Hypocrisy Rules as ASO Fails Own Standards

John T. Bennett, Marietta Daily Journal, August 26, 2012

[Editor’s Note: The letter below is in response to this story.]

The Atlanta Symphony Orchestra’s awful racial double standards should be ringing in our ears.

Only one out of 100 members of the Atlanta Symphony Orchestra is black. Yet, ASO president Stanley Romanstein had the cynicism to claim, “We want the stages of the Atlanta Symphony, whether here, Verizon (Wireless Amphitheatre), or Chastain Park to reflect the diversity of Atlanta.” However, the stages of ASO are racially homogenous. I can’t think of a single workforce I’ve seen in the city of Atlanta that is as non-diverse as the ASO.

If the ASO had done to adult employees what they did to the Walton and Lassiter chorus members, ASO would be facing a lawsuit.

In response to the furor over their decision not to invite the largely white choruses back, Melissa A.E. Sanders, ASO’s senior director of communications, had this cacophony of illogical duplicity to share: “It is against our policy to share the race and/or ethnicity of our musicians, so I am unable to share that information.”

It’s not ASO’s policy to share the race of their musicians, but it is their policy to publicly chastise mostly-white choral groups for being non-diverse and to make dishonest, self-righteous pronouncements about how much they “want the stages of the Atlanta Symphony . . . to reflect the diversity of Atlanta”—a goal which the ASO is manifestly not serious about reaching for their own musicians or staff.

While it is not their policy to diversify their own staff, it is ASO policy to maintain a website where interested members of the public can see for themselves exactly what type of diversity is practiced by the ASO, which is none. According to my count, which anyone may verify, the ASO has only one black member. This count includes four conductors, 15 first violinists, 3 section violinists, 12 second violinists, 10 viola players, 10 cellists, 8 bassists, 14 woodwind players, 16 brass, five percussionists and three keyboard players. Also, one out of the three ASO librarians is black.

The ASO’s insincerity and elitism here are absolutely shocking. And this is not just a fluke. Walton and Lassiter students will face the same racial politics and racial favoritism when they apply to college. Elite institutions in America seem to exist by the motto “Enforced diversity for thee, but not for me.” This astonishing double standard applies at all levels of our society, from school admissions, to the ASO, to hiring for government jobs and contractor positions.

Not only do racial preferences cause reverse discrimination, but groups throughout society are casually condemned for not being diverse enough. Whether it’s a choral group, a whole school, a Tea Party rally or a whole political party, without fail liberals conflate non-diversity with discrimination against minorities. In fact, there is a whole area of the law called “disparate impact” liability premised on the notion that an organization is blameworthy for not being diverse. The chorus members received their first taste of disparate impact logic.

If anyone wants to know why the choral groups are non-diverse, it helps to understand why the symphony itself is non-diverse: 87 percent of musicians in U.S. symphonies are white, according to a 2008 study by the League of American Orchestras.

It’s not a problem that the ASO is non-diverse. It’s a problem that they’re managed by hypocrites who criticize others for not meeting a standard that they themselves blatantly fail to meet.

 

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  • Church_of_Jed

    “President of non-diverse symphony rejects choirs for not being sufficiently diverse,” but the J-words Arts Community rally behind him and tell him to hang tough because he’s untouchable as long he has their support for he’s criticizing the “too White” public schools that are full of racist who fled the integration of Atlanta’s neighborhoods and aren’t doing enough to help their White Gentile daughters date black bucks and make mulatto babies.

    • anarchyst

      Let’s face it.  The mantra of the “tribe” is “diversity and multiculturalism for thee, but not for me”.
      The “tribe’s” double standard needs to be exposed for what it is–white genocide . . .

  • anarchyst

    Let’s face it. The mantra of the “tribe” is “diversity and multiculturalism for thee, but not for me”.
    The “tribe’s” double standard needs to be exposed for what it is–white genocide . . .

  • anmpr1

    I wonder where Stan learned his multicuturalism. Let’s see…according to his
    bio:

    He has also lived in Cincinnati, Jerusalem, New York, Florence, Baltimore, Romania, and spent time … at Hebrew University in Jerusalem, and later in Japan.

    Hard to tell, but I’m guessing he didn’t learn it either in Japan or Romania.

  • ncpride

    Oh, I’d say if there were any black musicians qualified, they would kick Whitey out faster than you can blink. The fact of the matter is, not many blacks are interested in classical music, much less take the time and commitment it requires to master the instrument of choice. In other words, you can’t squeeze blood from a turnip.

    •  They dislike classical music so much that shopping centers blast it to keep them out.  This gives me ideas…  *Wink*

      A bit off topic but speaking of the fine things in life I was watching a news segment about polo which is a sport that rich white men need to fund.  This Argentinian polo player named Nacho Figueras decided to mentor a black polo player.  I was rather scandalized by this and chanting “keep the hood rats out of polo!  Keep polo white!”

      But I realize like the symphony this black polo player is just an outlier.

  • Classic case of “people who live in glass houses shouldn’t throw stones.”

  • crystal evans

    I thought a choir was judged by how good their sounded, not by how many minorities they have as members? They have only one black member and they seem to be satisfied  with that. But why are they not satisfied by an all white choir?

    • rightrightright

      There is a difference.   It takes talent and years of disciplined practice to become an orchestral player.  The thinking seems to be that, on the other hand, anybody can open their mouths and sing.  Therefore choral music must become politically corrected to include those without ability although an orchestra’s make-up may remain as it has always been, or there would be no orchestra at all!  

