Practice: Not As Important As You Thought
Bloomberg does some sleuthing through tax returns and reports on the income of the stage crew at Carnegie Hall:
Depending on wattage, a star pianist can receive $20,000 a night at the 118-year-old hall, meaning he or she would have to perform at least 27 times to match the income of Dennis O’Connell, who oversees props at the New York concert hall.
O’Connell made $530,044 in salary and benefits during the fiscal year that ended in June 2008. The four other members of the full-time stage crew — two carpenters and two electricians — had an average income of $430,543 during the same period.
Impressive. Bloomberg's reporter suggests that the stagehands "benefit from a strong union." No kidding. But there's also this:
The Carnegie Hall board is led by Sanford I. Weill, former chairman of Citigroup Inc., and includes philanthropist Mercedes Bass, former World Bank president James Wolfensohn and Sallie Krawcheck, president of Bank of America’s wealth-management division.
OK, I see it happening like this. It's 2005. The union rep comes into the room and starts off with a joke. "We're not greedy. Half a mil a year will get us out of your hair." Weill, who's busy trying to figure out his piece of Citi's structured finance action for the month, just laughs. A minute later he's approved the contract and left the room.
Who says a rising tide doesn't lift all boats?
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Comments
The reporter seems shocked
The reporter seems shocked that a union prop master would make more in a year than a concert pianist would make at one performance.
The reporter almost fell
The reporter almost fell over learning about the prop master, was shocked to find out the electricians' salary, was hammered at discovering what the carpenter earned, and cracks up at the plumbers' wages.
Doesn't Pass the Sniff Test
According to Carnegie's tax return, these employees work an average of 80 hours per week. Throwing out the Propmaster's salary as an outlier, averaging that of the other four, and assuming time and a half for overtime, their average hourly wage comes to $55.60 an hour. That's a perfectly fair wage. And keep in mind that those overtime figures are probably low; certainly some of the overtime was double time, and it's possible that far more than 40 hours per week were time and a half. If there's a story here, it's that Bloomberg is turning into the Wall Street Journal.
Welcome to the wonderful
Welcome to the wonderful world of IATSE Local 1.
What does that mean?
He "oversees props"? At a concert hall? It's not the opera, what props are there? Is this like being a fireman on a diesel locomotive?
He "oversees props"? At a
He "oversees props"? At a concert hall? It's not the opera, what props are there?
Props is short for "propertiues" i.e. anything tangible in the vicinity of the stage - chairs, music stands, instruments not owned by the musicians (e.g. pianos, percussion), other miscelaneous guano.
There's a lot more to it that you would see from the audience. Agree that $500k is a lot, but it *is* Manhattan, and it *is* the top of the trade. So the best paid guys in the trade make half a mil - how many other lines of work are there where the top earneres make that much? *A LOT*.
Stage guys
have always, always made really big money. Want to know why? Because if the stage guys aren't happy, they make everybody's life pure misery, performers and management alike, in a thousand large and small ways. Same goes for the head box office honcho. But stage guys are the absolute top elite of the performance world. And I have to say they absolutely earn their pay, given the miracles they're routinely expected to accomplish and what they have to put up with from the performers. That's exponentially truer at Carnegie Hall, with its heavy use and wildly divergent artists and managers shuttling in and out from literally all over the globe.
You're serious?
They absolutely earn their pay? All $530,000 of it for overseeing props? What should we then pay teachers, cops, scientists, and farmers?
Respectfully, you're missing
Respectfully, you're missing the point, JRW. yeah, we should pay cops, teachers, firefighters, etc. on that scale, absolutely. but "we" don't pay pianists or stageworkers, or at least only the "we" who go to concerts and donate to concert halls do. cops, Teachers, and firefighters are on the public payroll, concert pianists and stagehands are not. The bloomberg article, (and Kevin's reading of it as well) is built entirely around comparing stagehands to concert pianists, and I'd say that by the terms of that comparison the stagehands absolutely do earn their pay.
Now, if you want to start trying to fix wages to absolute social worth, it's out of whack, but not so much that it's the first place i'd go to start fixing things. I'd start with say tobacco company executives, or someone really useless.
gyrfalcon's point is, I think, similar to mine: the invisible work these people do is absolutely necessary for the performances that people applaud and acclaim, and, if it's done right, it's entirely invisible during the performance itself.
It helps if you think about "props" as a much wider and more expensive category which requires much greater talent and responsibility than the word immediately brings to mind. this is not the Charlie Brown Christmas play we're talking aobut here, it's Carnegie Hall operating on an $84 million per year budget.
I think you're missing the
I think you're missing the point of the article. It's to say, "Look, it's not just bankers who make outrageous sums. There's a handful of stagehands - *stagehands* - who make half a million. That's just the way the capitalist system works, God bless it."
Has Bloomberg ever run an article like this on hedge-fund guys, suggesting *they* don't deserve their money? But half a million for some workers, because they have a union, well that's supposed to get our blood boiling and have us take our eye off the ball.
couple o' things: 1. Are we
couple o' things:
1. Are we so used to money being equated with star billing and onstage performance that we're supposed to be shocked that the Pianist makes alot less in 1 performance, which takes place in one night, (and likely only fills a couple of hours that night) than someone who's work is responsible for maintaining that stage 365 days a year makes in that whole year? That's hardly an apples to apples comparison in terms of time. If you wanted to make the same figures sound different, you might say that a star pianist only has to turn in about 1 month of daily work, to make what an experienced stage worker (whose work makes that pianist's performancees possible) makes in a whole year.
