I've been talking a great deal about the Minnesota Orchestra lockout and "negotiations," as well as going through a post by Philip Kennicott with a fine tooth comb. Then, another arts debacle slams its way into my thinking.
The NYC Opera my cancel most of their season, and next season, and indefinitely, if they don't raise a lot of money.
Alright, for the moment I'm going to ignore the wanker that posted this article which is bereft of sense and chock full of logical fallacies. Mainly because my good friend Ashley Hirt already took care of dealing with that nonsense. Instead, I want to look at a correlation between NYC Opera and the Minnesota Orchestra.
Back in 2009, the NYC Opera went dark for the season. This was due entirely to the renovation of their hall in Lincoln Center. I remember quite well some of the past fights. George Steel, general manager and artistic director, was actively trying to move the NYC Opera out of Lincoln Center (this is in 2011, I believe). He said it cost too much money. The musicians wanted Steel out. Great stars signed a petition to keep the NYC Opera in Lincoln Center. In the end, the company left Lincoln Center and has performed at various venues around NYC. Even at Steel's hire in 2009, the company was in bad straights. There were some major hurdles to overcome.
Going dark for a season is incredibly costly. No productions means no immediate revenue. It also makes getting donations difficult, even when you went dark for a "nice" reason like renovations. And the timing was horrendous. Here's NYC Opera, taking out large sums from their endowment to pay fixed bills, loans, administrative costs, and all the day to day workings of a company. They laid off quite a few administrators in '08-'09 to save on costs. But the recession decimated a poorly invested endowment, along with taking out huge sums to pay their trimmed down cost.
They finish the dark '09 season with no endowment to speak of. That means they had little or no money to borrow from to get their shortened '09-'10 season going--a season which started late and had less planning, as their previous director was fired during the dead season and replaced with Steel.
Donations generally lagged after '09. The controversy over leaving Lincoln Center, and unpopularity of the move hurt donations. Costs were being cut as quickly as possible, with the orchestra turning from a full-time gig, to a part-time gig, to a "pay as you go" gig. The amount of productions shrank. Slowly, but surely, NYC Opera was going away. All this translated to one big factor:
A loss of faith in the company by it's musicians and patrons.
Hopefully you've started to see the correlations between NYC Opera and the Minnesota Orchestra. Minnesota just spent a season dark. While data on donations from last year haven't been reported, I would guess they are WAY down. And I would guess they had to pull from the endowment to pay for just about everything. There are tons of fixed costs--the hall, administration, electricity--that are still there whether or not the orchestra is playing.
And if the orchestra isn't playing, it's harder to get donations. Here's a board screaming about the dwindling endowment, and the high rate of costs, but how high are those costs compared to revenue right now? Considering there is no revenue from concerts (in fact, they've having to pay back for tickets), and donations are undoubtedly way down, I'd guess that their grand plan of "breaking the union" is doing nothing but bankrupting the orchestra.
We all understand times can be hard. Most people want to pitch in and make things work. Musicians want to make music, and want to keep orchestras solvent. But the mismanagement of the orchestra is so amazingly obvious, that it's almost unbelievable.
So, why not learn from the NYC Opera. Going black for a season is a quick way to kill any non-profit. Or for-profit! Let's be honest, what would happen if Wal-Mart closed FOR A YEAR. All the stores. What happened if they didn't open for a year and a half, and when they did, they were half the size with only a few people working.
Would anyone bother going back to Wal-Mart?
The trust of the Minnesota Orchestra is horribly shaken, just as it is currently with the NYC Opera. Both are struggling to survive. But at least the NYC Opera, while definitely having a tumultuous relationship with its general manager, are at least trying to work together. In both cases there have been horribly mismanaged moments. And, in both, it wasn't the musicians that boned most of it up. In NYC, the musicians have given back, tried to make it work. And it hasn't.
In Minnesota, they're not even getting a chance to make it work.
Can you really trust this organization now? Even if a contract is ratified, how long until Minnesota runs into the same (or worse) issues because of this horrible gulf? Will they stagger on like NYC Opera, or fold immediately?
The musicians have shown they can self-produce concerts--18 in fact. Now it's time for the management to show they actually know how to run an orchestra. Though, I fear, the damage to the community's faith has been irreparably damaged.
Showing posts with label lockouts. Show all posts
Showing posts with label lockouts. Show all posts
9/6/13
Keeping up with Minnesota
If you haven't been following the unfolding network drama that is Minnesota Orchestra Lockout (Season 2!), you're missing out. Let's start small:
Norman Lebrecht posted this short update. Turns out the Minnesota Orchestra Board is more than willing to let their music director Osmo Vänskä walk. And to cancel the Carnegie concerts. And to possibly loose their recording contract for the Sibelius symphonies. Oh, wait, they didn't mention that...Well, without Vänskä it'd probably happen. Oh, and to cut ties with the whole orchestra and hire new players. Here's a link to the newspaper article. BONUS: you get to see me feed a troll more than he wants to eat.
