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- Sometimes Book To Movie Adaptations Don’t Work Out For The Author
But this one may become legendary. “Tomi Adeyemi, the author of the bestselling fantasy Children of Blood and Bone, isn’t planning to see the forthcoming film adaptation — even though she co-wrote it.” – Los Angeles Times (MSN)
- Seneca, Worried About The Crisis Of Attention, Had An Idea For A Fix
Too much scrolling (of papyrus) in ancient Rome had the philosopher Seneca in search of an answer. His advice, “which he outlined in his Letters From a Stoic: Devote your attention to one idea a day.” – The New York Times
- The University Of North Texas Can’t Handle An Art Show With Work Critical Of ICE
“Initially, the administrators discussed removing some of the pieces from the show. But then the provost texted that he wanted to take down the entire exhibition instead. [He] wrote, ‘I think it’ll be easier to manage any barking from our friends in Austin.’” – NPR
- Free Speech on Someone Else’s Stage – An Update
A few months ago I posted about a controversy in Australia, where a musician had a future appearance with the Melbourne Symphony Orchestra cancelled because he had, contrary to MSO policy, made political comments during a performance. He sued, and the New York Times today reports (gift link) that he lost in court:
The pianist, Jayson Gillham, claimed in a lawsuit that the orchestra had violated the country’s Fair Work Act and his right not to be treated unfavorably in the workplace because of his political beliefs.
But the judge, Graeme Hill of the Federal Court of Australia, ruled on Friday that because Mr. Gillham was an independent contractor he was not protected under the workplace rights law. The orchestra, Justice Hill determined, had acted to protect its business and reputation when it canceled the performance by Mr. Gillham and issued statements to its patrons about the matter.
“The court finds that the M.S.O. would have taken the same actions if Mr. Gillham had expressed a political belief in support of Israel, or if Mr. Gillham had made statements on any other topic that had the same impact or anticipated impact on the M.S.O.’s business and reputation that Mr. Gillham’s actual remarks had,” a summary of the judgment said.
In my post I said that as a general rule, arts presenting organizations are within their rights to restrict what performers can do on their stages:
If the Melbourne Symphony does not want guest performers making political statements during their concerts, it has every right to say so. If it “does not condone the use of our stage as a platform for expressing personal views”, then probably best to make this clear to any featured performer as they draw up their contract (and I don’t know if that happened in this case). Unless explicitly granted, no artist has complete freedom of speech on stage. An actor cannot decide on their own to interrupt a performance of Twelfth Night with a political dedication. Some performing arts organizations might think such political statements are fine, actually, and they can say so. Or a politically-oriented artist could produce their own shows, as Gillham seems to have moved towards. But if the MSO does not feel that way, there is no “free speech” right that overrides it.
The audience at an orchestra concert (Gillham does not raise the topic of “the audience”) is captive, and deserving of consideration; many of them, like me, might prefer to enjoy their orchestral music neat. To insist that they must be made to listen to the guest performer’s political thoughts, even when the orchestra management has said it doesn’t go in for that sort of thing, is self-indulgence.
And I doubt most artists would agree with a blanket “free speech” right at invited gigs anyway. Suppose a featured violinist, before their performance, said “I dedicate this performance to those who died, and their families, in the October 7 terrorist attack on Israel, and support Israel’s right to self-defense and to bring justice to those who committed this heinous crime”. Would Gillham think that free speech deserves protection? Suppose a guest artist wanted to talk about other political issues, or value-added taxes, or the Westminster parliamentary system, or that Vegemite is an abomination? Suppose a guest artist addressed the audience with racist opinions on Australia’s Indigenous people, or made a grossly homophobic joke. The ABC story the next day would not be about “free speech”, but about demands that the musician never be invited back.
I didn’t think Gillham had a case, and the court agreed.
- Enjoying All Of The Agatha Christie Adaptations Out There?
Then you might want to read more Golden Age mysteries, including Josephine Tey (and not just Daughter of Time). – The New York Times
- Is The U.S. Really Ready To Face The Mythmaking Of Little House On The Prairie?
