Good People, Cool Things
Good People, Cool Things

Episode 126 · 5 months ago

126: How to Make More Money Through Umbrella Offerings with Fabiana Claure


Psst, I'm going to let you in on a little secret. YOU have a ton of knowledge, and that knowledge is valuable. And I'd guess you probably know even more than you think. 

Musician Fabiana Claure realized this amid a period of burnout. But instead of trying to overwork herself, she learned to start being more protective of her time and more efficient with her offerings—and it's paid off big time. Now she's helping other musicians do the same thing.  

We're talking all about how musicians can earn more money, how to market your work, and a couple of near-disaster gigs she's played. 

Want to support the show? Head on over to the merch shop or buy a copy of my book!  

Good people cool things as a concast feature and conversations with entrepreneurs, writers, musicians and other creatives. Get inspired by their stories to do your own cool thing, and here's your host, Joey held. Welcome to good people, cool things. Today's guest is Fabiana chlore, who is the mastermind behind the musicians profit umbrella, which helps musicians all around the world package their skills into a profitable and scalable online teaching or coaching business. If you're a musician, or really any type of creative, you're gonna want to tune into this one, because Fabiana is dropping knowledge left and right, just talking about how you can overcome burnout, which is super easy to do in a creative field, talking about how you can package up your skills. You know a lot more then you think you do, and you can package up those skills into things that people will pay you money for. And anytime someone's like, Hey, here's some money, I say thank you. You might you might poop poo it. I say thank you, I'll take some money. Sure, that sounds great. We're talking all about how you can make that happen for you without having to get too crazy, go too wild, get two rambunctious out there. Fabiana also has a couple of great musical performance horror stories that are fantastic. I always love hearing musicians talk about their worst gigs and I think there's some fantastic things that come out of this one with Fabiana. If you'd like to get in touch with good people cool things, reach out on facebook, twitter or instagram at GPC t podcast or, better yet, just head on over to good people, cool things dot com. Sign up for the mailing list. You'll get emails with resources, tips, educational wisdom, whimsy and generally you'll get all kinds of great stuff. It will be a nice little burst of sunshine into your Inbox, and I know some email lists you sign up for and you get like seventeen emails before you've even confirmed that you want to be on the email list. That doesn't happen here. You're not going to get too many emails, you're just gonna get the right amount that gives you the right stuff, the good stuff, just like this conversation with Fabiana. To kick it off, for people who might not be familiar with who you are, can you give us your name, an elevator pitch and the type of elevator that we're running on. My name is Fabiana clore and I am a pianist and a business strategist for musicians. I'm the founder and the CEO of the musicians profit umbrella, a global business mentorship program where we help musicians and creatives have six figure breakthroughs by combining all their skills into an online music business so that they can create financial and artistic prosperity without sacrificing their quality of life. Love it and we'll we'll get into all of that. But let's jump back, way back to your beginning, because I feel, like a lot of musicians, there's like one song or artist, like it goes from like, Oh, I am joy listening to music too, I want to play music, and I think for me that artist was the beach boys. I remember my family had a beach boy CD I had, you know this, I was like eight or nine, so I could hit those falsetto notes super easily that Brian Wilson has all the time, and I was like, Oh, this kind of like I love the layering of this, like I love the harmonies, all of that. Like I would like to kind of like explore music, and it took a few years before I finally kind of started getting into something like that, but that was the first one I remember. So do you have an artist or a song or something that kind of was like, okay, I want to learn how to play music? Well, that's a really great question and if I'm going to be a hundred accurate, I would have to say it was my mother's bed time Lulla Byes, because I started playing the piano just by hearing her seeing a bit Lulla by to me every night and that was my first inclination towards learning how to play the piano by ear. I had a little just a little toy keyboard than my parents bought me. None of them were musicians. I had no musicians in my family. So, Um, it wasn't like I saw anyone playing music or anything, and my mother just would sing me a beautiful...

