Good Freaking Grief, Racial Obsession Syndrome on steroids
I learned something new today.
For decades leading symphony orchestras have used “blind auditions” to hire musicians. That is, the musicians are not seen at all, only their music is heard. That way, implicit or explicit racial, ethnic, or gender bias cannot enter into the hiring decision, only the quality of the music. It is as close to a pure meritocracy as I can imagine.
So, this is a great thing right, judging musicians STRICTLY on musical talent? Uh, NO!
Not according to Anthony Tommasini, the chief classical music critic at the NY Times. Tommasini writes that the lack of orchestral diversity resulting from this meritocracy needs to change, and musicians should be chosen based on race, gender, and other factors.
Tommasini starts by noting the history of blind auditions in his column, To Make Orchestras More Diverse, End Blind Auditions:
During the tumultuous summer of 1969, two Black musicians accused the New York Philharmonic of discrimination. Earl Madison, a cellist, and J. Arthur Davis, a bassist, said they had been rejected for positions because of their race.
The city’s Commission on Human Rights decided against the musicians, but found that aspects of the orchestra’s hiring system, especially regarding substitute and extra players, functioned as an old boys’ network and were discriminatory. The ruling helped prod American orchestras, finally, to try and deal with the biases that had kept them overwhelmingly white and male. The Philharmonic, and many other ensembles, began to hold auditions behind a screen, so that factors like race and gender wouldn’t influence strictly musical appraisals.
Blind auditions, as they became known, proved transformative.
But, alas, merit is, well RACIST and sexist, and likely some other “ist”, so, it has to go to appease the color obsessed Go read the whole thing, and remember kids it is no longer possible to parody the left.