Career Area: Musician

  • Cynthea Kelley

    Cynthea Kelley

    “Even though it’s in the arts… being able to afford taking a day off has been huge for me lately.”

    Cynthea Kelley is a Nashville-based audio engineer and performer. She balances technical work and artistry in the dynamic worlds of music and gaming.

    Interview

    Transcript

    Emma Plutnicki 00:02  

    So, to start, what do you do for work and where are you currently working from?   

    Cynthea Kelley 00:06  

    So, I’m based in Nashville, Tennessee, and I am an audio engineer and musician, performer. So, primarily what I do is edit audio from home, and I also run live sound. In addition to performing, I sing and play guitar.  

    Emma Plutnicki 00:27  

    Cool! And how long have you been doing all of those?  

    Cynthea Kelley 00:30  

    I’ve been performing since I was like, I grew up in a musical family, so I grew up performing, but I guess kind of doing my own thing since I was 14, so about 14 years now. And then, as far as engineering goes, I really started doing it more seriously when I was a student at Coastal. So, I got to work at the Wheelwright Recording Studio for like, two and a half years while I was a student, and got to really understand and learn more about like how to record various types of ensembles and different kinds of projects.  

    Emma Plutnicki 01:10  

    Amazing, and so what would you consider, if you had to boil it down, everything that you do, what would you say your official job title is?  

    Cynthea Kelley 01:20  

    I would say musician and audio engineer, or just musician.  

    Emma Plutnicki 01:28  

    Amazing! And so, what does your day to day look like? What’s expected of you on a daily basis? What kind of things do you get into? Just kind of describe what your days look like.  

    Cynthea Kelley 01:39  

    So, I am self-employed, and kind of have, like, a lot of different work that I do as an independent contractor. So, day to day, it kind of varies, but I, about a year ago, started doing audio editing for the video game Fortnite, and so that’s, like a very specific thing in Fortnite, with Fortnite Festival Jam Stage. So that’s like music editing. So, I get to set my own schedule, which is really cool. I have, like, a certain amount of hours that I’m expected to work every month, but there’s flexibility there so I can kind of decide, like, you know, I wake up and then I have my tea and then sit down and get to audio editing and that might be between like, three and seven hours a day, and so that’s kind of like an audio editing day. On days where I run live sound, that’s at a venue, and so I’ll get there in the evening, early evening, and set up, and then be there for maybe like five to eight hours, working with a band and running sound for an event. I also sing with a wedding band, and so that usually involves some travel, maybe, like, two to three hours one way. So, I’ll like, you know, get up and kind of take it easy, and then in the afternoon, drive to the location, perform like three to four hours and then drive home. So, it kind of varies a lot. There’s also, I’ll assist at recording studios, and so those are typically like, longer days where I’ll arrive at like 9am and be there until anywhere between like 6 and 8 or 10pm so it kind of varies. Sorry, that’s not a super specific—  

    Emma Plutnicki 03:54  

    No. Totally fine. So, when you have events, you’re traveling, you have things late at night that you’re working on. How are you able to manage kind of a work life balance? Because it seems like the work kind of consumes a lot of your day-to-day life. So how do you manage that?  

    Cynthea Kelley 04:11  

    Yeah, that’s something I’ve been learning a lot about in the last two years, and I feel really grateful because doing the audio editing from home, having that flexibility, I’m able to, like, if I have a day or two or three in a row where I’m just like, going, going, going traveling, performing, usually I can, like, take a day or two to just, kind of like, relax. And as a musician, usually we’re working on the weekends. And so, I feel grateful that I kind of get to compensate for that through the week and just like, take a couple days off. But yeah, I’ve like, really been learning how to prioritize sleep in the last few years, and like, eating healthy food that’s going to give me energy and like, not make me feel lethargic. So, yeah, it’s been, I think I’ve been learning how to, like, prioritize resting as well. And just like, started bird watching and Zelda, like, I’ve never been—I wasn’t allowed to play video games when I was growing up. So now I’m like, okay, I’m just gonna chill and fun thing and like, not feel like I have to, like, go, go, go all the time.  

    Emma Plutnicki 05:30  

    Yeah, I love that. And within a creative career, I feel like a lot of times it can be hard to figure out what success looks like. It’s different for everybody. So how would you define success, both personally and professionally?  

    Cynthea Kelley 05:43  

    I think for me, since I moved to Nashville at the beginning of 2022, I’ve been doing music full time. And I think when I was a student, that was like, really, all that I would have said is like, “Oh, I’m doing music full time. That means, like, I’m a successful musician”. And now, I think especially being surrounded by so many musicians in Nashville, because it’s Music City, it’s given me the opportunity to see, like so many different lifestyles and like careers like, what different types of careers as a musician can look like. And so, for me, I feel like I’m very grateful to be doing what I love full time. And so I think that that feels like part of it, for me, is like, that’s part of the definition is that, like, obviously, like, it’s not 100% of any job that you’re gonna love, like that everything has its tedious parts, or it’s things that you don’t love as much, but, like, I would say, like, 90% of it, I’m just like, really, I really enjoy and really love, and so that feels like success to me. And then also being able to, like, just put money in a savings account for the first time, it’s like, “oh, this is really cool.” That feels like building on success. And so, there’s, like, even though it’s, you know, it’s in the arts. And so, it’s not like crazy, you know, extravagant, but being able to, like, afford things like, you know, like I was saying earlier, like healthy food. Being able to afford taking a day off that, is, has been huge for me lately. And then another part of it has been being able to decide and prioritize what kind of projects I want to work on, especially as an independent contractor. If there, you know, maybe I took a job and it ended up being way more stressful than I expected, and so being able to say no when things like that come up in the future, or if, you know, maybe I wasn’t treated the way that I wanted to be treated, or it was unprofessional, being able to yeah, just like, decide who I’m working with.  

    Emma Plutnicki 08:28  

    Yeah, no, it definitely makes sense. And, I’m sure you’ve worked on a wide array of projects throughout your career. So, has there been one that’s had a significant impact on you, or one that sticks out in your head as being, you know, exceptionally meaningful to you?  

    Cynthea Kelley 08:45  

    Absolutely, yeah, this, this job with Fortnite. I started in February of 2024, and it’s kind of been like ideal for me, because I’m super introverted and a homebody, and so the fact that it’s from home is really cool. And I’ve never worked on a project with like, such a big name before, so that’s felt really exciting. And what’s been really cool about it, too is like, not only do I really enjoy the work, but the teams that I’m working with are just like, super solid, and I feel like they really value the people who are working on their teams. And so it’s just like a really good support system. And in addition to being really fun, so I feel like it’s, it’s like a little bit of a dream job. So I’m really grateful to be—  

    Emma Plutnicki 09:45  

    Yeah, and so are you able—when you play, I assume you play in some aspects, are you able to, like, hear the pieces that you’ve worked on? Like, how does that feel?  

    Cynthea Kelley 09:55  

    So, my specific job is for the Jam Stage in Fortnite Festival. So basically, what that is players can choose an instrument, like drums, vocals, guitar or bass, and it takes loops of different songs, and you can, like, mash them up together. So, like, you could have the guitar part from a blink 182 song playing with the drum part from Metallica and vocals from Lady Gaga. And so, my job is basically to make the audio from those songs flexible enough so that they can all fit together at the same time. So, I’ve worked on, I don’t know it’s like, maybe definitely dozens of songs at this point in the last year, maybe upwards of 100 but yeah, so they’re, like, featured in the game now, and players can, like, use them. And yeah, it’s fun to fun to hear and see it like implemented in the game.  

    Emma Plutnicki 11:02  

    Yeah, that’s very cool. So, did you have any fears going into this job role, or just fears in your career as a whole?  

    Cynthea Kelley 11:11  

    Yeah, I think something that feels difficult in the arts and in music and as an independent contractor doing so many different kinds of jobs. I feel like in something that’s more, maybe more like typically structured in the job world, like you might be able to say, like, “Oh, I did sales at this place for five years, and now I’m like, this in this management position, and so that’s why I’m qualified to do this job,” you know, like with the arts, it’s like, well, I did this thing and I did that thing over there, and I did this over here, and I think they all relate. But like, am I qualified, you know? So, I was super nervous that, like, I thought I knew what I was doing, and then all of a sudden I would start doing the job and wouldn’t have what I needed. You know, so I think definitely, like some imposter syndrome played into that for me. But yeah, I think again what’s been really cool about this team is that it’s super supportive and just really great people to be working with. And so even with things that you know, I needed to learn or like needed to brush up on, the team was just, like, really welcoming and really supportive, and like, we all help each other out.  

    Emma Plutnicki 12:42  

    Amazing, and having lived in South Carolina, has that had any influence on your work at all?  

    Cynthea Kelley 12:49  

    So, I lived in South Carolina basically for high school and college years, then moved after that. But I will say that my junior year, I went to the Academy for Art, Science and Technology, and was able to major in entertainment technology and learn a lot about like production and video, like video production, and got to do some music production for those as well. And then being in the songwriting community in Myrtle Beach too was just like, huge for my development. And I’ll give a shout out to Brian Ressler, who’s just like, you know, like the Papa of the music community. I felt in the songwriter community and so, and then being at Coastal too, I just learned so much and made a lot of, like, really great connections with my professors and with my colleagues and fellow students and so I haven’t had a lot of work in South Carolina since I graduated, but I do think that, like a lot of the educational elements that were offered within the arts in South Carolina really played a big part in my development and like getting me to where I am now.  

    Emma Plutnicki 14:09  

    Yeah, amazing, and hopefully those programs continue to grow. Well, thank you so much. Just wrapping up here, is there anything else you want to speak on, maybe advice or anything else about your career?  