Of course, during all this, the Minnesota Orchestra Board released their "independent" review and their Full Strategic Plan. Of course, over at Song of the Lark, it's quickly pointed out that, it's not a "full" plan, but a summary. It even says summary all over the document and leaves out tons of details! This is what they call "negotiating in good faith." While covering such a morose subject, Emily's writing has given me plenty of joy--I'm a huge fan of snark and righteous fury. Keep up the awesome writing!
Some of you may want to read the "independent" review. Here it is, from AKA Strategy. Here's a link to their strategic plan, done all "fancy" like (and if I didn't know it wasn't expensive to do, I'd say it's a waste of money. Because I personally do think "schnazzy high gloss interactive page flipping" is a waste. Especially with no internal links to broader information. That'd be way more useful to me).
Emily over at Song of the Lark already beat down the Strategic Plan Summary. But what about AKA Strategy's review? Let's leave that to more of a pro, Robert Levine. And he does quite a bang up job of taking it apart. BONUS: He also did an article about Kennicott. I hope he finds this and reads mine--I can't comment because I can't create an account on Polyphonic right now.
Levine lays into one of the big problems I had reading AKA Strategy's plan: Baumol's law. I think people in my neighborhood thought I was crazy yesterday as I paced around with coffee, talking through exactly why Baumol's law doesn't really apply to orchestras in the same way it applies to for-profit corporations. Worst part is I couldn't remember what Baumol's law was called! I knew it existed, but the name escaped me. Still, Levine nails everything on the head with this. And really calls out the "we've tried everything" point of view. Bullshit! Most orchestras haven't tried even a quarter of the options!
Drew McManus at Adaptistration also nailed all these points in his usual succinct and poignant way. I gotta learn about blogging from this guy.
Over at Case Arts Law (a site I fanboyed during the SFO strike), a great article on logical fallacies and poor negotiating tactics. There is an entire series by professionals who blog going through various issues with the strike. Check the bottom of the article for link heaven! And, yes, I'm still a a fanboy of Kevin Case.
This whole slew of releases by the MOA (I prefer MOB for Minnesota Orchestra Board because the acronym is way better) all revolves around their sudden release of info (after holding some of it for several months, like the AKA report from JUNE) and their new contract offer. And, hey, guess what, it was denied by the musicians. One of the biggest complaints by the MOB is that Musicians aren't offering any contracts offers. That's wrong, as they're sticking to the one proposed by George J. Mitchell who is acting as mediator. The Musicians claim that it's wrong for the MOB to keep sending out crappy contracts without even going through the mediator they agreed to use. I tend to agree with the Musicians. Why have a mediator if you're going to circumvent him and the mediation process?
If you like up-to-date quick posts on the Minnesota Orchestra Lockout and other music things, you should follow Janet Horvath on twitter. She has "ins" with the community (former associate principal cellist with Minnesota) and has led me to some wonderful posts...Such as this one:
Did you know the MOB actually took out a full page ad to defame the Musicians and called for Musicians to just take their horrible offer already? Scott Chamberlain at Mask of the Flower Prince captures the entire debacle wonderfully.
All these links and I'm barely scratching the surface of what's happening. I don't have many readers, but the few I do have, I feel obliged to keep abreast of all these situations.
The last bit is, basically, an "I told you so!" If you have been following this blog, you've gotten a pretty fair sense of my ideas on what orchestras, and musicians in general, need to do to stay relevant and keep the doors open. Well, yesterday, I got some (unknowing) back-up from a big name: Michael Kaiser. His post on HuffPo Blogs backs my assertions up. I'm sure he has no idea who I am, or that this blog exists, but it's still nice to know that my thoughts are shared (even unknowingly).
Well, that's all for now. One side effect of having to structure my own days is I set aside large amounts of time for reading and writing. Which means, this blog will get more regular posts. I've actually got several just sitting around waiting for revision (yeah, I know, scary...me revising something). Hopefully my these things will get popular.
And now, link fest for my own blog posts regarding strikes (because, let's be honest, my labeling system is sort of a joke, a hold over from before anyone read this thing).
Is Outreach the Problem?
Closing Arguments (about SFO Strike)
Orchestras Don't Exist to Make Money
Why You Shouldn't Talk About an Industry You Know Nothing About (over 12K hits!)
At What Cost: A review of the Indianapolis Symphony Orchestra contract.
Another One Bites the Dust: When I first mentioned Minnesota, and was updating Atlanta and ISO
Silence in the Halls: Chicago's short strike, and more updates
Civil Disagreement: This gives some insight as to why I so vehemently blog and fight for these causes.
to quote myself:
I will not go quietly into the night, sitting in my empty concert hall. You may call it idealism, but music can change the world. The arts are society. I will live in it, breathe in it, and present my views of it...it is being an artist...we do not live in a vacuum.
