Location: Midlands
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Whitney Mcdonald
“If you ever start to feel inadequate at what you’re doing, don’t let that stop you.”
Whitney McDonald is the Theatre Operator for the Amentum Center of Performing Arts and the Aiken Community Theatre in Aiken, S.C. She acts as a liaison between the city and the theater, runs the box office, and handles communications for the theater.
Interview
There was a technical issue with our audio during this interview, so we are providing just the transcript.
Transcript
Whitney McDonald 00:00
Hi, I am Whitney McDonald. I live in Aiken, South Carolina. I am the theater operator for the Momentum Center for Performing Arts. It is a city-owned facility, and Aiken Community Theater is the main tenant. So, I work mostly for Aiken Community Theater, but I also do work for the city as well. I’m kind of split between both. I am more of a liaison between the city and the Aiken Community Theater.Haley Hansen 00:28
How long have you been doing that?Whitney McDonald 00:29
Two years in August. Yeah! coming up in August. It will be two years.Haley Hansen 00:33
Can you walk me through your typical workday?Whitney McDonald 00:36
Sure. I come in at 8:00 a.m. every morning, even though the box office isn’t open until 9:00. I use that hour to check voicemails and emails for both the theater and the city. I walk through the theater to make sure everything looks okay, especially if we have a rental that day making sure the stage and the back hallway are clean. After that, I answer phone calls and emails. It really depends on what is going on that week or month. There is always something different to do, which keeps you on your toes.Haley Hansen 01:21
How did you wind up in that field?Whitney McDonald 01:23
I’ve been a part of the theater for a long time. The previous theater coordinator was with the theater for over 20 years, and I always thought, “If she ever retired, that would be a really great position to have.” It seemed like a nice job weekend off, evenings free. In mid-2022, she announced she was leaving, so I applied. I knew it was a city position, so I had to interview both the city and the executive director of the theater. I had an interview one day, and two weeks later, they offered me the job.I already knew everyone in the theater. I’ve always been a performer, mostly on stage, and a bit backstage. I did not realize how much went on behind the scenes until I took the job. I’m still learning new things every day. There is no handbook for this position; my predecessor created the role. So, I’m the second person to fill it in. I just take it day by day with support from the board and executive director.
Haley Hansen 03:08
Was there any specific moment when you realized you wanted this job?Whitney McDonald 03:25
It was always in the back of my mind as a “Dream Job,” but I never thought it would really happen. I was happy doing theater as a hobby. When the job opened, I saw it as an opportunity. I figured even if I did not get it, I would not regret applying. It still feels surreal that I actually work here, kind of like a dream come true.Haley Hansen 04:21
What were you doing before you came to this position?Whitney McDonald 04:24
I did a lot of retail, food service, and worked in banking for a while. Those were the main things. I didn’t have a lot of administrative experience, other than what I gained in banking. I think I got lucky. Knowing the people involved helped a lot.Haley Hansen 04:45
What was the biggest adjustment when you started?Whitney McDonald 04:58
Getting comfortable answering the phone was a big one. I keep my personal phone silent all day, like a true millennial. Learning the ticketing system was daunting too. The previous coordinator had already left, so there was no formal training. Volunteers, board members, and the executive director helped, but I had to figure out a lot on my own. Learning quickly and independently was the biggest adjustment.Haley Hansen 05:50
Are there any specific skills a student or young adult should pick up if they want to work in theater administration?Whitney McDonald 06:01
A background in administration would help. I did not have much, and I was lucky this position didn’t require a lot of it. It depends on how much administrative responsibility a theater coordinator has. We have a treasurer who handles finances, and our executive team shares administrative duties. Also, being okay working alone is important and there are many days I’m here by myself. Customer service is key, too. You are the face of the box office, so being pleasant and helpful really matters.Haley Hansen 07:19
That’s helpful.Whitney McDonald 07:20
I’ve never met another theater operator, so I can’t really compare my role with others. Each theater’s daily operations are unique.Haley Hansen 07:34
Are there any organizations, programs, or events you’d recommend for people interested in theater?Whitney McDonald 07:43
We used to offer workshops, improve acting classes but haven’t in a while. That is a great place to start. Or just go to an audition. That is how I got started, I had never done theater before, went to an audition, got cast, and went from there. As for getting a job in the industry, I don’t know the exact route. I just got lucky. Some theaters require degrees or certifications.Haley Hansen 08:28
It sounds like if you show up and get involved, people will help.Whitney McDonald 08:33
Absolutely. We always welcome new volunteers and encourage people to come in and help.Haley Hansen 08:40
Do you have any advice for students pursuing a creative career?Whitney McDonald 08:46
If you ever start to feel inadequate, don’t let that stop you. I feel that way all the time, but I am still learning. If it’s something you really want to pursue, don’t give up. That’s my advice.Haley Hansen 09:05
Thank you. -
Philip Mullen
“It’s a very fortunate blessing to find something in life that you like enough that you do it before you’re paid for it.”