    • You would think… but even as “all-white choirs” in White Choir Heaven (Minnesota) now mandate ‘diveristy’ in their learning third rate arrangements of African or Maori songs, ban overt Christian pieces on Public School Choir Concerts, are called ‘intolerant’ by the non-Western, non-Christian among us (see ROmanstein’s actions, above) we  Whites in MN, are losing the sense of culture that is intimately tied to Western Civilization, the Christian Church, and the great wealth of music that these two have given the entire world, these last 1500 years. 

      I can tell you, after turning down numerous offers for season subscriptions, that Orff’s paen to Paganism (“Carving a banana”) is heard/done by the MN. Orchestra/audiences, FAR more often than Mahler’s Second or Eighth, and NO ONE has EVER done, say-  Elgar’s “Dream of Gerontius” here, in the twenty-plus years I have lived in Scandinaviastan. But MPR continues to broadcast the Proms from England, and doesn’t seem to get the ‘connect’ with WHITE CULTURE…..?

      Why? Because increasingly dumbed-down audiences, along with ‘inner city youfs’ being mandated to come to “Young People’s Concerts’ (when their raucous behaviour, foul mouths, and utter bestial behaviour -I’ve been to a number of these events, and have watched the difference between White kids and the Blacks) have mandated by the Boards of the SPCO, and the MNOrch,  that the music programmed,  is now like some sort of giant ‘iPod’ ‘Classical Greatest Hits’ – all ten of ’em- rather than a society/cultural communing with the great minds of the past; and G-d forbid, we should do a work that actually BELIEVES in the Christian Gospel, redemption, and the resurrection of the Dead! Meanwhile,  MN. Opera is run by two sodomites who are planning to do the perverse work ‘Doubt,’ and continue to hire only gay men and fag hags, rather than the real singers of vocal merit, many of whom are located in their own back yard- do you know how TIRED I am, in seeing non-Whites on stage, when we have great singers in town, who could do the works FAR BETTER? I have first hand corroboration of that, as well. 

      In a land surfeited with musical riches, the ELCA, the TEC, and the other ‘churches’ in MN. are fast approaching Racial/Sexual Armageddon; and because the Incarnational nature of Christendom is such, that any reminder of their ‘inclusivity’ of women/gays/trannies ‘offends’ these types, the Churches themselves are abandoning their musical/cultural/racial riches, as fast as their nancy-boy feet can carry them. I feel like the Japanese character in “Pacific overtures”- when he says, “I thought it was the end of the world…. and it was.”

      It’s as if the entire world now is repeating Susan Sontag or Noel Ignatiev’s anti-White screeds as if it were the new American ‘Hail Mary.’ And I shudder to think what the future of art will be like, when I think of Lady Gaga……

  • IKantunderstand

    The solution for the ASO is simplicity itself. Become a percussionist/steel band/rap entity. Fire ALL the Whites, especially the ones complaining of a lack of diversity. After this move, you will find yourself 100% diversified. And, seriously, who isn’t moved by Beethoven’s 9th symphony done by a Jamaican steel band with the 4th movement done in German rap?  Alle menschen werden brothas! 

  • Oil Can Harry

    Mr. Romanstein is about to release a public statement condemning the Israelis for deporting those black Africans last month. 

    He’ll be doing that shortly after the Chicago Cubs win five consecutive World Series.

    • “One law for me, another for Thee.” I believe that sums up the double standard coming from Mr. Bergwitzstein…. as usual.

  • rightrightright

    http://www.classical.net/news/2008/03/bbc-proms-not-inclusive-enough.php
    Absolutely agree.   We got this kind of attack on White culture first of all in 2008.   If Blacks and Browns don’t wish to attend concerts of European music, either as audience or participants, that is up to them.  They are the ones with the problem, yet we have to carry the penalty, in this instance the penalty being dumbed down music.

  • Shawn_thefemale

    Apparently, the musicians within the ASO are not exactly, shall we say, on the same page as their president. After the ‘firings’ of the two white school choruses to make way for two black school choruses, the symphony members were irate. They announced that in their free time they could play for whoever they wanted, and thus they would give concerts, free of charge,  for both the white schools that were ‘fired’ and anywhere else they wanted.

    Meanwhile, the symphony is operating deeply in the red.  The move to be ‘inclusive of all minorities and bring in a more diverse crowd’ is simply a flailing attempt to bring in new sources of money. It makes absolutely no sense whatsoever for so many reasons: First, people who aren’t coming aren’t interested or they would already be coming.  Second, the group they’re now pandering to cannot afford to buy symphony tickets anyway. Third, just like with Nascar and every other organization that tries to diversify its way into the black (literally and figuratively) it only succeeds in driving away their base of support.

    It has always baffled me why organizations are more concerned about WHO their money comes from as an audience rather than THAT it comes in.

  • Pandemonium

    The ASO should find a new home outside of Atlanta where most of their supporters live. 

    But first they should find a replacement for Mr. Romanstein, preferably someone with more sense.

  • Brother- it needs to go further than that. Classical Music is WHITE MAN’S MUSIC. We should start subsidizing our OWN culture, our OWN White musicians, and attend recitals, concerts where ONLY WHITE ARTISTS whose heritage is from EUROPE, can best perform OUR PEOPLE’S MUSIC. Trying to make a non-White a classical musician, is like trying to make a jackass a thoroughbred.