...bedtime lullaby and I just started playing it by ear. She noticed that I was just on my own, you know, like just bringing it back into the piano. Um and then and then she started me on lessons when she noticed that I liked to just, you know, repeat the melodies that she was singing. So I could say my mom was the inspiration my mother's Lulla byes. It's very sweet. I like that. And so you're, I feel, like a lot of people that initially learned how to play piano or kind of put into the lessons right away. So you're kind of the opposite of that. You started playing first and then she's like, Oh, you actually very much enjoyed this. Let's keep a guy absolutely and not only let's keep it going, but actually, believe it or not, when I got into it like fully and I was in a conservator in a music school and like into it, I was like the child that you didn't have to ask for practice. I was the child that my mom would actually say, Fabiana, but you want to go out and play with your friends, even play the piano a day, your pieces are sounding good enough, but she just want to go out and play. And I was just so in love with my instrument and I could just spend hours and hours and hours and hours and hours on end. So yeah, I was. This was a self lit passion. I have to say that is fantastic. I'm very sad are our family used to have a piano for a while because my sister kept asking for one. They finally got it. I feel like she maybe took lessons for a little bit, but she never really got super into it and I think the bulk of it was if we'd come home for the holidays, I would like noodle around on it a little bit, but I never took lessons. I couldnot play piano very well at all. Um It was, you know, maybe it probably got maybe two hours of use the whole year, like very sparse, and then they finally got rid of it and it's it's sad. I was home the last time I visited a couple of months ago, and it wasn't there and I was just like, I mean, I get it, it was taking up a lot of space and neither one of my parents were playing it. So it I understand why they did it, but it's still still a little sad. But anyway we do so the musicians profit umbrella is it's such a cool concept. Be Like, so, where did this come from? Was this something that you always kind of knew you wanted to do, or was there like a specific situation that happened that you're like, wait, there's more to this here. Oh, absolutely no. There's always a story, isn't there? And for me growing up and becoming a musician and going through all my education as a pianist up until I finished my doctor degree, was all about playing the piano. It really was. That was my number one priority, learning how to be the best performer that I could be and focusing on just my musicianship skills in my art Um and when I finished my doctor degree, towards the end of it, I discovered that I actually needed to learn how to make money. It wasn't enough just to learn how to play the instrument and I started learning about business and taking all these courses in music entrepreneurship and I really fell in love with it, learning about business and seeing the similarities between business and music, and I went all in into into becoming a dual faceted, you know, a musician where I could embrace entrepreneurship and I created a business plan. My husband's a pianist as well. We were together doing the do agree. So we put together a business plan with the help of a lot of mentors in the university. We created a business plan. We want some business plan competitions. Then we opened a music school right before we finished our degrees, which enabled us to have a livelihood. You see, up until that point, our only idea of what we could do beyond graduating was getting a faculty job at a university. Like that was the only like, what else could you do to make a living? You're not just going to live out of concerts and just spend your life traveling all around and like how you're going to raise a family and like all those concerns. Plus it's really unlikely. It's very difficult to have a career where you just live off of performing. So that like the next best thing would be having a university job. We didn't really understand what was the other option or that there were other options. So the problem with that was that it didn't depend on us, right. I mean we could Polish our resume all we wanted, but ultimately someone needed to pick us and hire us. So, as I started learning about business and entrepreneurs I've been seeing that...