2. Moreover, the propmaster & other stagehands are responsible for a variety of performances going smoothly and, day in and day out, are more valuable to the ongoing functioning and income of the concert hall than just about any given star pianist. their work might be invisible, but it's consistency (and consistent invisibility) is part of what keeps people coming back and keeps star performers booking there. It's true that it's not the kind of specialized talent that very high level musicianship is, but that's only one criteria for figuring a given worker's economic worth to their organization. Modern concert production depend on quite a bit of this invisible work and quite literally could not exist without it. And, despite what Kevin's snarky title indicates, this kind of work also benefits a great deal from practice.
sure,the wages are surprisingly high, but only because we, as audiences, think that performances are magic, that pianos tune themselves and move themselves to the middle of stages and back, and that you can magically hear everything very clearly in the hall--unless you can't, in which case it's the sound tech's fault. And,because we are besotted with the romantic mythology of artistic genius, we expect an artistic worker, even one charged mainly with interpreting scores which are, in classical terms, the real repository of genius, to make whole orders more than other workers.
Lastly, when the organization in question has an operating budget of 84 million, why shouldn't people doing the work that makes performances happen consistently and smoothly, be well paid?
Exactly so
Not to mention that piano -- and it's not even the house piano but a special one brought in for the artist-- has to be in the middle of the stage along with seating for an Eastern European chamber orchestra on tour with its temperamental and non-English-speaking conductor within hours of the depature of a rehearsal of, oh, say Mahler's 8th with a visting orchestra, a 250-voice chorus, 8 soloists and two brass choirs in either balcony. As soon as that lot clears out, the stage has to be completely emptied and yet a different piano brought in for the evening's solo soprano recital by a very anxious diva who's just been fired from a production by the Met and has a great deal to prove. Etc.
If you've never been a part of that world, you cannot possibly imagine the logistical and emotional and language complexities involved, nor how nearly invisibly a great stage crew like Carnegie Hall's manages to make it all go smoothly.
Not to mention that piano --
Not to mention that piano -- and it's not even the house piano but a special one brought in for the artist-- has to be in the middle of the stage along with seating for an Eastern European chamber orchestra on tour with its temperamental and non-English-speaking conductor within hours of the depature of a rehearsal of, oh, say Mahler's 8th with a visting orchestra, a 250-voice chorus, 8 soloists and two brass choirs in either balcony. As soon as that lot clears out, the stage has to be completely emptied and yet a different piano brought in for the evening's solo soprano recital by a very anxious diva who's just been fired from a production by the Met and has a great deal to prove. Etc.
OK, we get it. He's not just any old furniture mover, he's a very special furniture mover who has to move furniture quickly for stereotyped foreigners.
I still can't quite see why he's earning three times as much as, say, an aircraft carrier battle group commander or a consultant neurosurgeon.
"OK, we get it. He's not
"OK, we get it. He's not just any old furniture mover, he's a very special furniture mover who has to move furniture quickly for stereotyped foreigners."
see, as soon as you say this, it shows that you don't get it. Performances don't jsut happen, and they don't happen without the work that these people do. and performances are why they have concert halls.
"I still can't quite see why he's earning three times as much as, say, an aircraft carrier battle group commander or a consultant neurosurgeon."
Because the pay for those people is determined quite differently, by differing forces, negotiations, obligations and priorities. You phrase the question like you assume that there's some kind of central authority that looks at what people's work is worth and then determines their pay. That might be a more just world (or maybe not--it's turned out poorly in practice more often than not) but that's not how it works.
Alternately, you might be assuming that people are only paid commensurate to their specialized talents, and that these folks are just "furniture movers" with no specialized talents. Neither of these things is true. the performers who bring people into the hall are, quite literally, not capable of putting on performances up to the standards that their audiences expect without the work that these "furniture movers" do.
It the overtime...
my dear. and it's Manhattan. IOt's ypou blind spot that suggests stagehands shouldn't share in the loot, just like NBA or NFL players -- and with the overtime these guys earn every dime. Loading in and loading out a show is very physical work. The Bloomburg reporter, I suspect, wouldn't last a week.
I did that kind of work for 10 years -- then I turned to...wait for it... journalism. It was easier.
What did the union do wrong?
So I guess if the union guys took a pay cut in New York, a teacher in Milwaukee would make more. Is that the point?
The union negotiated with management and got what from the outside looks like a good deal. Doesn't that tell us that the union did a good job? It was supposed to negotiate a good deal for its workers and it did.
If anybody screwed up, it's management, which has a team of accountants to study the financials, a team of consultants to tell them how much stagehands earn and a team of lawyers to negotiate terms. They also have American labor law on their side and access to gobs of capital if they decide to lock out labor or withstand a strike.
With all that firepower, who am I to say management overpaid? And if they did, why is that the union's fault?
One other point: Across the country, as union-heavy companies have suffered, management has turned to unions and asked for pay cuts - particularly in auto and newsapers, but elsewhere too. And unions have been accommodating. I don't see too many poobahs at Goldman or AIG agreeing to bonus cuts for the greater good.
Unions are rent seekers.
Unions are rent seekers.
Anonymous, anonmyous
come in, over. Your last transmission was badly garbled, over. Say again, over.
