Artist Spotlight -- Andrea Fisher

Powell artist Andrea Fisher is known to many as "Fluterscooter." A Juilliard grad, she started her line of Fluterscooter bags in 2011 with "one silver bag and a dream."  Now Andrea has been sharing her experiences as an entrepreneur with flutists around the globe -- including students at her alma mater and participants in this week's "Flutes by the Sea" masterclass and workshop in Half Moon Bay, California.

Next month, Andrea will have her own booth at the annual NFA (National Flute Association) Convention, where she will be have plenty of Fluterscooter bags and a few special guests...  She tells us that she will be also conducting interviews at her booth for The Flute View, an online magazine for flutists that she created alongside colleagues Barbara Siesel and Viviana Guzman.  On the performance side, she'll have the opportunity to construct the installation for a performance of her own original music on Saturday, August 15th at 5 PM.

For those who have not had the opportunity to meet Andrea and hear her speak about her experiences as an entrepreneur, follow this link to read the her previous Teach Flute blog post on entrepreneurship titled FLUTREPRENEURSHIP.  Andrea also wrote about her experiences producing the live hologram show, "Flute N Float," in The Making of Flute N Float, which you can also read here by following this link.  She is currently working on a live hologram performance in London, but her DVDs from the Tokyo performance are available on her website: fluterscooter.com.

Click here to view Andrea's full artist profile on the Powell website. The 10th Anniversary Powell Sonaré Fluterscooter bag (pictured in the photo at the top of the page) is also available by clicking this link to the VQP Shop on the Powell website.

Gifts from the Heart

Powell Signature Flute

By Beverly Bizup Hawkins 

Yes, the time has come to change up the mundane trend of gift giving from wrapped boxes of empty emotion and last minute impulse purchasing of generic gifts to gifts from the heart, that communicate warmth from the soul.

With all of these thoughts in mind, music fits! Best of all, gifts that come with stories and warm the heart are gifts found everywhere in the flute community. In fact, the culture of Flute is ahead of this trend in more ways than one might think!

Go ahead, support your fellow flutists by purchasing flute recordings by colleagues. Pick a favorite composer and purchase some locally written sheet music for flute choir or plan on some duets with friends. Don’t forget gift certificates for private lessons or tickets to local recitals.

During this holiday shopping season, there seems to be a little piece for flute quartet stirring on the music stands of flutists. Not only is this fresh new piece of holiday music fun to play but the best part is the story behind it’s making and the composer’s choice for its official Soundcloud recording.

A few seasons ago, the Philadelphia Youth Orchestra together with full line Powell dealers, Windworks Studio of Philadelphia, hosted a fundraiser for Tune-up-Philly, a program of the Youth Orchestra aimed at increasing self-esteem, cooperative learning and teamwork though classical music instruction. Based upon the El Sistema approach, this after school program nurtures urban children in challenging social and economic conditions, endeavoring to improve their overall academic success.

An amazing part of this lovely story is that Powell Artist Andrea “Fluter Scooter” Fisher, together with Powell Sales Associate, Daniel Sharp (then Tune up Philly flute teacher) and Philadelphia Composer Joseph Hallman all stepped forward to make classical music extra inspirational for those least likely to have access to live art. These three artists are all Philadelphia Youth Orchestra Alumni and were enthusiastic about “giving back”.

Daniel Sharp helped to co-ordinate and market the event, while Joseph Hallman wrote “Transfigured Carols” to welcome youth of all socio-economic backgrounds to perform together. Windworks Studio hosted a post performance reception and Andrea Fisher, best known as “Fluter Scooter” recorded all three flute parts on a Signature Powell Flute and the piccolo part on a Powell handmade custom. Profits from the sale of Fluter Scooter Bags on that day were donated to Tune up Philly.

Simply put, people are empowered by a wonderfully creative role model for strengthening our local economy and creating sustainability within the flute community as a whole.

So, go out and hunt for the deepest and most meaningful gifts this Holiday Season, spare yourself the soul sucking commercialism and give the gift of music and art.