Philip Mullen is a painter and professor emeritus. Philip Mullen reflects on decades of artmaking and mentoring and why South Carolina and a bathtub shaped his creative life.
Interview
Transcript
Nora Smith 00:00
Alright, to start. What do you do for work, and where are you currently working from?
Philip Mullen 00:07
Well, I’m a painter of large acrylic paintings, and I have a studio in Columbia. My studio is designed for large paintings. It’s 1300 square feet made as a studio for that. Actually, when I first built the studio in 1989 and when, right after I built it, a national magazine was running this…It was called, The Artist Magazine, and I think it may have had the biggest circulation of any art magazine at the time, because it was, it was aimed at a really clever group, and that was amateur artists who think they’re pros, a very large audience. But it’s, you know, it’s a great audience. It’s a wonderful thing for people to go into. But they used mine as an example of how to set up big paintings.
And the two, the two items that kind of got them interested was, I needed a big sink. Big sinks are really expensive, but mobile home Bathtubs are really pretty cheap, and you can mount them up high, like a sink. Of course, the guys who installed it kept saying, what are you going to have a ladder to get into this thing? No, no, guys, it’s a sink. It’s a sink.
And then during the time I did, it was, I was represented for 35 years by David Finley galleries in New York. And those shows, you know, I had, like I said, 14 solo shows with them over the 35 years. And those shows often would have 40 to 45 pieces, half of which have six-foot dimensions, or half of which just had a four-foot dimension, and maybe a few larger ones included. And because the way I do my edges, I can’t set them down, but I’d have a lot of paintings collected up at any one given time. And I designed a very simple rack that I could hang 46-foot paintings on without the edges touching anything.
More of an answer than you probably needed. I warn you, I was once interviewed on the radio, and after 10 minutes, the interviewer said, Mr. Mullin, I was kind of hoping to ask a second question.
Nora Smith 02:45
Okay, well, this one kind of wraps in with the first one. How long have you been working there, and what is your official job title?
Philip Mullen 02:53
Well, my only official job title now is artist. And I guess I have a sort of official job title as distinguished professor emeritus from USC. I had a very good arrangement with USC. I taught there from 69 to 2000 and, but I took nine, I did not teach in summers, and I took nine years of leave during that time. So, I taught 22 because those New York shows took an enormous amount of time to put together. You really put it this way, my art gallery friends were very suspicious of my teaching, because they said, if you teach, you can’t paint enough. And my teaching friends were very suspicious of my art gallery’s success because they said, “You can’t sell without selling out.” And each of those things probably has some basis in possibility, but there’s certainly things you have to watch out for.
Nora Smith 04:06
Yeah, well, you just do, you do it all.
Philip Mullen 04:10
Well, I was a bit of an obsessive worker for decades and decades. It didn’t make me socially very interested, but I got a lot of artwork done. And the teaching, you know, the teaching like that, was wonderful, because I didn’t end up doing it quite, it wasn’t like I was doing it all the time. You know that one period where I literally was taking half, where I had 12 years and only taught during fall semesters, yeah, and so it made my teaching much more exciting for me, and it was like a chance to talk to bright young people about the only thing I knew anything about. And it, you know, while I’m sure there were other teachers that were more talented, as teachers, than I was.