    Cynthea Kelley 14:25  

    Yeah, I think, as far as advice goes, I think that the biggest thing that I’ve taken with me is just being persistent, especially again as an independent contractor, where you might not know where your work is going to come from, like week to week or month to month or year to year, just like being persistent in making connections and networking and reaching out to people. And I think advice, just like for me, that I feel like I’ve been learning is we ask ourselves and get asked the question too, so much like from when we’re kids, like, “What do you want to do? What do you want to be when you grow up?” and we’re thinking about what kind of opportunities we want to take and what I’ve been kind of trying to learn how to ask myself more in addition to that, question is, like, “how do I want to be treated in those as well?” So like, being able to set boundaries and recognize when it’s like a healthy working relationship and a professional one. So, I think those are kind of the biggest things.  

    Emma Plutnicki 15:37  

    Definitely. Yeah, thanks for sharing that. It’s great advice, and a lot of times people can’t find that, so I appreciate that. But yeah, thank you so much.  

  • Brandon Goff

    Brandon Goff

    “I put in 30 minutes of practice every day, whether it’s guitar or composing. It’s like exercise 30 minutes a day goes a lot further than five hours once a week. It keeps your brain engaged.”

    Brandon Goff is a composer, producer, engineer, performer, and professor of Music Industry at Francis Marion University in Florence, South Carolina. As a Memphis, Tennessee, local, he attended Rhodes College where Goff’s creative path began. This path has taken him through academic and professional music spaces across the U.S. and abroad. With a PhD and a background in music composition, he believes in celebrating every step of creative growth, whether that’s writing an album or landing a gig. His career is a witness to persistence, curiosity, and the value of creative support systems.

    Interview

    Transcript

    Emma Plutnicki  00:00 

    So, to start, what do you do for work, and where are you currently working from?  

    Brandon Goff  00:06 

    I mean, I do a lot of things to be fair, but I’m a professor of Music Industry in Florence, South Carolina, at Francis Marion University, which is obviously going to be the biggest chunk of what I do. But my, you know, my background’s as a composer, a producer, and an engineer and a performer does a lot of different aspects to being a professional musician, and you don’t always do just one. And I’m one of those people who do all those all the time. 

    Emma Plutnicki  00:27 

    Amazing. So how long have you been working as a professor, and then how long have you been doing all the other things? 

    Brandon Goff  00:35 

    I’m from Memphis, Tennessee, and I’ve been teaching on a university level since, oh my, it goes way back. I first started a Rhodes College, which is a really nice liberal arts school in Memphis, and then I moved from there to probably started teaching, you know, around 2003 2004 so it’s been a minute. Yeah, it’s been a while. Then I went to, like, around Nashville, at a place called Lambuth University, and then I came here from there, and I’ve been here since 2011 so I’ve been in South Carolina for like, you know, proper, 14 years now.  

    Emma Plutnicki  01:11 

    Okay, so what is one thing that you love about working as a creative in South Carolina, specifically, as opposed to in Memphis or Nashville?  

    Brandon Goff  01:22 

    Well, you know, I do. I—anybody who works in the creative, especially the music industry, is going to love Memphis and Nashville. These are two, like, major hubs of music industry. But along with that, from an academic standpoint, meaning from in the in regards to the education portion of what I do, it’s fun working with students who don’t have that grandiose expectation of someone who’s growing up in Nashville. I mean, these in the talent pool, it’s a misconception. People always think, well, everyone’s so talented in New York, London, Nashville, they’re always just like, let alone actually, mathematically, no, they’re not. They’re just surrounded by an industry which really kind of draws that talent out. So, one of the beautiful things about South Carolina, that I love is the talent pool is thick. It’s just as the talent pool is just as big as it is anywhere else. But there’s just less exposure to it, less exposure to your opportunities, your potential, to chances you can take that you don’t realize you can because you’re not in one of those big music hubs. And I do, I really do love that. Actually, I do. I do enjoy that a lot. 

    Emma Plutnicki  02:26 

    Yeah, that’s amazing. So, has South Carolina had any unique influence on your work specifically? 

    Brandon Goff  02:34 

    I mean, of course, yes. I mean, it would do, wouldn’t it? I mean, it’s the, I don’t feel, musically? How would I—there’s a, it’s a different—you know, I’m from Tennessee, in Memphis and Nashville. Everyone’s a musician. That is the thing that everyone does. You probably have an uncle who’s a songwriter. You might have another uncle who works for a record label, who’s like a, you know, a talent scout. And I kind of, I didn’t, honestly, I didn’t realize the rest of the world wasn’t like that until I moved here. When I moved to South Carolina, I was like, Oh, this isn’t like the major industry. This isn’t what everybody does. And so, in being steeped in a non-music focused culture is going to obviously be influential. There’s a complete different music culture here. There’s a different kind of nightlife culture, a different culinary culture. And so, I’m constantly stealing, like, little, you know, snippets of sounds and lifestyles and putting them in songs and putting them in, you know, pieces and stuff like that, which I think is as well you should. 

    Emma Plutnicki  03:37 

    Yeah, I love that. So how would you describe the local professional community within South Carolina? 

    Brandon Goff  03:45 

    In regards to music professionals? You know, again, you’re not in—there’s not, there aren’t a ton of recording studios. There aren’t just a ton of, you know, production houses and things like that. There aren’t a ton of publishing houses. There aren’t a ton of things like that. There are a few here and there and around. It’s more competitive getting into those spaces because there are less spaces for people to access. But one of the biggest, we’re still a big production state, in large part because we do, we still have a lot of arts funding, and we have a lot of massive churches that run big productions. So, I’ve had a lot of students who go work for big, big churches here in South Carolina who have productions that are equal to that, of, you know, equal to that, of like, a large performance venue. And we do have large performance venues, you know, Myrtle Beach, the coast has a lot of that stuff. Even Columbia has a few things like that, Green Velocity, nice stuff or something. A lot of students who have internships up there and stuff like that. And it’s just, it’s going to be, your churches are massive, and they have a massive production budget, so a lot of students will go work for the big churches, and a lot of students that’s like, that’s kind of what they want to do, because that’s like, that’s how they got into music this lot of in the we’re in the Bible Belt, so a lot of the students are picking up musical skills, and the gold concepts in church, and then end up wanting to go back there and kind of work in that church as a worship leader or as a production leader or something like that. 

    Emma Plutnicki  05:10 

    Yeah, makes sense. Very cool. So, within a creative career, it can be difficult to define success sometimes, because there aren’t always clear expectations. So how do you define professional and personal success within your career? 

    Brandon Goff  05:26 

    Oh, how you, know what I think—I tell this to my students all the time. Yeah and I suspect that depends on your personality type as well. But when I was quite poor, grew up very, very poor and actually I was not, I was not a high school graduate. I was a high school dropout. I dropped out of high school and got a job at a factory. And so, you gauge your dreams and your expectations of success on the reality around you. So, as you accomplish something, you then gauge, well, my next level of success will be that. And so, like, at that point in my life, I was like, you know, my dream is to work inside a place that has air conditioning, because I was working at a factory that had no air conditioning in the South, so it was hot. So, but then as I, as you move forward, like, Oh, I just, I just wrote a song. So I want to write 10 songs. And you, so each one of those little accomplishments is a success of its own, but ideally, and you find contentment and what you’ve accomplished, but you also, it’s fun to see how far you can push what you can do. So, you’re always looking for a new kind of success, but then recognizing the success that you had as you move through it. So, I mean, if you’re a full-time musician anywhere, you are mathematically successful because you’ve done something that’s difficult to do. You’re making a living off of a craft, art, a passion that’s very few people get to do that, and so that’s already successful. But even if you don’t do that, even if you’re just someone who’s actually sat down and written an entire album worth of material, and that’s not what you do for a living that’s still incredibly successful, because very few people have the patience and the skill set and the focus to accomplish that. So, there’s success can be found in so many different avenues. And I think it’s important for—I always tell this to my students, to recognize that and to reward yourself emotionally and psychologically for those successes, regardless of the monetary outcome that you might receive. 

    Emma Plutnicki  07:28 

    Yeah, that’s a great way of framing it. So, did you have any fears going into this career, or were you…? 

    Brandon Goff  07:35 

    I mean, I was too stupid to be scared like I didn’t know. I didn’t I mean, I didn’t know I had then that’s, that’s a benefit of youth, isn’t it? Like, no, I’m gonna, I mean, I’m gonna do this because I don’t know that I can’t do this. And it’s amazing how when you don’t know you can’t do something, that you kind of put your all into it, and all of a sudden, you’ve done it when everyone else knew you couldn’t do it. And it turns out you could do it all along. So, you’ve kind of got to the ignorance has its role there some level. Or, you know, unabashed arrogance helps as well. Because I’m going to do this no matter what, I’m just going to push through it. Just stick to it, even if you know you can’t do it, just convince you commit yourself you can. 

    Emma Plutnicki  08:18 

    Yeah, and was that something that you just found within yourself, or were there people along the way giving you advice? 

    Brandon Goff  08:25 

    I mean my undergraduate, you know, actually, my undergraduate degree is in music composition, so it’s not even music industry. Music industry is a lot of what I do, but that was just the nature of being a musician in Tennessee, where there’s a massive music industry. And I got into the music industry because I was one of the first people who was using computers to produce music, and so studios would call me to come do that kind of work, and that just opened the door for me. But again, I wasn’t, it wasn’t part of a grand plan. I was just, again, I was poor. I was, it was day by day. I was like, Okay, I need, I’ve got to eat tomorrow. So, I’m going to do this gig tonight. I’ve got to figure out how to make this happen. So, it was a constant. There was a constant, just a, you know, piece by piece by piece by piece by piece, and you kind of work it, work it out and make it happen.  

    Emma Plutnicki  09:10 

    Yeah, makes sense. Can you recall any times when maybe a mentor or professor within your degree maybe gave you some good advice, or even the worst advice you’ve ever heard? 