I had in fact been quite entrepreneurial all my life, I just didn't know it. We started deciding, you know, we want to build our own thing, we want to create our own livelihood, build our own school so that we don't need someone to give us and depend on that. You know, Um and in fact, we when we opened our school, we hired many of our colleagues who were graduating alongside of us who were like now, what do we do? We hired them, you know, Um. So it just was a change in perspective for me to learn about music and and learn about business and understand the similarities. But then, of course it was a new field for US. So when we opened our music school there was a lot to learn about running a business. We were not trained in any of that really, and so they were the first five years of building my school and becoming a business owner and just learning about all of that. It just took over my life. You know, I had my first son and that was the first moment where we learned how to optimize the way we ran our business and trying to make it more um streamline so that wouldn't need us to be involved in every single aspect of it as as it had before we became parents. But still it was really consuming. In my artistry, you know, the thing that motivated me to start playing by year when I was a little girl. That think that drew me to pursue all these degrees and become who I was was pushed to the back burner because I didn't see how to connect my side as a musician with all the things I was doing as an entrepreneur. And so, after five years of running my music school, I reached a bit of a plateau professionally where I felt like, okay, I had accomplished a great miles on but something was missing and I didn't know what it was. And not shortly after unlike I mean I'm sure you've experienced this perhaps in your life, where you start looking for other things, things start appearing right, you just need to start looking for them. So I started looking for other opportunities, not knowing what that would look like, but I just started like putting it out there into the world, like I want more. I don't know what this is going to be, but I want more. And the opportunity to come to the University of North Texas, uh, just kind of fell out my life up. They were looking for someone who could come in and build a business plan and build a program that would help musicians create their businesses and launch their careers and just become savvy and entrepreneurial so they wouldn't end up being like I was, you know, like now, what do I do? With all this craft, this artistry that I've developed, I don't know how to make a living. So I thought that would be a super exciting new chapter in my career and I decided to take it on. Of course, my husband, though, thought it was crazy, because he's like, we got a music school in Florida, like we can't just leave, like what do we do with our school if you take this job in Texas? And Uh, and so I at first I was like, well, let's not worry about it, I'm just going to cross that bridge that we get there. Who knows? It's so competitive anyway. But then they offered me the job and I didn't want to say yes. So we had to spend literally eight months reorganizing our school so that it could continue running remotely. And so we moved to Texas. My son was two years old at the time and I started the business program at the university and I loved interacting with students, faculty, building a program basically like building a business within a university. It felt like starting all over again, accept in a new way, and my students kept asking me when they saw me come into the classroom. They kept asking me like, Oh, this is so interesting and Dr Claire, Do you do? You still play? Do you do? You still play the piano? And I kept thinking, how can I continue integrating this artistic side of myself, which I miss, which has been put on the backburn or someone, and really put it all together under some sort of an umbrella? And that question kept pondering to me. I didn't see the connection yet, but I kept I kept saying, yes, I do play. I am not playing as often as I used to, but I do play and I think it's important to continue playing and you all should should look at me and should look at all your teachers and role models and know that it is possible for you to continue being an active musician beyond the time you're here in in your university, and that is there is a way to do both. But I still had that in my head, like how, you know, how can I put it together? And within five years of running the program once again, I reached that plateau in my career. And I always joke about the fact that this seems to happen in cycles in my life. I'm always like five years doing something and I always have...

...a two year old around. So within five years of running the university program I started to feel that edge again, like I know I can do more, and I had another two year old around, so I decided to expand into an online business. I said, you know, what would happen if I were to not just limit the work I do within the university and help all these hundreds of musicians build their businesses, but open myself up to the rest of the world and see if people can use my gifts, my experience, whatever. And so, little did I know, I started this in January. Little did I know that two months after this like baby idea I was starting to form about how could I combine all of my skills into some sort of an umbrella and package it in a way where everything that I know could be used. That march happened and the world shut down and everything went crazy and musicians were really needing this information more than ever before. So it kind of accelerated my my desire to show up and to serve and to do whatever I could to help right Um and it just I just it was a great beginning in the middle of an incredible challenging time for all of us. But I felt so like like I have this information, this knowledge that I could not keep for myself that people needed to hear. So I started the program and after that, within a year of running my online business and my university job, I came to a point where I felt burned out, incredibly burned out, and even though I was playing, I was practicing, I was giving concerts, all of that, I was very excited about how I was able to combine everything into this online coaching program that allowed me to use my experience as a as a business strategist, also as an educator, also as a pianist, because people came to me not because of one of the things that I knew how to do. They came to me because of everything that I had become right, everything that I knew. They came to me because of this idea of a brand, umbrella right, they came to me because of everything. So that became the corner stone of the way I helped other musicians. It's like helping them see all the different sides of what they do and helping them create an online business so that they can serve without geographic limitations, without time constraints, and package their skills in a way that builds more leverage so that they can do whatever else they want to do, play concerts. But obviously, as in everyth venture, I reached a point where I felt also very overwhelmed because I had a full time job and then I had my my business program that was growing Um and so I decided to quit my full time job, much to this shock of a lot of people in my world, including colleagues, family, etcetera, because you can imagine the Fabiana who was in her doctorate degree right, who coo for most of her life, only thought that that was the only way to make a living. Like if you would have told me when I was in my doctor degree that I would one day have a full time tenure track positioning at a university and I would quit it, like you'd be like what, right, what did you say? You quit a job like there's like so many musicians die for having some type of a job, with the stability and all the things. How could you just quit? But I knew that there were better ways for musicians to create rapid financial expansion without having to sacrifice so many different areas of their lives, without needing someone to give them like I had enjoyed really my time in the university. I learned so much and I wouldn't be here if it weren't for what I learned and who I became within that role. But in the reality, from a financial standpoint, you know how it is when you work in an institution. I mean you can expect maybe a three percent promotion in the best case scenario, once every year as a big deal, and you have to file all these reports and explain and justify why they should give you this three percent right. Well, when I launched my first program the musicians profit umbrella, in June, I gave myself a hundred and twenty salary rate and I was like, what, I can do this, like, musicians can do this. Wow, you know, I just discovered that it's possible and it's actually easier when you know how to do the right thing.

