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from TheNewYorkTenor.com
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| Hi friends, The past few days and weeks of dismal news has sparked me to produce this commentary that may be on the contemptuous side. I'm sorry. I couldn't argue myself out of this stance. Please feel free to comment back to me. The Reason Why We Need Nader |
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Tribute
to Rachel Corrie "Peace
activist Rachel Corrie, 23, is a student at the Evergreen State
College in Olympia, Washington. She died Sunday, March 16, 2003, in
the southern Gaza city of Rafah while trying to stop an Israeli
bulldozer from tearing down a Palestinian physician's home. She fell
in front of the machine, which ran over her and then backed up,
witnesses said. Israeli military spokesman Captain Jacob Dallal called
her death an accident. State Department spokesman Lou Fintor said the
U.S. government had asked Israeli officials for a full investigation source."
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From:
Tenorsean@danmahony.com Friends, Sounds like we need them to have a white house press corp union - maybe we'd get some pointed
questions: "Mr. President, we haven't seen any actual evidence of bin laden's
with saddam. How do you expect the american people to back you on this?" "Hey
kid, you're a week late on that. We're not doing bin laden this week." That's sarcasm. Hey, I shouldn't talk. You don't see me at the barricades.
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From:
Tenorsean@danmahony.com
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Date sent: Mon, 03 Mar 2003 18:10:56 -0500 |
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THE BROADWAY MUSIC STRIKE
Victory for Live Music! "The tentative settlement will allow for a 10 year commitment for live music on Broadway source."
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From: Tenorsean@danmahony.com
Date sent: Sun, 9 Mar 2003 01:29:06 EST
Subject: Re: Strike
The strike occurred on Friday night because the actors and stagehands stuck with the musicians. The producers had been ready to go on with "virtual orchestras." There were no shows today, Saturday, for the matinee and the evening
show times. Instead there was picketing.
At some point today, the producers came back and changed their offer from 14 (as the largest minimum) to 15. Currently there are some theatres that have a 24-musician minimum and there are others that have as little as 13. And there are ways that producers can ask for exceptions from the minimum in a certain theatre, and they are granted in some cases.
In any case, the musicians feel that the producers will come back with
another offer, because after the musicians' rejection of 15, the producers
should make the next offer. I'll try to keep you apprised.
Here's a great picketline anecdote: A couple from Utah talked to the
picketers at Les Miserable and explained that they had come all this way and
that this was his favorite show and this was his birthday, etc. They were
emphatically disapointed. Then, since a good number of the cast was on the
picket line, they performed the finale of the show for the couple (and I'm
sure a number of other dissapointees who happened to be within earshot). I
saw the show recently, and I remember the powerful finale. It must have been
quite the event of the afternoon on the sidewalks of New York!
It reminds me of the time (August 1986) that the show I was doing closed
after the fourth show. The cast of Rags, to try to prove to the producers
that the show would succeed in spite of bad reviews, invited the audience to
meet us immediately after the show and march down Broadway past the Tickets booth, through the center of Times Square. About one thousand people joined
us! It too was quite an emotional spontaneous coming together of people, especially since one of the characters was Uncle Sam on stilts, the
real high ones!
As to the link between the striking musicians-actors-stagehands and the Iraqi
war, as each of us can plainly see as our expenses go up, capital, that is,
the invested million, is getting more and more desperate for it's percieved
share of the pie. I mean, after all, "We have to keep all three jaguars, the
SUV, the RV, and all three summer homes, even the one in Spain. I couldn't
bear giving even one up, Mumsy." In other words, as the economy slows, as
much by it's own 35-year cycle (1929 was the low and 1966 was the high, at
least for American wages), as by the powerful and unanticipated effect that
the 9-11 attack had on the world's ecocomy, the invested dollar still wants
it's 50 or 200 percent profit. And whether their investments are in Broadway
shows or Latin American fruit or Brazilian coffee, every factory manager and
every money manager is competing for the same investment dollar. And that
expresses itself as much by the reduction of sweatshop wages from 55 cents to 40 cents per hour when they can, by layoffs in America, by the seventh
largest company in America, Enron, going bankrupt, and by reducing the
Broadway show's "nut," as they call it, the cost of running the show.