Listen to the glorious sounds of the link attached and feel free to play along with your own flute, purchase the music and think about a Powell Fluter Scooter Anniversary Bag to keep the seasonal giving festive and truly meaningful.

Listen to Transfigured Carols: https://soundcloud.com/josephhallmancomposer/transfigured-carols-feat-fluter-scooter

Sheetmusic: http://www.josephhallman.com/flutequartet.html

Fluterscooter website: www.fluterscooter.com


Article author, Beverly Bizup Hawkins: www.windworksstudio.com

The Making of Flute N Float

By Andrea (Fluterscooter) Fisher

(edited from “The Making of Hologram Fluterscooter,” originally published by The Flute View. August 2014.)

I had just finished performing my debut show at The Apple Store in Tokyo when I heard about the infamous 2Pac hologram at the Coachella Music Festival. After watching the YouTube video several times, and coming off an amazing performance where I involved a live light painter to create still and moving visuals as I played, I had an idea to take this performance to the next level: create a hologram of myself! and be able to play with and against a virtual version(s) of myself! What did that mean exactly? I didn’t know at the time how, where, when, who I’d be working with, but I was determined to make it happen!

Last fall, I finally decided it was the time to start working on this project. Now living back in the states, I started my online research about how holograms work. With all the buzz circulating about the 2Pac hologram, it was not difficult to find out what specific tech was used and how it was projected. It was also not difficult to find out how expensive it was to project a hologram for just 3 minutes. As an independent artist, finding $30,000 for a 3 minute performance didn’t seem worth it, but I didn’t let that discourage me. I began contacting all distributors of the Musion “Eyeliner” Technology (the technology that is needed to create the hologram effect) from New York to Los Angeles to their headquarters in London with a short description of my ideas as well as some sample pieces and my visions of how they would being performed. The London office was the most receptive and encouraging to me, recognizing the creativity in my project. Unfortunately the American companies just wanted money and weren’t interested…that was actually no surprise to me.

I was about to go to London and start meeting with the company to figure how to make my idea a reality, when I suddenly was called back to Japan for a month’s worth of concerts and teaching. They referred me to the sister company in Tokyo, StudioTED, and I showed them the press on my Apple Store show, and they were immediately interested in meeting with me while I was in Japan. I was so excited to start this project, even if it had to be in Tokyo!

My full show idea was over an hour long, where the visuals from each piece would melt into the next piece, creating a seamless visual and musical performance. Some music would be more traditional and contemporary flute music, and some would be commissioned by composers to write specifically for the event. After many meetings discussing how we could realistically put this show together, we decided to cut it to 20 minutes (4 pieces) and perform as a showcase in the studio showroom to attract sponsors and investors to book a larger show. Of course I wanted to do the full show, but the cost would have been very high for the company to put together and get a proper venue.

Fast forward to this past spring: I was back in Japan for more concerts (yes, I do most of my performing in Japan!) For the showcase, we chose Saint-Saens’ Aquarium which I arranged for 3 flutes, Robert Aitken’s Icicle, Debussy’s Syrinx (arranged for 3 flutes), and finishing with the first half of Steve Reich’s Vermont Counterpoint. Did I mention everyone in the company reads music and one is even a composer? That definitely helps with the process! Not all the pieces would be with hologram, but holographic content would be used for background visuals. We drafted up a visual storyboard of how and where the holograms would be placed on the stage.

We booked 2 days for a video shoot in their showroom, where I would record each hologram separately for each piece. I had to choose costumes for each one, too, so I also had to wear the stylist hat, too! My Syrinx costumes were obviously Syrinx and Pan, and one of the women on the team even made me handmade goat horns for the Pan costume.  Since it’s a visual performance more than anything, costumes, makeup, hair are of equal importance as the music. And since I don’t do my own hair, one of the team members happened to do hair, so I lucked out there too!