The one thing I could bring to it was especially like the graduate students might see me working on a particular painting and then end up seeing that painting reproduced in Arts Magazine, for example. And so, it brought the sense, I think, to students, that it could be something bigger. That was especially true before I built the studio in 89 because I had a studio at the university furnished and, you know, graduate students and undergraduates were in and out of that while I was down there.
Nora Smith 05:40
That’s so cool.
Philip Mullen 05:42
Well, I tell you, it’s, you know, its a very fortunate blessing to find something in life that you like enough that you do it before you’re paid for it. You do it if you’re paid for you do it if you’re not paid for it, you know people, they said, “Oh, man, you’re so disciplined, you’re always in the studio.” I wasn’t disciplined. I was self-indulgent. I was doing what I, you know, that’s what I wanted to be doing.
Nora Smith 06:11
Yeah. Super cool! Okay, so this is more of a question specific to your area, okay, in the creative field in South Carolina. What is one thing you love about working in the creative field in South Carolina?
Philip Mullen 06:29
Well, one thing that was that I found really great at first, when I was young and needed to get grants for something, was that while there may not be as many grants here as there are in a bigger city, when you stop to think about how many artists are per grants available, it’s pretty rich here. When I got with my gallery in New York, I’d had the good fortune of being included in a show called the Whitney Biennial. It’s a show at the Whitney Museum in New York, and in 1975, and I knew I wanted to have a gallery in New York, so I wanted to take advantage of that.
I took a year off of teaching, moved to New York, and did that, I did have sabbatical money that time. Most of my leaves were unpaid, but I went on sabbatical money. I spent all of my own money, but got what was at the time, a quite large grant from the Arts Commission to go there. Rented three fifths of Andy Warhol’s old factory, lived and worked in that. Of course, lived illegally.
Nora Smith 07:42
The commitment, a lot of commitment there.
Philip Mullen 07:45
Yeah, I learned a couple of very important skills there because of living illegally, you know, because if you’re in a place that is selling commercial in New York, they only have to give you heat six days a week. Oh yes. And so first we crank the heat up, you know, very high on Saturday night and hope to survive till Monday. Later I learned two of the skills I developed was how to hotwire a locked elevator and how to start up a furnace in a big building. And none of the other tenants complained, and the building manager didn’t like the building owner. So, I’m sure he figured it out when he came in every Monday and the furnace was on.
Nora Smith 08:29
That’s so funny.
Philip Mullen 08:32
The art world, the painting world, has changed a good bit since then. Now I loved, absolutely loved the notion of earning money, selling paintings in New York and spending money in South Carolina. You can see where that might function. Of course, one of the things I did learn is, if you’re going to do that, you’re not just making paintings and somebody else is doing stuff for you. You are pretty constantly working on business things as well.
Nora Smith 09:06
For sure, for sure. Yeah. How would you describe your local professional community around you?
Philip Mullen 9:16
It’s a lot like most places. There’s a few people who are, who are, you know, real top-notch pros to deal with. There’s a lot of people who it’s a hobby for, and it’s a wonderful hobby to take up, you know, I mean, I was reading one time about in different professions, what age you peak at. Or you don’t want to be a female gymnast, you know, you peak very early in life, but being an artist was actually the thing that you the people peaked at the latest in life. Yeah, you know, it’s sort of something that you can do for a long time.
So, I would describe most of the community as a sort of normal hobbyist community. But one of the funny things, you know, in certain areas, there’s sort of funny things that occur in terms of how people develop, like, if you want to learn yoga real well, pretty quickly, you end up going into yoga teacher training. I mean, even if you don’t want to teach, you go through yoga teacher training, and all of a sudden, then you’re a trained yoga teacher.
Nora Smith 10:33
Yeah.
Philip Mullen 10:34
So, you’re out teaching yoga. If people go and take a painting, go into it. I mean, very quickly, way too quickly. Generally, they feel like they need to get out and start selling their stuff. And I’m a little suspect that was certainly not me. Now, when I did it, I got, I was obviously really serious about it, because, you know, I’ll tell you that year in New York, while it was professionally very important, it was very lonely, I’m going around to galleries, trying to get into galleries. They’re being approached every day by artists. Many of them are not very polite to you. You know, it pretty gruesome thing. You know, to be an artist, you’ve got to have it in one seat. You’ve got to have a big ego. I mean, the idea that, the idea that you can make something and somebody else should actually take time looking at it, is pretty amazing.