    Brandon Goff  09:27 

    I mean, I say advice, perhaps not advice so much as just support and belief. And that was very meaningful for me when I was, when I was an undergrad, you know, I had a professor who thought that I was very, very bright, and therefore gave me a scholarship to learn a new piece of software that the university had acquired. And that software turned out to be a thing called Pro Tools eventually. So, I was one of the first people who knew how to use this particular software thing called Pro Tools. And so that particular belief and my ability to do that changed my life dramatically. And then, when I was doing that PhD, my PhD professor just really loved my music, loved what I did professionally, and as such, would often, he was a very, very famous composer, would bring me along, would program my works on big concerts across like Europe and from Turkey across, you know, through France and such. So that gave my work massive exposure that I would not have gotten, if not for a particular professor who saw something in me and really, really took it upon themselves to push me forward, if you call that advice. But it was yeah, no, but it was both those, both those episodes were very, very life changing for me. 

    Emma Plutnicki  10:46 

    For sure, and with Pro Tools being really life changing in your life, would you say, or, I guess, could you describe a time or a project that you’ve worked on that has been very meaningful to your life? It can be a significant, I don’t know, project or piece that you’ve performed or written, or just anything that you feel has had a significant impact on your life and has really showcased your creativity. 

    Brandon Goff  11:13 

    You know, it’s funny, the most popular piece that I have, and it was not. It was never intended to be this way. I was, I was relatively new to South Carolina, and I’m a guitar player. I play lots of instruments, but my guitar is kind of one of my main instruments. I would do session work in Nashville as a guitar player, but I’m a composer. I’m a writer. And so, the concert band director said, Hey, Dr, Goff, we would love you to come in and play perhaps an electric guitar concerto, which is where you have, like, a large concert band or orchestra and with electric guitar as a lead instrument. And so, I thought, okay, great, I’ll let me find a piece that will be good. And so, I searched and I searched and I searched and I discovered that there were almost no electric guitar concertos that are in existence. I was like, Okay, this doesn’t really exist. So, I said, Hey, how about I just write a piece for you guys that you did this for me and for you. And so, I did this. It’s a piece called Full On Rumble. So, it was like, and I actually made it. I wanted to make it kind of tongue in cheek, if you know that phrase, I wanted to make it kind of like, I used all of the over the top guitar techniques from like, the 80s and 90s. They’re all like, all the, you know, the big hair guitar players would play, from Led Zeppelin to AC DC to Van Halen, all the, I threw it all in there. It’s kind of a kitchen sink piece. It has like every little nuance in it, kind of poking fun at, like, the absurdity of guitar solos and stuff, yeah. But everyone loved it, and it’s become, by far, probably 80 to 90% of my professional work is traveling the world, playing that particular piece with other orchestras and concert bands all over the place. I’ve done it in the past two or three years, from London to Portugal to Germany to Istanbul, all the way. It gets performed all the time. So that one piece, that one little weird thing where I was like, Well, I can’t find that piece much better. I better just write one, that was that, changed everything, that opened so many weird doors that’s still a lot of what I do is just manage the distribution, publication and performances of that piece. 

    Emma Plutnicki  13:13 

    Very cool. You said it’s called Full On Rumble. Full On Rumble 

    Brandon Goff  13:16 

    Yeah, F, U, L, L, on Rumble.  

    Emma Plutnicki  13:22 

    All right, I’ll have to check it out. And so nowadays, what does a typical work day look like for you? 

    Brandon Goff  13:29 

    It’s, I’m, unlike most musicians, I guess I don’t know. I’m regimented, because I have to be. And it’s taken, yeah, I mean, everyone deals with this. I guess you discover over time what times of day you’re better at certain things. Because when I first get up in the morning, that’s not the only time of the day that I have the mental acuity to like, to do all my invoicing and to send, like, do all my communiques emails, like, I’ve got about an hour and a half where I have the I have the emotional wherewithal to sit down and, like, okay, because I don’t, I don’t relish that. I love creating, I love producing, I love teaching, I love performing. But all of that is tethered to, like, if I’m doing the music for TV commercial, I have to then invoice that, and then have to go through and like, you know, I might have to do all kinds of clerical work behind that, and then send off demos to other places for public publishers. Yeah, it’s like, tons of legwork. So, I have an hour and a half of morning legwork. You have to do that every morning. Just get all that stuff done. And then I’ll always, always put in about 30 minutes of just practice. And we can practice guitar, or could be practicing composing. It is just like, just like exercise, which I do as well. But I do that because it just keeps your brain engaged. You know, 30 minutes a day goes a lot further than five hours one day a week. So, I always do that. Then all my classes are always in that little mid-day chunk, and then I do a lot of production work late in the afternoon, a lot of like mathematical studio stuff I go through and take pieces I’ve worked on and start working on new mixes for them, for release and things like that. Yeah, I know those, the times a day, like times a day when I am most effective for those arenas. If that makes sense. 

    Emma Plutnicki  15:11 

    Yeah. You have to know yourself.  

    Brandon Goff  15:15 

    Yeah, you did. It takes a long time too.  

    Emma Plutnicki  15:25 

    Yeah. So how are you able to, you know, balance work and life, and just keep your creativity at you know, just keeping it alive, because it can be hard, you get bogged down and other things. So how do you keep that work life balance? 

    Brandon Goff  15:31 

    Oh, wow, that’s man, that’s enough. You know, work life balance. And these are generational concepts. When I was young, I don’t know that anyone ever really discussed work life balance. So that was the kind of, I’m sure we had issues with it. We just hadn’t figured out how to name it and, you know, manage it. So, if you do something that you really, really enjoy, if it’s the kind of thing you would do, whether you’re getting paid for it or not. That is a beautiful, beautiful thing, but it’s also rife with its own challenges, as you can imagine, because you’re never really off work, and that’s one of the biggest challenge for me, is to disengage with what I’m doing and find a way to tune it out, you know, after, say, 8pm so that I have a shot in hell of sleeping, which is my dream scenario where my brain isn’t frantic at 10pm and like I’m asleep before to 2am I’ll be great, difficult to do, because it is you do what you—it’s what I’m thinking about, whether I’m working on it or not. Like I often, like, in the summers, when I have the rare weekend where I can, like, not do music and go mow my lawn, I’m like, wow, that was amazing. I went and mowed a lawn, and I’m done, and I’m not thinking about my lawn now, like, I like that. I like that. You can put something to bed. And as a musician, you rarely get to do that. You’re just, it’s always doing and you have to. I—so I’ve called it work life balance, so much as just because you love music. And music’s everywhere. So, every time I turn on a Netflix show, there’s a piece of music in there that I’m like, Oh, I could steal that idea. I could do—and so everything’s research, so it’s difficult to pull away from that. So, I’ll often listen. I’ll often dive into, like, some sort of talk radio, because it has no affiliation to my career whatsoever. And it just kind of helps bring me, pull me away from that, that whirlpool of creativity. 

    Emma Plutnicki  17:38 

    Yeah, that must be hard, because music is everywhere, and it’s just part of life. Which is good and can also be challenging. But you’re right. As we just wrap up, are there any, is there anything else you’d like to add, or any questions you wish that maybe I asked that I didn’t? 

    Brandon Goff  17:58 

    I don’t think so. Thank you. That was a really nice selection of questions. I mean, it’s, my colleagues often call me—they say he’s kind of workaholic, he’s kind of hyper, and I am kind of hyper, and I can’t appear to be a workaholic, because I do love to perform and I love to write and I love to write and I love to produce. These aren’t all the same thing, but there’s absolutely no reason you can’t pick one of those things and be that. Be that thing. One of my best friends is one of our piano faculty here, and he’s just a concert pianist, and that’s all he does. But, and that’s a beautiful thing. If I just performed, I think I would lose my mind because I want to write as well, but I also love being in the studio and like, you know, stacking guitars and laying things in and making a nice product, that’s my particular passion. Is that diversified approach to a career, but it is by no means I don’t know what I would even suggest that to every student, because that said that it’s a challenge, and that’s it. That suits my personality, that suits the way that I work, pretty well, but I suspect it’s not the best fit for most people. I suspect I’m a minority in this that that arena. It’s hard to say. 

    Emma Plutnicki  19:17 

    Yeah, hard to find a balance, but amazing. Well, I’ve loved hearing your story, and thank you again for taking the time to speak with me. Last thing is, do you have anybody that you think would be great for us to interview another professional in the creative space? I could give you some time to think also and shoot you over a nominations link.   

    Brandon Goff  19:43 

    Yeah, please do. I know a lot. I know a lot of great creatives.  

  • Mahoganee Amiger

    Mahoganee Amiger

    “Just love yourself and talk to yourself nicely.”

    Mahoganee Amiger works in Beaufort S.C., is an interdisplinary artist in the field of music and has been a songwriter for over 30 years. Mahoganee incorporates poetry and photography into her music to produce a form of visual art. 

    Interview

    Transcript

    00:02 | Lexi 

    So first, we’re going to start, just give a little introduction of yourself. What do you do for work, and where are you currently working from? 

    00:13 | Mahoganee Amiger 

    So I am, well, I’m an artist. I am an interdisciplinary artist in the field of music. Music, Music is my primary discipline, and I have been a songwriter for over 30 years, and I incorporate poetry and photography to my music and makes me a visual art. 

    00:43 | Lexi 

    That’s, that’s amazing. So is that like your full time job? 

    00:49 | Mahoganee Amiger 

    Yeah, it is. 

    00:50 | Lexi 

    That’s, that’s amazing. So how long you said? 30 years? 

    00:54 | Mahoganee Amiger 

    Yes, I’ve been in music 30 years. How long I’ve been full time in music? I would say, let’s see. I had my last corporate job in 2010 I believe, yeah, somewhere, somewhere in there. 

    01:21 | Lexi 

    That’s awesome. Yeah. Okay, so what is- Wait, where are you based in? 

    01:28 | Mahoganee Amiger 

    I’m in, I’m in the lowcountry. I’m in Beaufort, South Carolina, in Beaufort. 

    01:32 | Lexi  

    So what’s one thing that you love about working as a creative in Beaufort? 