Speaking of Practice(s)
First a caveat: The event I'm about to describe happened about 30 years ago, so the people responsible for it are probably not currently working at Carnegie Hall.
I attended a concert by Herbie Hancock & the Headhunters in the late 70s during which the stage crew suddenly appeared onstage while the band was playing, turned off the power & packed up their instruments. This was, as I've said, while the band was onstage, playing. The audience reaction, as you might imagine, bordered on violence. Now I know there are union rules, overtime, blah blah, but I have a really hard time imagining any crew, union or not, pulling the plug (so to speak) on, say, Jascha Heifetz.
Anyway, you'll have to excuse me for indulging in a bit of guilt by association, but in the case of the Carnegie Hall stage crew, not only are they insanely overpaid, but to hell with them. If I want to hear my favorite musicians in concert, they'll have to play somewhere else.
First, it probably is the
First, it probably is the EXACT same guys, which is why they are now making that kind of coin. IATSE 1 is one of the most closed union shops in the country. Once you are in, you are in for life. It is just about impossible to get into unless you are a relative of an existing member or a close friend. The guys making $500k a year have most likely worked at the hall for their entire lives and the department heads have probably been there since they started in their early 20's -- and it is entirely likely that they will be in their 60's by now. These department heads at that age will do extremely little physical work, the heavy lifting will be done by the younger guys while the department head watches and makes sure it is done correctly. Only the guys who make it up the food chain to department head are in line to make that kind of money. There are 4 departments on a union stage crew: props, lighting, sound and carpentry.
As for your experience of having a concert abruptly end. Don't blame the crew, they were marching on orders. Union halls have very strict overtime rules. Booking agents for acts, road managers, tour mangers ....all are clearly apprised of these rules in advance. Acts know perfectly well when overtime kicks in before a show starts. When the magic hour approaches someone from the venue (usually a stage manager or a production manager) will inform the representative for the act (usually the tour manager) that overtime is imminent and he/she better get their act off the stage or be prepared for the overtime costs (overtime when it comes to guys making $500k a year ...that's going to hurt.) The tour manager either ends the show or pays up.
The entertainment industry is -- to be blunt -- full of volatile individuals. If the crew shut the concert down, it was on orders from the house. Probably the result of an ugly settlement battle between the venue and the tour manager over costs. Stage hands would NEVER act on their own in such a manner. Blaming the hands in that situation is way out of line.
Right. The hands don't care
Right. The hands don't care if they go into overtime, as long as they are *paid* overtime.
So next time you're at a concert and someone says that the show has to end because of "union rules", remember that the only rule in play is that the hands are supposed to get paid more for working longer, and the promoter doesn't want to pay extra.
And speaking of overtime, a large part of the $500k is most likely overtime pay - with the hall hosting 800 shows a year the house crew probably works 80 to 100 hours a week. This is not at all unusual in this business.
Wrong...
...Art Electic. It's not the same guys -- it's their sons, but not their daughters.
I wouldn't be so sure of
I wouldn't be so sure of that. In my venue the head of the Carps Dept was a frail 60 something and practically senile. He'd been with the venue since it was built in the 60's. I think he finally retired a couple of years after I left. About a quarter of our crew was father-son combinations. We had a few women on the roster, but they mostly came for wardrobe calls or very large crew calls.
But, agreed, IATSE East Coast is one of the last bastions of male-only territory.
A GAIAN PARADIGM CHAPTER #1
A GAIAN PARADIGM
CHAPTER #1 -- THE FOUNDATION
For some 2,000 years or more, civilization has been ruled by a social paradigm on which all aspects of the EuroAmerican cultures are based -- the “dominator paradigm.” In the past two decades a new social paradigm has been emerging that could have the most profound and fundamental impact on human civilization since hominids first came down from the trees.
The old paradigm placed humans in a purposeful universe created by some supernormal power for the domination and use by man. The new paradigm we, call “A Gaian Paradigm,” suggests a spontaneously self-organizing universe in which humanity is but one of the created tightly linked, interdependent webs of being.
THE DOMINATOR PARADIGM
The “dominator paradigm,” has had a long evolution. It evolved from the Jewish creation myth that held that the earth was created for the use of and domination by man. It was strengthened by Greek philosophy with the postulate that man is the measure of all things. The early Church held that a chain-of-being put man at the top of a hierarchy with only a few celestial beings above.
The “dominator paradigm” was imbedded in the minds of Europe by the thousand-year Inquisitions that burned thousand of heretics, mostly women, at the stake for believing in Earth as our creator. It was spread to the East by the crusades that destroyed “infidel” humans, cities and nations. During the Age of Colonization and Discovery it was perpetuated and made worldwide by the sword (technology), the flag (nationalism), and the cross (Christianity).
Newton’s clockwork concept of that cosmos, and Darwin’s theory of evolution were interpreted to “prove” the validity of the dominator paradigm. It was fixed in our secular moral system by the acceptance of Adam Smith's economy that human "self-interest," competition and materialism should, and do, dictate all human actions. This abomination as the essence of humanity now rules the world.
A GAIAN PARADIGM
A Gaian paradigm not only has many roots but can be, and is becoming, the underpinning of a new global network of cultures replacing the now dominant and domineering man-centered industrial cultures. Like all cultures, the new cultures will be, holistic and unified coherences of interdependent components -- religion, economics, social and others.