And so since then that has been the framework, and not only the the idea of combining all of your skills into an umbrella and building a business around that, but, moreover, building something that can be run without you needing to be a hund percent involved. Since I left my music school in Florida and over the past six years now that we've been running it remotely, the first year was crazy. I'll be a hundred percent transparent. The first year was not easy. We had to really learn how to run a school with teachers. I mean we're a brick and mortar space. We were in a space like we have a lease. We're very it's like we're all in in this business. It's not, you know, like we could just change the expenses. The expenses are the expenses. And when the pandemic hit, the expenses kept coming and we still had at least to pay, even though everything was shut down and we were technically deemed a non essential business, right so, but everything kept going. So it was a challenge, but I knew that musicians needed to know how to build businesses from the very beginning that could scale and that could be run potentially one day even without versus being a buried by Your Business, like I felt for the first five years. I knew what that felt like and I knew that now I'm not even there and it's profitable and it's running without me. So those two elements of being able to combine all your skills in an umbrella and learning how to build a self led business, creating leverage in your business so it doesn't need you to be involved a hundred percent and every single lastpect. Those are the two main aspects of what the whole idea and philosophy of the musicians profit umbrella is all about. So for musicians, because because I think the the idea of like packaging up all your skills is a super interesting one, but I feel like for a lot of people they might not know everything they have. And I'm there's Times where people have reached out to me about something like I'll I do writing, and so a friend asked if I could ghost write a nonfiction book for her and I said absolutely not. That sounds like something I don't want to do at all. But then I was like am I you's enough of an expert that I could fully write a book for someone else? Then I was kind of like could I? Could I do that? But I thought it was interesting of like I've known this person for so long and she's like I have this thought of me that she's like you could write this, this book for me, and I think that's something that a lot of people encounter of like you know, someone asks them a question and it's it's like, Oh, I'm viewed as an expert like that. So how do you take maybe a lot of these like ethereal things and put them into a package that people will will want to use and buy. I love that question and in fact that's one of the quickest ways for us to discover what our superpowers are. Because here's the thing. When we discover this, when we create a skill set, when we are facing challenges and have to learn how to overcome them, and all of a sudden we've got this new expertise, very quickly it becomes second nature to us. We just take it for granted, like I'm sure for you, writing is comes very naturally, you know, you don't have to think about it too or it's just like it's already very much intence on the topic. But yes, right. So what happens is when those when when we become masterful in any particular skill, we also start taking it for granted. We don't realize that it is actually our superpowers and those can be monetized. And so the way we can detect what our super bars are is precisely by the response of our environment, by the way people show up and ask us to support them, by the questions we can ask. As you said it, people will immediately like even if you don't want to have a brand. Everybody has a brand, because a brand positioning is how people perceive you or how people think about you. What are the the ways that people believe you can help them? Right? So everybody has some sort of a brand in their in their environment, and then of course you can mold it and improve it and change it and etcetera. But everyone right now is associated with something. People know them because of something. So that is always a great starting point, is to say have anyone? Has Anyone out to... recently in the past few years, you know, asking for anything? Right, that's usually a great way to start because again, for you it must be very easy to say yeah, I could, I could, I could do there's no problem, but until someone asks for it, you don't realize it's actually a need. It's and someone needs it and wants it because in a way you are really good at it and so you kind of feel like other people can take it too and they're just good at it too. So I think that's so the first part of the process is there's a combination of you first gaining clarity around what do you want to do and what more fulfills you, and how do you want your life to look like. But then quickly going into listening to your environment and thinking about conversations that you may have had with people. I mean this is how I started my business too. People kept coming to me over the years. They associated me with this role in the university and they knew I was helping musicians build businesses. But I would have countless conversations with colleagues and friends and people who would always just reach out to me and ask questions about developing their careers, etcetera, and I would just be Oh, yeah, yeah, it just cames. It comes very easily to me. You know, that's my area of expertise. So I think that's a great way. If you don't know how you could help, is just think about any conversations that you've had recently. Have People asked you for anything, anything at all? It is the starting point. I like that. And then the burnout, I think is also a very a very topical point. I mean, especially during the pandemic, we're all more mentally stressed. We've got, you know, we're probably balancing a lot more at home there. There's been times where people are like, Oh, I have to leave this call real quick because you know, my baby just like missed the toilet and I gotta, I gotta go clean up real quick, and we're just like we totally get it, like that's you know, three years ago, if you had to admit that, you you know, cower for in fear for forever, and now it's just like no, we get it, like we've also experienced things like that, and so I think all of those together can make it even easier to get burned out if you're even if you're doing something that you enjoy, just having to continue to do that. And you talked about how you experience that with Your Business. But now you can kind of step back a little bit, which I think is always difficult for entrepreneurs to like let go of certain things. So are there there's certain parts of your business where you're like that was really easy for me to kind of make it almost like a passive sort of I don't know clockwork it's the right word, but like, you know, the gears are turning without you having to be fully involved or like how did you find what was doable with with that, as opposed to things that you still need to be pretty hands on with? Yeah, that's is just a great question and I'm I'm going to be like a H P on this. It's a learning journey. It's not something we can decide very quickly, because here's what happens in the beginning, and I felt this in my school as well. We do all the things because we have to. We do all the things and we develop this Um affinity towards the different things we're doing and sense of wanting to control the outcome because it depends directly on us. And so the first step if you want to grow a business, if you want to create freedom in your life through your business, the first step is willing, being willing to release that control in a calculated way, in a structured way. But most entrepreneurs, most musicians, are not willing to let go of that control because they have that sense of perfectionism that no one can do it quite like they can, and there may be right to a certain point. But here's the thing. Are sometimes our unwillingness to let go of the control and to want to just let other people take that off our plate. We have resistance to that, not just because we want to, we don't want to let go of the control, but because we don't want to have to train someone else on how we do things, because we do everything just from our head and just intuitively right. We don't need to create systems or processes or anything when we're just by ourselves. But when you hire someone, when you now need... delegate and build systems and create teams, it is a completely new learning curve where you now need to be thinking in processes and everything. He needs to be documented and you now need to be able to explain this to someone else. Right. It's like in music. Sometimes you have great performers who are amazing at what they do when they play, but when you ask them to explain what they do, they don't want to explain. They just want to play. They don't want to know anything about teaching, or they may not even like teaching right because they just want to play. Or when they teach they don't really explain how they do the things. They just kind of like push the student to the side and be like just do it this way, and they just there wasn't to demonstrate and there was like just just follow me. The same thing happens in music business. As musicians, we many times I've seen musicians who are just doing they're just playing right there playing their business and then when someone comes in, they just kind of want to like play it, just do it like this, and the and the employee cannot succeed with that type of drive by delegation. It's called drive by delegation. So the success of growing and building a business that can give you that freedom and and kind of get itself into autopilots, so to speak, depends on the willingness of the leader to take on an active role as as the CEO and really embrace that persona of how can I now think and act, not just directly into doing all of the things for my business, but being very strategic and how I document all the things that I'm doing and then patient enough to to train someone else, and not only to train someone else, but to follow up with that other person and to coach that person. And then when I see that person perhaps not meet my expectations, which always happens, especially at the beginning, you know you can just do it yourself and you're probably gonna get much better results. So that temptation is always there like Ah, this is so much work to just have to train someone and let you go through this process. I just rather do it myself. So a lot of times when we don't see the results quickly, we just retreat and we just like never mind, I'll just do it and you go back to doing the one, to being the one doing it. So there's this duality where there's a lot of I think it's on the leaders in making that decision. Like, I know that I could probably do this myself better, but I also know that I'm I'm going to just be burying myself in my business and I have to learn how to delegate. So many of my clients, when we help them find their first employees, that is the conversation. It's like now they're happy they have an employee, but they're not happy that they have to train and they're telling me this is so much work, you know, and at the beginning it is. It's like double effort at the beginning. But then you are able to reap the results when you have created the right system, when you've been patient enough to coach your employee, to supervise and to create the right systems for that employee to succeed. This is, I I guess, sort of a tangent, but the ious doing a volunteer event with why do you see a Greater Austin, I'll give him the shout out. And it was a stem event. So it was teaching kids, you know, all these different sort of science and electronical types of electric electrical types of things, and at my station we were teaching them how to make Bristle bots, which I had never heard of, but there basically toothbrush heads and you put a magnet on one side and a battery that like connects the Um, I'm sorry, a motor on one side and then a battery that makes the motor go, and then the toothbrush head will like kind of move around and you can kind of like put two together and they can sort of like fight and dance and all that. And when you were talking about how it's so much easier to just like take over and do it yourself, that was what popped into my head because some of them, I mean some of these kids, were maybe like six or seven years old, like Super Young. They didn't have a lot of experience with electrical engineering or anything like that, and so you could see they were like, I don't fully get what I'm supposed to be doing, and a couple of them would like hand it to me and I try to be like no, no, no, like you do this, like this will be you know, we'll we'll try and tell you like what to do. And I remember there was one kid who like literally just threw his too. He was just like no, he's like,...

