On December 5, 2012, Jessica Novak writes in the Syracuse New Times:
When the Syracuse Symphony Orchestra announced plans to file for bankruptcy in April 2011, the bad news shook up all of Central New York. The 79-year-old organization had a rich history, but suddenly no future. Musicians dispersed and SSO patrons were left with non-refundable tickets, sadness, confusion and anger at the collapse of the organization.
But a Nov. 28 press conference heralded a fresh start for a resurrected orchestra.
“If you open a business, you pay yourself less until everything else is paid for,” he explained. “You hold funds back. We think the enthusiasm {from the community} will translate over to support and patronage.”
County Legislature Chairman Ryan McMahon simplified even further: “The musicians have a lot more skin in the game. They’re all stakeholders in the new model. They’ll get paid when there’s money.”
Similar models have been used by other successful orchestras. The New Orleans Symphony filed bankruptcy in 1991 and soon after transformed into the cooperative-style Louisiana Philharmonic Orchestra. More than 20 years later, even after the devastation of Hurricane Katrina, the LPO is still healthy.
“They initially started out with all musicians operating the orchestra in management and board positions,” Garland said. “Over a period of time they transitioned to having more professional staff because musicians really want to play their instruments. That’s what we do best. And having more community people involved on their board doesn’t mean the musicians don’t have a say. They still get to elect those board members, and if they don’t do the right thing, the musicians can vote them off.”
I am pleased to see that the musician members of the Syracuse Symphony Orchestra have structurally organized as a corporation in which EVERY musician associated with the orchestra is an OWNER. As one familiar with less than “super star” performer status, musicians and musical groups are constantly struggling to sustain a livelihood, especially when mounting productions involving recorded performances, both audio and video. The combined fees associated with Musicians Unions have been prohibitive, especially when both audio and video release formats are considered. While often other production and post-production participants are willing to waive their fees or contribute with payment generated from the back end of the project, the Musicians Unions have not been flexible. As a result, recorded projects become not feasible.
Musicians need to be able to organize themselves into a corporate structure to benefit themselves and defer, if necessary, musicians fees, which would be paid out of future earnings from the performances and sale of audio and video format releases. In this way, every musician has a stake in the potential of their creativity. And fans and supporters need to be made aware of just how their beloved musicians are organized to perform for them.
The Syracuse New Times should investigate the ownership structure components of the orchestra and the benefits to the orchestra’s musicians.
Society needs to develop an OWNERSHIP CULTURE with the realization the real financial rewards are vested in the OWNERS, not the labors. Musicians who organize as corporations in which EVERY member is an OWNER have a far better opportunity to produce recorded works, both audio and video, and share 100 percent in the earnings that are generated over time.
For an understanding of the foundational concepts of an OWNERSHIP CULTURE please visit the Center for Economic and Social Justice (www.cesj.org) and follow www.foreconomicjustice.org. Also, please see my article “Democratic Capitalism And Binary Economics: Solutions For A Troubled Nation and Economy” at http://foreconomicjustice.org/11/economic-justice/ and my article published by The Huffington Post at http://www.huffingtonpost.com/gary-reber/who-should-own-america_b_2040592.html
http://www.syracusenewtimes.com/newyork/article-6301-the-symphony-strikes-back.html
