Happy Banniversary & Saying "I Do," to I Do

 I am REALLY excited about this content. To keep it digestible and give you time to ponder, I am breaking this into two separate posts - the second one will arrive on Friday. Another way of saying thank you for being a Patron.

Is your event calendar filling up? Do you hear the champagne corks popping aplenty? If so, you're not the only one - because engagements are on the rise, and weddings are coming back - and in a big way!

According to a report on CNN.com, the downturn in weddings (and relationships) caused by the pandemic has the marital frown turning upside down. The report cites sales data from Signet Jewelers, the largest jewelry company in the United States, as evidence that the relationship doom of the pandemic has evolved into a relationship boom.

"The pandemic created a temporary disruption in dating. Accordingly, several years ago we predicted a future lull in engagements caused by the global shutdown,"

Virginia Drosos, Signet CEO

But the return of many pre-pandemic lifestyles, including dating, has the lull in proposals bottoming out this year and rebounding in early 2024.

According to Signet's proprietary data, the typical time between when couples meet and get engaged, called the "engagement gap," is, on average, about 3.25 years.

Um, I short cut that one. How about you?

It turns out that about 2.8 million couples, on average, get engaged every year in the United States, said Drosos. Last year, the number slipped to 2.5 million. She said it will continue to head lower to level out at 2.1 to 2.2 million in 2023 before climbing back up and fully rebounding over the next three years. In 2024, Signet expects engagements will reach 2.4 to 2.5 million as it works its way back to pre-pandemic numbers.

"We have 14 million people in the dating funnel right now that we can identify in our database," Signet states.

The dating funnel? And they say romance is dead.

What's in this dating funnel?  And how do they know who is in it?  More on that Friday, for now, I want to look at our music funnel.

While the circumstances are VERY different, the numbers and outcomes associated with the pandemic are eerily similar for relationships and music education.

Like its dating counterpart, our public schools currently have about 14 million children in elementary school receiving some soft of general music.  This is our funnel.

Also similar  to 2.8 million engagements, we have around three million students involved in music in junior and high school. They have chosen a class,, rented an instrument, and are in a committed relationship with their clarinet.

Like all relationships, all seventeen million people are somewhere between courtship (beginning music), and seriously committed relationship (high school marching band/show choir/symphony orchestra).

They start and end on an almost annual basis, and travel the same path - just a different speeds and with different outcomes. Like all relationships, there are trying times and difficult moments. But regardless of how and when it ends, this journey is a transformative one.

But the pandemic altered that.

This global event brought the seemingly normal music-making activity to a grinding halt and quickly eroded our students' skill sets and your program enrollment. It took away their musical making partner and created a physical, cognitive, and emotional distance that was too hard for some to overcome. They lost it all, their relationships (with their instruments), the activity, and the people they used to make music with. 

Those were dark days - and like the diamond industry, it was easy to see not just the immediate impact of distant/remote learning, but its long-term associative effects.

For high school teachers, you are likely seeing the storm before the sun. You are the epicenter of that impact zone. Nearly three years after the pandemic, every student in your program experienced an altered or truncated beginning experience, which affects them (musically and otherwise) to this day. Yes, this is the start of the climb out, and your sunrise comes soon.

If you start beginners, you have already been through the storm - and you are likely seeing more sun than your secondary counterparts. You endured the worst and are now better and brighter days.

Either way, the days before us should be sunnier than those behind us. As in all relationships, your students' musical relationships will not always be smooth and uncomplicated - but the tough days are when the love is solidified and the commitment personified.

More than anything it needs to be celebrated and honored on a regular basis. We celebrate to show progress. We celebrate for the solidarity of it We do this to deepen the connections and honor the commitment.

It won't just grow the bond, it could grow your enrollment. Music is like any other relationship, if not one is paying attention, progress and growth are hard to see. And without those two things, we lose interest.

In light of this, might I suggest you take a minute in rehearsal this week to acknowledge and celebrate your students' musical anniversary. There Banniversary that is (sorry couldn't come up with one for orchestra and choir). Bring a cupcake, light a candle, and make a wish.

I am approaching my 47th banniversary, (seven years in school, four in college, sixteen as a teacher, and I am approaching my twentieth year with Scott Lang Leadership). 

No gift needed - for me, it's about celebrating some milestones.

I will explain why all of this matters so much on Friday. It's gonna blow your mind. Well, it did mine - but I am a drummer so...

Have a great day - talk to you in a couple of days.

 


Scott

© SCOTT LANG LEADERSHIP 2023 - all rights reserved

 

Unsurprising Disbelief and Your Bond

I still remember the night like it was yesterday, even though thirty years have passed. The single-bar helmet revealing the face and fear of 32-year-old Scott Norwood. In Super Bowl XXV. 

with time expiring, he attempted a game-winning, life-changing field goal that appeared good, but would suddenly veer and miss by a few feet. 

The term "wide right" would define not just the life and legend of Scott Norwood, but the entire City of Buffalo and its Bills community. 

I remember that day as if it was yesterday. After the game, I was inconsolable. The Bills had been the better team; even a non-fan could see that. We'd out-gained the Giants, out-converted them, out-played them, but we'd lost anyway in dramatic, dream-shattering fashion. It was too much for my 22-year-old emotions to process. 

So, I sat there in utter disbelief. 