I will not go quietly...
Norman Lebrecht posted this short update. Turns out the Minnesota Orchestra Board is more than willing to let their music director Osmo Vänskä walk. And to cancel the Carnegie concerts. And to possibly loose their recording contract for the Sibelius symphonies. Oh, wait, they didn't mention that...Well, without Vänskä it'd probably happen. Oh, and to cut ties with the whole orchestra and hire new players. Here's a link to the newspaper article. BONUS: you get to see me feed a troll more than he wants to eat.
Of course, during all this, the Minnesota Orchestra Board released their "independent" review and their Full Strategic Plan. Of course, over at Song of the Lark, it's quickly pointed out that, it's not a "full" plan, but a summary. It even says summary all over the document and leaves out tons of details! This is what they call "negotiating in good faith." While covering such a morose subject, Emily's writing has given me plenty of joy--I'm a huge fan of snark and righteous fury. Keep up the awesome writing!
Some of you may want to read the "independent" review. Here it is, from AKA Strategy. Here's a link to their strategic plan, done all "fancy" like (and if I didn't know it wasn't expensive to do, I'd say it's a waste of money. Because I personally do think "schnazzy high gloss interactive page flipping" is a waste. Especially with no internal links to broader information. That'd be way more useful to me).
Emily over at Song of the Lark already beat down the Strategic Plan Summary. But what about AKA Strategy's review? Let's leave that to more of a pro, Robert Levine. And he does quite a bang up job of taking it apart. BONUS: He also did an article about Kennicott. I hope he finds this and reads mine--I can't comment because I can't create an account on Polyphonic right now.
Levine lays into one of the big problems I had reading AKA Strategy's plan: Baumol's law. I think people in my neighborhood thought I was crazy yesterday as I paced around with coffee, talking through exactly why Baumol's law doesn't really apply to orchestras in the same way it applies to for-profit corporations. Worst part is I couldn't remember what Baumol's law was called! I knew it existed, but the name escaped me. Still, Levine nails everything on the head with this. And really calls out the "we've tried everything" point of view. Bullshit! Most orchestras haven't tried even a quarter of the options!
Drew McManus at Adaptistration also nailed all these points in his usual succinct and poignant way. I gotta learn about blogging from this guy.
Over at Case Arts Law (a site I fanboyed during the SFO strike), a great article on logical fallacies and poor negotiating tactics. There is an entire series by professionals who blog going through various issues with the strike. Check the bottom of the article for link heaven! And, yes, I'm still a a fanboy of Kevin Case.
This whole slew of releases by the MOA (I prefer MOB for Minnesota Orchestra Board because the acronym is way better) all revolves around their sudden release of info (after holding some of it for several months, like the AKA report from JUNE) and their new contract offer. And, hey, guess what, it was denied by the musicians. One of the biggest complaints by the MOB is that Musicians aren't offering any contracts offers. That's wrong, as they're sticking to the one proposed by George J. Mitchell who is acting as mediator. The Musicians claim that it's wrong for the MOB to keep sending out crappy contracts without even going through the mediator they agreed to use. I tend to agree with the Musicians. Why have a mediator if you're going to circumvent him and the mediation process?
If you like up-to-date quick posts on the Minnesota Orchestra Lockout and other music things, you should follow Janet Horvath on twitter. She has "ins" with the community (former associate principal cellist with Minnesota) and has led me to some wonderful posts...Such as this one:
Did you know the MOB actually took out a full page ad to defame the Musicians and called for Musicians to just take their horrible offer already? Scott Chamberlain at Mask of the Flower Prince captures the entire debacle wonderfully.
All these links and I'm barely scratching the surface of what's happening. I don't have many readers, but the few I do have, I feel obliged to keep abreast of all these situations.
The last bit is, basically, an "I told you so!" If you have been following this blog, you've gotten a pretty fair sense of my ideas on what orchestras, and musicians in general, need to do to stay relevant and keep the doors open. Well, yesterday, I got some (unknowing) back-up from a big name: Michael Kaiser. His post on HuffPo Blogs backs my assertions up. I'm sure he has no idea who I am, or that this blog exists, but it's still nice to know that my thoughts are shared (even unknowingly).
Well, that's all for now. One side effect of having to structure my own days is I set aside large amounts of time for reading and writing. Which means, this blog will get more regular posts. I've actually got several just sitting around waiting for revision (yeah, I know, scary...me revising something). Hopefully my these things will get popular.
And now, link fest for my own blog posts regarding strikes (because, let's be honest, my labeling system is sort of a joke, a hold over from before anyone read this thing).
Is Outreach the Problem?