That they should actually pay you for it is incredible. But myself, like most artists I know, have very fragile egos. You know, it’s so getting out there and trying to do that part about promoting it is something.
Now, I did, you know, I lived in New York. I did not want to raise a family in New York, like South Carolina, that way. You know, in 69 when I was looking for a university teaching position, I very specifically looked at the south, it’s one of those, you know, I didn’t know where I was raised. I went to nine schools before I was out of high school. You know, when I went to college, I thought I’d settle down, and most of us in states in the north, but for three years, it was in Texas, and that was the only place that the weather made any sense to me. So, I focused on South Carolina, and the position I got here worked out so so well for me. Fortunately, I never really had any reason to not want to just stay.
Nora Smith 12:55
That’s great. That’s great. How would you define success personally?
Philip Mullen 13:06
Well, I think one of the wonderful things about being a serious artist in an art is that we define other artists’ success in terms of the work they make. We don’t define it in terms of how well they do business. Mm, hmm. We all know people who have who are just out of the out of this world, sensational painters, lot of depth to their work, and all who never get any recognition. We also know people who are just hacks who make tons of money because they’re great business people.
Nora Smith 13:45
Yeah.
Philip Mullen 13:47
In a way to me, success has to do with putting together a life in which I could do, spend a lot of time, making paintings. Now, there were parts to that that were, you end up doing some other things in order to make that happen. You know, in my case, one of the things I did was I did an academic PhD, which was, boy, not my forte. I was, I mean, that was three years of struggling, but it gave me a wonderful way to get into a really good academic position, which gave me a basis of support and encouraged me to do a lot of painting early on. In those early years, I used to send a lot of shows around the state, including one to Coastal Carolina, probably back in the early 70s.
Nora Smith 14:50
How lovely!
Philip Mullen 14:51
It might have been later than that, because actually, one of my students ended up as a theater professor at Coastal.
Nora Smith 14:58
Really! Are they still here?
Philip Mullen 15:00
I would Imagine not, and they must be retired by now. I cannot remember her name.
Nora Smith 15:09
That’s alright.
Philip Mullen 15:10
She did have it. Have you ever seen the movie sleeping with the enemy?
Nora Smith 15:13
No, but I’ve heard of it.
Philip Mullen 15:16
Yeah. Well, it’s almost just a two-person thing, but she’s a big part in that.
Nora Smith 15:21
Oh, okay, that’s super cool.
Philip Mullen 15:23
If you ever watch it, she’s a nurse and she was a professor at Coastal.
Nora Smith 15:27
Oh, that’s super cool. Okay, great to know. I find out so much doing these interviews with people, yeah, so kind of going back to the beginning of starting your career. What was your biggest fear when you decided that you wanted to do something in the arts?
Philip Mullen 15:41
My biggest fear, well, I certainly had no encouragement. I’m not going to say the words online that my dad said to me when he realized I was actually going into being an artist. It’s not something you want to publish. So that was, that was a big challenge.
Nora Smith 15:58
Yeah, I’m sure, I’m sure.
Philip Mullen 16:00
Fortunately, I ran across people who gave me enough encouragement. One thing that helped me a lot was that I graduated in the lower half of my high school class. I did not want to go to college. I didn’t know what else to do. I got to, you know, I went to the University of Minnesota. I had been such a poor student, I realized I’d never get through college, so I figured, and I was not an art major, so I figured I’d go hang out with my buddy Mike, who was an art major. And I got over there, and I realized that the beginning art classes were not much fun, and the art majors had to take them, but I didn’t. So, I sort of had to talk this professor into letting me start in that upper level, middle level, I should say mid-level painting course. He did not want to do it, and I was kind of persistent. And he finally said, okay, okay, I’ll let you in and under his breath, he said, “In the other guy’s section.