The emergence of a Gaian paradigm is resulting in a deep fundamental transition of our world view, our social institutions, our cultural norms, and our lifestyles. The need for this transition is being made obvious by the growing numbers of dangers inherent in industrialism including endless wars and economic breakdowns. But the transition is happening, and being made real by the introduction of many positive and creative social innovations.
This millennium is being looked upon as a time of radical and fundamental change. Minds are opening to new ideas. People are looking for new actions. It is in this spirit of a hopeful, deep, fundamental social transformation that this book is addressed. These are the concepts we’ll explore in the next few chapters.
FOUNDATIONS FOR A GAIAN PARADIGM
Many basic scientific observations led to this new scientific/social paradigm. The advancement of the Gaia theory, the establishment of Chaos and Complexity theories, and new concepts of evolution were among them.
New observations that biological evolution did not progress, as Darwin predicted, in a series of minute changes which led over time to the emergence of new species. Rather, biological evolution happened in quantum leaps. Major biological changes and new species are created in relatively short periods of time after long periods of stability. This observation was designated by Stephen Jay Gold as punctured equilibrium.
James Lovelock, a scientist working for NASA, observed that the biosphere of the Earth was radically different from all other planets. It stayed amazingly constant within ranges which supported life.
At the same time Lynn Margulis, a microbiologist, was studying the evolution of microorganisms over the billions of years before animals appeared on the face of the Earth. She found that life forms were interdependent. Life was able to exist on Earth because of a symbiosis among all life forms and the geological Earth. Everything was interdependent with everything else. Life created its own biome.
Lovelock and Margulis proposed that the whole Earth was a self-organized, self-supporting ecological system At the suggestion of a neighbor of Lovelace, William Golding, author of Lord of the Flies, they termed this living Earth system Gaia, after the Greek Earth goddess.
A theoretical understanding of how Gaia, or in fact any system, might spontaneously self-organize came from other fields of science including mathematics, physics and particularly computer science. Chaos and Complexity theories (made possible by computer modeling) have moved science beyond the limits imposed by linear mathematics, algebra and calculus. Study of the transition of order into chaos, or chaos into order, and the formation of complex systems from simpler ones has opened a whole new area for science. Two particular breakthroughs in the field are relevant to the Gaia concepts.
Self-organizing criticality is an idea proposed by Brookhaven National Laboratory physicist, Per Bak. His first computer model representing self-organizing criticality was of a pile of sand. As you pour grains of sand on a spot it slowly builds into a stable inverted cone. As you continue pouring, the cone becomes unstable until sand slides and avalanches restore a new larger stable cone. Bak showed that biological evolution occurred in such bursts. Simple entities formed more complex systems, which remained stable until internal pressures built up and caused a rapid reorganization. There seems to be a law of nature, self-organizing criticality, by which new forms come into being.
Autocatalysis, developed by Stuart Kauffman at the Santa Fe Institute, is another concept which provides a theoretical base for the evolution of Gaia. Autocatalysis holds that systems of biological entities may promote their own rapid transition into different forms. Kauffman uses the simple example of the slippery-footed fly and sticky-tongued frog. The mutation of slippery footedness gave no environmental advantage to the fly until the mutation of the sticky-tongued frog. Only then did Darwin's survival-of-the-fittest come into play. Networks of potential mutations may develop and remain dormant until triggered by an environmental change or another phenomenon that brings on the avalanche of transition. Autocatalysis, linked with-survival-of-the-fittest. explains how complex organs like the eye, or new species emerge.
Self-organizing criticality and autocatalysis are among the scientific concepts that show how biological entities spontaneously self-organize in quantum-like leaps from simple cells to linked complex networks of cells, organs, plants and animals.
More than that, physicists like Lee Smolin and Nobel Laureate Murray Gellmann, have extended self-organizing back to the beginning of time at the Big Bang, suggesting that the same principle may apply to the self-organizing of fundamental particles into atoms, atoms into molecules, and molecules into galaxies, solar systems, planets, and life.
At the same time economists like Nobel Laureate Kenneth Arrow, Brian Arthur, and Jon Holland have extended the new paradigm in the other direction, to include economics, social organization, and human consciousness.
This new scientific-social paradigm suggests that people have no superior divine mandate within a universe created for them. They are not independent of, above or beyond the natural world in which they are imbedded. They do have the unique ability to understand, through science, the laws that govern them, to envision future worlds, and to co-create those future worlds within the laws of science.
CYBERSPACE AND THE NETWORKED UNIVERSE
“Everything is connected to everything else” is one way of stating the Gaian paradigm. It is a fact of science, and is a social mindset.
In addition it is more than those; it is a fact of technology. “Networking” was identified by John Naisbitt in Megatrends as one of the major rends of the age. It was a social and political as well as a scientific trend. It was made possible by the major new findings of the twentieth century. As he saw it, networking was like roads, the automobile, the telegraph, airplanes, the telephone, and computers. Each of these technologies made the Earth smaller and put people in more rapid and reliable touch with one another.
The real quantum jump in networking is only now before us. Computers and the Internet are providing a challenge that has hardly been explored. Cyberspace is a global phenomenon providing humanity the opportunity to work globally in real time. This takes networking well beyond the concept about which Naisbitt wrote only a few years ago, or the concept of transnational networking which was the root of the formation of TRANET, the organization with which I’ve been working since 1976.
