I'm a cellist who works on Broadway, I've been working there for more than two decades, and hiring practices there for musicians these days has become almost exclusively based on one's race and gender, followed closely by one's public declarations of only the most liberal political identity.
I'm a cellist who works on Broadway, I've been working there for more than two decades, and hiring practices there for musicians these days has become almost exclusively based on one's race and gender, followed closely by one's public declarations of only the most liberal political identity.
In 2015, she became the target of _massive_ outrage because though she was a white woman, she identified as Black—to the extent that she became president of the NAACP chapter in Spokane, Washington.
I personally didn't see what the issue was. I mean, if you accept fluidity around gender identification, why can't you accept fluidity around race identification? In fact, there is _more_ justification for fluidity around racial identity since most biologists agree there is no scientific basis for race because race is not grounded in genetics.
I argued this point _ceaselessly_ with my progressive friends. And got shot down every time.
"WHY is it different?" I'd ask.
And they'd never address the point. They'd say stuff like "OBVIOUSLY, it IS." And get very huffy with me. 😀
There is no logical answer to any of your (quite reasonable) questions, because logic and reason have nothing to do with their tirades. Like an overtired three year old holding a butcher knife, they are exceedingly dangerous and completely out of control.
The wife of a family friend is a Lighting Designer on Broadway (and similar places). Another acquaintance is pretty senior in IATSE #1. They both work hard, and yes, I am impressed. And I used to go to Broadway occasionally and buy "house" seats.
But at a recent holiday gathering, I related that I have much less interest in spending $100+/ticket, because a) NYC has become a much less hospitable place, and b) I am tired of having leftist/woke politics continually shoved in my face.
New York City is ground zero for idiocy. A city of precocious fools kept together by more sensible working men and women who are consigned to the outer boroughs and suburbs.
Hi Peter, and thank you for the view point. Question: when you started on Broadway, were the hiring practices more technical or were there covert guidelines?
While what you state is certainly true and infuriurating, I suspect that there has always been some practices. It is never about talent alone; am I incorect in thinking that way?
Being hired as a freelance musician had always been a combination of talent and ability in a range of genres, ability to sight read well, and the ability to work well with others which is usually expressed as the "reputation" one gets from doing their work. You do some work, you build your reputation, and then you are hired as a result of your reputation. There is simply not enough time or money for auditions for every single gig, and hiring by reputation solves that problem while at the same time engendering a sense of having a stake in the community and the local union. Certainly that system also could and did occasionally have results where not the absolute best players were hired, whether because of a contractor wanting to hire a friend, or a composer insisting on a particular musician, etc, but at no time were those considerations ever (in my experience) about race and gender and political affiliations. These days, the hiring is based exclusively on race and gender and political affiliations and the random musicians being brought in have no stake in the community or the union, not to mention that they mostly can't play very well. It's become the same across Broadway, from finding producers, to the material being presented, to the casting, to my still being asked to test and mask at work even though it's 2023 and the pandemic is over.
My son is recent graduate from the Manhattan School of Music in trumpet performance. He is good. I have tried to explain the DEI and the rising influence of this ideology in art and music performance and how this might influence his opportunities, but he is not listening.
I know several professional trumpet players in NYC. Good guys. The most important thing is still professionalism - be dependable and prepared, and take direction - but I wonder how long that will stay true.
The best pen name of all? William Shakespeare who was actually Edward de Vere, Earl Oxenford. Just dip a toe into the subject and you will be convinced. A fascinating story!
I'm a cellist who works on Broadway, I've been working there for more than two decades, and hiring practices there for musicians these days has become almost exclusively based on one's race and gender, followed closely by one's public declarations of only the most liberal political identity.
This makes me sad. How is attendance?
Serious question...under their rules anyone can "identify" as any gender why can't anyone "identify" as any race?
It will probably come to that. There was a publication before the Golden Globes that called Michelle Yeoh an "actress who identifies as Asian".
Remember Rachel Dolziel?
In 2015, she became the target of _massive_ outrage because though she was a white woman, she identified as Black—to the extent that she became president of the NAACP chapter in Spokane, Washington.
I personally didn't see what the issue was. I mean, if you accept fluidity around gender identification, why can't you accept fluidity around race identification? In fact, there is _more_ justification for fluidity around racial identity since most biologists agree there is no scientific basis for race because race is not grounded in genetics.
I argued this point _ceaselessly_ with my progressive friends. And got shot down every time.
"WHY is it different?" I'd ask.
And they'd never address the point. They'd say stuff like "OBVIOUSLY, it IS." And get very huffy with me. 😀
That reply, OBVIOUSLY, is OBNOXIOUS!
There is no logical answer to any of your (quite reasonable) questions, because logic and reason have nothing to do with their tirades. Like an overtired three year old holding a butcher knife, they are exceedingly dangerous and completely out of control.
That's coming...
The wife of a family friend is a Lighting Designer on Broadway (and similar places). Another acquaintance is pretty senior in IATSE #1. They both work hard, and yes, I am impressed. And I used to go to Broadway occasionally and buy "house" seats.
But at a recent holiday gathering, I related that I have much less interest in spending $100+/ticket, because a) NYC has become a much less hospitable place, and b) I am tired of having leftist/woke politics continually shoved in my face.
I read Chernow's "Hamilton". It was excellent.
New York City is ground zero for idiocy. A city of precocious fools kept together by more sensible working men and women who are consigned to the outer boroughs and suburbs.
Nothing more.
Liberal?
There is nothing liberal about tyranny.
Hi Peter, and thank you for the view point. Question: when you started on Broadway, were the hiring practices more technical or were there covert guidelines?
While what you state is certainly true and infuriurating, I suspect that there has always been some practices. It is never about talent alone; am I incorect in thinking that way?
Being hired as a freelance musician had always been a combination of talent and ability in a range of genres, ability to sight read well, and the ability to work well with others which is usually expressed as the "reputation" one gets from doing their work. You do some work, you build your reputation, and then you are hired as a result of your reputation. There is simply not enough time or money for auditions for every single gig, and hiring by reputation solves that problem while at the same time engendering a sense of having a stake in the community and the local union. Certainly that system also could and did occasionally have results where not the absolute best players were hired, whether because of a contractor wanting to hire a friend, or a composer insisting on a particular musician, etc, but at no time were those considerations ever (in my experience) about race and gender and political affiliations. These days, the hiring is based exclusively on race and gender and political affiliations and the random musicians being brought in have no stake in the community or the union, not to mention that they mostly can't play very well. It's become the same across Broadway, from finding producers, to the material being presented, to the casting, to my still being asked to test and mask at work even though it's 2023 and the pandemic is over.
My son is recent graduate from the Manhattan School of Music in trumpet performance. He is good. I have tried to explain the DEI and the rising influence of this ideology in art and music performance and how this might influence his opportunities, but he is not listening.
I know several professional trumpet players in NYC. Good guys. The most important thing is still professionalism - be dependable and prepared, and take direction - but I wonder how long that will stay true.
You should write an article about this. It would be a very interesting read.
It might be career limiting, though.
That's why God made pen names.
The best pen name of all? William Shakespeare who was actually Edward de Vere, Earl Oxenford. Just dip a toe into the subject and you will be convinced. A fascinating story!
Yes indeed! Peter, please do consider this.
Thank you. I live in the UK and hear from friends something similar is happening here.
Peter, thank you very much for such a thorough and clear reply. I do feel your frustration, and thank you for taking the time to explain.
Like the Canadian shop teacher? I still think he's trolling that school.