A new Netflix adaptation would argue that some people – though likely not those trying to ban anything not “positive” in history texts – are so ready. – Salon
- Tracee Ellis Ross Makes Her Broadway Debut
“Ross said that it had been a dream of hers to be on Broadway. Instead of throwing a birthday party to celebrate turning 40, she rented stages in New York City and Los Angeles and invited her friends to watch her perform a one-woman show.” – The New York Times
- As Yet Another Version Hits Cinemas, Why Are We Still So Obsessed With The Odyssey?
“The Odyssey – the story of a warrior’s homecoming, his long and tortuous journey to reintegrate himself within his own household – has passed into the bloodstream of many storytelling traditions,” from Finding Nemo to Game of Thrones. – The Guardian (UK)
- The Melbourne Symphony Orchestra Wins A Discrimination Case
Pianist Jayson Gillham, who spoke from the stage about Israel killing journalists in Gaza, said “I believe artists should be free to speak with integrity. … This case was never just about me. My principles remain unchanged.” – The New York Times
- The New York Times’ Article On Kerri Greenidge Has Weird Timing And Research Issues
“The article offers no convincing explanation for a response this totalizing. It does not solve the mystery. It compounds it.” – Study Marry Kill
- The High-Wire Casting Act Of Getting Celebrities To, Kind Of, Play Themselves
“The celebrity-as-celebrity casting is a delicate alchemy with volatile ingredients more likely to explode than create movie magic” – but when it works? It really works. – The New York Times
- Meta Won’t Stop Going After The Author Of Careless People, Proving The Book’s Point Over And Over And Over Again
“The optics of the case speak louder than the niceties of any contract dispute. Those optics advance the narrative that Meta is a heartless and negative force determined to stifle the truth about its misdeeds.” (In other words, buy physical copies of the book.) – Wired
- Whistleblowers Accuse The Trump Administration Of Harming The Kennedy Center
“The documents — sent to a Senate and a House committee last month by lawyers for unidentified clients referred to as whistle-blowers — detail how vendors were selected for work without competitive bidding under rationales that are depicted as flawed.” – The New York Times
- Some Streamers Sure Are Benefitting From This Men’s World Cup
Viewership is smashing records, especially for Telemundo and Peacock. The Mexico-England game was Telemundo’s most-watched telecast ever. Many English-speaking viewers have turned away from Fox because of its analysts line-up, joining the U.S.-based Spanish-speaking audience. – Variety
- What In The Living Heck Happened To Decorated Historian Kerri Greenidge, And Her Most Famous Work?
“A major publisher appeared to pull a prizewinning history book about a prominent South Carolina slaveholding family and its role in the abolitionist movement, after several scholars accused the author of misleading readers” – and it looks like the historian lost her job at Tufts as well. – The New York Times
- Meta Installs AI Deepfake Tool For Instagram On Tuesday, Removes It On Friday
That went well. “Just because Meta owns one of the largest social media platforms, and we’re forced to use it, it’s been taking it as an excuse to violate our consent and privacy again and again.” Uh, oops. – Business Insider
- How Many Books Is Too Many Books For A New York City Apartment?
One landlord decided 10,000 was truly beyond the acceptable limit. – The New York Times
- When Catcher In The Rye – Yes, That Old Chestnut Of Freshman Year – Saves You
“The great secret of Catcher, though—what gets lost in its reputation—is that Holden’s attitude is itself phony. He’s a tender kid who famously worries about the ducks in cold, icy Central Park, and who adores and hopes to protect his little sister, Phoebe.” – The Atlantic
- There’s Science Behind Every Kid’s Addiction To Moana
That’s the animated one, not the new live-action one. – The New York Times
- This Artwork Requires Covering The Gallery Floor In Peanut Butter
Smooth, not chunky – the artist wasn’t a monster. – The Guardian (UK)
- Hold the art in your hands
This Week’s Highlights:
The White House’s 162-page indictment of the Smithsonian turns out to be riddled with errors (Washington Post), while the Kennedy Center drifts on like a ghost ship, technically open and nearly empty (Washington Post). Here’s Hungary’s version of the culture wars being resolved. In Hungary, the state’s broadcasters, which had been turned into propaganda machines during the Orban years, went dark this week with an extraordinary on-screen confession: “Public media should not lie” (The Guardian).
The platforms made had their own version of realpolitik. Sony reminded PlayStation customers that everything digital they’ve “bought” is rented (Wired), ownership of culture quietly swapped for a revocable license (Fast Company).
