Sherman's Second Coming

Dry your eyes and harden your hearts. My take on this is that the battle may be lost, but the war has not yet begun.

The post-game analysis: the musicians sat down at a table where the deck was stacked. A coalition was established against them - it doesn't matter exactly who took part or when it came together. I'm guessing that it worked similarly to any of the large, boring meetings you attend at work - a few people dominate the discussion and everyone else just goes for the donuts and coffee. People who may have differing views cede to the alphas to keep peace, preserve position, or because they are not secure enough in their views to avoid being swayed.

Once the ranks were joined, all the coalition had to do was make their demand and refuse to negotiate. They knew they held all the cards. They sized up the situation and knew they could count on several immutable facts:

- the musicians aren't the ones with the money here. They make a solid, middle-class living, and they need their paychecks and insurance. Management knew they could wait them out.

- the majority of the musicians have established lives and families in ATL. Like a lot of us, to relocate would be a big deal and financial hardship (trying to sell homes, etc.). A principal player who is mobile could probably do it without too much difficulty, but it appears management was willing to let whoever could go, leave, regardless of the artistic impact. They knew that the rest of the people had to take whatever deal was offered, at least as a short-term solution.

- the coalition knew there was no vocal constituency that had any real influence. Let's face it - where were the voices of the thousands of people who annually attend ASO programs? Where was the media? Where were the "arts leaders" in the community? Nobody piped up - not until this blog. And we are a paper tiger to them.

- lastly, and most critically for the future of this institution, the allied management and board personnel were willing to sacrifice the organization, to break it, rather than back down. The breaking would have happened either by creating fissures within ASOPA as the lockout wore on, by bringing in replacements, or by just letting the band fold. It's textbook stuff.

Many business people would find what went on here entirely acceptable and even praiseworthy - the allies played hardball and won. And it's all about winning, and not at all about strengthening the organization, let alone preserving it's aesthetic values.

But the orchestra didn't break. They did the only right thing they could do in this situation. By agreeing to this travesty of a contract, Sherman didn't burn Atlanta to the ground a second time. For that, we must be truly thankful. But the core organizational leadership values of trust, honor, and integrity are broken, and the team that broke it is not the team to fix it. That's the next fight.

Dr. Romanstein and the respective boards need to be held accountable for the "gains" they claim they will make through this contract, and for how their "strategy" plays out over the next couple years. In the meantime, please support the musicians of the ASO. What they did saved us as well. Our preparation and performing are the best ways to thank them, but also - go to the concerts, everywhere they play, not just Symphony Hall. They have to know not only that their talents are appreciated, but that there is a future for classical music and the fine arts in Atlanta. Not a future of repetitive contraction until there's nothing left, but one of expansion, coalition-building in the positive sense, and greater financial rewards for arts professionals who choose to make Atlanta their home. That's part of the fight as well.

I'll see you in Rehearsal Hall so we can continue preparing for some kick-ass performances here and in NYC - unless I get fired before then.

#363 - Alto I