    01:40 | Mahoganee Amiger 

    One thing that is so I live on Saint Helena Island, and specifically I am a Gullah Geechee woman, right? This is Gullah Geechee land in Saint Helena Island is so important and pivotal in our community, and it’s a very special place, very spiritual. And so being a creative it is, in my opinion, it is a very magical portal, yes, that right, that I can tap into, and because I allow myself to be open to that I I am never, not creative. Yeah, I am never, there’s not a dry spell. 

    02:31 | Lexi 

    That’s awesome. That’s amazing. So with your, what is your you said that, of course, your heritage is tied to South Carolina. How would you describe the local creative community there? 

    03:00 | Mahoganee Amiger 

    There is a very powerful and strong creative community here on Saint Helena Island. And also, because I my my branches, you know, reach out into, you know, other areas I am able to… I live here, right? I work here, I create here, but I’m also able to reach out, literally to people all over the world and create. And a lot of people are interested in South Carolina, in the lowcountry, and the delegatee culture. And so I’m able to, I’ve done tours, you know, people have wanted to come here and visit. And my husband and I have actually, you know, put an itinerary together and really introduce people to the low country of South Carolina, to the Gullah culture.  And it’s a magical place. And people are, you know, very, very interested in it. Now, it’s a hot culture. 

    04:05 | Lexi 

    Yes, that’s such a, that’s such a beautiful thing to be able to do for others, because I feel like South Carolina does have so much to offer. You just kind of have to reveal it to people, and so you do so much creatively, how would you define both your professional and personal successes in your creative endeavors? 

    04:36 | Mahoganee Amiger 

    So the interesting thing, I believe they’re one, right? They’re just woven together, because being a culture keeper or cultural worker and all of my artistry is tied to my culture and who I am in. It’s about South Carolina. It’s about. The culture. It’s about my African heritage, so it’s personal. Is professional? Yes, right? Because when I, when I walk in, I am whether it is a professional setting or personal setting. I walk in as an artist. Yes, I’m able to just, you know, share from that perspective. So they’re, they’re definitely woven together. 

    05:25 | Lexi 

    Yeah, that is very true. So what was your biggest fear when you decided to pursue your career professionally? 

    05:41 | Mahoganee Amiger 

    You know, I have been singing literally all my life, since elementary school, and I have always done it afraid, you know, like my friends would like, I’ll give you an example. So elementary school, I believe this was fourth or fifth grade, my teacher walks out of the class and they’re like, Okay, can you sing us a song? Can you sing this song? So I go up and I sit in my teacher’s desk, and I don’t know where we got these glasses from, but I had on I put on some glasses like Ray Charles or Stevie Wonder. So to block out everybody, because I’m I’m nervous, but I’m still excited to do it, yeah, and so I think, through, through high school, I was very afraid, but I always did it, even if I had to turn my back to the crowd. So there was the fear of, I think, just being in front of people, you know, and sharing something, but the love for it really just it outshine the fear. And I think I’ve just always been able to walk like that, and until I just got to a point where now I’m nervous, I’m not fearful, the nerves are always going to be there. But I get past the nerves usually in the first, you know, couple of lines of the song, and then, and then I’m in it.  

    07:09 | Lexi 

    Yeah, I feel like that’s amazing. There’s, I feel like there’s so much that people can take from that. I feel like that’s a really good piece of advice, just to get out there and just do it. So, right, yes, do it afraid. That’s that’s a really, really good piece of advice, because I feel like fear holds a lot of people back sometimes. So can you describe, for me, like a defining moment in your journey, like was your particular project that you did that made a significant impact on you, or something that you’ve done that you believe really like showcased your creativity and talent. 

    07:53 | Mahoganee Amiger 

    I think what sticks out the defining moment, really for me, embracing myself as an artist and really embracing myself right like and what I mean by that is being able to look in the mirror and love who I see was when I moved back to South Carolina, and this was also in 2010 and I’m from Summerton, South Carolina, which is about an hour and maybe 15 minutes away from Beaufort, South Carolina. And I never knew about the Gullah Geechee culture. Growing up like it was. It was not taught in school. But once I moved back here and I started to learn about the culture, and it was as if I gained a superpower, yeah, right. The more I learn about my heritage and my culture, the more I learn about myself, the more I learn about my parents, you know, my siblings, just my ancestry, yeah, the more powerful I am. But moving back home was the starting point for that, and it just, everything else just opened up. And it’s been, it’s been an amazing journey finding myself. 

    09:20 | Lexi 

    Yes, that is amazing. And I know, I know there have been so many movements, especially like along the coast, to bring awareness to the Gullah Geechee community. And I think that is like, I think that’s just wonderful. Like, it can bring, it brings so many people together. And I think that’s just just an amazing thing. So what was the best and worst advice you’ve ever received? 

    09:48 | Mahoganee Amiger 

    You know, that’s an interesting question, because I don’t hold, I don’t retain bad advice. Yeah, so I’m not really like i. Really have to think about that one. And you know what? I think something that I remember was trying to play small and having people tell you that you’re not good enough, or you’re that the person to be in the spotlight. And what I mean by that is, I’ve been in music groups where I because of the way that I look, because of my physical attributes, I will not the one they wanted to be, the lead vocalist, and so for somebody that might crush them, you know, and it might stop them on their journey from pursuing their dreams, specifically in music, right, and in the arts and in something in the public. But for me, I just decided that, okay, that means I need to be solo on this journey, and I’m going to have to be my own advocate, right? I’ve gotta be my cheerleader. And but that’s one thing that sticks out. They were trying to put me in the background, and I was like, nah, nah. That’s this is not going to work for me. 

    11:22 | Lexi 

    Yes, yeah.  I feel like that is just something that it’s an amazing piece of advice. You just gotta Well, not that specifically, but just learning that there’s always going to PP be people that are trying to hold you down, but you just gotta move past it. Can’t, can’t surround yourself with those people. 

    11:48 | Mahoganee Amiger 

    Yeah, so the other half of your question was some of the best in life. Yes. And I don’t remember who told me this, but I know I’ve heard it somewhere, and it was to when you get up in the morning and you the first thing you do is you go and you talk to yourself in the mirror, right? And you give yourself these affirmations. And it’s something that I have. I do throughout the day. I don’t write. I don’t just do it in the morning. Whenever I need to give myself a pep talk, I just go and I find a mirror and I talk to myself and because I am with me all day long, right, all the time, and So just always feeding yourself positive words. Positive affirmation is some of the best advice that I got, and I hate that. Can’t remember who told me, and I’ve heard it over and over again, and I see it often, so it’s just, it’s something that I would always tell people, yeah, just love yourself and talk to yourself nicely. 

    13:02 | Lexi 

    Yeah. That is, honestly, like, I do believe that’s one of the most important things you can do, because you are stuck with you for forever. You gotta love yourself. So can you, like, walk me through a typical workday, like, what does your process look like, and what’s what do you expect of yourself, just on a daily basis? 

    13:28 | Mahoganee Amiger 

    Right now, as an artist I am in a fellowship, and that’s also some some good advice that I would share with people, anytime you can find an opportunity to be in a cohort or fellowship or something that is really going to help you grow as a human being, as an artist, as a community leader, I would look for those opportunities because they have been very instrumental in my growth, just as a human and and as an artist and one so how my days look now. I am in a cohort, and we have meetings every month. We also have to work on a project, so and so that is also along with, if I’m having to rehearse for a show just got through writing and recording project for Zora Neale Hurston, so it’s not just one thing. I don’t have a nine to five, so my schedule is kind of different every day, yeah, and it’s but what I’ve learned is that time management is something I need to really, really work on. And as an when you are an entrepreneur or an artist and we’re. For yourself. That’s the that’s the thing that we have to work on the most, because we don’t have the the nine to five schedule where, you know, we we have to create some sort of schedule for ourselves. 

    15:13 | Lexi 

    Yes. So you said that you kind of find that you’re professional and, like personal times are, like, woven together. Like, your creativity, do you try to create a work life balance? Or are you able to maintain, like, keep those two life separate? Or do you like having them join together? 

    15:41 | Mahoganee Amiger 

    It’s all joined together because my husband is also my partner, my business, my partner in music, my partner, my my partner in life, and because we are both musicians and both creatives, it is. It’s an interesting thing balance, because there is no, you know, like I said, there’s another nine to five schedule. And my husband is a music producer and a sound engineer, so he could be working on a particular composition at 3am right? I’m sleeping. If I hear the music, I’m going to wake up. And this has happened, and lyrics have come to me immediately, right? So I get up, yes, I’ve either recorded them on my phone or I, you know, write the lyrics down. So it’s in the creative world, you have to get it when it comes. 

    16:50 | Lexi 

    Yes, right? So, yeah, go ahead. I’m sorry. No, you’re good. You can continue. 

    16:58 | Mahoganee Amiger 

    So the the, that’s why I say the balance is we make it work. Yes, the best answer I can give you is that it works for us because we make it work. And when, when the creative waves come, you have to answer to that call, and then, you know, life moves around that. 

    17:23 | Lexi 

    Yeah, so what are some habits that you have that you think would be beneficial for others, wanting to get into music, wanting to get into storytelling, just get into a creative field? 

    17:42 | Mahoganee Amiger 

    I would say, always capture the idea when it comes whether that is audio right, or whether that is writing it down. Make sure you are always in a learning mindset and just wanting to grow and always get better in your craft. And that’s why I recommended the cohorts and fellowships, any type of professional development that you can do that first helps you as a human being, and then second, it helps you to better yourself and your craft. Those are things that I, I think, have been the most important to me, especially in the growing phase, and just always be willing to learn and grow. 

    18:42 | Lexi 

    Yes, I think, I think those that’s an amazing mindset to begin like at all times in your life. So do you have any questions that you wish that we asked you? 

    18:57 | Mahoganee Amiger 

    Ah, I couldn’t think of any, that’s a really good question. And we didn’t even get through all the questions, right? I cannot think of any question that you shouldn’t have asked me, and I’m trying to think of something that I really want to leave with. People go ahead and ask me the last question, and I’ll marinate on that one for a minute. 