Closing Arguments (about SFO Strike)
Orchestras Don't Exist to Make Money
Why You Shouldn't Talk About an Industry You Know Nothing About (over 12K hits!)
At What Cost: A review of the Indianapolis Symphony Orchestra contract.
Another One Bites the Dust: When I first mentioned Minnesota, and was updating Atlanta and ISO
Silence in the Halls: Chicago's short strike, and more updates
Civil Disagreement: This gives some insight as to why I so vehemently blog and fight for these causes.
to quote myself:
I will not go quietly into the night, sitting in my empty concert hall. You may call it idealism, but music can change the world. The arts are society. I will live in it, breathe in it, and present my views of it...it is being an artist...we do not live in a vacuum.
I will not go quietly...
3/22/13
Why you shouldn't talk about an industry you know nothing about
**update one, on why orchestras aren't supposed to "make money"
**update two, contract ratified, final remarks
This in response to one of the most idiotic rants against the striking San Francisco Orchestra musicians I've ever seen.
Anthony Alfidi, a "founding genius" of Alfidi Capital lays into the striking musicians pretty hard. First off, who is this guy? Well, turns out he went to Notre Dame and University of San Francisco, with degrees in Human Resources (wtf kind of degree is that anyway? Hey, let me teach you how to fire someone!), and an MBA in Finance (my mom has one of those. Great degrees that you pay a bunch of money for and mean nothing). He started Alfidi Capital because he was stuck in "dead end jobs" with other marketing firms. He's been investing since college, and has made money, so listen to this guys advice.
Now, I don't usually use this tone in a blog. I'm not usually this derisive, especially about things I have limited experience in. I say limited because, unlike Alfidi, I HAVE worked in similar circumstances, know a thing or two about human resources and management. unlike Alfidi, i worked in small mom-and-pop start-ups. While doing so, I took the time to listen, pay attention, and ask questions about the business side. Plus, I read a book or two about starting businesses, so I know everything there is to know. AND, back in HS, we played the stock market and I came out way ahead by investing heavily in Krispy Kreme, assuming Americans like to be fat.
Oops, slipped into the tone again. Alright, enough of that. Unlike Alfidi, while I can be just as dismissive of everything he does, I'd rather look at facts, and compare them to different sides of the argument. So, let's start off from the top of his little ignorant blog post.
"I was under the impression that every true artist in the world aspired to play at Carnegie Hall."
Well, sir, you're wrong. And, if you run through the list of people who play for the SFO, I bet they've all already played there, if for no other reason than, if memory serves, they played Carnegie Hall's 1998 opening gala. So, um, yeah, they've been there.
And won an Emmy, 4 Grammys for Best Classical Album, 3 Grammys for best choral performance, 4 Grammys for best orchestral performance, and one for Best Rock Instrumental Performance (The Call of Ktulu in 2001 with Metallica). So, yeah, this isn't their main aspiration.
Mr. Alfidi also seems to assume that venue is a big deal. Sorry sir, it only matters a little bit for younger musicians. Building the resume kinda thing...kinda like you had to work for this "other firms" before you could launch your own. Carnegie is a stepping stone, not an end point.
"...these union thugs in tuxedos are unsatisfied with a base salary of $141,700. That is far above the San Francisco median household income of $72,947."
Hey, you're right! go statistics proving whatever we want! let's do some other comparisons, with numbers.
The median expected salary for a typical CEO in US is $727,044. The median for a CEO in San Fran is $871,864. Wow, they make far less than a CEO. Now, let's compare it to something a bit more fitting. Oh, and the SAN FRANCISCO SYMPHONY CEO MAKES $495,000! But that's not to blame, he's entitled to it, because you understand what his job is.
A major symphony musician has gone through years of training, not some HS student, or maybe 10 years of lessons. The majority of these musicians hold doctorates (hey, they're more educated than you Mr. Alfidi, but then, so am I). They play for what is probably the second or third best orchestra in the world. Let's say, this is like a Financial Associate. Here's a description of their job. It's a pretty meat and potato kind of job in the Financial industry--pretty much a giant catch all. You sell, advise, and plan financial services, from stocks to insurance. So, basically, what you do Mr. Alfidi.
So, how much would a TOP TIER financial associate make in San Francisco? We're talking someone with 20+ years in the game, is a manager, and is training the next generation. According to salary.com, $142,810.
Oh, i get it now. Mr. Alfidi is jealous! He's jealous because he's still somewhat young, is working in a startup, and is probably making in the lower percentile of this job. OR because he is making around the median, and he can't believe someone in a non-financial industry job could possibly make this much. Hmmm...
So, a top tier musician is getting paid slightly less than a top tier ASSOCIATE in the financial industry in San Francisco. Hm...statistics, funny thing, isn't it.
"Making over $85K per year to do something a talented high school musician can do for free is pretty generous."