I'm done, and then his mom was like no, take that back, and then so he did it and we kind of like coached him through it and then he got it and he was all excited that he got it. But I I think it's it's such a good reminder of like because it can be hard to to want to just step in and be like you know, you see the person struggling and you're like, Oh, you know, I don't I don't want this sort of like awkward tension here. But the reward is so much, so much better in the long run. For it's absolutely the way to go, but it takes a specific mindset of being okay with the initial learning curve. And it's a learning curve not just for the person you're trying to train, it's also a learning curve for you as leader. Like I have learned so much about managing my team, while they have learned how to be effective members of my organization. We both learn and every time I my team seems to be falling short of my expectations. At the beginning I was always disappointed. I was always like hell, I'm not really sure, and then I started realizing what did I fail to do or set in place or explain or or or structure for them to get these results? And every single time I would find something that I could have done better. You know, I could have created this, I could have established that and and so it's been a very humbling experience because I, you know, I'm I've been always very transparent with my team and been like, okay, now we're going to come up with this new thing that I just realized we need and we're gonna try again. Let's try again and let's see how it goes, and of course it's always going to be better, right. So I always try to make make the let's say, the correction experience something that is like, let's all figure out how we can move forward in a better way, because we all have a part in this success. There's always something that someone can do to improve. I can explain explain better, I can establish better materia, I can follow up better. Like I remember once I was checking on one of my employees reports that we're supposed to be filled out daily and I didn't look into it until like a month later and those reports had not been filled out right and I was like, oh my gosh, these reports haven't been filled out for the last thirty days. And then immediately I'm like, why did I wait thirty days to find out about this? I should have been checking every week, like where are these reports, and not just delegate by, drive by and just expected to be taken care of. I I need to come back and be like, okay, let's see those reports. Oh, I haven't done them. Okay, well, let's make sure you do them next week. You know what I mean. There's just little examples of of how we can take a hundred percent ownership, I would say, maybe not, but at least ownership of the success of our team. And those are the qualities that allow great leaders to build self, let organizations, because they are able to, number one, let go of the sense of control, be okay with things not being perfect, not being as perfectly as they could have done them, and then be okay with with embracing human behavior and managing others and being able to have those difficult conversations when things need to have, when there are difficult things that need to be addressed, instead of hiding from them. You know. So it takes a lot of emotional intelligence and a willingness to to want to grow as a human being in order to create a self let organization. So it's not about automations, it's not about tech wizardy, it's not about any of that. It's about human emotions and understanding those. I like that, especially as someone that I I wouldn't say technologically illiterate, but there's definitely a lot of technical things where I'm just like, why doesn't this work the way I think it should? It's always, always a fun time to explore. So we're gonna jump from business to performance now. I always love to ask musicians this. What's the worst Gig you've ever played? I don't really think I've played in any bad gigs, to be honest. I've been very fortunate to have incredible performance opportunities all throughout the world and all my career. But things have happened in those gigs that...