    Think of something that I wish I had thought of. Here’s, here’s one thing, not a question, but something that I will share. And because there’s so much noise on the internet, right, and a lot of times, people are emulating what they see, I would really tell people to dig deep and be your authentic self, because that is where the magic is, and that is what really will make you excel, because now you’re able to stand out when you dig Deep and you really find who you are and what you love, the passion and the purpose I feel will really elevate you in that authenticity, but just being yourself, and that may mean being by yourself for a little bit. You know, being away from people, being away from the noise, and not looking at anything online, because sometimes it’ll feed into your creativity. It’ll feed into who you are, and some, some self reflection time alone, just dig deep for who you are, and that’s where the light is, that’s, that’s where you’re going to shine. That is what I want to share with just everybody, just and it’s, it’s, it’s a simple phrase, be you, but it’s really a big phrase, be you. You know, yeah, that’s, that’s what I would leave people with. 

    22:45 | Lexi 

    That is, I think, really, really beautiful advice. I think that’s really amazing. So many people could learn from that. But thank you so much for your time. I’ve really enjoyed this interview. I think that you’re going to give so many people a lot to think about, a lot of good advice. And yeah. 

    23:15 | Mahoganee Amiger 

    Thank you, Lexi. Of course, I appreciate you taking the time to you know, to do this, and I love that you’re actually doing it, and you made me think of something else, because not just Gullah Geechee people, but really all people. Every every place has a dialect, right? Right. Every place has, you know, people speak differently. Words are said differently. Words mean different things in different cultures. And I want people to hold on to that, you know, because we try, not we, but the world will try to take you out of you.  

    You know the world wants you to sound a certain way. The world wants you to look a certain way. But it all really comes back to again, who you are, what you how you grew up. You know that playing might be in your voice. It may be Jamaican, right? It may be Patwa, it may be Southern, it may be whatever it is, but that’s the thing that makes you you. And I wish that someone had told me that instead of No, I need you to speak proper, you know, I need you to do this, and I need you to look this way. And all they were doing was stripping away, you know, pieces of me. And so when I got back home, I began to, you know, those scripts, I began to put them back on Me. You. And really just become myself and but when you when you said about, you know, learning people’s stories and sharing their voice, it’s like the voice can actually, actually be literal, right? And it can be your speaking tongue, and the world will try and strip that away from you. And I, and I wish that we can hold on to whatever our ancestors did, you know what, whatever our parents did, and allow that to always be a piece of you. Take the other stuff, but just keep, keep that for yourself, and it just adds to the magic. 

  • Fran Coleman

    Fran Coleman

    “Anything is possible. Anything is possible. You just have to be creative”

    Fran Coleman is an associate professor of voice and choral activity at Francis Marion University. Fran’s teaching spans from voice lessons, directing choirs and any other coral activity. Fran is located in Florence S.C. and currently teaches but is also a performer as well as producer with a regional party band called Emerald Empire band.  

    Interview

    Transcript

    0:03 | Emma Plutnicki 

    Okay, perfect. So, to start off, what do you do for work and where are you currently working from? 

    0:09 | Fran Coleman 

    I do a lot of work. Currently, I work at Francis Marion University. I am an associate professor of voice and choral activities there. So, I teach voice lessons. I direct all of their choirs. I arrange any kind of Choral Activities that might be on or off campus. I arrange any kind of vocal recitals, anything like that. I arrange. We also have a couple of other vocal groups. We have a jazz ensemble and a music industry ensemble. I don’t direct those, but I do work with most of the singers that are in those groups, just by default music.  

    1:03 | Emma Plutnicki 

    How long have you been working there? 

    1:05 | Fran Coleman 

    This is my seventh year. Yeah, this is the end of my seventh year. So I’m also a performer and a producer with a regional party band. So I obviously sing and perform with them, but I also put together events with them. I work with our, with our vendors, with our, with our, obviously, with all of our clients. I work with them. I’m kind of like the third party between them and the vendor and the band also. So I kind of wear multiple hats when it comes to them, because when I am dealing with them before the event, I’m the producer, as far as helping them to plan the event, plan out what the band is going to do, how the band how the band is going to fit into their event schedule. When I get on site, I am kind of the band manager, as far as advocating for the band, making sure the band gets their breaks, making sure that they can, especially like last summer, when it was super duper hot, making sure they, you know, get water, make sure they get their dinner break and all that kind of stuff.  

    2:16 | Fran Coleman 

    And then when I’m on stage, I am the performer.  I wear lots and lots of hats when I’m with the band as well. And then I’m also a classical singer. That’s kind of a freelance thing. I sing with a lot of different churches in the area for weddings, funerals, Sunday services. I sing with the symphony in the area. I also sing with the Long Bay symphony at Myrtle Beach. I do a lot of regional work just with other events in the Carolinas and Georgia. When it comes to the arts, I always like to say that you have to wear a lot of different hats. You have to be willing to have a kind of piecemeal life together. You have to be willing to, you have to be willing to have lots of different side hustle. And if you’re willing to do that, you’re going to be fine. But it’s like understanding that you have to know where your passion is, if to know why you’re doing it, you know. 

    3:24 | Emma Plutnicki 

    Yeah, amazing, yeah. It sounds like you have a lot of things pulling you in different directions. But what is one thing that you like specifically about working as a creative in South Carolina? 

    3:40 | Fran Coleman 

    You know, moving down here, I moved from Richmond, Virginia, which is a fairly different size city, you know, then particularly Florence, which is where I’m at, but even Conway, or Charleston, for that matter, I mean, Richmond’s a pretty, pretty decent sized city, which I wasn’t, I really wasn’t ready to realize until I moved, but it was really nice to move to an area that appreciated the arts as much as they do. This area really appreciates the arts and and they’re willing to pay for it.  

    3:40 | Fran Coleman  

    You know what I mean? Like, I feel like in Richmond, I was constantly advocating for artists to be paid for what they do, constantly, constantly advocating. When I was in Richmond, the hustle was even more real when I mean I was, I wasn’t a full-time professor up there. I was an adjunct professor, which is what’s called a part time professor. Where I was, I was part time at several different universities around the state. Some were a couple hours away. Some were less than, you know, an hour away.  

    4:58 | Fran Coleman 

    But either way, I was trying. Traveling a lot. I was working with several different nonprofit organizations to advocate for the arts. And I was working with Virginia opera, which was a couple hours away. I mean, it was just, it was a lot a lot of driving, and a lot a lot of hustle, and that was and the basis of all of that hustle was advocating for the arts, advocating for the artists to be paid, you know, and to be such a cosmopolitan area, it’s amazing how little they wanted to pay for the arts. So, to move down here and to come to an area where the arts were so appreciated, the very second question after you know, what can you offer? Is, what is your fee? And I was just dumbfounded, because I was like, wow, okay, let me think about it, because I didn’t know. So, so that I really do love is how appreciated the arts are around here. 

    6:00 | Emma Plutnicki 

    Yeah, amazing. And have you been able to find a professional community within South Carolina that you kind of meet with, or how would you describe your local professional community? 

    6:14 | Fran Coleman 

    Well, you know, through the band, through the band that I work with is called Emerald Empire band. And Emerald Empire band, excuse me, I have a frog in my throat. Emerald Empire band is part of a larger organization called the International Musicians League. And so that International Musicians League is literally International, and it spans across the world. And so I was with them in Virginia as well. Up there, they were called the Bachelor Boy Band. And so when I moved down here, I was able to transition over to Emerald. And so they really helped me to find a large entity of professional musicians that I wanted to be a part of and through them, I was able to branch out and kind of find a little bit more of that, like classical entity that I was looking for. But also in working with the Florence Symphony Orchestra and the Long Bay symphony orchestra, and then also through working with some of the other musicians in Emerald, I was able to meet some of the some of the other crossover musicians like myself that do classical as well as contemporary music, that work in the Charleston area and as well as in the Columbia area. I also sing with a nonprofit in Columbia called Palmetto Opera. 

    7:40| Fran Coleman 

    And so I was able to meet some of the other classical players in the Columbia area. So through all of those entities, I feel like I’ve been able to really like I’ve been able to really dig into the contemporary pool of players. I’ve been able to scratch the surface when it comes to the classical players. I know there are so many more that I would love to get in touch with and start collaborating with. There’s a fantastic woman in the Florence area who is doing some work with the Met, the Florence Masterworks Choir. She’s doing some work rebuilding their website and helping to build their database, and she has created an organization called the Ladies Who Lunch, and that is a group of ladies, all who work within the arts community in Florence, whether it be through visual arts or performing arts.  

    8:40 | Fran Coleman 

    And we all try and get together at least once a month, just to kind of talk through things that are happening, things that are, you know, things that need to happen, things we like to see happen. And so that’s a great, great way to try and keep things moving. And so that’s been happening, and so that’s really good. Things like that are what need to continue to happen, right? Just having conversations, and just knowing who to have conversations with, right? Yeah, particularly within the female community, you know, because even in 2025 we’re still so subdued, yeah, so yeah, yeah, 

    9:27 | Emma Plutnicki 

    No, it sounds like a great community, and hopefully it continues to grow. And with all the hats that you wear, you know, how do you define professional or personal success in such creative fields? 

    9:44 | Fran Coleman 

    Oh, I used to put dollar signs on it. I don’t anymore. I really define success in how full my heart is. You know, if I’m waking myself up and putting myself to bed? Every day with music, then that’s how I define my success.  

    10:03 | Emma Plutnicki 

    That’s great. It really is great. So have you had a kind of major project in your life, or, I don’t know, like a defining moment in your creative journey that’s made a significant impact on you, or something that you have produced or sang, or project that you’ve worked on that has really showcased your creativity? 