My friends knew how much that game meant to me. After forty years of futility, we had arrived. It was our time. We were a team of destiny. It seemed that nothing could stop us.

I was wrong.

"It's just a game," my buddy would say as he removed his Bills' inflatable helmet. "You'll be back next year." And he was right. 

We would be back the following year, and the two years after that - only to experience the same crushing defeat. The Bills would go on to be the only team in history to make four consecutive Super Bowls - where they would lose and break my heart each and every time.

For the following two decades, futility, humiliation, and frustration would continue, including the "Music City Miracle,"  and the unforgettable collapse of safety Damar Hamlin in last year's nationally televised season finally.

My sons and I make an annual pilgrimage to Buffalo to see the Bills - along the way, meeting the likes of Brian Urlacher, Marcus Allen, Dave Wannestadt, and team owner Terry Pegula. We've endured canceled flights, torrential rain, and last year's "snow-mageddon," forcing the game to relocate to Detroit, where Stefon Diggs handed my son his game gloves. 

Our shared love of the Bills is sometimes challenging, but our loyalty is tried and true.  

Would I like them to win it all? Of course! I also know that it would change things in a very real and meaningful way.

Part of the reason the Bills are the favorite sons of Buffalo is because they are a reflection of their city. In a city that can't catch a break, people rally around the team that best reflects their own story - one of hard work, small-town values, and willingness to persevere. It is a part of their identity and reflects their community. Winning a Super Bowl would change that.

There is solidarity and honor in the struggle.

It's as true in music as it is in football.

Doing what you do, the easy days are few and far between. A seemingly good day is unexpectedly turned upside down by an angry parent, an unpredictable student, or an unexpected problem—beyond the unknown are the constant struggles for funding, staffing, facilities, support, and resources. 

These victories and defeats are played out on the stage and in public, where the critics, pundits, and skeptics are plentiful. Good is never good enough, and the list of things to fix or do better is never-ending.

But, there is solidarity and honor in the struggle. 

For most of us, being a music teacher is more than a job; it is a part of our identity. For better or worse, we are deeply invested in what we do and are committed to our programs and community. 

The very nature of our profession means we celebrate the victories and mourn the losses in public, where we are exposed and vulnerable. This is part of what makes the job so hard and what bonds us and our students together.

In my experience, the community of music education is unlike other curricula. Our shared experiences and struggles bond us in unique and powerful ways. We take pride in doing difficult and meaningful work. It's hard. The defeats are more frequent than victories, and the pain of losing exceeds the glory of winning. 

Would I like to win a championship or experience the thrill of performing on a grand stage? Of course! But, I also know it would change things.

The struggle is a vital part of what we do. It teaches us all (adults and kids) lessons and forges bonds that would not and could not be created in an idyllic vacuum. 

I like the fight. I embrace the struggle. And I appreciate the opportunity to be in this game working with kids. Win or lose, good day or bad, being a music teacher is more than what I do; it's a significant part of who I am. 

I wouldn't want it any other way, and I wouldn't want to experience it with anyone else.

As the Jets returned the punt for their overtime victory this past Monday night, my son and I watched in disbelief and yet were unsurprised. Yet again, our beloved Bills broke our hearts.

"They're killing me, but they're still our team, Dad!"

The struggle continues as the bond grows stronger.

"It's just one game," I said, feigning a smile. His response?

Have a great week everyone.

 

Scott

 

1-17,000, Life As A Washington General

Check this out...

On January 5, 1971, Louis Herman Klotz did something no basketballer dared to repeat.

In the small town of Martin, Tennessee, in front of a packed house, the man known as Red broke one of the most sacred unwritten rules in sports. As the team captain for the Washington Generals, Klotz shot the winning basket to beat the Harlem Globetrotters. A feat never attained before or repeated after.

In an interview later, Red Klotz said, "They looked at us like we'd just killed Santa - boos and jeers rang from the rafters." 

It has been over 50 years since that event, and ever since, on an almost nightly basis, the Globetrotters have ruthlessly taken their revenge. 

But I don't want to talk about the Globetrotters. I want to talk about the Washington Generals.

What would make someone trained as a professional athlete want to be a General? Intentionally losing night after night goes against the very ethos of sports.  

The Generals are the rarest of sporting commodities: the underdogs you're not supposed to root for and the team that will NEVER win. 

Although, as a General, winning isn't defined by the score. It is characterized by smiling children, happy parents, and memories that last a lifetime.

 Former General Antoine Maddox shares, "It was the best experience you can ever have coming out of college. I ended up hitting 26 different countries in my three years."

 

David Birch, who spent five years with the Generals, remembers high-security trips to Army bases in Japan, Germany, Lebanon, and even Afghanistan, where he stated, "If you stepped outside your base, you had to wear a helmet and vest."

As a music educator, it feels a bit like being a General. You and I are classically trained musicians with decades of experience. We know excellence and have the knowledge and skills to produce it. We enter into each practice, class, and contest with high hopes of grand achievement and accomplishment, often leaving feeling dispirited and defeated. And like the Generals, we play events in packed houses, oblivious to the trials and tribulations of our jobs and performance. And yet, they cheer wildly at our mediocrity.

In a way, music teachers and the Generals, have a lot in common.

Like our athletic counterparts, winning is characterized by smiling children, happy parents, and memories that last a lifetime. Cur me up some Sweet Georgia Brown.