But now some fascinating about-face from one of London’t most distinguished museums. At the V&A’s East Storehouse, visitors order up Beatrix Potter drawings and hold them in their hands (The New York Times). And in other audience news: Gen Z is driving a revival of America’s independent cinemas (The Guardian). And Joe Hisaishi, a film composer who sells out Madison Square Garden, just became the Philadelphia Orchestra’s composer-in-residence (The New York Times).
All this week’s stories below, organized by topic.
- The war made a quick mess of the family. I.B. Singer Tells the Bloody, Cold-Blooded Truth<a href="https://www.artsjournal.com/herman/2026/07/the-war-made-a-quick-mess-of-the-family-i-b-singer-tells-the-bloody-cold-blooded-truth.html" title="The war made a quick mess of the
- Charlie Ortiz shares the ethos behind building sustainable partnerships
Charlie Ortiz, Founder & Executive Director of the WHIN Music Community Charter School, shares the ethos and best practices of building sustainable partnerships.
- Community Music Center of Boston seeks Chief Executive Officer
Organization
Community Music Center of Boston is an arts education nonprofit founded in 1910 with a mission to transform lives by providing equitable access to excellent music education and arts experiences. Originally established to provide lessons and classes to a wave of new American immigrants, CMCB has spent 116 years as a leader in connecting music education to social impact, responding to Boston’s evolving civic needs.
CMCB was one of the agencies tapped at the height of Boston’s 1970s school desegregation crisis, providing music classes in newly integrated schools to support community-building and help bridge divides. Years earlier, CMCB had already become an early pioneer in using music to support social-emotional development, work that would later evolve into what is now the board-certified profession of music therapy. Across generations, CMCB has continued to demonstrate how music education and music-based experiences can respond to municipal opportunities, foster belonging, and strengthen community connection.
Today, CMCB operates a large community music school, serves as a first touchpoint in music education for thousands of participants each year through schools and social services agencies, and is one of the largest external providers of arts education to Boston Public Schools. Supporting more than 2,500 students of all ages each week, CMCB is an anchor for local arts education, supporting learner-centered and culturally inclusive musical instruction in one of the most diverse cities in the nation. Approximately 80% of CMCB’s students are youth of color and 70% are economically disadvantaged. Through its Community Music School, Community Engagement Programs, Music Therapy, and nationally recognized Youth Employment Program, CMCB provides music learning opportunities across virtually every Boston neighborhood. CMCB’s Community Music School sees over 400 households through private lessons, semester-based group classes for ages five and up, individual music therapy, small chamber groups, chamber orchestra, music theory, music production, and the Summer Arts and Music Program. CMCB’s Community Engagement Programs extend this work to over 2,000 more households through partnerships with public, charter, parochial, and independent schools, as well as health and human services organizations, community centers, and civic programs.
CMCB’s recent innovations are focused on a broadened impact of music. For example, CMCB is pioneering more inclusive and realistic pathways for pursuing music. CMCB’s new “Student Pathways” celebrate the range of musical interests and futures that bring people to music lessons. The four pathways, Musical Explorers, Community Musicians, Citizen Musicians, and Performing Musicians, recognize that students may be motivated by discovery, collaboration, social impact, performance, or a combination of these interests. Rather than requiring students to choose one fixed track, the pathways are flexible and intended to support ongoing conversations about growth, curiosity, and personal expression throughout a student’s journey at CMCB.
Another example of CMCB’s innovation and impact is the Youth Employment Program, which provides young people ages 14 and up with hands-on, part-time experience in arts administration within a nonprofit music education setting. Over 70 students participate each year in this nationally recognized program that supports workforce development, college and career mentorship, and youth economic empowerment. The program is strengthened by partnerships with organizations across the city of Boston, including strategic program partnerships with the Boston Bloomberg Arts Internship, Franklin Cummings Tech, and The Clubhouse Network, as well as employment partnerships with several local colleges and nonprofits.
CMCB is also expanding to a new 13,000-square-foot home in Nubian Square. This state-of-the-art facility, featuring ample private-lesson space, a recital hall, a recording studio, administrative offices, and generous gathering spaces, demonstrates CMCB’s commitment to our communities. With more than a century of service, CMCB continues to advance a vision that welcomes all voices and supports students, families, schools, and communities across Greater Boston.