I've been quite storytelling, like, quite worthy of storytelling Um and and some of them have been quite horrific that I've been like, oh my gosh, like how am I going to deal with this? I remember the first time I was playing with a symphony orchestra. I had just moved from Cuba to the United States and I had won a competition in South Carolina. This was like around two thousand and two, very long time ago, like most twenty years ago, wow, um, and it was my first time performing as a piano soloist with a symphony orchestra. It was a great mile. So I felt like so fortunate. I couldn't believe my luck. It was just the dream right, and we had a couple of concerts, thankfully, we had to not just one, but I don't remember if it was the first concert of the second concert. You know, we dress up. I got my beautiful dress, I was performing and I had this beautiful Pearl Necklace with me and I just felt like a like a star right. I was so excited. I just like in the zone and I was performing with the content with your symphony, with a conduct turn playing my solo part, and all of a sudden my pearl necklace breaks and drops inside my dress, but not the full necklace. If the full necklace would have dropped inside my dress, I wouldn't have cared, but only half of it dropped inside my my my dress. The other half started dangling over my dress right in the middle of my solo, and so it literally looked like this thing, you know, that I was just playing with this and moving all around, super distracting, and the more I tried to just like wiggle around while I was playing to get it to fall entirely into my dress already, to not be this thing that was just like just hanging and moving along with me, the worst it felt and the more distracting it was, and it was just like an incredible challenge of like how do you keep going? And I was, you know, performing all memorized music and, you know, playing a solo as a soloist, and so I remember it was just such a challenging experience to be able to keep my head straight, because you know how it is to perform my it was there's always that adrenaline, that anxiety you're like on stage, on the spot, of course, and then I just remember every time I moved, like I just kept seeing that necklace and and it was just a challenge. I remember I felt like this is such a horrific experience to be playing in this way and I was just so grateful that was able to pull through it and finish it off. But it's always one of those things that it is like this is probably the most challenging way that I've ever had to perform a concert and be on stage and be on the spot with this thing. Oh No, now I have something worse actually, and this is just as recently as the last three months, February. Oh Yeah, okay, similar thing, except actually it's so interesting that it's kind of like twenty years later. So I just played a concert in Charleston, South Carolina, in February. My husband and I performed at the Charleston International Piano series. It was a great experience. Charleston is a city where we arrived when we came from Cuba. We got married there. I mean we love Charleston. The audience there is amazing. We went to the College of Charles Sun and my husband ordered me this beautiful dress for me to wear on our event, right with these beautiful like little like golden glitters all over the dress, like sparkles Um, and he was like, Oh, I got to this dress and I was so excited. It was very comfortable it, which is to me no very great material, et Cetera, but it was brand new. So when we were at our like run through rehearsal before the concert, I started trying to play and practicing and all the sparkles ended up in the keyboard. So as I was playing, I kept noticing these little dark, little little things because even though they were golden sparkles, when they landed on the white keys they looked like a black spot. So there were, ladies, like super miniscal little sparkles that were just like just falling from my dress as I was playing and things that. It's just like, what are all these sparkles coming from? And the more I tried to push them down, the more they kept falling onto the keyboard. So again, you know, you need to think about like as a pianist, you have a visual memory of what...