Yes, it would be nice to leave the rehearsal room or stage feeling like we won or achieved something extraordinary. It would be great be the GOAT instead of the goat? I crave a rehearsal filled with right notes, perfect intonation, and precise rhythms. And yes -  just once, wouldn't it be nice to hit the game-winning shot ii front of 20,000 people? 

But that's not our job.

Our job is rooted in humility and service. We play a game that rarely keeps score, and when it does, it makes winning almost unattainable. Your team is imperfect, undersized, and outmatched. The game is stacked against you, and victory, while in reach, will rarely be yours.

As a General, You're not allowed to stay on the court and get pictures. You're not allowed to do autographs. You're not allowed to do any press," says Birch, a Washington General. "In the beginning, that's an ego check, because part of you wants that stuff. I came in as a basketball player and left as an actor."

Does that resonate at all with you?

In his final interview, Red Klotz said, "People that would ask: 'Hey, why don't you just go win one time?' But that is not our job."

Sound familiar again.

It's why that infamous win in Tennessee likely occurred from a combination of timekeeper error, rare wasteful shooting from the Globetrotters, and a legendary General who could get away with it.

After all, Red Klotz's franchise may have lost more than 17,000 games, but he maintained until the day he died in 2014 that his team always tried to win. And to my way of thinking, they did. They kept score by the number of smiling faces, giggles, and lifetime memories they created.

What if we did the same?

As for winning the actual game -will it ever happen again? You never know, but we can all agree, that the Generals are certainly due. 

And so are you!

Have a great week everyone.

 

-Scott

Taylornomics and Your Swift and Serious Impact

Last week, we looked at the logistics of Taylor Swift's Eras tour. Today, we are going to SHOW YOU THE MONEY!

It's hard to overstate the impact of Taylor Swift's Eras Tour on the cultural landscape, musically or economically. Believed to be the largest and most lucrative concert tour ever, some estimates have it bringing in $1.4 billion by the tour's end. The Swift demand (see what I did there) for her first post-pandemic tour crashed the Ticketmaster website, a debacle that eventually led to a congressional hearing. 

The impact continues beyond the concert venue gates.

Her fans have been filling hotels, packing restaurants, and crowding bars during Swift's 20-city Eras Tour in the U.S. Cities say the tour has helped them recover from the economic toll of the pandemic by bringing back tourists and their wallets. 

The Eras Tour, which started in March and ended in the U.S. on Aug. 9, is on track to become the most extensive tour in concert history, potentially grossing $1 billion. It's filling football stadiums with more than s people, and Swifties often stays in town for several days, giving local businesses time to soak up the Swiftie money.

To get fans in their stores, they sell doughnuts with Swift's face on them or concoct cocktails named after her songs. Cities went all out trying to welcome Swifties. Glendale, AZ, temporarily renamed itself Swift City, Swift was named an honorary mayor of Santa Clara, CA, and the Willis Tower in Chicago was lit purple and gold one night and green and teal another in homage to some of Swift's albums. 

Why?

Because one estimate places the economic impact of her tour above 50 million dollars per city! The impact isn't just local; the Federal Reserve credits Taylor Swift's Eras Tour for affecting the entire United States economy.

It's simple Taylornomics; Swifties go on a spending spree when Taylor Swift comes to town.

 The impact is incredible, but so is the responsibility. A single person, Taylor Swift, is impacting local and national economies in ways Fortune 500 companies can't. ONE PERSON.

If you remember last week's e-zine, you know where I am going with this.

Few individuals on a school campus have the fiscal responsibility and exposure to liability that you do. The equipment, uniforms, furniture, fixtures, and electronics can exceed one million dollars in value. Add to this the immense physical footprint of a music/performance facility, and you can easily understand that running a music program can be as much about money as it is about music. Your program has an economic impact.

And, like the Eras Tour, the impact doesn't end at the rehearsal hall doors.

A simple recommendation to your students regarding where to rent/buy an instrument can mean tens of thousands of dollars to a local music retailer. Selecting a uniform provider or travel company can exceed that figure by double or even triple. You not only have a job as a music teacher, you help create jobs. The combination of such an immense fiscal responsibility, and its impact on a community, makes you a businessperson as much as a music educator. 

Don't believe me?

Years ago, I compared my program to a small business as a thought exercise. 

  • I "paid" my students minimum wage for every hour they were with me.  

  • I "gave" my leaders a $5.00 pay bump as managers.

  • I listed actual wages for myself and my staff.

  • I factored the parents in as unpaid employees.

I was shocked when my calculations had my employee payroll exceeding two million dollars for a sixteen-week season. TWO MILLION DOLLARS! This did not factor in facilities, instruments/equipment, operating costs, or payroll taxes.

Being the curious person I am, I called my city Chamber of Commerce, explained what I was doing, and was told I would be considered the third largest employer in my city. My band program was larger, more complex, and would have a more significant financial impact than 95% of other businesses in my city.

I don't have a degree in business. Heck, I struggle to create pivot tables in Excel. I don't have a human resources department or a crack social media and marketing team. I have yet to gain experience in depreciation schedules or long-term financial planning. 

And yet, all of this is a part of the job of a program director.

You see, in ADDITION to running your music program, you are running a small business on top of it. You do this without any training, resources, experience, or help. If we're honest, your job's business side presents the most significant exposure to peril.

