylor and Harry Lennix being interviewed by WCIU-TV, respectively

For some insight into what the media thought, check out Time Out Chicago and the Chicago Tribune's post-coverage.

Getting back to where this post originated... it was my first ground breaking and it was a success! One of the reasons I still enjoy PR is because after three years I still have the chance to work on something new! Yes in the grand scheme how and what I do for each client is generally along the same lines, but the actual product is so different. A ground breaking can't be compared to a theater opening, which can't be compared to a dog show! Construction on the Black Ensemble Theater Cultural Center is estimated to take a year and having seen the very first moment when it stared makes it that much more exciting to see the final project! When we open the new Center in the Fall of 2011 I'll be able to say I was there when...

the ceremonial dirt pile to "break ground"

On that note of new buildings, openings, ground breakings... last week I also had the chance to re-open the Jane Addams Hull-House Museum, which underwent a massive renovation this summer! More on that later...

It truly was a week of breaking new ground all around!

Season Finale

I can hardly believe it, but the 2010 season of Grant Park Music Festival is over. I feel as though there was a lot of build-up as I prepared for my first GPMF season. I am still relatively new at TSG, and I was very excited to have the opportunity to work with this particular client. I spent a couple months mentally preparing, drafting press releases, assembling artist headshots and bios, and pitching the season opening...and now it is all over.

Looking back on it - the season was exceptional. I have to say - it was not what I expected. Grant Park Music Festival has a way of keeping its traditional audience while still drawing in the ever-elusive younger crowd with contemporary and innovative guest artists. Being a twenty-something myself, I was particularly impressed with the range of talent GPMF was able to bring in this season.

The Independence Celebration concert had me smiling throughout the entire performance. This concert was able to juxtapose the contemporary BAM! dancers with the traditional Trinity Irish dancers in a way that I didn't expect. And Chorus Director Christopher Bell captured the audience with his skill and his phenomenal costume that consisted of American flag pants and platform shoes! Not a bad way to spend the holiday weekend!

Another personal highlight was the Planet Earth Live concert. I am a huge fan (and owner) of Planet Earth and have been known to watch hours of the documentary series on end. However, viewing this breathtaking series in the solace of my own home does not even hold a candle to the setting I was able to experience this summer. GPMF was able to have George Fenton, the original score composer, conduct the Grant Park Orchestra as parts of the series played on a hi-def screen behind the orchestra. I just remember taking a moment to look around me. The sky almost dark, the city is illuminated by the surrounding buildings, and a small breeze swept over the audience from nearby Lake Michigan...and here I am watching one of my favorite series among hundreds of people on a beautiful Chicago summer night...and this is part of my job. How lucky am I?!

The final concert was extraordinary. Principal Conductor Carlos Kalmar brings such energy to his work that I find to be extremely impressive. I for one was shocked at his ability to truck through Mahler's Symphony No. 2 (which by the way, is a very, very long piece). Afterwards, Beth and I had a chance to attend the wrap-up party for staff and guests at the Goose Island beer garden where we listened to a few closing remarks and chatted with everyone who had helped make this season such a success. Not to mention this furthered our new obsession with everything Goose Island. For all of those who have not tried "Green Line" I suggest you get on it...it has been the topic of conversation at the TSG offices ever since our Cubs outing!

Anyways, I could go on forever about my favorite concerts but I'll try and keep this brief and sum it all up. There were so many things that I gained from the last couple months, but I am especially appreciative for two reasons.

1. GPMF season opened my eyes in many ways and allowed me to embrace a kind of music I had not truly appreciated before.

2. I had a chance to have some serious face-time with multiple members of the media. Usually our communication is limited to email or the phone, but this allowed me to build a repertoire with some of the major music critics in Chicago (which is crucial in this business!).

Ok - this post is getting a little long so that is all for now!

It's the weak end!

And no that isn't a typo. This final post for the week is going to be a weak one. It's a Friday in August, one of our final weeks of "summer hours" and the crickets have returned (as has the bird that just flew perilously close to my open window).

Time to take advantage of the quiet and quit complaining about it.

So I'm off to check out a new Blackberry.

Not surprisingly, I've become somewhat addicted to the practice of blogging (aka, talking about myself). Who knew?

And PS. the new business meeting this morning went VERY well. Am providing a proposal next week. I am 100% sure we can deliver what they're looking for - and we'd enjoy working on it! Just a matter of money, and what they can afford. Hints were made about tight budgets, the need for sponsors, etc. Will keep you posted... promise!

Unfinished business

So, yesterday's post touched on reasons why The Silverman Group (or any publicity firm) might take on a new client even if the fee is less than we usually accept (reasons such as: the cache, our passion for the product, the ability to maintain relations with niche media contacts, etc).


On the flip side, it is worth noting that there are also reasons why we might NOT take on a new client, even if the fees are acceptable. These are fewer and far between, and typically make for better stories.


Four actual reasons we have turned down business:


1. Potential client has unrealistic expectations. This usually becomes apparent in the first meeting, when we are asked about our contacts with Oprah! (For those unaware, just because she lives here does not make it a Chicago television show.) This has happened less over the years, as I believe the show's ratings have decreased and clients have recognized the national focus of the show (which is not to say local clients don't believe they have national appeal.) "Getting on Oprah" is an extreme example, but we frequently have potential local clients who desire (or should I say "require") us to deliver national coverage (such as a review in the New York Times or having The Today Show broadcast live from client's site) which realistically, based on our past experience, is a long shot. It's not impossible - depending on the client's national newsworthiness and the travel schedule & budget of desired medium - we just don't want to set ourselves up for failure! I tend to be more of a realist - better to under-promise and over-deliver as they say -so if national exposure is a must for the client, as a Chicago-centric firm, we might likely turn it down rather than under-deliver results.