And it turned out the other guy was Ed Corbett, who back when abstract expressionism was getting going, and the Museum of Modern Art did a show of 16 of the young abstract expressionists. Ed Corbett was in it. So, my first teacher was an absolute top run guy, and I thought, and I had had really very little success in life. So, failure was like, was getting pretty, if not comfortable with it, at least used to it. I just think this is wonderful. These guys get to spend tons of time just making paintings. What could be better? You know? Yeah, I still feel that way. That didn’t go away. And that’s amazing. That’s amazing to have it last that long. You know, I mean, and I was, what was 18 years old, then I’m 82 years old. Now, it’s great to have something stick with you that long.
Nora Smith 17:55
Yeah, that’s amazing.
Philip Mullen 17:57
It is, it’s, I don’t feel like taking credit for that so much is just being very thankful that I stumbled upon the stuff that made me want to do that, you know.
Nora Smith 18:10
Right. So, what would you say is the best and worst advice you’ve ever received about going into the field or being in the field, just some things you’ve heard?
Philip Mullen 18:22
I can’t think of anything, anything that I really think was best or worst advice. I think a person needs to be realistic about what they’re willing to put into it and what they want out of it.
Nora Smith 18:35
Yeah.
Philip Mullen 18:36
I had some wonderful art students over the years, some that I’ve you know remained long term friends with. I don’t know you might, you might even see above my head one of my ex-students works if…
Nora Smith 18:46
Oh, no, I can’t.
Philip Mullen 18:49
I pride myself in the fact that my student’s work does not look like mine. It, you know, there’s something important to all that.
These two guys are guys that are like me. They’re driven to make this stuff. They can’t help themselves. They’re quite different in terms of how they handle their business around it. Now, that’s one way you can go into it. Now, there’s a lot of other art students who really got a lot out of it, but I’d see him afterwards, and it’s, I always hated this one as subjective. “Well, I hate to tell you, I’m really not painting anymore. I’ve gone into I’m doing something else.” Well, the point wasn’t that everybody becomes a painter. It’s, you know, you took a sociology class, you took a history class, you took a math class. You can become a mathematician. You know.
It’s a lot of that’s about rounding it all out for yourself. Actually, in a way, when I get done with it, a class that I invented that I taught, not for the art department, but for the Honors College, is probably the class that I am most proud of having come up with when I was teaching at the university. It was called the artist experience, and only 15 people could be in it, but you’ll see why as I tell you. It was, it’s basically an art history class, I don’t know, an art appreciation class. However, you never saw a slide in it. If we learned about ceramics, we went to a ceramic studio. Graduate students there taught each person how to how to make, how to throw a pot. Two weeks later, we go back and do a Raku firing. Say, learn it from the inside out.
We visited artists studios and went to art shows. Now, what the purpose of this course was, is not to develop artists, but the purpose was to develop people’s appreciation for the Arts. I think art departments should be doing way, way, way more of that. It’s not so great for the egos of the professors who want to teach graduate students and the people who are really going into it, you know, sure, and I value, you know, these guys work, obviously, who were former students, and I value the kind of careers they put together, but I think as a general service.
And then what we would do is we would end the course with a three-day trip to New York. And that was when I had, when I had a lot of good New York connections. My former Los Angeles dealer had moved to New York, and she would lead the trip some. She would lead a day of the trip. Sometimes my own gallery would always do a wonderful thing. Oh, we go to, went up to Peter Finley gallery and his son, Josh, who worked there. And he was young, and the students kind of related to him, you know. And he, I remember, one year he’s passing a sculpture around. It’s about two and a half feet high, heavy pieces going around, gets a halfway around the circle, and he announces that it’s a Dega, with a kid holding it. I mean, he’s probably still clenched in this position, you know? And Josh says,”No, no, no, no. We’re not a museum. We’re trying to sell this piece.” People touch it. I mean that opportunity to, like, hold something like that.
