8 Minute read

A of A People: Michele Kirsch – Music Education Coordinator at The Premises

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8 Minute Read

Name: Michele Kirsch Music Education Coordinator at The Premises
From the time I started to listen to records and go to gigs, I was always the nutter, sticking her head in the bass amp. I thought when I started to grow up, I would grow out of that, but it got worse. I wanted a job that would let me play music (of other people, otherwise I would be condemned to a lifetime of Kumbaya on a starter guitar) while I was doing the job.
This started extraordinarily badly. My first proper job was as an assistant school teacher in a very liberal, folky dokey holistic private school in Greenwich  Village, NYC. It was a class of five-year-olds and when the main teacher would have her break, I would supervise “mat ” time, when the kids would lay themselves out on yoga mats and go to sleep while listening to The Four Seasons by  Vivaldi, not the Frankie Valli ones. It was very boring, and I hated that record, which was what they played when you were on hold on the phone. So one day I brought in Rocket to Russia by The Ramones, and the kids went apeshit, rolling up their mats and boinging each other on the head and just going hog wild. The headteacher had to have a word with me.

Now since then, I have had to do jobs that require a lot of concentration, but also, some jobs that mainly require standing up and chopping stuff (cheffing) and standing up and cleaning stuff (cleaning) and of course, raising my kids. For all the ones that did not need concentration, I needed a soundtrack. Music makes any job a thousand times better. If you are slipping the skins off eleventy-billion broad beans, then it goes faster if you are listening to Boogie Down Productions. Trust me. When my kids and I used to clean the house after wrecking it with art stuff all day, I would put on Little Richard’s Slippin and Slidin. It still brings a HUGE smile to my face. We played air piano to it.
When I worked, not very long, as a kitchen coordinator for a Brain injury charity, the best bit of preparing lunch with people living with brain injury, was the “Let’s DO THIS” music we put on at the end of cooking and beginning of service. This one poor kid had quite bad brain trauma but was WORD perfect to Despacito with Daddy Yankee and Justin Beiber. We would all dance around the kitchen and sing along. I think with hindsight, it was inappropriate.  That’s kind of my middle name.
Who am I, what motivates me:

I have done lots of jobs but the main thread that runs through all of them is writing or some kind of communication. My aim started small, which was to not piss people off, which I did for a sizable chunk of my early working life as a journalist. I mean I DID piss people off. It was my MO.  I have moved up a gear and I am actively trying to be a “people person” and specifically, within the music business. I used to pass by this recording studio pretty much every day on the way to another job, and see people, rock and roll or soul people, just, my TRIBE, loading gear into and out of these recording studios. I thought it must be fun to work there, plus the commute would be a cinch.

I used to work in the music business, first as a writer, then as a tour manager, which was a disaster, but a GREAT story, and then as a PR for an independent label. I had to do some crazy things in that job, but I loved it. I had to dress up as an alligator, and I had to take these five guys, average age, 75, who played a type of music called Mento, on homemade instruments, to a Goth Night in Camden. But we got to listen to music all the time, which made the days fly.
Just before the first lockdown, I saw a local online newsletter that mentioned the formation of a rock and roll book group. We managed about two meetings talking about rock and roll books before we had to just stop everything, but I made friends with this guy, and he turned out to be the CEO of The Premises, the recording studio where I thought it would be fun to work. It turned out there was some part-time work going there, which was to take over running of the education programme, which uses the studios but for lessons, workshops, etc. What motivates me is an understood mutual love of music. The music is at the heart of everything fun, and important to me.  That people might want to learn how to be better on their instruments, or better singers,  or do that and be with equally enthusiastic people, there is no greater buzz than being part of that.
When did I start the job: 

I started in April, and have mainly been focusing on promoting two workshops. The first is a Piano Week with Nikki Yeoh, and working on that has taught me quite a bit about jazz and the jazz scene, which was previously off my radar. Stupid me.  The next one, which I’m working on now, is a Vocal Recording Workshop running the first three days of October, with a professional studio recording on the third day. The people running the course are people I kind of fangirl anyway: Sarah Moule, Simon Wallace and Liane Carroll. It’s about getting the best out of your singing voice without relying on autotune and stuff like that. What’s funny is I would be hopeless, myself. I can’t sing for toffee. Even my own cats cover their ears when I start to warble along to say, a PJ Harvey track, but I bring home the Dreamies, so they have to put up with it. We have a cat in the studio, which to my mind, is the mark of a great place to work. Her name is Doris and she sits at my desk. Cat, music, cool boss, fun place to work. Local business. It’s a great fit for me.

Is your work primarily a means to an end ie money, or the motivating force of your life?
 I like to learn new things and meet new people, always, so this has opened up a whole new area of music that, while I did not dismiss it, it was not my thing. I can’t promote jazz stuff without learning more about it, particularly the current scene, and the young people involved.  There is this brilliant woman who comes in to rehearse, Roella Olaro, and she’s so young, and so talented, and so humble. It’s great to see the buzz around her and when she pops by the office to stick her head in and say hi, it makes my day. Lots of musicians call in to say hi to my boss, Viv Broughton, who owns the joint.
There is a real love there, people like to hang with him, tell him what is going on, and I find that so uplifting. This is NOT a workplace where people come in, in a bad mood. Everyone is chilled and in good form, or excited. We had The Lightning  Seeds in just before the football cup final. They did that Three Lions song and it was thought they might have to do it again if England won. They asked me to get an autograph but I was suddenly attacked by a bout of shyness, something that has never troubled me so that we got someone else to do it. This week, Marc Almond is in and when he was in last, I just listened outside the door and had a little dance and when the tune finished, I stuck my head in and said, “Oh, that was SO GREAT” and they were fine with that. Gracious.
When you were 8, what did you want to be when you grew up?
I wanted to be a scientist who figured out how to stop all pollution. I wanted to plant apple trees on the motorways and I wanted to invent a time machine so I could go to all the concerts I missed for being too young at the time.
What is your dream job?
I like any job where the people are nice and laid back. The work itself is less important than the atmosphere. I still write and would like to write more, for money, but that’s turned into my side hustle.
If UK-based, are you glad, indifferent or disappointed that the official pension age is rising?
I am NOT HAPPY that it has been raised. Because I would like a bit of my life where my health is good, my body is strong and I can spend all my time doing fun stuff. I am 60 now and the thought of working for another seven years, even doing something I like, does not spark joy in my heart. Plus I have not been that smart, pension wise, and will be mainly reliant on the State one if they have not abolished it. I fully expect to live on Dreamies and the kindness of strangers.
You can book a vocal recording workshop with top jazz musicians Sarah Moule, Lianne Carroll on this link:

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