Really, a talented HS musician? Alright, let's do some comparisons. NOTE: THESE ARE NOT MEANT TO MAKE THE HS STUDENTS FEEL BAD! You're in HS, keep practicing, and you'll be there!
Here's a video of San Francisco Symphony playing the BBC PROMS, MAHLER SYMPHONY 7!
Alright, there's a few things there to think about. 1) BBC PROMS > Carnegie Hall. 2) HOLY SHIT THAT WAS AWESOME!
Now, here's Idyillwild Arts Academy playing Mahler Symphony 2. Sorry, couldn't find a symphony 7 video. Because, it's a bit of a challenge.
BEFORE POSTING, CONGRATS TO IDYILLWILD ARTS ACADEMY! This is a beautiful recording and you all should be proud! And if you keep working, you'll have a shot at the SF Orchestra. Really, I am impressed for your level. MR. ALFIDI, here's an incredibly talented group of HS students.
Again, congrats to Idyillwild Arts Academy. This is a very good, moving performance of a difficult piece! Keep at it and you'll be able to go pro!
Sorry Mr. Alfidi, you're about as far off as possible. If this amazing group of HS students, a private school, cream of the crop type group, can't handle SFO, then you've lost this one.
"If the symphony needs a scab played for the triangle or tambourine to help break the strike, then I volunteer to perform for free. I've had no music education, but those instruments don't look difficult"
Yep, they're cake. Here's a video of Pedro Estevan playing tambourine. Go ahead, tell me you can do this.
Because, if you can handle that simple little thing, then I'll even PAY you to do my next premiere.
"I'm willing to solo O Mio Babbino Caro on a kazoo if Renee Fleming can't elbow her way through the union's picket line."
First off, there is no way in hell Renee Fleming would elbow her way through a picket line. Unlike your incredibly selfish and self-centered profession that revolves entirely around money (shit, the rhetoric went south again...), musicians are collaborators. We work together. On everything. When a musician gets screwed, we band together because we know if one of us gets screwed, it won't be long before all of us get screwed. and never, ever, compare yourself to this, even in jest:
If your kazoo playing can come close to this, I'll write you a concerto.
"Musicians who fancy themselves irreplaceable remind me of the federal air traffic controllers who were justifiably fired in 1981 when they arrogantly broke federal law."
Wow, what a horrible comparison. That's like comparing Mr. Alfidi's blog post to Mein Kompf--both are written documents full of vitriol, political ideas, and skewed perspectives. But that's not much to go off of.
13,000 air traffic controllers went on strike. When they did, all planes in the US were grounded. 2,000 went back to work, and other replacements, mainly military personnel and other people willing to learn the job took over.
You're comparing 13,000 people to around 150. You're comparing a public industry vs. a private not-for-profit. You're comparing a job that risks the lives of thousands to those that provide a service. No, this comparison is completely invalid. Maybe Mr. Alfidi should go back to school and take a logic course...Oops, the derision has come back. There's little comparison beyond "they're on strike and you don't like it."
"Performing classical works in one of the greatest cities in the world is an honor and a privilege that countless musicians dream of having. The spoiled union brats on strike for exorbitant pay no longer deserve such an honor. Their selfish action denies music to fans and brings shame to The City."
First off, I didn't know San Fran was called "The City." That's a pretty haughty claim right there.
Second, honor and privilege doesn't pay the bills. It doesn't put food on the table. This is one of the biggest problems in music today. And I don't just mean classical music.
This idea of "exposure." that it's a "big deal and you should be thankful." Mr. Alfidi thinks that, at best, music professionals should be interns.
Because we do what we love for the sake of doing what we love.
Because it's an "entertainment industry"
Because it doesn't make tons of money, as a corporation.
Oh, Mr. Alfidi, just because you hate your job and secretly wish you had become a pianist like Joseph Alfidi doesn't mean you can bring out your vitriol. Just because you don't understand what it means to be a musician, doesn't mean you can tell us what our profession requires. You don't see me screaming that YOU'RE making too much, that the financial industry is one of the main sources of ruin in America, that investors such as yourself Mr. Alfidi were the reason for the economic downturn, not the millions of hard-working Americans, just doing their jobs. That, somehow, you have "power" because you can trade shares of a company you know nothing about beyond their profit possibilities.
Let's be honest, a high schooler with decent math skills, the ability to read graphs, and make guesses based upon the numbers they see could do your job. Anyone that feels like learning a little math and sitting down could do your job. Do you know how many musicians I went to school with that couldn't get a symphony job decided to go into the financial world? Do you know how many are making as much or more than you? Because, guess what, they dealt in far more math every day.
So, yeah, I'm a bit irritated, because this is an example of someone that has absolutely no idea what he is talking about talking down to other people, demanding their jobs because he just doesn't get it. Well, guess what, any joe schmo can do that. I just did it to you. Does it mean that my claims are correct?