The Gaia hypothesis, the theories of chaos and complexity, the Gaian concepts, and the computer technologies which now face us grew independently of one another. But they form a unity. They, in themselves, are an example of the self-organizing principle which shapes all of cosmic evolution. Together they make up the Gaian Paradigm. They challenge us to prepare ourselves for an avalanche of social, political and economic change in the years ahead. This millennium is evolving radically differently from anthropocentric (man-centered) paradigm which has dominated the past 2000 years.
********** END CHAPTER 1 ************
What change in your life style do you see coming from Gaia ?
22 speculation are listed on
http://groups.yahoo.com/group/AGaianParadigm/files/
A GAIAN PARADIGM CHAPTER #1
A GAIAN PARADIGM
CHAPTER #1 -- THE FOUNDATION
For some 2,000 years or more, civilization has been ruled by a social paradigm on which all aspects of the EuroAmerican cultures are based -- the “dominator paradigm.” In the past two decades a new social paradigm has been emerging that could have the most profound and fundamental impact on human civilization since hominids first came down from the trees.
The old paradigm placed humans in a purposeful universe created by some supernormal power for the domination and use by man. The new paradigm we, call “A Gaian Paradigm,” suggests a spontaneously self-organizing universe in which humanity is but one of the created tightly linked, interdependent webs of being.
THE DOMINATOR PARADIGM
The “dominator paradigm,” has had a long evolution. It evolved from the Jewish creation myth that held that the earth was created for the use of and domination by man. It was strengthened by Greek philosophy with the postulate that man is the measure of all things. The early Church held that a chain-of-being put man at the top of a hierarchy with only a few celestial beings above.
The “dominator paradigm” was imbedded in the minds of Europe by the thousand-year Inquisitions that burned thousand of heretics, mostly women, at the stake for believing in Earth as our creator. It was spread to the East by the crusades that destroyed “infidel” humans, cities and nations. During the Age of Colonization and Discovery it was perpetuated and made worldwide by the sword (technology), the flag (nationalism), and the cross (Christianity).
Newton’s clockwork concept of that cosmos, and Darwin’s theory of evolution were interpreted to “prove” the validity of the dominator paradigm. It was fixed in our secular moral system by the acceptance of Adam Smith's economy that human "self-interest," competition and materialism should, and do, dictate all human actions. This abomination as the essence of humanity now rules the world.
A GAIAN PARADIGM
A Gaian paradigm not only has many roots but can be, and is becoming, the underpinning of a new global network of cultures replacing the now dominant and domineering man-centered industrial cultures. Like all cultures, the new cultures will be, holistic and unified coherences of interdependent components -- religion, economics, social and others.
The emergence of a Gaian paradigm is resulting in a deep fundamental transition of our world view, our social institutions, our cultural norms, and our lifestyles. The need for this transition is being made obvious by the growing numbers of dangers inherent in industrialism including endless wars and economic breakdowns. But the transition is happening, and being made real by the introduction of many positive and creative social innovations.
This millennium is being looked upon as a time of radical and fundamental change. Minds are opening to new ideas. People are looking for new actions. It is in this spirit of a hopeful, deep, fundamental social transformation that this book is addressed. These are the concepts we’ll explore in the next few chapters.
FOUNDATIONS FOR A GAIAN PARADIGM
Many basic scientific observations led to this new scientific/social paradigm. The advancement of the Gaia theory, the establishment of Chaos and Complexity theories, and new concepts of evolution were among them.
New observations that biological evolution did not progress, as Darwin predicted, in a series of minute changes which led over time to the emergence of new species. Rather, biological evolution happened in quantum leaps. Major biological changes and new species are created in relatively short periods of time after long periods of stability. This observation was designated by Stephen Jay Gold as punctured equilibrium.
James Lovelock, a scientist working for NASA, observed that the biosphere of the Earth was radically different from all other planets. It stayed amazingly constant within ranges which supported life.
At the same time Lynn Margulis, a microbiologist, was studying the evolution of microorganisms over the billions of years before animals appeared on the face of the Earth. She found that life forms were interdependent. Life was able to exist on Earth because of a symbiosis among all life forms and the geological Earth. Everything was interdependent with everything else. Life created its own biome.
Lovelock and Margulis proposed that the whole Earth was a self-organized, self-supporting ecological system At the suggestion of a neighbor of Lovelace, William Golding, author of Lord of the Flies, they termed this living Earth system Gaia, after the Greek Earth goddess.
A theoretical understanding of how Gaia, or in fact any system, might spontaneously self-organize came from other fields of science including mathematics, physics and particularly computer science. Chaos and Complexity theories (made possible by computer modeling) have moved science beyond the limits imposed by linear mathematics, algebra and calculus. Study of the transition of order into chaos, or chaos into order, and the formation of complex systems from simpler ones has opened a whole new area for science. Two particular breakthroughs in the field are relevant to the Gaia concepts.
Self-organizing criticality is an idea proposed by Brookhaven National Laboratory physicist, Per Bak. His first computer model representing self-organizing criticality was of a pile of sand. As you pour grains of sand on a spot it slowly builds into a stable inverted cone. As you continue pouring, the cone becomes unstable until sand slides and avalanches restore a new larger stable cone. Bak showed that biological evolution occurred in such bursts. Simple entities formed more complex systems, which remained stable until internal pressures built up and caused a rapid reorganization. There seems to be a law of nature, self-organizing criticality, by which new forms come into being.
