A Few Worthwhile Pointers

There’s a new website called myauditions.com that’s doing its part to solve a problem I see in the industry.  It’s organizing and making available a comprehensive list of job openings in the field of arts management, music performance, and arts education.  And the best part is that you don’t have to pay any fee to view and apply for the jobs.   They also have a discussion board, recent appointments list and a bunch of other useful material.   No longer do you have to pay a ridiculous membership fee into an organization just for the privilege of knowing when a job becomes available.  You can visit their free Career Services Center, which according to their website is:

“Designed to manage all of your employment opportunities with one comprehensive online tool, Career Services provides you with desktop packages that can help deliver more jobs faster and easier than ever before with direct access to the most desirable opportunities.”

You can even find some of my Adaptistration articles featured in their Special Report section from time to time.

Also new on the web is an article of mine published at The Partial Observer.  It’s entitled Playing the New Jersey Symphony Like A FiddleHow Herbert Axelrod’s high brow con will cause long lasting damage to American orchestras.  An interesting bit I ran across while researching the article is that the New Jersey Symphony is currently offering patrons the opportunity to vote for one of three names they are considering for a violin from their Golden Age collection provided you make a donation. Unfortunately, you can’t offer suggestions.  If so, my evil twin would make a donation just so he could officially submit: The 1754 New Jersey Pyrite Gaudagnini.  But if you’re sincerely interested in voting for one of the names, you have to decide from between:

  1. The 1754 New Jersey Gaudagnini
  2. The 1754 “Jersey Devil” Guadagnini
  3. The 1754 Garden State Guadagnini

I still like my evil twin’s suggestion best

About Drew McManus

"I hear that every time you show up to work with an orchestra, people get fired." Those were the first words out of an executive's mouth after her board chair introduced us. That executive is now a dear colleague and friend but the day that consulting contract began with her orchestra, she was convinced I was a hatchet-man brought in by the board to clean house.

I understand where the trepidation comes from as a great deal of my consulting and technology provider work for arts organizations involves due diligence, separating fact from fiction, interpreting spin, as well as performance review and oversight. So yes, sometimes that work results in one or two individuals "aggressively embracing career change" but far more often than not, it reinforces and clarifies exactly what works and why.

In short, it doesn't matter if you know where all the bodies are buried if you can't keep your own clients out of the ground, and I'm fortunate enough to say that for more than 15 years, I've done exactly that for groups of all budget size from Qatar to Kathmandu.

For fun, I write a daily blog about the orchestra business, provide a platform for arts insiders to speak their mind, keep track of what people in this business get paid, help write a satirical cartoon about orchestra life, hack the arts, and love a good coffee drink.

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