    10:36 | Fran Coleman 

    So many things. I try and keep the creative fires burning as much as I can. This particular semester, I’ve got, like, next week, we have an event happening at a little restaurant in Florence called Victor’s. And so, through the Palmetto opera, I was introduced to a kind of dinner, a dinner theater type event called up, called, what they call it, Villa Tronco. And Villa Tronco is just a restaurant in Columbia, and excuse me, it’s like a it’s like a dinner theater where two opera singers get up and they just sing a few songs, and then they take a little break, and then they sing another few songs, they take a little break, and then they get up and they sing a few more, and then they take a little break all and all of it is paired with meals and then within those pairings are like little mini sets. And those little mini sets include some backstory behind the areas. And there’s always a duet within each of those mini sets, and there’s an explanation behind it.  

    12:00 | Fran Coleman 

     Anybody is invited to these dinner theaters like you don’t have to be a world-renowned opera buff to understand. I kind of borrowed their idea, and I took it to Victor’s, which is a restaurant in Florence, and I said, I’ve got this great business model, and I would love to bring it to Victor’s. Victor’s is like one of the classier restaurants in Florence, and they have a great back room, like, a kind of conference room area where they could kind of create a nice little dinner concept and sell reservations. And so that was a great success. We did that a couple times, so it was really successful. And we’ve got another one coming up in February, and so far, it’s been really successful. We had one scheduled for October, and it was the day before Halloween, and it didn’t sell like we wanted, so we had to end up postponing that one.  

    12:55 | Fran Coleman 

     That was, unfortunately, not as great, but the one we had coming up in February was really successful, so that was great. I did an event on campus last year with where it was called singing the legacy of black female composers, and I paired that with some of my current students along with some of my alumni students, and we did a whole concert where we sang nothing but music of black female composers, and we talked about the works of these women and all of the great all of the great information, all of the great things they did. We talked about all sorts of amazing things they brought to us as composers, as women, and that was really cool. Back home, I worked with a couple of nonprofits where we built a Mozart Festival every year in different parts of the city.  

    13:55 | Fran Coleman 

    That was amazing. I mean, every year it was, and it was almost all completely female run. You know, that was amazing. Every year, I am the only female that helps to put together this event called FSO Rocks at the end Florence, where it’s the Florence Symphony Orchestra, and we do all classic rock music. So that’s really amazing. Anytime I can help build something new and exciting that is even the slightest bit different. I always like to say that, you know, I kind of like Winnie the Pooh. I’m not your average bear. Yeah, you know, yeah. Anytime I anytime I can, anytime help out, like, with something that’s slightly different, I try and get involved. So great. 

    14:47 | Emma Plutnicki 

    And when you decided to go into a creative profession, did you have any fears about that? Like, what was your biggest fear? 

    14:55 | Fran Coleman 

    I mean, I’m always fearful of the unknown, but ultimately I. Um, I let anybody who says they don’t think I can handle it fuel me, like anytime I’ve ever had a professor to say, I don’t know if this is for you or you might want to try something different. I let them. I let that fuel me to say, oh, really, really, watch me, you know, and I let that kind of feel me. And so that’s what’s gotten me to where I am. Any negative feedback has been what’s got me to where I am? Yeah, it’s not, it’s not pulled me down. 

    15:37 | Emma Plutnicki 

    What’s the worst advice that you’ve ever gotten, or the best advice? 

    15:45 | Fran Coleman 

    Well, when I first got to undergraduate school, I was so in when I was a senior in high school, my dear and bestest friend from, like, literal infancy, um, she, she and her dad and my dad were like, best friends. They like went to military school together. They were stationed in Germany together. They like, we were born two months apart. Like, we were raised together, you know. And she died in a car accident when we were, like, 17, just boom, two months before graduation, gone. Dead. And it was just, I mean, it just, it shook your world, you know. And so, I didn’t go straight to high school. I mean, I didn’t go straight to college straight after graduation. I just moved out after high school, and just kind of like, got a couple jobs and started singing in bands, and started going to open mic nights and just kind of sewing my musical oats and deciding what I might want to do with my life. I just didn’t know. I just knew that if God could take Kim at 17, he could take me too, you know, and so, so I just knew that I needed to explore what, what the world had to offer me. And so that’s what I did. And so, one band led to another, led to another, led to another, until eventually I started getting into some, some significantly successful bands, and we started doing some touring up and down the coast, and things were doing really well, until eventually that van broke up. I was about 24 at that point, 23 maybe, landed back in Richmond, and I said, okay, now what do I do? And so, I decided I would go back to college.  

    17:38 | Fran Coleman 

    And I started, you know, taking some like, gen ed classes at community college. And then by the time I was 24 I decided, okay, I’m going to go back to Virginia Commonwealth University, which is kind of like the USC of Richmond, you know, big urban campus. They’ve got a great music program, and I was going to learn how to really sing, right? And they are a very, very traditional school in 2001 which was at the time when I decided to go back to school. They had removed their jazz voice program, which in 1994 when I originally auditioned for the school, they had they didn’t tell me, they dropped it, right?  

    18:24 | Fran Coleman 

    So, like, when I re-auditioned with the exact same two songs that I auditioned in 1994 for, they didn’t tell me, they dropped it. So when I got in again, I was like, Okay, well, I’m going to be a jazz voice major. And I was, I was alerted very, very, very staunchly in the middle of theory class, that I was not a theory, that I was not a jazz voice major, but I was classical voice major. And so, so that was a little daunting and so that was eye opening to know that I was going to spend the next four years singing classical music when I’d never sung a note of classical music before. And so I spent the next at least two years fighting that tooth and nail and so many, many of my teachers in undergraduate school were not pleasant to me.  

    19:19 | Fran Coleman 

    They basically compartmentalized me and said, oh well, she sings rock music, so she must be an alto or a mezzo. No, I’m really not. I’m very much a high soprano. But they didn’t give me the benefit of trying to listen to me or understand me at all because they didn’t want to. So that was very frustrating those first two years, so and so, and that’s really the negativity that fueled me, but at the same time, I needed to find an outlet, because I knew I couldn’t just in classical music. So that’s when I started. Kind of moonlighting, so to speak, with the jazz department at school. And instead of just singing with the madrigalists, which was like the very traditionalist a cappella group, I sang with the small jazz ensemble, and then I was invited to sing with the large jazz ensemble, which was like their big band, you know.  

    20:19 | Fran Coleman 

    And I really fell in love with jazz music. And then I started, you know, studying like Jazz, Jazz vocal pedagogy, and I was able to do an independent study with them, and, and I was able to study with one of the best jazz drummers that this country’s ever seen, you know, and, and I was able to make some fabulous connections that I still have to this day, and that have stuck with me for 20 years, you know, and it’s just, it’s, it’s been phenomenal. And they, they really are, who got me through undergraduate school. Now, mind you, I fell in love with classical music in the meantime, and I ended up getting a doctorate in opera. And I love classical music. 

    20:58 | Fran Coleman 

    And like I said, I you know, both of the nonprofits that I worked with in Richmond were both classical. One of them was the Classical Revolution, and the other one was a small nonprofit opera company that I helped build from the ground up. And so, I love classical music, and I will sing classical music till the day I die, but I’m never going to not sing other things either, you know what I mean, I can’t, I can’t just sing one thing. That’s not who I am. I’m somebody that has to have my hand in lots of different cookie jars, because that’s just the world we live in, and that’s the person I am, you know? So, um, so that’s, and that’s also the teacher I am as well.  

    21:39 | Fran Coleman 

    That’s, that’s who, in my opinion, we need to be as singers, is, is somebody that is diverse in what we sing, in what we represent as performers. Because there’s just, there’s too much talent and there’s too much to say, you know. So, if you want an active job as a performer, you need to be able to say a lot of different things and in a lot of different ways. 

    22:11 | Emma Plutnicki 

    Yeah, wow. That’s been an incredible journey for you. Thank you for sharing all that. So nowadays, what does your typical workday look like? What’s expected of you daily, 

    22:25 | Fran Coleman 

    On Mondays and Wednesdays…Mondays, I have voice lessons in the morning and then we have studio in the afternoon, meaning, like either recital, like with the whole voice department, or the, excuse me, the whole music department, or just my voice studio in the afternoon, and then I have my women’s choir in the afternoon after that. And then on Tuesdays, I have voice lessons in the morning, and then I have my University Choir in the afternoon. On Wednesdays, I just have voice lessons. On Thursdays, I have voice lessons in the morning, University Choir in the afternoon, and then my men’s choir after that. And then on Fridays, I generally try and keep that free for you know, personal like if I have makeup lessons, or if I have doctor’s appointments, or if I have personal appointments, or, you know, interviews, things, whatever need to happen. And then on the weekends, you know, on Friday, Saturday, Sunday is generally set aside for gigs and things like that too. 

    23:37 | Emma Plutnicki 

    Okay, amazing. So how do you create that kind of work life balance when you have a busy schedule, where you’re able to kind of have professional creativity, but then also have some time for personal creativity? 

    23:50 | Fran Coleman 

     Last semester, really, last year 2024, was probably the busiest year I’ve had in probably a decade, and it was, it was so busy for me. I mean, it was great. Everything was great. Like all of them, all the work I had was all good work, but it was so much. It was so demanding. And last fall in particular, I was supposed to be teaching four classes. I ended up teaching seven classes because my part time professor resigned, so I had nobody else to teach but me. And instead of telling anybody that I can’t help them, I just say, no, I’ll do it. I’ll just take another class. I’ll take another student. And so, I ended up overloading myself by like, three classes, right? 

    24:45 | Fran Coleman 

     And then the fall is always busy with the band, so I ended up in triple overload academically, and then I ended up with over 70 singing engagements on me. Calendar, and between that, between all of the teaching and all of the singing, I ended up by December and then, so with not being able to find a healthy work life balance, I ended up getting sick constantly. I mean, I was sick constantly last semester, from the end of September until the middle of December. I think I got sick at least five times. It was like, every time I got better, I’d get sick again. It was like, it was just this constant roller coaster of like, you know, it was like a sinus infection, and then it was a cold, and then it was an upper respiratory infection.  