The CMCB Corporation, consisting of 83 members of the larger CMCB community, elects and supports a 20-member board of directors led by President Dr. George Blount. The CEO reports to the board of directors and has five direct reports: the Chief Financial & Operating Officer, Chief Programming Officer, Chief Advancement Officer, Executive Assistant, and Human Resources Manager. The budgeted revenue for the fiscal year ending June 30, 2027, is $4.6 million, including 64% from contributions, 26% from earned revenue sources, and 10% from other revenue sources.
Sources: cmcb.org; propublica.org
Community
One of the nation’s most historic metropolitan areas, Boston is a vibrant, diverse, and deeply rooted city known for its rich history, distinctive neighborhoods, world-class educational and cultural institutions, and strong civic identity. Founded in 1630 and incorporated as a city in 1822, Boston is home to more than 670,000 residents and serves as the center of a metropolitan region of more than five million people. Boston is especially distinguished by its neighborhoods, each contributing to the city’s character, community life, and sense of place. CMCB’s new headquarters, opening in 2027, will be located in Boston’s historic Nubian Square in Roxbury, a culturally rich neighborhood shaped by African, Latin, and other diverse heritages. It is also in close proximity to the Boston Public Schools and other community groups we serve. In addition to their headquarters, CMCB’s activities take place at over 30 partner sites throughout Greater Boston and also at CMCB’s current location.
Boston’s identity is shaped by both its historic legacy and its contemporary role as a center for arts, culture, education, innovation, and public life. The city’s history includes major stories from the American Revolution, the nation’s first public school, historic districts, landmarks, archives, and public spaces that connect residents and visitors to Boston’s past. Today, Boston’s cultural landscape includes major arts institutions and venues such as the Museum of Fine Arts, Boston; the Institute of Contemporary Art/Boston; the Boston Symphony Orchestra; and the historic Strand Theatre, alongside neighborhood-based arts organizations, festivals, public art, and community cultural programming. The City of Boston also supports equitable access to arts and culture through grants, cultural planning, public art, neighborhood activations, and investments in arts spaces. Together, these assets make Boston both a historic American city and a dynamic contemporary community for residents, families, students, artists, businesses, and visitors.
Sources: boston.gov; artsboston.org; census.gov
Position Summary
The Chief Executive Officer (CEO) will be a visionary leader responsible for Community Music Center of Boston (CMCB)’s strategic direction, public visibility, and managerial operations. Joining CMCB following a successful building acquisition and capital campaign, the CEO will lead CMCB at an exciting time of possibility and broadened impact. As CMCB’s primary spokesperson, the CEO will co-develop and execute a new strategic plan that builds on the success of the past and brings CMCB into an even brighter future. The CEO will nurture a unique mix of multi-generational relationships with board, faculty, staff, parents, students, strategic partners, and donors that comprise the core of CMCB’s culture and identity and the essence of their special community. The CEO will exude warmth and energy while leading this vibrant community music education organization through this time of growth and transition. The CEO will embrace joyful, culturally inclusive, and student-centered collaboration with a student body as diverse as the city CMCB calls home. The CEO will guide, advise, and mobilize board members as they embrace their roles as fundraisers, policymakers, and community ambassadors while overseeing staff leadership, operations, and earned and contributed revenue growth.
Roles and Responsibilities
Program Development, Diversity, and Inclusion
• Champion equitable access to arts education and arts-based experiences, and foster an inclusive culture where students, families, faculty, staff, and community partners from all backgrounds can thrive.
• Identify and promote innovative programming that will enable a successful transition from one to two campuses, in the context of CMCB footprint expansion.
• Foster and leverage CMCB’s strong reputation as an extraordinary community music school to sustain current programming and to ensure opportunities for growth come to fruition.
• Create and sustain mutually supportive relationships with leadership at Boston Public Schools and similar institutions.
• Develop new partnership agreements with schools and community organizations to advance CMCB’s outreach activities throughout the Greater Boston Area.
• Ensure high-quality programs, services, and facilities that are accessible, welcoming, and responsive to the needs of the communities CMCB supports.
• Collaborate with CMCB’s staff and faculty to develop innovative ways to grow earned revenue.
• Continue to develop existing programming initiatives in such diverse areas as student-centered music education, Youth Employment, Music Therapy, ensemble programming, contemporary genres, impacts of AI on music education, and other areas.