Are my statistics any better than Mr. Alfidi's?
Are my insults more stinging?
Did i not link wikipedia enough?
In other words, Mr. Alfidi, only one thing was really shown here: How to put together an argument. And here are my closing remarks:
Orchestra musicians are top tier professionals in their area. I have previously said in posts that, yes, sometimes we as musicians are over-paid. That sometimes, we have to share in the sacrifice to make sure music happens. But what's been happening in America isn't a shared sacrifice. Here's a break-down of what happened in Indy. There were no cuts to administrative positions, nor CEO pay. In Atlanta, there were 16% cuts for musicians, the CEO took a 6% cut, and no word on other administrative positions. How is this a fair share?
Was this the right to for San Fran to strike? Are their demands fair? Unlike Mr. Alfidi, I'm not going to weigh in exactly. I haven't read the arguments. I was on top of it in Indy, Atlanta, and Minnesota. But, I haven't been on top of this one. But, I can assume, that whatever is happening, it's not fair. We're looking at time when orchestras are having to transform. But what they're doing isn't selfish, it isn't dishonourable. No, they're fighting because they have to fight. They're fighting because there have already been too many loses. As it is, music is becoming a commodity people want for free. There are musicians in KC playing all night gigs for under $100, when they bring in a crowds of people paying a cover and buying tons of drinks. There are audio engineers offering their home studios for $15/hour. Musicians are pricing themselves into obscurity.
Musicians are people, real people, who have worked their whole lives to become top professionals. And they are top professionals Mr. Alfidi. If they were in the same industry as you, they'd be your boss 1000 times over. I've been at this for 22 years of my life, and I still can't hold a candle to some of these musicians. And I don't expect to get paid $146,000. I expect to make a living wage based upon what I do. But with 22 years of experience, I bet I've got you beat. And I'm a small business owner, an entrepreneur, and an innovator, not so much unlike yourself.
So, before you attack a group of musicians for wanting more than the "median" income, maybe you should realize, these aren't "average" works. They're the best of the best fighting for their place in this world, a place that is slowly shrinking because CEOs demand more money, and that "median" income can't buy a ticket anymore. And they're people, who've given more of their lives to their profession than you have even known what your profession was. They're people, Mr. Alfidi. Your blog posts rail against CEOs getting paid bonuses on failing companies, espouse a love for small businesses, and yet you're staunchly anti-union. You rally often for people, but against the structure that protects them.
Before your next post, why not read up on the symphony structure? why not come up with meaningful comparisons. Mr. Alfidi's blog isn't all full of vitriol. He wants innovation, wants to move forward...But this post was as far off as you can get, by someone as far outside the industry as possible. And, maybe, make a meaningful addition to the dialogue.
**update one, on why orchestras aren't supposed to "make money"
**update two, contract ratified, final remarks
**update two, contract ratified, final remarks
This in response to one of the most idiotic rants against the striking San Francisco Orchestra musicians I've ever seen.
Anthony Alfidi, a "founding genius" of Alfidi Capital lays into the striking musicians pretty hard. First off, who is this guy? Well, turns out he went to Notre Dame and University of San Francisco, with degrees in Human Resources (wtf kind of degree is that anyway? Hey, let me teach you how to fire someone!), and an MBA in Finance (my mom has one of those. Great degrees that you pay a bunch of money for and mean nothing). He started Alfidi Capital because he was stuck in "dead end jobs" with other marketing firms. He's been investing since college, and has made money, so listen to this guys advice.
Now, I don't usually use this tone in a blog. I'm not usually this derisive, especially about things I have limited experience in. I say limited because, unlike Alfidi, I HAVE worked in similar circumstances, know a thing or two about human resources and management. unlike Alfidi, i worked in small mom-and-pop start-ups. While doing so, I took the time to listen, pay attention, and ask questions about the business side. Plus, I read a book or two about starting businesses, so I know everything there is to know. AND, back in HS, we played the stock market and I came out way ahead by investing heavily in Krispy Kreme, assuming Americans like to be fat.
Oops, slipped into the tone again. Alright, enough of that. Unlike Alfidi, while I can be just as dismissive of everything he does, I'd rather look at facts, and compare them to different sides of the argument. So, let's start off from the top of his little ignorant blog post.
"I was under the impression that every true artist in the world aspired to play at Carnegie Hall."
Well, sir, you're wrong. And, if you run through the list of people who play for the SFO, I bet they've all already played there, if for no other reason than, if memory serves, they played Carnegie Hall's 1998 opening gala. So, um, yeah, they've been there.
And won an Emmy, 4 Grammys for Best Classical Album, 3 Grammys for best choral performance, 4 Grammys for best orchestral performance, and one for Best Rock Instrumental Performance (The Call of Ktulu in 2001 with Metallica). So, yeah, this isn't their main aspiration.