2. Potential client would make our lives miserable. Have learned over the years, the hard way, that even a good paying client is not worth the fee if we dread their emails or calls. Clients become avoidances generally when they have false expectations (see above) and will not accept rational explanations for why we are not able to accomplish something they see as a "slam dunk." What we are able to accomplish (which usually is a great deal) is not good enough - or could have been achieved by anyone - and the expression "what else?" becomes a common retort. Life simply is too short to be spent defending one's good work.

3. Potential client in a field we're not passionate about nor familiar with. I'd like to think that The Silverman Group is successful because we take our jobs seriously and sincerely want to spread the word about our clients! We are each, in our own way, passionate about culture - be it a pop culture film festival or the more higher brow, fine arts. Being fond of, and familiar with, the clients we represent makes our jobs more enjoyable (and ultimately makes us more successful at what we do). I have in the past, accepted contracts for publicity projects outside of the entertainment or non-profit realms, with limited success. Spending your time immersed in an environment in which you are not comfortable (or excited about) will generally produce fewer results and become a frustration. We all want to produce for our clients, and when we can't, it's morale draining and generally time wasting.

4. Potential client wants to pay in cash... with $100 bills... pulled from back pocket. True story and something about that gesture read to me as unprofessional (and potentially illegal).

And so I await tomorrow's new business meeting!

Mundane, Mundane

So, when people (usually job applicants) ask what a "typical day" is like at The Silverman Group, I usually respond that "no two days are alike," which I consider to be a good thing. However, the last few days have been unusually similar: slow and filled with mundane bookkeeping tasks, health insurance renewals, and scheduling meetings to discuss the (aforementioned) Fall season. All necessary evils but not exactly energizing endeavors.


I know that soon I will wistfully recall these less hectic days, when I have the luxury of focusing on one client at a time, instead of seven, but right now, I miss the drama - and the multi-tasking. The running from one client's meeting to assist at another client's interview to the office and out again.


And having a legitimate excuse why I can't hit the gym after work.


***


So, we're meeting a potential new client on Friday, for a festival which we're perfectly qualified to represent, and I look forward to selling the company's services. Hopefully the fest director can afford us, but this reminds me that new business acquisition is not always about the fee. One retains new clientele for a variety of reasons. For instance, The Silverman Group represents a diverse range of cultural organizations: theater, dance, film, comedy, music, visual arts and assorted non-profit institutions, such as WBEZ FM/NPR and the Chicago Loop Alliance. I have sometimes accepted lower fees for projects in any of those fields of expertise so as to continue utilizing the valuable media contacts we've compiled and to keep us front-of-mind with those contacts. For example, soon after we promoted the opening of the new Spertus Institute of Jewish Studies building - and had initiated some great relationships with architecture and "green" building press - I definitely wanted to take advantage of having established those contacts, and sought to secure other new building projects, which we did. Utilizing existing media contacts made it easier to produce solid coverage for the new clients, and having other relevant clients to "pitch" helped to solidify our relationship with those particular members of the media....which will make it easier to produce solid coverage for the next client!


Other reasons for accepting less-than-acceptable fees might include: the high profile nature of project/personality will add cache to our client list; I have staff who have the necessary expertise, and at the time could afford to be busier; given the familiar nature of the project, we have the ability to produce results with little effort or time; it is personally important to - or would prove especially enjoyable for - someone on staff; and/or perhaps an initial low paying project will lead to further work in the future.

I will let you know how the new business meeting goes and ideally prove to the prospective client that The Silverman Group is worth its weight in, er, gold!

The dog days of summer

The dog days of summer are upon us....

And it's not just because I'm a cat lover, that I'm feeling a bit frustrated.

Typically, the last days of August are a bit, er, quiet around Ye Olde Silverman Group. (Let's just say I'm wearing jeans to work again with no fear of a meeting interrupting my casualness). Folks are out of town, I get it. Families taking vacations before school starts, others using up vacation days to attend baseball games or other summer pursuits left to the last minute.

So while phones aren't ringing and meetings are few and far between, we typically all try to use this time to work ahead: get press releases written, media lists updated, maybe even some desk straightening or blogging! One gets lulled into somewhat of a false complacency (not to mention a 5:01pm departure time).

However, the trouble is that within days (okay, 10) it will be Labor Day weekend and then.... the official START OF THE FALL SEASON. Sorry to yell, but every year it plays out the same. While now, virtually ever email sent out this week and next receives an "out of office" reply, on the Tuesday after Labor Day (September 7, this year), members of the media, clients (and presumably the public) are jolted from summer thoughts and suddenly focused on what's taking place September - December. (Let's not even discuss the holidays). It's time to get serious and we're all running around like chickens with our heads cut off because "September is nearly half over"! (There's alot of animal analogies in this blog, and you can see there's alot of drama in our world.)

And at the risk of sounding as though I'm complaining (which I'm not), this year, the abbreviated Labor Day work week includes not only a major Jewish holiday (Rosh Hashanah, Thursday Sept. 9) resulting in two days off work for many (Monday and Thursday) but also we've got two major events to promote that week- the re-opening of the Jane Addams Hull-House Museum on Wednesday afternoon and the ground breaking for the Black Ensemble Theater Cultural Center on Friday afternoon! That will make for one crazy "welcome to Fall" week!

And in the meantime.....crickets.