As the economic tide turns, those investors are having as hard a time as we
are with making do on less, so they are getting more aggressive in their
business negotiations. Me, when I'm threatened with income reduction, I can
move to New Jersey, or start teaching, or play in bars everynight, or give up
my dreams of retiring comfortably at 65, or can adjust to not being able to
send my teenager to college, or whatever. My point is, I have options. But
they, the big investor, have lifestyles to keep up. "Come on, I can't
dissappoint the Vanderbuilts by not having a summer party announcing their
springtime return from Cannes!"
The point is that if you can understand the investor who has $10 million or $50 million, then think about the investors who have 100, 200, or 300 BILLION.
They too, don't want to give up their 10th jaguar or their 3rd yacht, but
instead they are thinking way ahead to the time when oil in this hemisphere
is running out, and the world is dependent on the Iraq-Saudi peninsula. And
as China emerges as a growing consumer of oil, western capitalists are
uncomfortable that they will get no piece of that. But I think the thing that
really scares them is that they will not be one of the players. There will be
Saudi and Iraqi moguls making deals with Inner Circle Chinese industrialists
(c'mon, I have to poke fun at the inner circle-ism of communism. After all,
I'm American, we love democracy and hate dictatorships. Even I, as a child,
thought that Russia was physically grey! Creeping socialism and all that.)
But back to the western moguls not being comfortable with the growing power of Saudi and Iraqi moguls (each of whom, by the way, control an estimated 30
percent of the world's oil), and the soon-to-be Chinese moguls; after all, who knows how powerful
six billion consumers can make them.
That is the big play being enacted. And just like the psychological model
that says it's better to talk it all out so that you aren't compelled (unconsciously) to act it out, the big guys would be better off if they
talked it all out. And that's why I suggest a debate between George and
Saddam. I know that George is not comfortable thinking on his feet, but he
can have Cheney and his whole staff in his ear, and I know that Saddam has
his "dictator-isms" and an entirely different way of thinking, culturally,
(you simply MUST read the Rather-Hussein interview), but he is willing to
talk. Such an event would be important to world opinion, I think, especially
because those in America who think he's the next Hitler will not expect him
to be able to hold a coherent conversation that doesn't expose his maniacal
tendencies.
But where does this leave us? Simply put, each of us needs to talk to whomever will listen, and we should listen whenever being talked to. (Some of us are not good at listening, but we need to learn.) But back to action, read and listen (check out WBAI.org) from sources other than network talking heads who are the mouthpieces of trillionaire corporations.
Earlier I spoke of the large capitalists' desperation. But remember our
desperation. We don't want them to keep cutting our wages and tax us (where's the $100 billion for the war gonna' come from?), and take away our hard fought
social programs. Do we? And we don't want such testosterone-driven decisions as threatening the use of nuclear weapons to
actually come to pass.
Let's hope we can speak again.
Sean
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From:
Tenorsean@danmahony.com
Date sent: Sat, 1 Mar 2003 14:29:55 EST
Subject: Sean in La Traviata
Dear Friends,
I will be performing the role of Gaston in a performance of:
Excerpts from Verdi's La Traviata
Sunday, March 9, 2003, 3 P.M.
Music Director/Conductor John Minkoff
Sharp Theater, Ramapo College, New Jersey
I hope you will be able to make it.
We are doing the Second Act, which includes the "Party Scene."
The program is quite varied. We are sharing the program with Ed Polcer and his Jazz All Stars, who is an old friend from days of Jimmy Ryan's and Eddie Condon's on W 54th Street.
Here's the directions.
Route 17 North to 202 (Suffern/Morristown) South. Turn left at first light.
Questions: 973-427-5745 ex 113
Other performers:
Alfredo: Edwin Santayana
Germont: Allesandro Magno
Violetta, Cynthia Firing
Barene: Robert Prowse
Flora: Tamara Cashour
A Gypsy: Charlene Aruta Taub
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