Violinist busking, photo CC by meltsley on Flickr
Periodically I see these memes on Facebook: “If surgeons were paid like musicians…,” or “Hire a plumber for the same service and we’ll play for half that.” I sympathize, but this is the wrong approach. Moral finger-wagging has never won any argument, ever, and if it were to work in music it would have decades ago. So how do we actually solve this problem of musicians’ lack of economic clout?
First, we need to understand what’s actually going on. The moralists cling to the delusion that it’s just a matter of education, but even musicians can’t decide what fair compensation is: I’ve had the exact same budget called “extravagant” by one jury panel and “overly ambitious” by another. And to throw salt on the wound, moralizing also hurts our collective bargaining power. Take the common story of the lowballing nightclub owner who gets chewed out by an indignant jobbing musician. The lecture doesn’t make the owner any less likely to lowball the next musician. In fact, it’s the opposite: you’ve just shown him that he has all the power in the relationship. (more…)
Stack of US Bills, CC by "401(K) 2012" on Flickr
Some friends of mine were having an interesting Facebook discussion around Ellen Cushing’s recent article in the East Bay Express, about crowdfunding, philanthropy, and what the young and well-to-do of Silicon Valley mean for the future of the arts. The issue was whether or not crowdfunding was replacing traditional arts philanthropy and what this means for the long-term viability of arts organizations. Kickstarter campaigns are great for early-stage artists, but they couldn’t reasonably sustain something like the San Francisco Symphony, or even smaller chamber organizations like SFCMP or SFSound. So if young people with a lot of money are eschewing the traditional philanthropic route in favor of crowdfunding, what does that mean for arts organizations?
Nothing. Crowdfunding is a new category of fundraising, and it draws a different set of people for reasons unrelated to traditional philanthropy—each addresses a separate “need” for the donor that the other doesn’t. The reduction in philanthropic support for the arts right now is not tied to crowdfunding, but rather to larger shifts in cultural priorities. (more…)