Some of you embrace and excel at the non-musical portions of the job, while others struggle. Some of you excel or even enjoy these parts of your job. I did.

Regardless of which side of the equation you are on, it is an ever-growing part of your job that requires more and more of your most precious resource: TIME. The added burden, without added resources, could push many over the top and out of business. That is something we can't afford.

“My ultimate goal is to end up being happy.  Most of the time.”

– Taylor Swift

In the end, we are as much a business as we are an educational institution. It's important to remember that taking care of business means taking care of yourself. Taking care of yourself means you ARE taking care of business.

Have a great week everyone.

 

-Scott

p.s. Next week I will share some thoughts, tips, and ideas that have shaped my business and program throughout the years.

 

p.p.s  In total, we have over 2500 registrants for my free webinar. Round one, this past Monday was incredible and I can't wait for the 29th.

Again...

 

This should be the last free edition. But, I want to finish what I started. So, I feel another free one coming on next week.

However, the cost of sending these emails is considerable.
Would you please consider... 

BECOMING A PATRON





 

SWIFTLY NAVIGATING YOUR LOGISTICAL WORLD - PART 1


This is part one of a two-part series examining the ever-growing complexity of your job.

 

As you read this email, Taylor Swift is readying for the final American performance of her Eras Tour. 

And what an epic tour it has been.

Recent reports have Taylor's tour as the largest grossing, highest attended, and most complex tour ever undertaken. It uses nearly 500 employees and 90 semi-trucks and will be seen live by over three million people.

The costs?

Speculation places the costs of the set alone at 30 million, with the total operational expenses exceeding $100 million. 

But, don't feel too bad for Taylor - she's getting by.

By tours end, it is believed that ticket sales, merch, and more will make Taylor Swift a billionaire. 

More on the money next week. This week I want to focus on the logistics.

Can you even fathom what planning, building, and operating a tour like this entails?

Ninety trucks? Are you kidding me? 

This incredulous number makes more sense when you factor in Eras'sthree separate, but interconnected, digital hydraulic stages and a backdrop screen the size of a football field. And, that's just the stage - not the lights, sound system, rigging, set-pieces, etc. 

When combined with dancers, musicians, video, special effects pyrotechnics, and her seemingly unending talent, creates a complete and compelling three-hour immersive experience.

And wait for it...

For increased efficiency and redundancy, there is a second identical version of ALL of this. The two complete shows leapfrog one another to the next city/show while the current one breaks down.

It's insane.

How did she pull this off? How did she manage all of this AND be a creative genius (she really is!)? 

The answer?

A world-class logistics team that thinks through, plans, and oversees every single detail, and every single moment, of every single day. 

Just think about it:

  • Semi-trucks

  • Busses

  • Equipment

  • Props

  • Costumes

  • Food

  • Travel

  • Hotels

  • Merch

  • Lodging

  • Building codes, standards, safety

But most important, she is responsible for the health and well-being of 500 people.

When you stop to think about it, you can go down a rabbit hole as the logistics are as endless as they are complex.

Where do 90 semis even stop for gas?  Where do they park at a hotel? Where do they stop for food or to use a restroom without shutting down an entire street or city block? 

 It turns out that the seemingly easy task of performing music to enthralled fans is not as simple as one might think. The complexity of even the simplest of details (eat/sleep/restoroom) can be mindblowing.

So prepare to have your mind blown. Please read the bulleted list above again (no, really, re-read it).

Now substitute the Eras Tour with your next away game, contest, or trip and you will see some striking similarities.

Yes, Taylor's adventure is much grander in every way, but the logistics are the same. The size and scope of Eras is enormous, but so is the size of her team. In addition to being voluminous, remember that they are also highly qualified, certified, and experienced professionals who are trained to do this.

You? Well, you got you!

Just curious, how much training do you have in logistics management? Are you a Certified Logistics Associate or Supply Chain Professional? Do you have access to a Certified Management Accountant or a Supply Chain Management Specialist?

I don't think so, yet, you are expected to do all the jobs and complete all of the functions - even the creative ones.

You design the show, pick the music, hire the team, request the busses, secure the facility, fundraise the needed funds, book the hotel, find the restaurant, prep the performance, fix whatever's broken, tune the instruments, fill out the purchase orders, etc.
That is the world's longest run-on sentences and I only listed half of what you do.

In other words, YOU DO EVERYTHING!

Being a music teacher is unlike any other position in your school, or perhaps, even all of education, as it combines all other jobs into one!

I share this not to diminish the importance of other educators but to underscore music education's singular and unique nature. You do all of this, with NO experience, NO time, NO training, and most importantly, NOhelp!

Oh yeah - can you squeeze in some teaching while you're at it?

I don't think Taylor teaches the choreography or rehearses the band. I doubt she ordered the merch shirts or hands out the costumes before the performance. I find it hard to believe she coordinates the buses, takes attendance and helps load the trucks. She is focused on one job - albeit a big one - and lets others handle the rest. 

You, you have to do it all, which in my mind, makes you swifter than Swift. 

Running a music program is like running a concert tour - same responsibilities, just fewer trucks, busses, and people to help.

This is not a knock on Taylor, it is a love-letter to you!  Taylor is not only talented, she is generous. To acknowledge the sacrifice associated with being on the road for 12 weeks,  this past week, Taylor gave each of her 90 truck drivers a check for $100,000.00.