    25:45 | Fran Coleman 

    Then everything just sits right here, when you’re a singer, you know, it’s just and it was just horrible. And so, I would get better long enough to, you know, regain my voice for the next gig, and then, and then I would get sick again, and then I would sing through illness, and then I would get better enough to sing for the next gig. And then I would, you know, lose my voice. And that, you know what I mean, and that the window of time that I would have to get my voice back was getting wider and wider and wider until eventually I was getting really worried, and so I went to my otolaryngologist, which, if any vocalist is having a challenge with their voice, I would say, don’t just go to your standard ENT down the street, because God bless them. If you have a cleft palate, if you have a deviated septum, if you have chronic sinus infections, if you have you know concern of laryngeal cancer. 

    26:44 | Fran Coleman 

     You know any standard ENT issue go right, but anything else that is pertaining to the singing voice, please go to an otolaryngologist that is who is trained to know things about the singing voice, and I went to go see mine. And I had, I had a vocal injury, you know, and so I had to go on strict vocal rest for two and a half weeks. And for the very first time in my entire adult singing life, I couldn’t sing for Christmas. I’ve never been able to sing for Christmas, and it was heartbreaking, you know.  

    27:23 | Fran Coleman 

    And so that was really, really sad. And that was, that was, that was the result of not knowing or not being able to find a good work life balance, you know, yeah. And so that’s sad. And so that’s that, that’s, that’s how I had to find that. That’s how I had to know, unfortunately, a better, that’s how I had to find a better work life balance this semester. You know? 

    27:55 | Emma Plutnicki 

    So just as we wrap up, are there any, is there anything else you want to add, or any questions you wish I may have asked that I didn’t? 

    28:21 | Fran Coleman 

    I can’t think of anything right off the top of my head. Um, you know, like I said before, it’s like, you know, the life of an artist is not one for the faint of heart. You know, I certainly don’t deter anybody from it. If you have a passion for anything, if you have a passion for singing, if you have a passion for painting, if you have a passion for set design or costume design or makeup or arts administration, or, you know, sound work or production or anything, you know, I mean, anything in the arts is going to be challenging. Anything, anything that does not live in a box, is going to be challenging, right? But if it is what makes you happy, then do it right? Because think about how many times you go out into the world, whether it be to the grocery store or to pick up you know, your food order, or your, you know, your dry cleaning, or whatever it’s like.  

    29:25 | Fran Coleman 

    And you deal with miserable people who want to be miserable. Nobody wants to be miserable. Be happy and spread happiness. And the only way to do that is to find what brings you joy. You know, so the best way to find, the best way to do that is to is to do what brings you joy, and if that is not ultimately lucrative upfront, then you have to find ways to bring the funding. You know what I mean. Anything is possible. Anything is possible. You just have to be creative. 

    29:49 | Emma Plutnicki 

    Yeah, that’s great advice and a great perspective. Amazing. So last thing. Do you have anybody that is in your life that’s a creative working in South Carolina that you would like to nominate or think would be beneficial for us to talk to?  

    30:23 | Emma Plutnicki 

    I could also just have you think on it and send you, yeah, if anybody comes to mind, we have a nomination link where you can input somebody. 

    30:34| Fran Coleman 

     Yeah, yeah. Let me think on it, and then I can maybe send you, like, a list of a few people. 

    30:37 | Emma Plutnicki 

    Yeah, that’d be great, amazing.  

    30:41 | Fran Coleman 

    I’m always the type of person that likes to think of a bunch of things since I walk out the door. 

  • Terry Roberts

    Terry Roberts

    “There’s always something new to learn, if you really believe in yourself then something will happen.”

    Terry Roberts is a conductor, professor, and lifelong musician in Florence, South Carolina. He leads with passion and perseverance across every stage.

    Transcript

    Emma Plutnicki | 00:01 

    Okay, so first, what do you do for work and where are you currently working from?  

    Terry Roberts | 00:06 

    I’m the coordinator of music at Francis Marion University, and I’m a professor for various different classes and ensembles, and I’m also the music director of the Florence Symphony Orchestra. So, this is all in Florence, of course. I’ve been here, I’ve been a conductor since 2003 and with the University for about 16 years. I believe.  

    Emma Plutnicki | 00:31 

    Amazing. So, what is one thing that you love about working in South Carolina, specifically?  

    Terry Roberts | 00:37 

    Well, normally, you can play golf year-round, but not now. Well, I was raised in the South mostly. I’m from Oklahoma originally, but, yeah, most of my life I’ve lived in the South. It’s a lot nicer, calmer. I had friends, one friend of mine, who’s a soloist, said “The only reason to go to New York is to get the check and leave.” So yeah, I was in Europe for a long time. When I moved back, people asked why I didn’t move to New York. I said, “Well, I can get to New York real easy. I don’t need to live there.” So yeah, and I get up there to do some gigs. But, yeah, one week’s about all I can stand in there.  

    Emma Plutnicki | 01:25 

    Fair. So, what does South Carolina bring to your work? Does it have any unique influence on your work compared to working anywhere else, working in New York?  

    Terry Roberts | 01:37 

    Well, like I said, I’ve had, I’ve had the good fortune to live in several different places. So, I’m more like trying to bring what I’ve learned culturally in different countries, different places in the United States, to impart that information, if you will, to my students and also to the public, and culturally speaking simply. South Carolina obviously has a lot of history. One of my professors was a famous composer from Latta, just up the street here, Carlisle Floyd, and I studied with him when I was in Florida State University, and I played some of his works and things like that.  

    Emma Plutnicki | 02:28 

    And how would you describe kind of the working community in South Carolina? How is your local professional community?  

    Terry Roberts | 02:38 

    Oh, well, Florence especially is sort of booming. To be quite honest, when I moved here, I wasn’t going to stay, but things change you know. That’s fate, as they say, and this particular community has really just blossomed. I mean, we have two major hospitals, several major companies have moved here, and culturally, it’s just a gold mine. There’s a lot of culture going on here, and there’s a lot of talent within the community. So, it’s great. I mean, it’s very refreshing, and everyone loves to partake in the arts here, which is great. And I try to be diverse as possible, which is a hard thing to do anyway, but to include as many people as I can in the arts. So, I mean, when I had hair, long hair, I played in rock bands and all that stuff. So, you know, I’ve sort of done everything, if you will, so just a classical player.  

    Emma Plutnicki | 03:46 

    Amazing yeah, so within your working in a creative field, how do you define personal success and professional success?  

    Terry Roberts | 03:57 

    Oh, wow. Well, for me, personal success is being able to learn more every day. You never stop learning in music. There’s always something new to learn and to hopefully to grow a bit every day. Professionally, I’ve been blessed to have done a lot of different things. I’ve played in all the major, I played French horn, solo horn in Europe for 16 years, and I played in all the major opera houses, concert halls in Europe and the United States. And that was, I was very fortunate. I was able to learn two more languages, you know. So, all those things are because of music. I got to see a lot of the world. So, it, I’ve been very fortunate. And it wasn’t easy at first, I have to admit, you know, but I think everyone who’s successful has to persevere.  

    Emma Plutnicki | 05:08 

    Yeah, amazing. So, you said it was difficult. Were there any fears that you had when you first decided to step into a profession in the arts?  

    Terry Roberts | 05:18 

    Well, my father has a PhD in music education. He was a chairman of music for years at universities, and so I was sort of raised in that environment. And I thought about actually becoming a pilot, that really intrigued me. But then I would have to stop playing, and I really wanted to play. And I mean, I’ve been playing some instruments since I was six years old, so, you know, and playing music is almost mathematical too, so that sort of tied in. I thought about piloting or architecture and things that, and my father encouraged me to do that because he didn’t want me to be a poor musician. But, but anyway, it worked out. So, it was hard at first. I mean, when I got to Germany, I was going to study for one year, and I had like, $250 in my pocket and a horn and two suitcases, and I didn’t know what was going to happen. And it just sort of blossomed from there. So, I was very fortunate. Right place at the right time, so to speak.   

    Emma Plutnicki | 06:24 

    Yeah, it’s great how it works out that way. Were there any people in your life giving you advice? Do you remember like the best advice or the worst advice that you ever received?  

    Terry Roberts | 06:39 

    Well, I mean, gosh, there’s so many different people. My teacher, he was very famous horn player, Erich Penzel in Germany. He gave me a bunch of tips about how to handle conductors and now I’m a conductor, so it’s funny. And I would talk to a lot of different conductors, I worked under some very big names, and I would ask them how they went into the field. And all of them, all of them, talk about perseverance, and talk about, when you’re starting out, how hard it is, and it is. You just have to be at the right place at the right time. You know, there’s, there’s plenty of people out there that can do my job, but I just happen to get lucky, you know? I tell my students, “There’s always someone waiting to take your place.” You have to think that way. You have to, you have to practice. You have to always continue to get better. You can’t just sit and do nothing. And that, I believe that still to this day. I mean, the orchestra could say one day, “oh, come on and get someone else,” you know, with different ideas, you know.  

    Emma Plutnicki | 07:46 

    Makes sense. And within your career, has there been one particular project that has made a significant impact on your life or a project that you think really showcased your creativity and kind of was the pinnacle of your career?  

    Terry Roberts | 08:15 

    I don’t think I’ve reached that yet. To be quite honest. I hope I haven’t. I’m very proud of some of the works I’ve commissioned to be premiered with this orchestra, and I’m doing another work next fall, in October, that a former student of mine is writing. So, I’m always very proud when former students are successful. It makes me, you know, it’s like having your own children be successful. You know, which I do have children, they’re somewhat successful to me.  

    Terry Roberts | 08:58 

    I mean, it’s always good, when you see someone succeed and you’ve been nurturing them and sort of mentoring or whatever, you know. So, yeah, I mean, I like helping out young people, and I think that’s probably one of my best things around.  

    Emma Plutnicki | 09:18 

    I love that. So nowadays, what does a typical workday look like for you? What’s your work process and what’s kind of expected of you on a daily basis?  