Mr. Alfidi also seems to assume that venue is a big deal. Sorry sir, it only matters a little bit for younger musicians. Building the resume kinda thing...kinda like you had to work for this "other firms" before you could launch your own. Carnegie is a stepping stone, not an end point.
"...these union thugs in tuxedos are unsatisfied with a base salary of $141,700. That is far above the San Francisco median household income of $72,947."
Hey, you're right! go statistics proving whatever we want! let's do some other comparisons, with numbers.
The median expected salary for a typical CEO in US is $727,044. The median for a CEO in San Fran is $871,864. Wow, they make far less than a CEO. Now, let's compare it to something a bit more fitting. Oh, and the SAN FRANCISCO SYMPHONY CEO MAKES $495,000! But that's not to blame, he's entitled to it, because you understand what his job is.
A major symphony musician has gone through years of training, not some HS student, or maybe 10 years of lessons. The majority of these musicians hold doctorates (hey, they're more educated than you Mr. Alfidi, but then, so am I). They play for what is probably the second or third best orchestra in the world. Let's say, this is like a Financial Associate. Here's a description of their job. It's a pretty meat and potato kind of job in the Financial industry--pretty much a giant catch all. You sell, advise, and plan financial services, from stocks to insurance. So, basically, what you do Mr. Alfidi.
So, how much would a TOP TIER financial associate make in San Francisco? We're talking someone with 20+ years in the game, is a manager, and is training the next generation. According to salary.com, $142,810.
Oh, i get it now. Mr. Alfidi is jealous! He's jealous because he's still somewhat young, is working in a startup, and is probably making in the lower percentile of this job. OR because he is making around the median, and he can't believe someone in a non-financial industry job could possibly make this much. Hmmm...
So, a top tier musician is getting paid slightly less than a top tier ASSOCIATE in the financial industry in San Francisco. Hm...statistics, funny thing, isn't it.
"Making over $85K per year to do something a talented high school musician can do for free is pretty generous."
Really, a talented HS musician? Alright, let's do some comparisons. NOTE: THESE ARE NOT MEANT TO MAKE THE HS STUDENTS FEEL BAD! You're in HS, keep practicing, and you'll be there!
Here's a video of San Francisco Symphony playing the BBC PROMS, MAHLER SYMPHONY 7!
Alright, there's a few things there to think about. 1) BBC PROMS > Carnegie Hall. 2) HOLY SHIT THAT WAS AWESOME!
Now, here's Idyillwild Arts Academy playing Mahler Symphony 2. Sorry, couldn't find a symphony 7 video. Because, it's a bit of a challenge.
BEFORE POSTING, CONGRATS TO IDYILLWILD ARTS ACADEMY! This is a beautiful recording and you all should be proud! And if you keep working, you'll have a shot at the SF Orchestra. Really, I am impressed for your level. MR. ALFIDI, here's an incredibly talented group of HS students.
Again, congrats to Idyillwild Arts Academy. This is a very good, moving performance of a difficult piece! Keep at it and you'll be able to go pro!
Sorry Mr. Alfidi, you're about as far off as possible. If this amazing group of HS students, a private school, cream of the crop type group, can't handle SFO, then you've lost this one.
"If the symphony needs a scab played for the triangle or tambourine to help break the strike, then I volunteer to perform for free. I've had no music education, but those instruments don't look difficult"
Yep, they're cake. Here's a video of Pedro Estevan playing tambourine. Go ahead, tell me you can do this.
Because, if you can handle that simple little thing, then I'll even PAY you to do my next premiere.
"I'm willing to solo O Mio Babbino Caro on a kazoo if Renee Fleming can't elbow her way through the union's picket line."
First off, there is no way in hell Renee Fleming would elbow her way through a picket line. Unlike your incredibly selfish and self-centered profession that revolves entirely around money (shit, the rhetoric went south again...), musicians are collaborators. We work together. On everything. When a musician gets screwed, we band together because we know if one of us gets screwed, it won't be long before all of us get screwed. and never, ever, compare yourself to this, even in jest:
If your kazoo playing can come close to this, I'll write you a concerto.
"Musicians who fancy themselves irreplaceable remind me of the federal air traffic controllers who were justifiably fired in 1981 when they arrogantly broke federal law."
Wow, what a horrible comparison. That's like comparing Mr. Alfidi's blog post to Mein Kompf--both are written documents full of vitriol, political ideas, and skewed perspectives. But that's not much to go off of.
13,000 air traffic controllers went on strike. When they did, all planes in the US were grounded. 2,000 went back to work, and other replacements, mainly military personnel and other people willing to learn the job took over.
You're comparing 13,000 people to around 150. You're comparing a public industry vs. a private not-for-profit. You're comparing a job that risks the lives of thousands to those that provide a service. No, this comparison is completely invalid. Maybe Mr. Alfidi should go back to school and take a logic course...Oops, the derision has come back. There's little comparison beyond "they're on strike and you don't like it."