I remember going to the Museum of Modern Art, and one of the girls in the class who probably hadn’t gotten too far out of South Carolina Previously, she calls me over to Van Gogh’s Starry Night was up, which calls me, and she says, Dr. Mullen, is this the real Starry Night? Yes, this is a real Starry Night, you know. And my gallery would always take them in the back room and pull out all the paintings for them and stuff. So it was, that’s why I called it the artist experience? We didn’t do it by teaching about art. We did it by experiencing. I didn’t have to worry. I didn’t have to worry about grading. I mean, this is honors college class. They’re all “A” students all the time anyhow. And so, what I did, I did the grades were simply based on attendance and a certain amount of projects they did, they would have to do. I mean, I’d have them do. I don’t know, are you a visual artist at all?
Nora Smith 23:53
No.
Philip Mullen 23:55
Okay, well, I had them do an exercise called negative shape drawing.
Nora Smith 23:58
I think I know what you’re talking about.
Philip Mullen 24:00
Okay, it’s sort of a, it’s a beginning, it’s a beginning drawing thing. But they would not, and we, you know, we’d spend not the time that an art major would spend on it but would spend a period on that. But they would never grade it on the quality of the work because that’s not the point. The point was to get to the head of it. And, I mean, that is where I would really like to see training in, not just in visual arts, but in the arts in general. Because being an artist does what we imagine, you just make this art and people buy it. That’s like, it’s like being an athlete who plays for; it’s a pretty small percentage of folks that that works out for. And the commitment is just, it’s more than most people really want to make to it and more than we. It makes sense for most people to make,
Nora Smith 25:03
Yeah.
Philip Mullen 25:03
And interestingly enough, of any classes I ever took taught, I still, I mean, here I am, 25 years away from having retired to university, and within the last year, I’ve still gotten some correspondence from some of the people who took that course. I mean, it was, you know, it was something that, it’s something that offers a kind of art, art can enrich, enrich everybody’s life.
Nora Smith 25:34
I agree. I would take that class. I would take that class.
Philip Mullen 25:38
Oh, whenever they opened it up. It started with seniors, you know, I mean it, it was filled the first day it was opened up.
Nora Smith 25:47
That sounds awesome, yeah.
Philip Mullen 25:51
And it was a very simple idea of art appreciation. But whoever got interested in art by looking at slides, I don’t know, you know, whoever got interested in music by memorizing composers?
Nora Smith 26:06
That’s such a great idea for a class. And I can imagine how amazing that was, teaching that, and the students experiencing that, such a great take on it, because now it seems so distant when you’re looking at slides of how to do things, instead of experiencing it like it completely distances it from you. And it’s, it feels impossible, almost in a way. Yes, yeah, that’s so cool. I love that.
Philip Mullen 26:34
What is the area that you’re studying in?
Nora Smith 26:37
I’m in English, in English. So, everything you’re saying, I’m like, it’s going to be my writing, because I would like to be a writer, and so I totally understand the artist. The whole it’s, yeah.
Philip Mullen 26:52
Every Wednesday, including today, almost every Wednesday, I have lunch with a writing friend of mine. And one of the things that I like about talking with him is it’s so nice to talk across disciplines, because you tend to talk about the bigger picture, as opposed if you talk to people in your own discipline, it can kind of get into, you know, how do you compose this sentence? How do you make this color transition and things like that? And we find that there are so many things about how we work that crossover.
Nora Smith 27:44
Yes, exactly. That’s so cool. Yeah, everything you were saying, I’m like, yeah, makes complete sense, even to me. So, yeah. So, I’ll keep you updated. Thank you so much for taking the time to speak with me. If you have any questions, just send me an email, send me a text, but I will keep you updated.
Philip Mullen 28:06
Good. Well, it’s nice to talk to you, Nora.
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Desiree Williams
“I define success by being able to wake up and actually see my work impacting the lives of others.”
Desiree Williams is a licensed esthetician and educator. Desiree is turning creative passion into community impact, one lash, lesson, and life at a time.
Interview
Transcript
Emma Plutnicki 00:03
Okay, so to start, what do you do for work and where are you currently working from?
Desiree Williams 00:08
Well, my name is Desiree Williams. I am a licensed esthetician and a licensed esthetics instructor. I do have a suite that I work from, and I perform master extension applications as well as teaching it.
Emma Plutnicki 00:22
Amazing. And how long have you been doing that?
Desiree Williams 00:25
It’s been going on for six years.
