Good intentions, terrible execution (if implemented). This is communism for social currency. In fact, I'll wager this will develop and become _the_ modern form

Good intentions, terrible execution (if implemented). This is communism for social currency. In fact, I'll wager this will develop and become _the_ modern form of communism in the next decade or two (in the US/West), provided the following remains true: We (continue to) live in an a world of abundant material resources. And, we (continue to) live in a world of limited social resources (and likely always will). Anyways, my thoughts on the matter as musician/composer. The people that deserve to be in an orchestra are the ones who work the hardest towards achieving goal, and have the talent to fulfill the requirements of that position. It is an incredibly competitive, limited position and would be massively unfair if people were favored/unfavored for admission because of the color of their skin (hmmm...). I think that would create a lot inter-orchestra tension (which is already sky high because of how competitive it is[0]). Decades of sweat equity will be thrown out the door (most start playing while still a single digit in age). 45% or more of classical musicians end up leaving the career because they cant earn enough money to survive. [1] It's already an impossible discipline to succeed in, regardless of your background. It is deplorable to shift and count colored beans on an abacus to keep track of an organizations social currency, particularly when that organization has blind admissions. There is not a non-obsessive, wont-be-abused-by-those-who-count way to implement such a gate keeper. Blind auditions solve all these problems, and bring together the most talented people in the world to work together for the benefit of every member of the audience, without the racist undertones. [0] I used to play with Juilliard musicians. They have plenty of horror stories to tell, such as the time when the NYC Phil woodwinds tallied mistakes made by other musicians during practice. Or when one of the famous string quartets' members refused to stay in the same hotel together. [1] https://www.nytimes.com/2004/12/12/arts/music/the-juilliard-effect-ten-years-later.html https://www.nytimes.com/2004/12/12/arts/music/the-juilliard-...