Autocatalysis, developed by Stuart Kauffman at the Santa Fe Institute, is another concept which provides a theoretical base for the evolution of Gaia. Autocatalysis holds that systems of biological entities may promote their own rapid transition into different forms. Kauffman uses the simple example of the slippery-footed fly and sticky-tongued frog. The mutation of slippery footedness gave no environmental advantage to the fly until the mutation of the sticky-tongued frog. Only then did Darwin's survival-of-the-fittest come into play. Networks of potential mutations may develop and remain dormant until triggered by an environmental change or another phenomenon that brings on the avalanche of transition. Autocatalysis, linked with-survival-of-the-fittest. explains how complex organs like the eye, or new species emerge.
Self-organizing criticality and autocatalysis are among the scientific concepts that show how biological entities spontaneously self-organize in quantum-like leaps from simple cells to linked complex networks of cells, organs, plants and animals.
More than that, physicists like Lee Smolin and Nobel Laureate Murray Gellmann, have extended self-organizing back to the beginning of time at the Big Bang, suggesting that the same principle may apply to the self-organizing of fundamental particles into atoms, atoms into molecules, and molecules into galaxies, solar systems, planets, and life.
At the same time economists like Nobel Laureate Kenneth Arrow, Brian Arthur, and Jon Holland have extended the new paradigm in the other direction, to include economics, social organization, and human consciousness.
This new scientific-social paradigm suggests that people have no superior divine mandate within a universe created for them. They are not independent of, above or beyond the natural world in which they are imbedded. They do have the unique ability to understand, through science, the laws that govern them, to envision future worlds, and to co-create those future worlds within the laws of science.
CYBERSPACE AND THE NETWORKED UNIVERSE
“Everything is connected to everything else” is one way of stating the Gaian paradigm. It is a fact of science, and is a social mindset.
In addition it is more than those; it is a fact of technology. “Networking” was identified by John Naisbitt in Megatrends as one of the major rends of the age. It was a social and political as well as a scientific trend. It was made possible by the major new findings of the twentieth century. As he saw it, networking was like roads, the automobile, the telegraph, airplanes, the telephone, and computers. Each of these technologies made the Earth smaller and put people in more rapid and reliable touch with one another.
The real quantum jump in networking is only now before us. Computers and the Internet are providing a challenge that has hardly been explored. Cyberspace is a global phenomenon providing humanity the opportunity to work globally in real time. This takes networking well beyond the concept about which Naisbitt wrote only a few years ago, or the concept of transnational networking which was the root of the formation of TRANET, the organization with which I’ve been working since 1976.
The Gaia hypothesis, the theories of chaos and complexity, the Gaian concepts, and the computer technologies which now face us grew independently of one another. But they form a unity. They, in themselves, are an example of the self-organizing principle which shapes all of cosmic evolution. Together they make up the Gaian Paradigm. They challenge us to prepare ourselves for an avalanche of social, political and economic change in the years ahead. This millennium is evolving radically differently from anthropocentric (man-centered) paradigm which has dominated the past 2000 years.
********** END CHAPTER 1 ************
What change in your life style do you see coming from Gaia ?
22 speculation are listed on
http://groups.yahoo.com/group/AGaianParadigm/files/
Stagehands at Carnegie Hall
Just a little clarification about IATSE Local One. In the mid 1970's, apprenticeship tests were administered to all interested applicants. I joined Local One thru the second test which had over 3500 takers. Only the top 100 were given apprenticeships. As far as getting OUT, I left NYC without a qualm but leaving the Local...... my heart aches to be back with my brothers.
I turned down a position at Carnegie (as the audio guy) because the hours involved were physically and emotionally too demanding. I know Dennis and yes, he deserves every dime that he makes thanks to a NEGOTIATED contract! All of the crew have devoted their entire weeks, months and years to Carnegie Hall. Forget about going out to a movie or a weekend in the Catskills until the hall closes for the season.
Dale in Kissimmee, FL
Wow. Glad to see such
Wow. Glad to see such vociferous support for these hard-working union members. Glad to see that you accept some (quasi-) free market principles: that a person's salary should be what the market will pay. It doesn't matter what the "social worth" of the job is; what the market will dictate should be the prime factor in determining salary.
However, I'm wondering if this support would have been there if the focus of the article weren't on such a progressive scenario. Instead of unionized stagehands, we were talking about more conservative things. You know, like CEOs or something like that. Probably not. Those guys are just crooks and thieves. Anyone can do their job. Stagehands? No way. Much harder.
simple enough for even you to understand
First, the union stagehands at Carnegie Hall didn't single-handedly drive the global economy off a cliff. Second, $700 billion worth of US taxpayer money hasn't been funneled into union coffers so that their bosses can turn around & reward themselves for their collective failure with shiny new bonuses -- to the tune of billions of dollars.
How about...
....NFL and NBA players' salaries you folk on the right like to bash. It's like upbraiding tennis players for protesting an obviously bad call or wearing "untraditional" clothes instead of tennis whites. Who your folks think we are paying to see?
Stage hands makes the show run flawlessly -- as a rule. The agents make big money, the performers make ample money, who shouldn't the grunts share some of it.
The new coporate executives that "manage" the entertainment conglomerates want to do away with residuals -- hell, that's the performers' retirement benefit.
Not just that...stage craft
Not just that...stage craft is a CRAFT. Get the rigging points wrong and you'll kill someone. Get your electrical connections wrong and you fry equipment...and the talent. Fail to move that piece of scenery at the right time and wreck the show.