Now that the video shoot was done, we kept exchanging emails and having Skype sessions about next steps. Getting a solid invite list was the next step as well as starting rehearsals, so I booked another trip to Japan late this July (and just returned a few days ago) to have some meetings regarding invite lists and rehearsals. What most people don’t realize about the hologram effect is that when the live performer is on stage, they do not actually see the hologram; it is like looking into water and seeing reflections. I am doing some minimal choreography to interact with the other holograms, so getting used to looking down rather than across was a challenge!

One more trip to Tokyo was left, and this time it was showtime!  A few weeks prior to the show, I hired a project manager (and translator between StudioTED and myself) in Tokyo to bring some key people to the event, people that could potentially sponsor a bigger full show in a larger space.  The turn out was great, and without the project manager, it would have been difficult for me to get the proper people in the audience.

On September 25, 2014, I presented 2 showcases of Flute N Float as a private event in the StudioTED showroom in Tokyo.   I only arrived in Tokyo on September 23, and the 24^th was a full tech rehearsal day.  We did everything from sound, interacting with the holograms (knowing their placement on stage in relation to myself), costuming, and cueing music.  It was difficult to do in such a short amount of time, especially to memorize where the holograms are on stage AND having to memorize the music.  On the 25^th, we had dress rehearsals all day, and then presented the shows in the evening.  It was so much fun, and I’m honestly surprised it was pulled off without a hitch!

I recently had a conversation with Juilliard’s Entrepreneurship director about this show and the steps I had to take to finally make it happen…about doing whatever it takes to transform an idea into a reality, even if it means trips back and forth to Tokyo. As performing artists these days, we can use all of the world as our platform, our audience, and our collaborators. There are no limits!

The video of the full live show has been done, and it will be available for download on www.fluterscooter.com in November 2014.  

“FLUTREPRENEURSHIP”

By Andrea Fisher aka Fluterscooter

Fluterscooter (Andrea Fisher)

I recently did a Skype clinic for the Southeastern Pa. Flute Festival from my apartment in Tokyo, speaking about what it takes to be an entrepreneur in the music world.  The term “flutrepreneur” was coined, and it can apply to my career and many flutists’ careers nowadays.  I recently performed my Japanese debut, where not only did I perform, I also acted as producer, arranger, booking agent, publicist, stylist, you name it!  Putting together a show from start to finish in a foreign city is no easy task, and it can be very frustrating at times.  As much as I wished I could just be practicing my music, I had to do the jobs of contacting press, designing flyers, advertising, finding local musicians, technology, scheduling, and arranging music.  However, in the end, I was proud that I did it all myself and that it was a success!

Goal: to build a concert program that will entertain people who have never listened to classical music and they won’t realize they’re listening to classical music.  Also to collaborate with other forms of art, such as visual art and dance.  “Fluterscooter presents: The Fast and the Fluterious: Tokyo Drift” was anything but a typical flute recital. 

When putting together this show, I first searched the web to find an eclectric group of  Tokyo-based artists.  I knew I wanted to work with live art so the concert-goers would have a visual experience as well.  I found a light painter, who actually used LED lights to paint pictures, live, while I played.  I had always wanted to play with a Taiko drummer, and I picked up the Japanese shinobue flute on my last visit to Japan.  We played an original piece for shinobue and Taiko.   I had met a beatboxer/“mouth musician” on my last trip as well, and we stayed in touch.  I arranged Flight of the Bumblebee and Paganini’s 24^th Caprice for us to play in a hiphop style, also with a DJ scratching.  I also wanted to include music written by flutists, so I chose Greg Pattillo’s “1^st Beat,” and Flutronix’ “Aware,” both written in the past year.  I wanted some minimalist classical to go with the art, so I arranged Arvo Part’s Fratres, originally for violin, for flute.  I also threw in some covers, opening with a tune from dubstep producer Skrillex and finishing the show with Michael Jackson’s “Thriller,” complete with backup dancers and choreography.