• Expand and build on CMCB’s national presence and reputation as an innovator and best-practitioner.
• Embrace other program development, diversity, and inclusion responsibilities as needed.Contributed Revenue Enhancement
• Provide organizational leadership in all aspects of fundraising and development by establishing personal relationships with key funders and donors to support CMCB’s strategic and capitalization goals.
• Identify and maintain strong relationships with key community partners to continue to diversify and expand the organization’s individual, foundation, corporate, and government donor base.
• Broaden CMCB’s public image and increase brand awareness for the organization, clearly articulating the mission, vision, programs, and impacts of CMCB.
• Define contributed revenue opportunities with board and development staff in annual and long-term fundraising plans.
• Cultivate existing donors for ongoing support while seeking new prospects to ensure a robust and diversified funding base.
• Embrace other contributed revenue enhancement responsibilities as needed.Stakeholder Cultivation and Community Engagement
• Work with the board and other stakeholders to develop a new strategic vision and plan, enabling CMCB to successfully manage its integration into the Roxbury community and its transition to a multi-campus footprint.
• Listen carefully, speak persuasively, and anticipate concerns of parents, students, faculty, staff, board members, external partners, donors, and the public.
• Foster an inclusive workplace that attracts, develops, and retains talented faculty and staff from a broad range of backgrounds, experiences, and perspectives.
• Guide board prospect identification, cultivation, and recruitment by utilizing participation on board committees that develop future board members and leaders.
• Mobilize the talents, connections, and resources of the board to stimulate their continued active involvement.
• Embrace other stakeholder cultivation and community engagement responsibilities as needed.Financial Acumen and Organizational Management
• Lead all aspects of the CMCB’s financial management and business operations, including budgeting, forecasting, performance monitoring, risk management, and resource allocation.
• Ensure the long-term financial sustainability of CMCB while balancing mission impact, earned and contributed revenue goals, and strategic investments in growth.
• Translate strategic priorities into operational and financial plans, using data and performance metrics to drive decision-making, assess organizational effectiveness, and ensure accountability for results.
• Oversee, direct, develop, and manage CMCB’s staff and faculty to perpetuate the organizational culture of trust, cooperation, and collaboration.
• Supervise and integrate all aspects of CMCB, including faculty, administrative staff, facilities, and technology.
• Guide marketing, branding, and public relations programs that highlight CMCB’s impacts and reputation.
• Spearhead innovation and creativity to allow CMCB to continue to flourish.
• Lead day-to-day operations to ensure that faculty, staff, students, and parents have a memorable experience that leaves a legacy on their future growth and personal development.
• Empower and build camaraderie among senior management to recognize and leverage individual strengths that contribute to organizational success.
• Embrace other financial acumen and organizational management responsibilities as needed.Traits and Characteristics
The Chief Executive Officer will be a resourceful and engaging leader who is energized by practical results, effective action, and making the most of time, talent, energy, and resources. Highly interactive and people-oriented, they will bring a visible, relationship-centered leadership style that supports frequent communication, meaningful engagement, and strong rapport with a wide range of individuals. The CEO will be versatile and receptive, adapting easily to different situations while welcoming new ideas, methods, and opportunities. With a harmonious approach grounded in experience, perspective, and balance, they will lead with sound judgment and an altruistic commitment to creating benefits for others.
Other key competencies include:
• Leadership and Diplomacy – The ability to inspire, build trust, and create a sense of purpose and direction while tactfully handling challenging and sensitive issues.
• Interpersonal Skills – The commitment to building rapport while effectively communicating with diverse stakeholders nationally and internationally.
• Personal Accountability – The capacity to self-evaluate by utilizing and analyzing feedback and data and taking responsibility for actions and results.
• Customer Focused – The flexibility to anticipate and exceed student and stakeholder needs or expectations.
• Decision Making – The capability to analyze all aspects of a situation to make consistently sound and timely decisions.