All you got was this email. 

It makes you rethink our relationship, doesn't it? Maybe you should listen to Taylor more than you do me.

 

“No matter what happens in life, be good to people. Being good to people is a wonderful legacy to leave behind."

- Taylor Swift

 

Next week, I will be back with a look at the money part of the job - along with some thoughts, tips, and ideas on how to best manage it and the logistical complexities of this crazy profession.

In the meantime, have a great week, and welcome back.

 

-Scott

I'm Back and I Have Something for You!

 A  photo from our summer vacation - Leah, Evan, Brayden, and some old guy.

I hope you had, or are still having, a fantastic summer. 

If you're back at work, stay out of the heat. If you live somewhere cool - HIRE ME FOR A WORKSHOP AND GET ME OUT OF PHOENIX! I might pay YOU to present! Seriously, it's insane here. The Washington Post just reported that Phoenix posted the hottest month ever observed in a U.S. city. 

Back to the subject at hand...

This first e-zine of the new school year is always an exciting and daunting one to write.  Exciting because I get to reconnect with friends and colleagues I have missed.  But difficult because I know I have to deliver for you in a meaningful way each and every week.


But don't worry (as if you would) - I've been making notes and jotting ideas for future blogs  (and I have some fun, interesting, and helpful content in the works). So yes, I am excited - and yes, I can feel the pressure as well.

I imagine you feel the same.  Although you work is much more important and difficult than mine, and you work much harder, I suspect we share a similar excitement and angst.

When I taught, this time of year came with simultaneous love and loathing. I was  excited to see the kids and start a new journey, but not looking forward to  the alarm clock and the 22-minute lunch periods.  The grind was about to get real, but I was also excited about new possibilities, adventures, and students.

Do you feel the same?

As we begin the year anew, I always like to remind my students (and myself) that this is a time of firsts:

First time as a 6th, 7th, 8th, or 9th grader.
First time at a new school.
First time in a marching band, orchestra, or mixed voice choir.
First time in a new building.
First outside-of-school rehearsal playing new music
And sooner than you think, it will be the first time in a uniform, on a stage, or under the Friday night lights.

The start of the new school year also brings "firsts" for teachers as well.

First day teaching a new class.

First day with new students.

First day with a new administrator.

First day at a new job or new school.
First day as a new teacher or retiree.
First day in a leadership role or new responsibility.

But perhaps more important than anything, it's the first time to change ,or make a difference in, someone's day, week, month, or life.

"Firsts" matter. 
"Firsts" set a tone. 
"Firsts" make an impact.

"Firsts" are remembered.

People don't typically remember "seconds," so it's important to invest in the "FIRSTS!"  Sooner than you might like, they will become the "lasts."

To help with investing in the firsts, check out the activity below. I did many times with my students and they really loved it.

Have a great week FIRST week everyone.


Scott

 

An activity for the new year:  A LETTER TO YOURSELF

 

As you begin anew – consider doing the following activity. It is simple, sweet, and will have an impact that is demonstrable for a long time. (To make it easier for you, I am attaching a sample PDF for you to use - the entire activity takes about 15 minutes and can even be completed outside of class.)

  • Have the students make a wish, write a thought, or even a note to themselves about their goals, hopes, and fears for this year. Remind them that they are writing to themselves, so if they only write a few sentences, they are only cheating themselves in the end (valuable lesson here).

  • Encourage them to write as much as possible - fill the page, front and back even.  If they want more time, let them take it home and bring it the next day.

  • Have them place the notes in blank white envelopes with their name on them (they can decorate them if they like). Have a student leader ensure that you have a note from every student.  If someone doesn't write a note - put an empty envelope in its place - they can open an empty envelope in the end (another valuable lesson here).

  • Post the envelopes somewhere the kids can see them daily (around the room  or on  bulletin boards) as a reminder of their hopes, promises, or goals .

  • Use the envelopes occasionally in class/rehearsal to remind the students of the promise, energy, and potential they felt on that day. During a lazy day or rough rehearsal -  I would ask the students to look at the envelope and remember what they wrote - then I would tell them to get back to work.

  • Pick an important day, week, or event - pull the envelopes down one week in advance and tell your students they have one more week to achieve the goals/dreams contained inside.

  • Surprise them with their notes at a special time (last rehearsal, bus ride to a significant competition, or after a rough day) and watch the smiles appear.

The best part of the activity is the envelopes on display.  They serve as a  constant reminder to be the person they describe in that note. It's like a daily pep talk and gut check from themselves.

Might I suggest - you also write a letter. I did this activity with my student leaders in my second year of teaching. To build a bridge and establish trust, I gave my note to a student leader who did not particularly like me and told her she was in charge of when I would receive it back.

She gave me the letter back FIVE years later. 

When she returned it, she handed me an additional note from her. She wrote about  the impact I had made on that 17-year-old girl and how she now better understood what I was trying to do, and appreciated that I trusted her with my note.

She is now a music teacher.

Now, I wouldn't recommend such a protracted time frame, as I had long since forgotten about the letter - but it was amazing to read not only her note, but a note from a second year scared & inexperienced teacher. 

I hope you will use this activity.

To make it easy, I am including a letter template for you to download, print, and copy for your students. - click on the button below to get it.


Feel free to alter the activity to fit whatever works for you and your students.

