Analysis: The core of the ASO lockout is whether Atlanta will support a world-class orchestra | October 15, 2014
By James L. Paulk
Could we lose the orchestra altogether, as happened in Miami and Honolulu in recent years? Of course we could. These things always seem impossible until they happen. There is a cascading effect flowing from the lockout. We are losing subscribers. Donors are angry. The crisis feeds on itself.
The people on the orchestra’s board are good and dedicated people. Among them are some of the orchestra’s biggest donors. The same is true of the Woodruff Arts Center board. The essential problem comes down to money.
A lot has been said about the ostensibly low percentage of the ASO’s budget that goes for salaries compared to other orchestras. My feeling is that we are not seeing an apples-to-apples comparison. There is an unfortunate lack of transparency regarding the ASO’s financial data. It is merged into the WAC’s Form 990 reports, and the way budget data is reported seems confusing.
To be fair, there is no indication that the size or compensation of ASO’s administration are out of line with those of its peers. Rather, it is likely that the cash flow from the ASO’s Verizon Wireless Amphitheatre makes the total budget number larger than that of cities with similar orchestra payrolls.
No amount of finger-pointing will solve this problem. If Atlanta wants to retain its amazing orchestra, the glory of the Southeast, it must come up with the money. No major performing arts organization can exist without a large portion of its budget coming from contributions.
The lion’s share usually comes from corporations and foundations. Study an ASO program from last season, or go to the Atlanta Symphony website and click on “Giving,” then “Sponsorship and Grants.” The only three companies giving $250,000 or more are Coca-Cola, Wells Fargo, and Delta. Now think of all the big Atlanta-based corporations that are missing. Some do appear further down the page, of course, but this is the time for them to step up. SunTrust, Equifax, NCR, Home Depot and UPS are clocking in at less than $100,000. Georgia-Pacific isn’t even listed.
I’m not necessarily trying to shame anyone here. Better to see this as an opportunity for these civic-minded companies to come to the rescue of this vital institution in their home town. It’s the right thing to do, and they would earn the appreciation of everyone. I assume there is also an opportunity for renaming Symphony Hall.
And where is the government support? Public funds seem to be available whenever there is a massive sports facility to be built, but very little is apportioned to supporting the arts.
There is roughly a $2 million difference in what management says would make the ASO sustainable financially and what the musicians say is required to avoid further damage to the orchestra. The divide is not that wide. This is a city that came together for the Olympics. Fewer than 10 years ago, we were discussing a $300 million Calatrava-designed hall for this same orchestra.
Can we rekindle just a little bit of that kind of spirit and rally once again to protect the city’s crowning artistic achievement?
What is needed are some serious multiyear commitments from companies, foundations, government and individuals in a position to save this priceless asset for Atlanta. If we continue to let it drift away, we will never get back what we had.
When I was in college, the saying was: “if you give a party, you gotta pay the band.” Time is not on our side here.
By James L. Paulk
Could we lose the orchestra altogether, as happened in Miami and Honolulu in recent years? Of course we could. These things always seem impossible until they happen. There is a cascading effect flowing from the lockout. We are losing subscribers. Donors are angry. The crisis feeds on itself.
The people on the orchestra’s board are good and dedicated people. Among them are some of the orchestra’s biggest donors. The same is true of the Woodruff Arts Center board. The essential problem comes down to money.
A lot has been said about the ostensibly low percentage of the ASO’s budget that goes for salaries compared to other orchestras. My feeling is that we are not seeing an apples-to-apples comparison. There is an unfortunate lack of transparency regarding the ASO’s financial data. It is merged into the WAC’s Form 990 reports, and the way budget data is reported seems confusing.
To be fair, there is no indication that the size or compensation of ASO’s administration are out of line with those of its peers. Rather, it is likely that the cash flow from the ASO’s Verizon Wireless Amphitheatre makes the total budget number larger than that of cities with similar orchestra payrolls.
No amount of finger-pointing will solve this problem. If Atlanta wants to retain its amazing orchestra, the glory of the Southeast, it must come up with the money. No major performing arts organization can exist without a large portion of its budget coming from contributions.
The lion’s share usually comes from corporations and foundations. Study an ASO program from last season, or go to the Atlanta Symphony website and click on “Giving,” then “Sponsorship and Grants.” The only three companies giving $250,000 or more are Coca-Cola, Wells Fargo, and Delta. Now think of all the big Atlanta-based corporations that are missing. Some do appear further down the page, of course, but this is the time for them to step up. SunTrust, Equifax, NCR, Home Depot and UPS are clocking in at less than $100,000. Georgia-Pacific isn’t even listed.
I’m not necessarily trying to shame anyone here. Better to see this as an opportunity for these civic-minded companies to come to the rescue of this vital institution in their home town. It’s the right thing to do, and they would earn the appreciation of everyone. I assume there is also an opportunity for renaming Symphony Hall.
And where is the government support? Public funds seem to be available whenever there is a massive sports facility to be built, but very little is apportioned to supporting the arts.
There is roughly a $2 million difference in what management says would make the ASO sustainable financially and what the musicians say is required to avoid further damage to the orchestra. The divide is not that wide. This is a city that came together for the Olympics. Fewer than 10 years ago, we were discussing a $300 million Calatrava-designed hall for this same orchestra.
Can we rekindle just a little bit of that kind of spirit and rally once again to protect the city’s crowning artistic achievement?
What is needed are some serious multiyear commitments from companies, foundations, government and individuals in a position to save this priceless asset for Atlanta. If we continue to let it drift away, we will never get back what we had.
When I was in college, the saying was: “if you give a party, you gotta pay the band.” Time is not on our side here.