...the keys need to look like and instead of white, you see white with dots all over the place. It's extremely distracting. So I started to like have these like memory glitches. Before the event, I was just running through the piece, listen, like trying to play it through, and I just kept having these memory blackouts. Because these sparkles would just completely throw me off and I was like, oh my gosh, and the concert was going to start in like a couple hours or an hour later and I couldn't play through my pieces because these sparkles were all over the keyboard. So thankfully, the organizers were like, we're gonna go buy hair spray. We're just gonna like spray your dress to glue all those sparkles on your dress so that they don't keep falling off onto the keyboard. So the organizers were so kind. They went and they bought all this hair sprayed and they came back and they just bathed me on a hair spray all over the place, you know, and so my dress was kind of wet, you know, but from like my my everything was a little bit wet. It felt wet, you know, humid from from the hair spray Um, and I remem remember just, you know, walking on stage and be like oh my gosh, I hope everything works out. You know. Fortunately it did, but it was really scary because those little sparkles, and then there were pieces that my husband and I played together, as as fourhand piano music and that piece, those pieces we had like the music in front of us, because it's like chamber music. So every time I would turn a page, some sparkles would fall on you know. Then I would turn the page and that would s wipe the keyboard. You know, my husband was like stop wiping the keyboard, that's distracted me. So it was just like an adventure really, and then after the concert I shared with the audience, you know, we spoke with them a little bit. I said I had a little snaffle with my attire that was selected for this concert because all these sparkles kept falling on the keyboard so distracting. Thankfully, we got some hair spray, you know, support and my husband was like, I know where I'm going to sleep tonight because I was the one that got all those sparkle dresses. So we just turned it into a funny, funny story. But it was really scary. It was really scary, like I couldn't play through the pieces is an hour before the concert because those sparkles kept falling all over the piano key. It was just very, very nerve wracking. Yeah, I'm just magic it. It's it's I do like that you gave the audience to look into it afterwards. I think that's always fun to hear. You know, behind the scenes, they never would have known. I mean it was just like like really, I mean, and I just wanted to thank the organizers who had to run to a walgreens and just buy all his hair sprint. Every time I finished the piece, I would go backstage and they were just, you know, all over my dress and then my dress was kind of wet and it was like it was just yeah, we returned the dress and, needless to say, as soon as I go oh, I'm like how do you kind of want to hear that ever again in my life? So yeah, somehow my my my worst stories from stage seemed to be derived from wardrobe. malful, but but great stories in the aftermath. All right, I'll be on it. You're almost off the hook here, but we always like to wrap up with the top three and I feel like you've kind of been dropping these throughout the episode, but if people are just tuning in right now, they're like, we're going to skip through the first forty minutes of this podcast. I just want to hear the top three. What are your top three tips for musicians to experience prosperity? My top three tips I would say the first one is realized that you are more worthy and more valuable than you think. It's not about who you like, what you play or what you know how to do, it's about who you are, and musicians oftentimes forget that they are the most valuable part of their business. It's their own person, their story, the challenges they've had to overcome, the knowledge that they've gained from overcoming those challenges. That is the most valuable part that musicians oftentimes just never think is important or monetize herble and they focus only on position in themselves as like a piano teacher or a pianist or and people won't come to you just because of what you do, people will come to you because of who you are. So always know and focus on developing yourself, because you are the most important part of your business. The second thing would be stopped trading time for money.