 

THE END OF THE YEAR MUSICAL HIGH WIRE ACT

Friends:

As a high school teacher, the end of the year is a flurry of both instructional and non-instructional activities. Balancing final concerts/graduation and non-musical tasks (collecting music, inventory management, cleaning out lockers) is like walking a high wire how hard do your push. How do you get everything done? How do you balance the logistical tasks with your musical ones?

As a teacher, I didn’t want to spend the month of June toiling in the band room, but also DESPISED the "May is for movies" approach to teaching. So, I created a plan for the final 10 days of school and thought I would share it with you!

Here are my 10 steps/ideas/tips to making the your year's end as productive and educational as possible. Use as it, or alter to suit your needs.

  • Post your final 10 day schedule somewhere prominent. Students need structure and a clear understanding of what is happening each day. Email it to your admin and parents to show you have a plan.

  • Sight-read through some classic literature previously unplayed. This is a chance to have your students play literature (Holst, Grainger, Vaughn Williams, Reed, etc.) they might otherwise be exposed to. 

  • Talk about next year. Hype up the show, upcoming trips, introduce new leaders, etc. This is a great activity during "Senior Ditch Day." 

  • Use the "check-out" process to "check-in." Ask to see students’ 2023/24 schedules, collect camp deposits, verify contact info, etc. Touch base with every student to ensure they will not be lost in the cracks over the summer. 

  • Host a yearbook signing day. Tell the students that you will not allow yearbooks out during class until a pre-specified date. Be willing to give up one (or half) rehearsal to make the remaining ones more productive. 

  • Create an end of the year closure activity. Have the students answer 3-5 questions such as what was your favorite moment/laugh out loud/thing you will miss. Compile the best answers into an end of the year document to hand out on the last day of school or during graduation (made it less boring for my students).

  • Acknowledge the students who are leaving. You can do it in public, private, or in writing They will they appreciate it and it will become a special rite of passage to which the younger students look forward. 

  • Complete a music or school service project. At my previous schools, at the final dismissal (lunch), the seniors would throw ALL their papers into the air in the school courtyard. It truly was a WHITE out. During the last period of the day, my 7th period class would clean it all up. It only took about 30 minutes and saved the custodians HOURS of work and made the band a hero in everyone’s eyes. 

  • Automate year end tasks. You have bright and competent student leaders who want to help. Create coordinators for instrument check-in, music return, locker clean-out, uniform check-in, etc. Use a "check out sheet" that requires signatures from all coordinators before your final signature. Any student not having completed all areas by the designated time will receive an incomplete. Work smarter, not harder. The kids are happy to help, and I was happy to have the help.

  • End with a smile. The last thing they see will be the first thing they remember.

I hope that these ideas will help to not only lighten your workload, but create a more organized and educational environment that is consistent with your high standards. 

Hang in there. You're almost done!

Let me know if I can help in any way.

Scott

LEADER OF THE BAND

HAPPY TEACHER APPRECIATION WEEK

Friends:

For the past 19 years, during Teacher Appreciation Week I have been attempting to "appreciate" YOU – and every year I struggle to make it meaningful and personal. And while we work hard to do it via Be Part of the Music, I still want to make a personal effort.

About four weeks ago, something in my gut told me to rediscover, revisit, and reshare a post I wrote in 2017. Since I want it to be personal, I listened to my gut, and I rewrote it with a bit of a different perspective.

Please accept it as a small token of my appreciation for all that you do.

- Scott Lang

LEADER OF THE BAND

As a tribute to his father, the title uses "band," but the sentiment is universal to ALL music teachers.

In 1981 Dan Fogelberg wrote a musical tribute to his band director father that shot to number one on the Billboard Music Chart. Through his poignant lyrics and soulful melody, Leader of the Band spoke compellingly about the difficulty of this profession and its impact on people. 

The song and sentiment are genuinely touching, and although he wrote it for his father, it could have just as easily been written for you. If you don’t know this song or the artist who wrote it, you should. 

As a music educator, your life and legacy live on through every student that passes through your program, and not just musically. Through your teaching, you provide students with more than lessons on harmony and melody; you give them life-lessons. 

In last week's e-zine I shared the critical role that music teachers play in creating other music teachers. But, more importantly, Fogelberg's masterpiece (along with all of his musical works) shows a music teacher's impact continues throughout a student's life. Without Lawrence Fogelberg, we would not have had Longer, Run for the Roses, Same Old Lang Zine, Part of the Plan, Rhythm of Love, Power of Gold, or any other of his numerous hits.

This tribute song reminds us that teaching music can often require as much sacrifice and pain as it does joy and fulfillment. Above all, the poignant lyrics point out that music education is a calling, one that chooses us as much as we choose it.

The second stanza speaks to this sacrifice in a very meaningful way:

A quiet man of music
Denied a simpler fate
He tried to be a soldier once
But his music wouldn't wait
He earned his love through discipline
A thundering velvet hand
His gentle means of sculpting souls
Took me years to understand.

Many of you know that Leader of the Band was written for his father Lawrence Fogelberg who was a musician, educator, and band leader. The success of the song was a gift to him before he passed on. As an added tribute, Dan added his father's favorite composition, John Phillip Sousa's Washington Post March, to the end of the song. It really is quite cool.

In an interview after his father's passing Dan said:

If in my life, I were only allowed to write one song, it would be Leader of the Band.