    Terry Roberts | 09:32 

    Well, one thing about the arts, it’s never the same every day. I mean, obviously at the university you have your schedule. But, like, I’ve just done three days of rehearsals with three different ensembles, Monday, Tuesday and Wednesday. And today, I gotta regroup. I’ve gotta get ready for a different ensemble. Yeah, so and then I’ll teach a bit. I always have one day, and this is my day actually. I always have one day during the week where I try to regroup, and that’s Thursday this semester. But normally I come into the office, I start answering emails, which there’s plenty of, and stuff like that, and then I’ll start studying whatever music I need to be studying for the next concert I’m doing, or next project I’m doing. And at the same time, I’m doing budgets for the orchestra, budgets for the music program, things like that and people are asking me for money and all that neat stuff, a lot of paperwork. I mean, everyone goes, “Oh, so it must be so great be a musician.” I say, “Well, you know, when you spend 75% of your time doing the other stuff, so you can be a musician, yeah, it’s really great when you make music.”   

    Emma Plutnicki | 10:53 

    So how are you able to keep that work life balance where you’re able to work on your professional responsibilities, but then also have time for personal creativity?  

    Terry Roberts | 11:07 

    It’s, actually not that hard. It’s all about time management. And, you know, teaching my students about that, that’s the one thing that you know, ever since I was, gosh, since I don’t know “it,” or whatever. The first thing I do every day is do some music. You know, whether it’s practice, listen, study or something, that’s the first thing you want to do every day. That sort of like, gets you going, then you can take care of all this, other things like that. So, I don’t think it’s hard to balance it out. I like to play golf, I like to watch sports, crazy about the football stuff right now and, you know, I try to have other interests. And everyone you know, sort of, you know -I hate saying this. Everyone thinks that I’m just focused on music. I said, “You know, I have a normal life,” you know, and that’s what you have to have, is a normal life.  

    Terry Roberts | 12:10 

    So, you have to shut it down sometimes. And I get, you know, nervous or excited, whatever. But you have to learn how to turn it off, too. And that’s, that’s difficult, and some days I’ll get pretty perturbed, you know? But you always have to look for a solution. You can’t stay perturbed. You have to figure out what you can do. After every rehearsal, I like to sit down for a second and just think about what I can do to make something better. You know, after when I teach something, did I teach it correctly? Or can I make it better? Make it more understood, if you will. So, it’s, it’s a, you know, different lifestyle. It’s not going into the office, clocking in, do your work, there, go have lunch. It’s not that. You’re sort of married to music, but you have to, just like with your spouse, you have to spend a little time away from it.  

    Emma Plutnicki | 13:20 

    That’s a great perspective to have.   

    Terry Roberts | 13:23 

    I once told someone, I’ve known my horn longer than I’ve known my wife.   

    Emma Plutnicki | 13:27 

    Yeah, there you go. True. Perfect. So just as we wrap up, are there any other questions you wish I would have asked, or anything else you’d like to add about you, know, your career and your life.  

    Terry Roberts | 13:43 

    I think the most important thing for anyone in the arts doesn’t matter, music, art, theater, whatever, that you cannot become discouraged. And that’s easy to say, very easy to say, because I have been discouraged many times. I’ve done auditions all over the world, and, you know, been disappointed, gotten almost there, and you feel really disappointed afterwards, but you have to persevere. You can’t just stop, you know. If you really love what you’re doing, it doesn’t matter. And I used to say, “the money will come later.” Yeah, you have to pay bills. Yeah, you have to know how to do a budget and all that stuff. But, if you persevere, if you really believe in yourself, then something will happen. It might not be exactly the way you thought. I mean, I didn’t think I was going to be a professor. After growing up that way I swore, I’d never do that. Here I am, you know. So you just never know the path, you have to be flexible and persevere.   

    Emma Plutnicki | 15:22 

    Well perfect. Do you have any other creatives in your life that you think would be good for us to interview? Can you think of anybody?  

    Terry Roberts | 15:40 

    My wife, she was a prima ballerina in Pacific Northwest Ballet in France and we met in Monte Carlo. We were both working there, and she does the ballet here. She’s artistic director of the South Carolina Dance Theater.  

    Emma Plutnicki | 15:58 

    Okay, amazing. If we could get her contact information, or I can send you the link to nominate an individual.  

    Terry Roberts | 16:05 

    I’ll just email you her email address and whatever.  

    Emma Plutnicki | 16:08 

    Okay, amazing. That’d be great.   

    Terry Roberts | 16:11 

    She’s seen more of the world than me. She has literally been around the world. But she’s from Wilmington, North Carolina, of all things. And she went to North County School of the Arts and studied. Well, she’d been dancing since, professionally, she started at 17. Dancers have a short lifespan, you know. Then she went into teaching, so I never saw her dance. I met her when she was finished dancing, so.  

    Emma Plutnicki | 16:41 

    She’s got to still be dancing a little bit these days, right?   

    Terry Roberts | 16:44 

    Well, she demonstrates. And sometimes she says, “I shouldn’t have demonstrated that.”  

    Emma Plutnicki | 16:50 

    Yeah.  

    Terry Roberts | 16:53 

    So, she choreographs and runs the ballet here.  

    Emma Plutnicki | 16:57 

    Okay, amazing. That would be great if you could send that over.  

  • Brandon Goff

    Brandon Goff

    “I put in 30 minutes of practice every day, whether it’s guitar or composing. It’s like exercise 30 minutes a day goes a lot further than five hours once a week. It keeps your brain engaged.” 

    Brandon Goff is a composer, producer, engineer, performer, and professor of Music Industry at Francis Marion University in Florence, South Carolina. As a Memphis, Tennessee, local, he attended Rhodes College where Goff’s creative path began. This path has taken him through academic and professional music spaces across the U.S. and abroad. With a PhD and a background in music composition, he believes in celebrating every step of creative growth, whether that’s writing an album or landing a gig. His career is a witness to persistence, curiosity, and the value of creative support systems. 

    About

    Dr. Brandon Goff is a composer, producer, engineer, performer, and professor of Music Industry at Francis Marion University in Florence, South Carolina. Originally from Memphis, Tennessee, he brings decades of professional experience to the classroom. Although he comes from major music hubs like Memphis and Nashville, Goff believes in the creative potential of South Carolina: “The talent pool is just as big as it is anywhere else” he states that there is less exposure here than big music hubs, yet there are “chances you can take even if you don’t realize it.” 

    While many students aspire to break into big-city music scenes, Goff sees value in the grassroots nature of local music. South Carolina’s cultural variety and fresh perspectives help shape his own compositions. Even without the traditional infrastructure of the industry, students can gain real-world experience in unique settings like running sound and lighting for large-scale worship services. “We’re still a big production state,” Goff says. 

    A high school dropout who once worked in a factory, Goff believes success is about growth and persistence, not fame. “Even if you’re just someone who has actually sat down and written an entire album worth of material, and that’s not what you do for a living, that’s still incredibly successful.” he says. That mindset has guided his journey, from early breaks with recording software to composing Full on Rumble, a guitar concerto that unexpectedly became one of his most performed works. 

    Goff’s creative life is grounded in daily discipline. Mornings start with emails and invoicing, followed by teaching, and afternoons filled with studio work. “Thirty minutes a day goes a lot further than five hours once a week,” he explains. For Goff, consistency matters more than flash: “You don’t always know what you’re building while you’re building it. But if you stay in motion, keep making, keep believing you’ll look up one day and realize you’ve created something that lasts.” 

  • Mahoganee Amiger

    Mahoganee Amiger

    “Just love yourself and talk to yourself nicely.”

    Mahoganee Amiger works in Beaufort S.C. as an Interdisplinary artist in the field of music and has been a songwriter for over 30 years. Mahoganee incorporates poetry and photography into her music to produce a form of visual art. 

    About

    Amiger is a Gullah Geechee woman who lives on Saint Helena Island. She explains that Saint Helena Island is a place where she is able to tap into her creative side, “And so being a creative it is, in my opinion, it is a very magical portal, yes, that right, that I can tap into, and because I allow myself to be open to that I am never not creative”. Amiger also reflects on her journey as a musician and explains how her love for art has always overcome her fears, “so, there was the fear of, I think, just being in front of people, you know, and sharing something…now I’m nervous, I’m not fearful, the nerves are always going to be there.”

    Amiger explains the importance of taking opportunities in the creative career field, like a fellowship. She says that “anytime you can find an opportunity to be in a cohort or fellowship or something that is really going to help you grow as a human being, as an artist, as a community leader…look for those opportunities because they have been very instrumental in my growth.” With this, Amiger considers today’s day in age with the noise of the internet and advocated for nurturing oneself away from the media.

  • Paolo Gauldi

    Paolo Gauldi

    “It’s a good thing to bring beauty to this world…leave it a little bit better than you found it”

    Dr. Paolo Gualdi is a musician, and a full-time professor at Francis Marion University, as well as a part-time professor at University of North Carolina at Wilmington. When performing, regionally, nationally, or internationally, Gualdi plays the piano both as a soloist and chamber musician.

    About

    Dr. Paolo Gualdi began teaching music at 16 and has been a performer his entire life. He has been involved, long-term, in the cultural arts scene, which is why he sees so much potential in the Carolinas, and South Carolina more specifically, because “there’s a lot of talent in South Carolina,” he stated in an interview with our team. For Gualdi, South Carolina has a boiling pot of opportunities.

    In Gauldi’s opinion, a creative needs their own personal definition of success, or else “it’s a lifetime of frustration because you don’t feel you’re good enough forever.” He believes that one needs to remain engaged and interested in their career. Gauldi recalls Pablo Casals, a famous cellist, who, at 93, was still practicing because he believed that he could still make progress and Gualdi says that “it’s the best feeling in the world…always being interested and curious and digging deeper.”

    Gauldi also emphasizes the community and networking needed in this career. A lot of his commitments are because of this. He also says to “be kind to each other,” which can determine one’s career path.