• Planning and Organizing – The ingenuity to collaboratively establish strategic goals while assessing risks, organizing activities, people, and operational priorities to meet mutually-agreed-upon expectations.Qualifications
A bachelor’s degree is required, a master’s degree preferred, plus a minimum of five to seven years of related senior management experience. Expertise in planning, organizational development, relationship building, and team building in a collegial environment of mutual respect is needed. Executive-level competencies, political savvy, strategic vision, and the ability to lead change are essential, along with the creativity and technical credibility to advance strategic priorities. A successful track record in best practices within the nonprofit, education, or music field and a high level of leadership and fundraising experience are expected. The successful candidate should have a passion for music and music education, as well as enthusiasm for CMCB’s dual mission of excellence and access. They must also be skilled at building partnerships, developing metrics to measure their success, and valuing the neighborhood relationships essential to helping CMCB be welcomed into its new community.
Compensation and Benefits
CMCB provides a competitive and equitable compensation package with an estimated salary in the range of $170,000 to $200,000. Benefits include medical insurance (group health and flexible spending account), paid time off, non-contributory 403(b) retirement plan, long-term disability insurance, and the quality of life that Greater Boston has to offer.
Applications and Inquiries
To submit a cover letter and resume with a summary of demonstrable accomplishments (electronic submissions preferred), please visit https://artsconsulting.com/opensearches/community-music-center-of-boston-seeks-chief-executive-officer/
CMCB provides equal employment opportunities to all employees and applicants for employment without regard to race, color, creed, ancestry, national origin, citizenship, sex or gender (including pregnancy, childbirth, and pregnancy-related conditions), gender identity or expression (including transgender status), sexual orientation, marital status, religion, age, disability, genetic information, service in the military, or any other characteristic protected by applicable federal, state, or local laws and ordinances. Equal employment opportunity applies to all terms and conditions of employment, including hiring, placement, promotion, termination, layoff, recall, transfer, leave of absence, compensation, and training.
- Director of Operations for Conservatory of Music
Full-time, 12-month, Monday through Friday during standard business hours. Additional time may be required.
University of the Pacific’s Conservatory of Music seeks an innovative and broadly minded colleague to advance and professionalize operations in the Conservatory as their Director of Operations. The successful candidate will be versed in and model the connections between performing, music industry, recording, and administrative careers emerging in creative sector industries. In partnership with Pacific faculty and staff colleagues, the successful candidate will help supervise staff and students and oversee all music facilities activities in six spaces on Pacific’s Stockton Campus. To learn more about the Conservatory, visit https://www.pacific.edu/music.
Hiring Range: $70,304 to $82,000 per year. We consider factors such as, but not limited to, scope and responsibilities of the position, candidate’s qualifications, internal equity, as well as market and organizational considerations when extending an offer.
Apply online at https://pacific.peopleadmin.com/postings/32472.
Essential Functions
•Oversee Conservatory concerts and events (150 + per year).
•Supervise a Stage and Technical Director (12 month staff role).
•Lead Weekly Operations Team Meetings.
•Coordinate scheduling for Conservatory performance, rehearsal, and classroom facilities.
•Operate and/or supervise the usage of event-based lighting, sound, recording, and stage equipment supportive of live music and/or recorded/streamed events.
•Supervise, train, assign, and coordinate the work of employees, including staff, students, and student employees.
•Manage daily, weekly, and annual rehearsal and performance logistics across six facilities.
•Recommend the purchase of technical equipment.
•Manage Conservatory inventory and equipment.
•Model precision, calm, and clarity in preparation for and during live performance settings.
•In consultation with Pacific’s Facilities teams, generate invoices and prepare quotes and contracts for the use of Conservatory concert facilities.
•Perform other duties as assigned or requested.
•Collaborate with other campus support units and administrators to ensure efficient operations and act as a liaison to ensure compliance with institutional rules and regulations.
•Be responsible for emergency response plans for the Conservatory; liaison to the University’s Pacific alert team.University of the Pacific recognizes that diversity, equity, and inclusion is foundational to the success of our valued students and employees. We prioritize policy and decision-making that demonstrates awareness of, and responsiveness to, the ways socio-cultural forces related to race, gender, ability, sexuality, socio-economic status, etc. impede or propel students, faculty, and staff.
Minimum Qualifications
- Undergraduate degree in performing arts related field(s), or two (2) years of full-time experience in the same or similar position is equal to one (1) year of completed post high school education coursework.
- Two (2) or more years of experience in an evolving work environment with regularly changing priorities, schedules, or operational demands.