I wanted the concert program to be a fluid, flowing piece of art, with virtually no stopping between pieces.  All music was memorized to avoid any clunky music stands on stage.  I believe that a show must be both sonically and aesthetically pleasing.  I had a beginning “electronic” section, then a “hiphop/beatbox” one, then a minimalist interlude where audience members could actually play with the LED lights and draw while I played, and ended with pop music.   I like audience participation so the audience does not feel removed from the music and musicians.  This is one way to break down the traditional stereotype of classical music, which is that it is inaccessible to the public.  It’s like doing a concert in the format of a Lady Gaga show and tricking the audience so that they don’t realize they just saw a FLUTE show!

Incorporating technology is equally as important in today’s world when doing a show.  Since I was a student at Juilliard, I’ve been an advocate of using technology in performance.  For my graduation recital 8 years ago, I was already making videos to accompany me (I played Steve Reich’s “Vermont Counterpoint” with a background video showing all the flute parts I played in nature) and learning programs such as MAX and Ableton for live and Protools for producing background tracks.

Lets talk about arrangements.  We all know what music speaks to us, and sometimes it’s not always flute music!  There is great repertoire for string instruments, piano, pop music that can work really well with flute.  You just have to be creative.  I’ve always loved Michael Jackson’s music.  For “Thriller,” I bought the instrumental track from ITunes and played the vocal lines, and the flute actually sounds really great in that song.  Who knew?  Find some songs you love and make unique covers out of them.

Adding extra artistic elements to the performance such as live art and dance also adds to the value of the show.  I learned choreography and worked with backup dancers for the first time.  I actually played flute and danced at the same time; yes, it’s possible!  It definitely took a lot more rehearsal time, but if you want to achieve a certain look, it must be done.

After putting the music and performers together, it was time to do the “busy work,” aka the tedious stuff.  Working with Photoshop, IMovie, writing press releases, etc…

First, start with a title and logo.  Coming up with a catchy title and graphics to match, like “Fluterscooter presents:The Fast and the Fluterious,” gave potential concert-goers an idea of what to expect at the show.  Would as many have come or paid attention to it if I had named it “Andrea Fisher in recital?” with no graphics attached? I had a brief introduction to Photoshop in order to achieve the look I wanted for the online and physical flyers. After deciding on the title and graphics, it is important to write a good description of what the show is about, as well as who you are as a performer, especially in a new city.  Combining the description, a good photo, and show flyer is a press release.  Always keep it simple as possible.

The next step was something I actually learned from hiphop artists.  Many of them post “behind the scenes” videos on youtube to show fans their process for writing a song, rehearsing, and their day to day life.  I filmed 2 of my rehearsals as previews of what to expect at the show.  They showed myself  rehearsing and talking with the beatboxer and Taiko drummer.   By doing behind the scenes videos, it also makes fans feel that they know you better.  Of course, I had to learn IMovie for editing the footage! I then promoted them mostly through facebook, twitter, and blogs.

After the press release and videos are done, contact the press!  This was not easy at first, as most online newspapers, magazines, and radio do not include personal emails of the writers.  So I went to twitter and facebook to look them up.  After facebooking/tweeting them, asking where I can send my press release and video clips, they were happy to give me their email addresses.  My first interview was for a popular podcast called Tokyo Metpod.  After I had the footage from the podcast, I sent out to newspapers and magazines, and I ended up with features both in Time Out Tokyo and the Japan Times.

The importance of networking played a large role in the success of this show.  I had the Apple Store in Ginza as the venue.  Since I had played there before, I kept in touch with the event coordinator through Facebook, and when I told him I’d be interested in doing an event in Tokyo, he was more than welcome to book me.  I think it is always important to stay in touch with the event coordinators from any gig you may play on, because you never know when you will need a venue for your own show.

I made sure to have the show filmed by a videographer, and he then made a short documentary-style video from his footage that I can use to book future shows.  As far as future shows, I will produce them in the same vein as my debut, but on a bigger level each time.  With all the technology at our fingertips, there is so much we can learn and add to our art.