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Build a Killer Website: 19 Dos and Don'ts
By Ilya Pozin
• Inc. • Friday, February 03, 2012
At bottom your website is a marketing tool. For many businesses, it’s the only source of business. If done right, it can be a major part of yours.
Here’s my quick-hit list of the top dos and don’ts before you get started.
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Tips, Tricks, and Strategy for Using Google Adwords: a Non-Technical Guide
By Zac Alfson
• National Arts Marketing Project • Friday, February 03, 2012
There has been a lot of controversy over the past couple of weeks concerning Google's new privacy policies. No matter how they change, Google is the largest, most powerful advertising system in the world. Have you ever wondered how ads show up next to your search results? How do they choose what ads you'll see? Most importantly, how can you get your organization in front of potential audience members' based on their search results?
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Fort Worth Opera Extends Darren Woods' Contract
By Mark Lowry
• TheaterJones • Friday, February 03, 2012
Fort Worth Opera has announced that the contract for General Manager Darren Woods have been extended for two years, meaning he'll be there at least through June 2018. And that's a good thing, because Woods has brought some positive changes to the organization, notably proving that you can get crowds for new and less often-produced opera.
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Four Music Entrepreneurs: How do they do it?
By Astrid Baumgardner
• Music at Yale • Thursday, February 02, 2012
This wonderful group of artists showed that it is indeed possible to make one’s way in the world as a musician, and that there are many different paths to creating career success. Here are some of the top lessons that I gleaned from their remarks, which center on the themes of knowing your mission and purpose, proactively creating your own opportunities and making your luck happen, nurturing relationships, taking risks, maintaining high standards and working hard at your career development.
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Growing Pains
By Dan Visconti
• NewMusicBox • Thursday, February 02, 2012
There is such a thing as reaching for the next rung of the career ladder too early, as in the case of the over-eager self-promoting student, or buying a lot of expensive printing equipment when you print out only a few scores each year. Yet there comes a time for every composer when one must either expand or else stifle development: when works are receiving some performances but there’s nowhere online for someone to listen to or purchase the composer’s music, or when it’s time to create a separate checking account just for composing travel and expenses. It seems to me that there are paths that overemphasize each extreme—pushing to expand too rapidly when it is not helpful, or failing to make the necessary changes and investments when old ways are holding us back. Composers would do well to stay attentive to their own needs right now, and not what their peers, friends, and competitors are doing.
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Opera Advocacy: Not Just About Appropriation
Brandon Gryde, Director of Government Affairs, Dance/USA and OPERA America
Original Content • 1/24/2012
By now, most in the performing arts community have learned that the National Endowment for the Arts (NEA) received yet another cut for FY12. With the final funding amount at $145.979 million, the NEA has almost $9 million less this year on top of the $12 million cut in FY11.
These cuts were already reflected in the first round of Art Works grant allocations (in both the number and size of grants) and also in the change in FY13 guidelines with the elimination of consortium grants.
While funding for the NEA has been a flagship issue for the arts community and advocates, it’s important to know that this is not the only issue that the performing arts face in 2012. OPERA America represents the opera community in a wide array of issues — some that may be very familiar, and others that may be completely new.
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