Preferred Qualifications
•Three (3) or more years of increasing experience in venue management field.
•Experience in producing and streaming live performance events and in post-production archival procedures.
•Experience in musical theater and/or opera productions as stage and/or technical director roles.
•Knowledge of standard operating procedures for performing arts spaces, inclusive of theater spaces, concert halls, rehearsal halls, and in academic instruction and event management and the ability to implement and sustain them in academic settings.
•Demonstrated operations ability and success in highly volume performing arts fields.
•Excellent customer service orientation skills.
•Excellent organizational skills, especially in managing event logistics, calling shows, and establishing sustainable and written facilities operations protocols.
•Excellent oral and written communication skills.
•Proven staff and operations management and supervision.
•Demonstrated ability to set goals, manage time and assignments and achieve outcomes.
•Positive attitude, proven ability to work successfully with diverse populations and demonstrated commitment to inclusion, equity, and diversity in all its forms.
•Flexible and effective when experiencing changes in work task, environment, or conditions.
•Experience and sensitivity in working with people of diverse backgrounds and cultures.
•Demonstrated experience in advancing social justice, equity, and inclusion in a university setting.
•Ability to engage and integrate culturally responsive practices and knowledge in their work.Physical Requirements
The physical demands described here are representative but not definitive of those that must be met by an employee to successfully perform the essential functions of this job. Reasonable accommodations may be made to enable individuals with disabilities to perform the essential functions.
Requires extended periods of sitting and repetitive hand/wrist motion while using computer keyboard and phone. Occasional standing, walking, climbing stairs, bending, stooping and reaching. Occasional lifting up to 50 pounds.
Work Environment/Workweek/Travel:
Work is primarily performed in the standard office environment with use of computer and phone, occasionally requires work out of doors or in large auditoria with exposure to warmer or cooler temperatures.
Valid driver’s license required. Incumbent must also be able to meet the University’s fleet rules and be eligible to drive for University business. The University and its insurance carrier reserves the right to exclude applicants based on their driving record.
Background Check Statement
All applicants who receive a conditional offer of employment are required to execute a release and authorization for a background screening.
AB 810 Misconduct Disclosure Requirement: University of the Pacific complies with California Assembly Bill 810, requiring candidates accepting conditional job offers to disclose any final administrative or judicial findings, ongoing proceedings, allegations, resignations under investigation, or appeals related to sexual harassment or misconduct within the past seven years.
Anti-Discrimination/EEO Policy Statement
University of the Pacific is an equal opportunity employer dedicated to workforce diversity across backgrounds, experiences, and viewpoints. Pacific does not unlawfully discriminate in its hiring of faculty and staff, or in the provision of its employment benefits to its faculty and staff on the basis of race, color, religion, national origin, ancestry, age, genetic information, sex/gender, marital status, military and veteran status, sexual orientation, medical condition, pregnancy, gender identity, gender expression, or mental or physical disability, or other legally protected characteristics or combination of such characteristics. While we strive to attract a broad and representative pool of candidates, all hiring decisions are made based on merit, selecting the most qualified individual for each position.
- New Jersey Performing Arts Center seeks President & CEO
Newark, NJ
DHR Global is pleased to lead the search for the next President & Chief Executive Officer of the New Jersey Performing Arts Center (NJPAC), one of the nation’s premier performing arts and cultural institutions. As the centerpiece of Newark’s cultural renaissance and the most diverse performing arts centers in the country, NJPAC presents world-class arts and entertainment, delivers extensive arts education programs, and serves as a catalyst for civic engagement and economic development.
Reporting to the Chair of the Board of Directors, the President & CEO serves as the organization’s chief executive and strategic leader, overseeing all artistic, operational, financial, fundraising, and community engagement activities. This leader will build upon NJPAC’s strong foundation while advancing its mission, strengthening stakeholder relationships, driving revenue growth, and elevating its impact throughout Newark, New Jersey, and beyond.
Key Responsibilities
• Provide visionary leadership and execute a strategic plan that advances NJPAC’s mission and long-term sustainability.
• Partner closely with the Board of Directors to establish organizational priorities and ensure strong governance.
• Lead fundraising efforts, including major gifts, foundation support, corporate partnerships, and government relations.
• Oversee financial performance, budgeting, operations, and organizational resources.