Emma Plutnicki 00:30
Okay, a good amount of time. So, what is a typical day? Look like for you?
Desiree Williams 00:36
A typical day for me kind of starts like today. Wake up, do all my good, do all the things I need to do, and then run and go see clients. So, I like to get my clients out of the way at the beginning of the day, so in the evening I can do all of my marketing, all of my mentee calls. I teach a lot on Tiktok. So, I do free lash artist classes on Tiktok every day at 9pm so that’s basically what my day looks like. I start immediately getting into it after I do my gratitude and drink my tea and do everything that I need to do.
Emma Plutnicki 01:14
Yeah, amazing. And so how did you gain the skills to be successful in your career? I would
Desiree Williams 01:20
Say networking as well as reading. One thing that I learned is that if you want information out there it is always in a book, it’s somewhere in a book. I don’t even like Google anymore. I love to find a good book that talks about whatever topic I want to learn. So, I also watch a lot of like Alex hermosi, Grant Cardone, those guys to help me scale and do things like that. So, I feel like just networking and being a student forever has assisted me in getting where I am today.
Emma Plutnicki 01:50
Yeah, for sure. And did you have any fears when you were going into this career?
Desiree Williams 01:54
Oh, yes, plenty. I’m the first business owner in my family. So, it was a learning curve. I don’t even know where to start with my fears. I always was like, oh, well, how am I going to do this to get the inventory or the main thing was capital. So, a lot of times when you don’t have previous experience in business, it’s hard to get capital, especially if you’re not educated on things like the SBA and stuff like that. So, getting started finding a space to work was, you know, kind of hard as well. I started from my home and grew my business and was able to leave my home. So, there were a lot of fears, but thankfully, with faith, I overcame all of that.
Emma Plutnicki 02:35
Yeah, and did you have anybody along the way giving you any advice, any mentors or family members? Do you remember any of the best or worst pieces of advice that you were given?
Desiree Williams 02:44
I’m not gonna lie, like a couple weeks ago, my husband gave me the best pep talk ever, because I was like, I’m just gonna go get me a job. I’m not gonna have to worry about anything. I don’t have to follow up behind people. Just go get a job. So, I would definitely say my husband, he very, very much inspires me, even though, you know, it’s like, oh, it’s your husband. He should do that. No, some days he’s not going with my shenanigans, and other days he is. So, he was a big integral part of growing the business and doing things or learning how to do things the right way. So, some of the best advice I’ve gotten from him was, just do it. Stop overthinking it, just do it. And some of the worst advice I’ve ever gotten was not from him, but just from in general, like listening to social media. Like on social media, people tell you do ABC, you do it, and you don’t get the results that they promised. So, I learned not to use social media as a guy. But as far as the inspiration goes.
Emma Plutnicki 03:42
Yeah, that’s a good point. And have you been able to maintain a healthy work life balance with your work? Is it hard to kind of separate your personal life from your professional life
Desiree Williams 03:54
In the past? Yes, I was at the point where my business was my personality. So, like every time someone sings seeing me, they’ll be like, oh, its flash girl dance, you know? So, over the years, I was actually diagnosed with lupus at the height of my career. So that goes to show that when you first start in your business, create systems that are going to help your business continue to do what it needs to do, even if you’re not behind the chair or you can’t work. So now, after that diagnosis, I have a healthy work life balance. But before I didn’t, I woke up immediately checking emails, immediately doing this, but putting implement in business hours has been a great help to me, and now I feel like once I follow my business hours, the balance is it’s not even balanced. It’s harmony for me, yeah,
Emma Plutnicki 04:40
Perfect. And with a career like this, I’m sure it can be hard to kind of define what success looks like. So, what does success look like for you? Is it a positive review? Is it financial based? How do you define success in your professional career?
