Exec pay, Chicago discounts, etc.

January 20, 2009
Back to TopCommentsE-mailPrintBookmark and Share
Occassionally, I like to devote a blog to connecting you to conversations on other blogs. It's that time again.

Of course, feel free to comment here on anything you find out there (Hint: right click and open any link in another tab. That way, it's easier to find your way back here).

--According to Playbill.com , Broadway in Chicago is celebrating hometowner Barack Obama with $44 tickets to its lineup of shows, including "Jersey Boys," "Mary Poppins," and "Xanadu." The catch? You've got to buy them today, January 20th. 

--Stuck for something to read? There are lots of critics' end-of-the-year lists over at NPR Books. Thanks to what I found at the site, I now have James Howard Kunstler's novel "World Made by Hand," P.F. Kluge's "Gone Tomorrow," Josh Whedon's graphic novel "Runaways: Dead End Kids," and Joseph O'Neill's "Netherland" on my already daunting reading pile. Anyone out there read any of these yet?

--I can be a sucker for acquisition stories. I'm fascinated with how artworks comes to be part of a museum collection. The IMA Blog offers an insightful look at the acquistition of John Wesley Hardrick's painting "Little Brown Girl," which served as the poster and catalogue cover image for the "Shared Heritage" exhibition back in the Bret Waller days. Apparently, the work was missing for years until it was offered to the IMA from a dealer. Only then did the IMA folks discover that it was actually owned by the museum. How do you buy a painting you already own? An interesting problem.

--Half the country, it seems, is in D.C. today. And, of course, they are hungry to see visual art. Okay, maybe not. But surely some will take advantage of what's offered in Washington galleries. You can see Tyler Green's thoughts on the the choices--including new galleries at the Hirshhorn and Gilbert Stuart portraits at the National Gallery--in his Modern Art Notes.

--Speaking of D.C., at the Arts Marketing blog, Chad Bauman, Director of Communications at Washington's Arena Stage, discusses executive compensation in the arts. He notes that the Director of Minneapolis' Guthrie Theatre earns over $682,000 a year. And that the conductor of the financially challenged Cleveland Orchestra makes $1.2 million--and he's only seventh on the list of top orchestra salaries in the country. The question, I don't think, is whether top talent should earn top dollars, but whether or not a not-for-profit can comfortably ask for public funds when higher ups are making such big bucks. Is a visionary leader like a top box-office actor--expensive but ultimately worth it to a company's bottom line? And do we need proposals like the piece of proposed legislation in San Francisco that would put a cap on compensation for a top exec at six times that of the lowest-level employee?

Your thoughts?
ADVERTISEMENT

Post a comment to this blog

COMMENTS POLICY
We reserve the right to remove any post that we feel is obscene, profane, vulgar, racist, sexually explicit, abusive, or hateful.
 
You are legally responsible for what you post and your anonymity is not guaranteed.
 
Posts that insult, defame, threaten, harass or abuse other readers or people mentioned in IBJ editorial content are also subject to removal. Please respect the privacy of individuals and refrain from posting personal information.
 
No solicitations, spamming or advertisements are allowed. Readers may post links to other informational websites that are relevant to the topic at hand, but please do not link to objectionable material.
 
We may remove messages that are unrelated to the topic, encourage illegal activity, use all capital letters or are unreadable.
 

Messages that are flagged by readers as objectionable will be reviewed and may or may not be removed. Please do not flag a post simply because you disagree with it.

Sponsored by
ADVERTISEMENT
  1. How much you wanna bet, that 70% of the jobs created there (after construction) are minimum wage? And Harvey is correct, the vast majority of residents in this project will drive to their jobs, and to think otherwise, is like Harvey says, a pipe dream. Someone working at a restaurant or retail store will not be able to afford living there. What ever happened to people who wanted to build buildings, paying for it themselves? Not a fan of these tax deals.

  2. Uh, no GeorgeP. The project is supposed to bring on 1,000 jobs and those people along with the people that will be living in the new residential will be driving to their jobs. The walkable stuff is a pipe dream. Besides, walkable is defined as having all daily necessities within 1/2 mile. That's not the case here. Never will be.

  3. Brad is on to something there. The merger of the Formula E and IndyCar Series would give IndyCar access to International markets and Formula E access the Indianapolis 500, not to mention some other events in the USA. Maybe after 2016 but before the new Dallara is rolled out for 2018. This give IndyCar two more seasons to run the DW12 and Formula E to get charged up, pun intended. Then shock the racing world, pun intended, but making the 101st Indianapolis 500 a stellar, groundbreaking event: The first all-electric Indy 500, and use that platform to promote the future of the sport.

  4. No, HarveyF, the exact opposite. Greater density and closeness to retail and everyday necessities reduces traffic. When one has to drive miles for necessities, all those cars are on the roads for many miles. When reasonable density is built, low rise in this case, in the middle of a thriving retail area, one has to drive far less, actually reducing the number of cars on the road.

  5. The Indy Star announced today the appointment of a new Beverage Reporter! So instead of insightful reports on Indy pro sports and Indiana college teams, you now get to read stories about the 432nd new brewery open or some obscure Hoosier winery winning a county fair blue ribbon. Yep, that's the coverage we Star readers crave. Not.

ADVERTISEMENT