• Champion artistic programming, arts education, community engagement, and social impact initiatives.
• Serve as NJPAC’s primary spokesperson and ambassador with donors, public officials, business leaders, artists, and community stakeholders.
• Lead, inspire, and develop a high-performing executive leadership team and organizational culture.
• Guide the continued growth and visibility of NJPAC as a leading national performing arts institution and community anchor.Ideal Candidate
• Accomplished executive leadership experience in a complex nonprofit, cultural, civic, educational, or mission-driven organization.
• Demonstrated success leading multifaceted organizations with significant operational and financial responsibilities.
• Proven fundraising and external relations experience, including cultivating major donors and strategic partnerships.
• Strong financial and business acumen with a track record of driving growth and organizational sustainability.
• Exceptional communication, relationship-building, and stakeholder engagement skills.
• Collaborative, inclusive leadership style with the ability to inspire diverse constituencies.
• Passion for the performing arts, arts education, community development, and civic impact.About the Organization
The New Jersey Performing Arts Center is one of the largest and most influential performing arts centers in the United States. Since opening in 1997, NJPAC has welcomed millions of patrons through world-class performances spanning music, dance, theater, comedy, and family programming. The organization is nationally recognized for its commitment to arts education, community engagement, and diversity, serving as both a cultural destination and a catalyst for economic development in Newark. NJPAC employs approximately 125 full-time staff members and supports a broad network of volunteers, members, donors, artists, and community partners. The organization is also advancing an ambitious campus redevelopment initiative designed to further expand its educational, artistic, and community impact.
Compensation
NJPAC offers a competitive executive compensation package commensurate with experience, including estimated base salary in mid $700,000 range, benefits, and incentive opportunities.
To Apply
Please direct all inquiries, nominations, and applications to the DHR Global team, led by James Abruzzo and Michele Counter, at NJPACPresidentCEO@dhrglobal.com.
- The Women Inspired By Legally Blonde
“I had always worn pink and been really girly. I stood out in every room I was in. When I watched Legally Blonde, I was like, ‘Oh my god, I can be taken seriously.’” – The Guardian (UK)
- At The Proms, A Return To The Family Secrets And Revelations Of Festen
“Given the complexity of the music, the central role of the voices and the challenging subject matter of the opera, how has it been to re-immerse in that sound world and those themes? Has [Mark-Anthony Turnage] learned anything new during the process of writing the orchestral suite?” – Bachtrack
- The Schomburg Center Turns A Century Old
“Growing up in Puerto Rico in the late 19th century, Arturo Alfonso Schomburg was told by his teacher that Black people had no significant history or accomplishments.” Just how wrong was that teacher? Very. – The Guardian (UK)
- Transgender Teen Drops Out Of Irish Dance Competition After Florida AG Threatens Legal Action
The unnamed 17-year-old, who’s been competing in girls’ youth divisions for several years, was enrolled as a contestant in last week’s North American Irish Dance Championships in Orlando. She withdrew after Florida Attorney General James Uthmeier threatened to pursue the competition’s governing bodies for violating state law. – Orlando Sentinel
- Anish Kapoor And The Meaning Of The Void
“When Kapoor first made one of these works in Prussian blue, he was stunned to find ‘it wasn’t an empty space painted blue,’ he said. ‘It was full of blueness or, as I say, darkness. What was empty became full. How can that be?’” – ArtNet
- LGBTQIA Film Representation Hit A Depressing Low In 2025
Mid-budget and horror films had some decent rep, but trans characters? There were none in 2025 films, says a study, and all other queer rep continued to decline. – The Guardian (UK)
- The Bayeux Tapestry Arrives In Britain, Under Armed Guard, For The First Time In A While
Where “a while” equals 900 years. – BBC
- What Society Is Losing As It Becomes Postliterate
“The literate era will prove to be a brief interlude between the oral and digital ages. Reading shaped the modern mind. Its disappearance will reshape it. Cognitive scientists are starting to understand what these changes might look like.” – The Atlantic
- A Lot Of True Believers Sponsored ‘The Chosen’ Before It Became A Money-Printing Juggernaut
But they seem to have been left behind. “A shareholder lawsuit, quietly filed this past week against 5&2 Studios in the Delaware Court of Chancery, alleges that some of those early acolytes were prevented from sharing in the miracle.” – Puck