Desiree Williams 04:58
Oh, that’s a good one. I. I define success by being able to wake up and actually see my work impacting the lives of others. A lot of times, like in the career that I’m doing as an esthetician, a lot of people go to school, and they get done with school, and they never take their boards, or they learn lash extensions, and they never actually start the business or take clients. So, with me being able to teach over 1500 students, I’ve learned that my success is in helping people change their lives in a real, true way, where you know they’re not worried about what’s happening next, they actually have a plan, a strategy, to get things done. So, I define my success by how many lives I can positively impact, which is, which has been a lot. It’s kind of overwhelming once you think about it, but just being myself and letting them know, like, hey, if I can do it, you can do it too. My success comes from that. Yeah,
Emma Plutnicki 05:53
I love that. And has there been one specific moment that you can remember throughout your career that kind of stands out as having a significant impact on you, whether that’s your greatest success or just something that was kind of the pinnacle of your creativity.
Desiree Williams 06:08
I would say, honestly, my loop is diagnosis. Then the reason I say that is because I had to quickly pivot into not being behind the chair as much to oh my goodness, my hands are numb today. I can’t work today. What? What else can I do to help impact others? That moment where it’s like, I don’t I realize that I don’t physically have to be touching people to impact them. That was very pivotal for me, because social media is huge. You can. You could be in China right now. We’ll be talking like you get what I’m saying. So, um, just understanding that, boom, this is, I don’t know, it’s a lot, it’s a lot, it’s it’s a lot. And I would say, just, excuse me, I’m so sorry. No, you’re so good. Questions over here, like, I can think of multiple moments that’s great talking. I was thinking of another moment like, I was just like, whoa. You don’t realize how much you’re pouring into something till you step back and look at the bigger picture. So just the bigger picture, that’s really it?
Emma Plutnicki 07:17
Yeah, no, for sure, and working in South Carolina has that had any specific impact on you the state as a whole? Have you worked in other places, and does South Carolina specifically have any impact on your work?
Desiree Williams 07:30
Oh, very much. So I’m completing a course with Columbia’s business office. It’s called The Next Level micro entrepreneur, and I’ve never seen something like that in any other state, like just researching like, oh, I want to leave South Carolina. Where am I going to move to? What type of business support would I have? One thing that I will say about South Carolina in whole, is that our bit the business realm of it, those who are in those higher seats, they do want to see smaller micro businesses succeed. And today is, well, tomorrow will be week nine of the course. And I always tell anybody, if you want to run a business, definitely take this course, because it tells you, step by step on how to run your business and what to do, how to find loans with the SBA. This all the resources you think we didn’t have here in South Carolina that we do have, the class is only like $50 so I was just like, whoa, this information. It needs to be more. So South Carolina has definitely impacted my business like that, because it shows me that I have the resources here to do better than do the things that I want to do to impact the community. I don’t really I only work in Columbia, but I do have a lot of people that travel from Charleston. I had a young lady travel from North South Carolina, and I have no idea. I was like, I have no idea where that’s at. But just being born and raised here, it was, it’s great to have run a business here and see how things are changing. And it’s a really great straight state, especially if you want to run a business. So, yeah, I love my city.
Emma Plutnicki 09:02
Yeah, no, amazing. And how is the local working professional community? Is there a lot of support? Is, are there any, like, weekly meetings you go to? Or what kind of support do you receive within South Carolina,
Desiree Williams 09:16
It’s so many to name. They have different things, like, I’ll go on like Facebook and see what they have for meetups, like networking mixers and things like that. I don’t do anything weekly as far as networking. The last 10 weeks, I have been doing that class with the Columbia Business Office, and then just the esthetics community here is very loving, very huge. You know, everyone wants to see each other win, so I love that aspect of running my business here as well.
Emma Plutnicki 09:48
Yeah, amazing. And just as we wrap up, is there anything else that you’d like to add about your job, your career, any advice or anything like that? I’ll
Desiree Williams 09:59
Give some advice. If you are creative, because I’m definitely a creative I love with last extension, application, and just being an esthetician, doing application and things like that, you have to have that type of creativity so each person can have like, their signature look. So if you are creative, I just recommend to stick to it. Don’t try to see, do what other people are doing, do what works for you and your business will flourish.
Emma Plutnicki 10:25
Yeah, I love that. Well. Thank you so much. Thank you for taking the time to speak with us. I know everything that you said will definitely help anybody looking to pursue a similar career. So really appreciate it.
Desiree Williams 10:35
Yes, ma’am.