We didn't really talk much about that here, but I'm a firm believer that musicians have ways to create prosperity that does not require them to be exchanging time for money, meaning teaching our long lessons and having a cap on their income, because once they give away their forty hours a week that they can work. That's all their income they can make. Stop trading time for money. Look for ways to package your skills and create leverage in your business so that what you sell is a result. Is a result, and that's what people pay for. Whether or not you spend time with people one hour a week or half an hour a week, or you meet with them in a group setting or you do some hybrid combination of a synchronous instruction with live and it does not matter. What matters is the result. So if you know what results you provide in for whom, that's all you need to be able to build a business plan. You do not need to be just teaching by the hour or working by the hour Um. And the third tip would be your business will in direct correlation with how you take care of yourself. If you burn yourself out, if you work hard instead of working smart, if you're constantly doing, doing, doing, and not taking time to recharge and and question your acts and ask yourself and reflect on who you really want to become and what do you want your life to look like? You're just like always with your head down into doing, then you're always going to be running around in circles and you're going to think that you're busy and productive, but you're always going to find yourself in the same place. So start elevating your thinking, start exploring how you could optimize the way you work and not be the one doing all the things, but create freedom in your life, win back your time and let go of things, because that's the only way to create true freedom. Love it, love it. Hope of everyone is taking diligent notes, because there's there's a lot of good stuff in there. I love it. I'm a big believer of getting your time, taking back your time too. I think that's it's so important and it's easy to forget sometimes. Absolutely so. If people want to learn more, if they want to check out the musicians profit umbrella, where can I find you? Yeah, so I actually have like an hour long training that shows musicians how to create their own musicians profit umberally in the tense step process Um and so I think that would be a great resource if anyone wants to just experiment with it and test it out and see how they could do it themselves. You know, we've talked a lot about it today. I think they would enjoy checking that out. You can see that at Babiana Cloa, forward slash gift. BABIANA CLARA DOT com, forward slash gift. That's F A B I A N A C L A U R E dot Com. Forward Slash gift, and so that's a free training that could show any musician or creative how you can start the process of really packaging your skills into your very own profit umbrella. Love it and we'll drop the link in the show notes as well so people can check it out. Fabiana, thank you so much for checking the time to chat. This is a lot of fun. Thank you, Joey. The pleasure having you know, having this time, having this conversation. Thank for having me here. Absolutely. We gotta end with a Corny joke, as we always do, and it's even music themed. Why was the composer so busy? He had several scores to settle get after tonight. People, good people, cool things is produced in Austin, Texas. If you're a fan of this episode, go ahead and hit that follow button. That helps more people here the show. You can send me a message, Joey, at good people, cool things dot com. Thank you to all of the guests who have been on good people, cool things and check out all the old episodes via good people, cool things dot com. As always, thank you for listening and have a Wonderful Day.

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