It's a dangerous job. Every year somebody dies somewhere in the service of "putting on a show." I could go on all day about near misses that I alone have seen. I have a friend with permanent damage to her legs when a whole roof and truss came down on her when a storm hit. Being in a indoors in a building isn't much safer, we had a 1000 lb piece of band shell fall once and narrowly missed killing 6 stagehands.
Why does Kevin support
Why does Kevin support union-bashing? How about some data on real average union wages in the country compared to total compensation on Wall Street?
If the stagehands are doing their job so that there are no glitches in the performance, then they must be worth a lot - manangement evidently sees it this way, unions or not.
As for musicians, especially classical performers, this is not a way to get rich. A few performers can make the big bucks, often for a short time in pop music, but pay for most does not compare well with other careers. This has nothing to do with unions.
Agreed. Kevin, I've been
Agreed. Kevin, I've been reading you for a long time now, since the tail end of Calpundit. I like alot of what you have to say, but I'm puzzled by the lack of analysis regarding the article here. I don't really accept the idea that you'd use this space just to burnish your centrist credentials, but it's hard to not feel that way given how willing you are to get into the guts of other matters. You're really not providing much by reprinting and highlighting the "gosh-wow these union guys make alot of money for not doing much" slant of the bloomberg article. I'm guessing that like alot of folks you didn't really understand how crucial the work these guys do is to any performance? You're dazzled by the notion of the "star"performer (on a given night) as the absolute height of value to the execution of a year's worth of performances? You really wanted to tell that joke aobut the Union guys asking for half a million?
Also: I really, really wish you'd participate in comments a little more deeply. it makes it very very ahrd to get any kind of clarification on what you're thinking. I could be wrong, but that seems to have steadily decreased since Calpundit.
Back off Urk...
...Kevin just set the stage for a great discussion among the informed and the ignorant. That's why this is a great blog and has been since the beginning days of Calpundit. Kevin does not need to declare himself on every issue. "It's the conversation, stupid."
Well, maybe so. And
Well, maybe so. And obviously I do enjoy the conversation, but here, where he seems to very obviously be furthering the Bloomburg article's framing, and where siad framing is, in it's implications pretty contradictory to views he generally espouses, I'd like to know what he thinks.
I love Kevin
but working-class consciousness, shall we say, is not one of his strong points. (nor is it, obviously, for some of the commenters on this thread-- "furniture movers" indeed) Elitists mentality is elitist mentality, even in smart and thoughtful people like Kevin.
astounded by the wages of lucky laborers
The props manager, the carpenters and electricians add value to something, while Sandy Weill has never added any value to any goods or services. Wolfensohn and Krawcheck have probably never added any value to any goods or services either. The bankers made tens and hundreds of millions of dollars, but journalists who work for billionaires can only be astounded by the wages of lucky laborers. No story in Bloomberg on the bakers strike at Stella D'Oro, where the private equity firm wanted to cut wages from $18 to $14 an hour? The owners have closed the factory and are moving it to Ohio so they take some of the bakers' wages for themselves, which is probably what Wall St. analysts advised. Americans are horrified that value adding workers may earn too much, but are unconcerned when rent monopolists ruin the economy.
Overtime is the thing.
Somebody publishes this same article every couple of years, sometimes it's about The Metropolitan Opera, sometime Carnegie Hall, sometimes it's a random Broadway Theater but the point is always 'look at that enormous waste of money!'
Overtime is the thing. That $500 grand gets accumulated because of things like 18 hour days and working through lunch and dinner. I promise you those guys would rather have the occasional night home with their kids then doing their 18th straight 8am-1am day.
Some would, some wouldn't
A lot of these folks drive Jaguars, I kid you not, even in Manhattan. A house crew is a very intense (male) club. These guys don't normally live very long after they retire, either.
For those (like me) who did
For those (like me) who did a "Huh?" to the use of the phrase 'rent monopolists', check this out
http://en.wikipedia.org/wiki/Economic_rent
Ve-r-r-ry interesting ...
'Rent-seekers' nirvana'
You may find this article, 'Rent-seekers' nirvana' by Martin Hutchinson, from Asia Times OL interesting.
I worked for a concert house
I worked for a concert house in New Jersey for several years and the overtime is indeed where the big paychecks come from.
A typical Broadway house that has a single show running doesn't have the same schedule at all and while the hands there are well paid, it is the venues with a rotating schedule like Carnegie where the big bucks can lie.
Typical Summer schedule in my venue:
8 am load in call for today's show (a big show can be as early as 6 am.)
Lunch break 12 - 1
Sound check 4 - 5
Dinner break 5:30 - 7
Show call 7 - 10:30 (overtime after 10:30)
Load out until midnight or later.
Then do it all over again tomorrow.
During the peak Summer touring season, we would sometimes go 10 - 12 days without a day off -- on that schedule. Typically, we did around 100 shows in 20 weeks. Our crew guys sometimes went a whole week only getting a glimpse of their kids in the morning. A "dark" venue is one that isn't making any money, so the booker/owner tends to fill as many dates as possible.
Again, kevin, as a long time
Again, kevin, as a long time fan, I'd really like to get even a glimpse of your thoughts here. several commenters have argued that your take on the article really missed quite a bit about the realities and economics of large scale concert performance production. I find them convincing, but I was one of the people making those arguments. Do you find these arguments convincing? Not convincing? Do you have counterarguments? did we miss something? I do wish you cared enough to let us know. the smaller points regarding what stagehands actually do might be off your radar, but surely you'd have some concern for the meta-framing of wages and labor relations issue where you've (arguably) contributed to a pretty nefarious media practice.