- Dan Fogelberg

When you listen to the lyrics, and hear Fogelberg sing, you can tell that he really understands the life of a music teacher. But, more important, he understands the impact. He says it best in his final stanza:

The leader of the band is tired
And his eyes are growing old
But his blood runs through my instrument
And his song is in my soul --

My life has been a poor attempt
To imitate the man
I'm just a living legacy
To the leader of the band

I am the living legacy
To the leader of the band.

In the coming days and weeks, some of your students will leave you. Some of them forever, but that does not mean that you are gone from their hearts and minds. In part, they are a "Living legacy to THEIR leader of the band. 

If you would indulge me for a minute during this speak day, I ask you to close the door of your office (or car), and listen as Dan Fogelberg celebrate you and the impact you have as the Leader of the Band. I have provided a video clip below.

Share this with every music teacher you know so that they are reminded of how special they (and you) are.

Have an extraordinary week.

SL

Dan Fogelberg passed away in 2007 at the age of 57 from Prostate Cancer. I reached out to his widow as a part of writing this article and have not as of yet heard back. If you want to learn more about his music and life, click here. 

If you are interested in hearing a more modern rendition, the Zac Brown Band recorded Leader of the Band for a Dan Fogelberg tribute album, click below and enjoy (requires Apple Music or search it on your streaming service).

HEAR ZAC BROWN


THE GREAT MUSICAL DIVIDE AND MY LEAP THERE AND BACK

For the past thirty years, politicians, pundits, and policymakers have debated our nation's great digital divide - a place and space where America's poorest and neediest students lack equal access to technology and the world wide web. Thanks partly to government investment, technological advancements, and smartphone access, that gap has dwindled considerably to a more level playing field. Today, by and large, rich and poor students alike have access to technology in ways previously thought unimaginable.

 

As we close one divide, another one opens up.

A recent article in the New Yorker Magazine highlighted what it sees as the new and significant "physical divide," the chasm between affluent and non-affluent young people participating in school and club sports. 

The article cites a recent Centers for Disease Control study that states, "There is a significant gap in sports participation by income level." The 2020 study found that "70% of children from families with incomes above $100,000 — (four times the poverty line) participated in sports, compared to 51% for middle-income families, and 31% for families at or below the poverty line."

As someone who coaches and has boys participating in club sports, these findings are not particularly surprising. Alarming? Yes. Surprising? No.

Shrinking budgets and the advent of privatized/club sports can have families paying anywhere from $3,000 to $10,000 annually for training, club fees, uniforms, travel, etc. This doesn't factor in transportation, child care, and time off work needed for parents with kids in these clubs - leaving many of our nation's poorer families out of the athletic loop. 

Less opportunity equals less training, coaching, and skill development. The snowball effect continues long after the child leaves school or the season ends. (If you are interested, Malcolm Gladwell's book Outliers makes a clear and compelling case that the impact of this continues into adulthood.)

Could the same be true for music?

We know the impact of the great digital divide, and we are becoming more aware of the effects of the great athletic divide. What about the great "musical divide?"

It will shock few of you to learn that the quality of a child's music education can be as dependent on their home address and their parent's paycheck as it is their music teacher. Inner city schools struggle to find not just the funding, but quality applicants to fill not just music, but ALL teaching vacancies. Older facilities, smaller enrollment, low SES, and instructional remediation only compound the problem.

This is not a reflection of the educator, it's a reflection of society.

In fact, as someone who taught in East LA and Title 1 schools in Phoenix, I am proud of what those students accomplished. They worked incredibly hard and would stop at nothing to achieve success. But, there was a "musical divide" that we had to overcome. Less access, less opportunity, less equipment, less parent support, fewer resources, and fewer (if any) private lessons create a real chasm that needed to be acknowledged, addressed, and overcome. 

Music educators in these communities are doing amazing work with fewer resources, less support, and in my experience, less recognition for what they are accomplishing and how they are doing it.

Even in more affluent communities, challenges remain. Varying district philosophies and commitment related to music (both seem to be in short supply) have created difficult times in the best of circumstances and perilous times in the worst. Add to this increased rigor and accountability for all schools, and what remains are fewer and fewer schools placing a premium on a premium musical experience.

In affluent communities, the divide can be mitigated by parents' ability and willingness to cover the differential—whereas their less affluent counterparts lack the same resources and abilities.

In this week's poll on our Be Part of the Music Dashboard, we ask, "What made you want to be a music teacher?"

The number one answer? Unsurprisingly, "My music teacher." 

The key to providing great musical experiences lies in our ability to attract great music educators to schools and communities that can be difficult to work in. To be blunt - you make the same money conducting Beethoven as you do Begin the Beguine. How do we convince our best and brightest to sacrifice their musical goals (conducting Mahler) for their students' goals (getting out of poverty)? In our profession and in our contests, how do we shine the spotlight not just on achievement, but on growth as well?

Simply stated, how do we grow our profession and impact if we cannot attract our best teachers where they can do the most good? How do we grow the profession's diversity if students' musical experiences in places of diversity are different from their affluent counterparts - making them less likely to choose music education as a professional pathway?

It can be done. And, it is being done. Many exemplary teachers are making it happen every day. I spent my entire career teaching in lower-income communities and schools, and loved ev ery minute of it. I took pride in the fact that I believed I was a part of the solution. 

