On the upside, the Pittsburgh Symphony musicians got a nice new contract a year early, after what was apparently a cordial set of negotiations. Then the orchestra reported its deficit tripled last year<\/a><\/strong>; presumably that fact was an element of the contract talks, since no one seems too concerned at the moment.<\/p>\n More recently this appeared<\/a><\/strong>, MPR’s hyper-contorionist attempt to be “fair and balanced” regarding the Minnesota Orchestra situation. While most would acknowledge that serious miscalculations have been made all around (unsurprising after a 10-month lockout), this article completely sidesteps some important facts. For example, the original proposal from the Minnesota Orchestra Association (MOA) didn’t just have an average<\/em> pay cut of 30%, it also tore up the master agreement, starting from scratch in terms of industry-standard working conditions (check this ou<\/a>t\u00a0<\/strong>for starters). Then they walked away and literally locked the doors. In essence, the MOA management continues its quest to completely rebuild the entire business model of a (formerly) thriving arts institution by first destroying it, then plowing forward at a bargain price with the musicians that hung around. That is, after the shiny new lobby is done, and if they can ignore the picketing from former patrons<\/a><\/strong>. Make no mistake- the MOA and Board hold the key to the future here, not the (fleeing) musicians or their likely-soon-to-be-former Music Director. And the entire community is losing out, with no end in sight.<\/p>\n![\"Notebook\"](\"http:\/\/www.insidethearts.com\/nondivisi\/files\/2013\/07\/Notebook-285x300.jpg\")
<\/a>This article<\/a>\u00a0<\/strong>eloquently explains why Pandora sucks for musicians and songwriters. As convenient as it is, I still wince when I see one of my musician friend’s Facebook posts telling me how they’re currently getting ripped off<\/del> what they’re listening to on Pandora.<\/p>\n