Stagehands wages...
Brilliant repost Kevin. Carnegie Hall is, of course, in Manhattan. And the reporter for Bloomburg obvioulsy knows nothing about theatre in the Big Apple. High salaries are not limited to the bonuses the finacial hustlers who are hustling America. What's left of organized labor makes sure their workers get their share of the booty, just like the NFL and the NBA players unions. Nice to know it still can happen.
you've got to be kidding
with moderate respect to many other commenters:
0.5 Mil a year? for a non-technical expertise job?
there are plenty of folks who work these hours and make 10% (if that) of what these
guys make. in NYC, also.
I can find thousands of people (at least) who would be willing to deal with these hours
and live in NYC on that for 1/2 this salary.
This kind of thing give unions, which are generally good for their employees, a bad name.
These are managers, not manual workers.
Lee Hartmann wrote:
0.5 Mil a year? for a non-technical expertise job?
My bet is that the people mentioned in the cited article are the managers of their respective departments and don't actually do any lifting or wiring or carpentry at all -- they just make sure that the crew members are in the right place at the right time, ready to do their jobs as unobtrusively as possible.
I would be interested to know how many people each of them supervises and the total salary of all of those -- given that we're talking about 3 concert halls here, the smallest of which has more than 200 seats, my bet is that there are at least 100 people in each of these departments. Should a manager of 100 people be paid $500K? There are plenty such managers in lots of organizations, particularly in high-cost-of-living areas like NYC.
Having turned pages for concerts in Weill Recital Hall, I can assure you that there is a whole host of people backstage that you never see from the seats in the hall and these people keep the place running so that what the audience *does* see happens as smoothly and transparently as possible.
--
David W. Fenton
http://dfenton.com/NoComment/
You lost me when you wrote,
You lost me when you wrote, "for a non-technical expertise job?" These are jobs that DO require a high level of technical expertise. Moreover, each task has to be performed "right now" and with 100% accuracy. Most importantly, the safety aspects are truly frightening; if you are performing "Cats", there are many, many ways to die onstage. I want for the people who set up and operate shows to be fully qualified, and very alert.
Can't more than one thing be true at the same time?
It appears that the discussion here based on either/or thinking. If you find it absurd that a stagehand makes a half-million dollars a year , you're on the side of the banksters. If you think it's trade unionism at its finest, then any criticism is union-bashing.
OF COURSE, the ridiculous pay of these these few stagehands is not equivalent to the world-wide looting and pillaging of the banksters. The stagehands are not destroying people's lives for a bigger bonus. Their pay is less than a drop in the bucket. OF COURSE, the Bloomberg article ia a disingenuous attempt to sow the idea of such an equivalence in people's minds.
But sweet baby Jesus, some of these arguments in defense of half-million dollar props management sound like a parody. Golly, they have to deal with temperamental people, and distinguish one object from another, and work a lot, even overtime! Do you really find paying a half-million a year for that is defensible? ! think that's what most working people have to put up with every day. Let's face it: a couple of stagehands have won the lottery. It's not virtue or special skills, it's luck.
I hope that this doesn't
I hope that this doesn't sound like parody to you. Alot of what you said is sensible, but you're leaving a big part of the context of this out: We're not talking about the working situations of alot of working people. we're talking about one of, if not the premiere concert hall in the country, maybe the world. Premiere not only because of its physical settings but also because of a sterling reputation for performances put on in those physical settings. It only stays that way if those shows are executed by absolutely reliable people who are skilled at their craft. the absolute assurance that a performance that costs alot to put on, and which generates alot of money in turn, can be seamlessly replicated night after night after night, is what people are paying so much for. And, that's what the union, properly, demands compensation for which is commensurate with the financial scale of the venue and the value of the work to the venue's continued operation.
IN this discussion, I feel like people see the word "stagehand" and just can't get past the image of some yahoo in a Metallica T-shirt carrying a marshall head in one hand and a six pack in the other. That image seems to wipe out the scale and context that we're talking about. And even Metallica T-shirt guy is likely underpaid if he's any good. But since he;'s carrying a six pack on the job, he probably isn't. Unless he's carrying it out to the bus, but I digress...
Anyway, we're not talking about the bar that guy is carrying the Marshall into, We're talking about Carnegie Hall, with a budget of $84 million. So, what we're actually saying is that there is a person who has absolute responsibility for the creation, maintenance and use of every physical property (meaning roughly everything not bolted down and much that is) used in every show all year, and whose duties are a huge (tho invisible to the general public) component of the reputation which is a huge part of the concert hall's revenue stream. And that person, who has a huge responsibility to the continuation of said revenue stream, earns 1/168th of the operating budget in return for working 80-100 hour weeks much of the year.
does it seem a little less like parody now? it's all about context. if the venue operates on that scale, and the work is essential to the venue's operation, then there's no reason on earth that the guys (and it is a very male world, even outside fo the union, sadly) doing that work shouldn't get compensated according to that same scale.
Now, if someone wants to argue that the whole budgetary world that revolves around European tradition art music is sick and artifically inflated, I'm with ya. But, in the world we live in there's no reason that the people doing the hard necessary work in places that genearte that much money shouldn't get compensated accordingly.
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