I also recognize that as a leadership speaker, most of my clients are on the other side of the tracks, and I recognize that I am now part of the problem.

I leapt over the economic divide to the affluent side.

The musical chasm is vast, and I fear it's only getting harder to take the leap. Perhaps even more worrisome is how easy it has become to leap out of the profession altogether.

Have a great week.

Scott 

p.s. Be Part of the Music is giving away $40,000.00 worth of amazing prizes/grants/giveaways for Teacher Appreciation Week. But, you have to register before this Friday. In an effort to ensure everyone was a winner, we printed 1,000 "I Teach More than Music" stickers. They were gone in six hours. It makes me so happy to spend the week honoring you and making you happy. I hope you will click below and get in on the fun.

JOIN THE CELEBRATION

MY MUSICAL DRAFT

I apologize for the delay in sending this. Last night, for the first time EVER, 
I fell asleep while formatting the newsletter. 

This does not speak well for the content. :)

MY MUSICAL DRAFT

Unless you have been hiding under a rock for the past two weeks - or like my wife, who doesn't care much for sports, you know that the NFL Draft commences tomorrow night.

The NFL Draft has evolved into a monumental event watched by millions. Thursday's iteration represents the 88th time owners, coaches, and general managers have assembled for this purpose, and the 88th time Bills fans believed that THIS will be our year. 

This Spring tradition features struggling teams picking early and successful teams picking later to infuse the best talent in the most woebegone clubs. It also provides a brief moment of hope and excitement for the beleaguered fans of beaten-down teams - well, almost all. The Browns and the Lions are just cursed.

As you can tell, I am a football fan. Flag, high school, college, NFL, I don't care. I love it all! Heck, if anyone wants to play two-hand touch in the parking lot before a workshop, I'm in.

So I am excited for tomorrow's big event. And it got me thinking...

(this is a thought exercise for fun - don't read too much into this) 

I wonder what it would be like if we were to treat our music groups like the NFL. 

What if we were to "draft" your ensemble? What positions/instruments would be the most important, and who would you be eyeing? Double reeds, percussion, low brass? Let's keep the analogy going.

  • Who would you pick as your coach (conductor): Dudemel, Cramer, Corpron? 

  • Who would be your star Quarterback (soloist): Marsalis, Martin, or Sandoval? 

  • Who would be your defense (Brass): the CSO, SFO, or Canadian Brass

  • Who would you choose for offense (Woodwinds): San Francisco, London Philharmonic, New York Met? 

  • Who would call your plays (composer): Holst, Mackey, McBeth

  • Where would your stadium be: Carnegie, Kennedy, or Disney? 

  • And perhaps most important, would all of these "players" translate into a team?

And my mental meander didn't just stop at the draft. I started to think about other NFL aspects that might translate to music education and their impact.

What if, in addition to the draft, music education adopted the following policies:

Salary cap: The NFL has a hard and fast salary cap that levels the playing field for small-market teams who lack the resources of their big-city counterparts. What if we adopted a "salary cap" for music groups, limiting what each group could spend during the year? Would it similarly level the playing field for smaller schools in smaller markets?

Access/Practice time: NFL teams are limited in the time they can require for their players. What would happen if each competing music group were to have similar guardrails of how much they can practice per week or when they could start?

Number of coaches: Every team is limited to 16 coaches having contact with players. What if we limited the number of instrument coaches and the time a group can access?

Roster limits: NFL teams are limited to a 53-man roster, with nine additional players on a practice squad. I am not suggesting limiting participation - but would similar numbers or even instrumentation level the playing field? Drum corps does this.

Instant replay: What if we could rewind and review every mistake and dissect it for correctness - would the judge's score change?

Rooney Rule: Twenty years ago, to create more opportunities for minority candidates, the NFL dictated that all teams must interview at least one minority candidate for head coaching positions. What would be the impact of implementing a similar rule in hiring music teachers (or educators in general)?

What about gate receipts, merch, and jerseys? How about parking revenues? If a car is $20, how much do four yellow buses cost? Heck - I would endure long bathroom lines if it meant I could hear some Holst while eating a hot dog and washing it back with a cold one!

Now let's have some real fun. Let's flip the model around. 

What if the NFL was more like music education? What if NFL coaches and GM's:

  • Had to coach whoever walked through the door?

  • Couldn't scout future talent or control their roster?

  • Couldn't control the skill or talent of their players?

  • Had to fundraise for their equipment and manage it themselves?

  • Had to deal with parents and drive the team bus?

  • Made only $45,000 per year and had to teach all day and coach?

  • We're measured by growth and not victories?

That is when we would see who can REALLY coach. It's the age old educational question, achievement versus growth - the NFL measures achievement, find the best, draft the best, and win. While music education is about growth, teach who walks in and take them on a journey that leaves them in a better place than you found them.

Back to the draft. 

For most, tomorrow night is about community and hope—a chance to feel like the future is bright and you are not alone in this world. You have a tribe of people with shared passions and values.

And in this way - the NFL Draft and Music Education. April is when hope springs eternal and dreams for next year begin.

Happy drafting everyone. 

Go Bills. 

Scott

p.s. I am sure I missed some comparisons - feel free to hit me back with the ones I missed.

p.p.s. Thanks the the Airy's for sending me five boxes of Milk Duds after last week's e-zine. You are the best - and no, I am not sharing with Evan.