Adaptistration’s editorial cartoonist, Paul Dixon, is stretching his satirical chops with his latest offering which serves up a hot-button twofer. And since a picture is worth a thousand words, I’ll leave it at that.
Year: 2012
What Do You Think [Blank] Gets Right?
Toward the end of the March, I’ll be publishing a pair of articles in conjunction with a bit of research* I’m doing vis-a-vis a presentation during the upcoming 2012 American Orchestras Summit, hosted by the University of Michigan (Mar. 21-23, 2012). I’ve invited a select cross section of managers, board members, and musicians to answer one of two straightforward questions.
Musicians Aren’t The Only Stakeholder You Should Worry About
Following last week’s news about the Philadelphia Orchestra Association (POA) President and CEO’s contract extension, a good bit of negative feedback has popped up by way of culture blog readers at a number of outlets. Although much of the criticism is focused on the long list of executive perks, deferred payments, bonuses, etc. and the related impact on musician labor relations, the group folks should be wondering about first and foremost is staffers.
Musicians Aren't The Only Stakeholder You Should Worry About
Following last week’s news about the Philadelphia Orchestra Association (POA) President and CEO’s contract extension, a good bit of negative feedback has popped up by way of culture blog readers at a number of outlets. Although much of the criticism is focused on the long list of executive perks, deferred payments, bonuses, etc. and the related impact on musician labor relations, the group folks should be wondering about first and foremost is staffers.
The “Gruesome Details” Of Philly CEO Renewal
On 2/29/2012, the Philadelphia Orchestra Association (POA) issues a two page press statement announcing a multi-year contract renewal for President and CEO Allison Vulgamore. Music critic Norman Lebrecht reports that the deal will require approval from the bankruptcy court then, in turn, refers to an article on the matter by Philadelphia Inquirer music critic Peter Dobrin for the “gruesome detail.”