"Performing classical works in one of the greatest cities in the world is an honor and a privilege that countless musicians dream of having. The spoiled union brats on strike for exorbitant pay no longer deserve such an honor. Their selfish action denies music to fans and brings shame to The City."
First off, I didn't know San Fran was called "The City." That's a pretty haughty claim right there.
Second, honor and privilege doesn't pay the bills. It doesn't put food on the table. This is one of the biggest problems in music today. And I don't just mean classical music.
This idea of "exposure." that it's a "big deal and you should be thankful." Mr. Alfidi thinks that, at best, music professionals should be interns.
Because we do what we love for the sake of doing what we love.
Because it's an "entertainment industry"
Because it doesn't make tons of money, as a corporation.
Oh, Mr. Alfidi, just because you hate your job and secretly wish you had become a pianist like Joseph Alfidi doesn't mean you can bring out your vitriol. Just because you don't understand what it means to be a musician, doesn't mean you can tell us what our profession requires. You don't see me screaming that YOU'RE making too much, that the financial industry is one of the main sources of ruin in America, that investors such as yourself Mr. Alfidi were the reason for the economic downturn, not the millions of hard-working Americans, just doing their jobs. That, somehow, you have "power" because you can trade shares of a company you know nothing about beyond their profit possibilities.
Let's be honest, a high schooler with decent math skills, the ability to read graphs, and make guesses based upon the numbers they see could do your job. Anyone that feels like learning a little math and sitting down could do your job. Do you know how many musicians I went to school with that couldn't get a symphony job decided to go into the financial world? Do you know how many are making as much or more than you? Because, guess what, they dealt in far more math every day.
So, yeah, I'm a bit irritated, because this is an example of someone that has absolutely no idea what he is talking about talking down to other people, demanding their jobs because he just doesn't get it. Well, guess what, any joe schmo can do that. I just did it to you. Does it mean that my claims are correct?
Are my statistics any better than Mr. Alfidi's?
Are my insults more stinging?
Did i not link wikipedia enough?
In other words, Mr. Alfidi, only one thing was really shown here: How to put together an argument. And here are my closing remarks:
Orchestra musicians are top tier professionals in their area. I have previously said in posts that, yes, sometimes we as musicians are over-paid. That sometimes, we have to share in the sacrifice to make sure music happens. But what's been happening in America isn't a shared sacrifice. Here's a break-down of what happened in Indy. There were no cuts to administrative positions, nor CEO pay. In Atlanta, there were 16% cuts for musicians, the CEO took a 6% cut, and no word on other administrative positions. How is this a fair share?
Was this the right to for San Fran to strike? Are their demands fair? Unlike Mr. Alfidi, I'm not going to weigh in exactly. I haven't read the arguments. I was on top of it in Indy, Atlanta, and Minnesota. But, I haven't been on top of this one. But, I can assume, that whatever is happening, it's not fair. We're looking at time when orchestras are having to transform. But what they're doing isn't selfish, it isn't dishonourable. No, they're fighting because they have to fight. They're fighting because there have already been too many loses. As it is, music is becoming a commodity people want for free. There are musicians in KC playing all night gigs for under $100, when they bring in a crowds of people paying a cover and buying tons of drinks. There are audio engineers offering their home studios for $15/hour. Musicians are pricing themselves into obscurity.
Musicians are people, real people, who have worked their whole lives to become top professionals. And they are top professionals Mr. Alfidi. If they were in the same industry as you, they'd be your boss 1000 times over. I've been at this for 22 years of my life, and I still can't hold a candle to some of these musicians. And I don't expect to get paid $146,000. I expect to make a living wage based upon what I do. But with 22 years of experience, I bet I've got you beat. And I'm a small business owner, an entrepreneur, and an innovator, not so much unlike yourself.
So, before you attack a group of musicians for wanting more than the "median" income, maybe you should realize, these aren't "average" works. They're the best of the best fighting for their place in this world, a place that is slowly shrinking because CEOs demand more money, and that "median" income can't buy a ticket anymore. And they're people, who've given more of their lives to their profession than you have even known what your profession was. They're people, Mr. Alfidi. Your blog posts rail against CEOs getting paid bonuses on failing companies, espouse a love for small businesses, and yet you're staunchly anti-union. You rally often for people, but against the structure that protects them.
Before your next post, why not read up on the symphony structure? why not come up with meaningful comparisons. Mr. Alfidi's blog isn't all full of vitriol. He wants innovation, wants to move forward...But this post was as far off as you can get, by someone as far outside the industry as possible. And, maybe, make a meaningful addition to the dialogue.
**update one, on why orchestras aren't supposed to "make money"
**update two, contract ratified, final remarks
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