#18NTC Session Save The Date: April 11, 2018
Mon, Jan 1, 2018
by Drew McManus
When it comes to building a new website or selecting a CRM/ticketing provider, you can craft a Request For Proposal (RFP) capable of producing solutions you need…or just set your money on fire. Choose wisely because you only get one shot. Having said that, writing a RFTP capable of getting what you want, and what
Busy, Busy, Busy
Fri, Jan 1, 2018
by Drew McManus
It’s been a whirlwind week thanks to approaching the finish line for a major project (which I’ll be writing about shortly after it’s complete). As such, my original idea for today’s post will have to wait and instead, I wanted to point out a few items of note. First up is some dark news from
#TBT What Your Audition Rep Says About Your Orchestra
Thu, Jan 1, 2018
by Drew McManus
Holly Mulcahy published an article recently that questions whether standard audition repertoire aligns with contemporary strategic visions. “…how sincere is it to say your orchestra actively promotes outreach and diversity, new music, and gender equality when your orchestra lists only dead white male composers on the audition repertoire requirements?” The subject of orchestra musician auditions
Hey Arts Marketers, Are You Freaking Out Over Changes In How Facebook Displays Feed Content?
Wed, Jan 1, 2018
by Drew McManus
You took the time to sharpen those Facebook marketing skills. Hours and hours of pouring over documentation, asking for help, and good old trial and error. Guess what, Facebook decided to up the ante by weighting content that inspires back-and-forth style interaction. That means the days of merely crafting a perfect campaign are fading. But
What Are Your Go-To Grant Resources?
Tue, Jan 1, 2018
by Drew McManus
I published an article at ArtsHacker that highlighted the Artwork Archive’s Complete Guide To 2018 Grants and Opportunities resource. Having something focused exclusively toward individual artists was something that felt very unique and it got me wondering about similar resources for individual artists or chamber groups. To that end, I’m curious to learn more about
