Tag Archives: article

International Musician, Recent News

University of Chicago Grad Students Organize

In October, graduate students at the University of Chicago became the latest to vote to unionize, despite opposition from administrators. Currently, 12 academic institutions host Graduate Student Unions. Penn students faced the same opposition when they voted for unionization last year.

Senator Bernie Sanders, a 1964 UChicago graduate, commented in a letter: “Having a union ends the arrangement where the employer makes all the decisions unilaterally, and institutes a legal process where your union organization collectively bargains with the employer regarding the issues you have identified as needing improvement. I respect the critical work you do every day, and wish you the very best in your efforts to create a democratic workplace where your voice can really be heard.”

International Musician, Recent News

Tesla’s Firing Motives Questioned

Labor groups blasted the electric vehicle maker in a letter to Tesla executives, claiming union-supporters may have been dismissed because they raised issues about wages and safety in the plant. While Tesla insists the workers were let go because of poor performance, some workers among the 400 to 700 employees fired, claim they had consistently strong performance reviews before being let go. The National Labor Relations Board is also looking into whether Tesla harassed workers distributing union materials.

Tesla employs about 33,000 workers. The firings ranged from factory workers in Fremont to engineers at its Palo Alto headquarters. The company, which lost $336 million in the second quarter of the year, is preparing to ramp up production for its lower-cost Model 3 sedans. It has about 450,000 reservations for the all-electric vehicles and produced only 260 last quarter.

International Musician, Recent News

Call for Worker Protections for Hurricane Rebuilding

As workers in Houston’s labor force begin rebuilding after Hurricane Harvey, local organizers are concerned with ensuring they will be properly protected and compensated. Even before Harvey, conditions were tough for area construction workers, particularly among Houston’s large undocumented workforce (about 50% of construction workers).

A study with the University of Illinois found that about 40% of Houston construction workers have no benefits. Industry has dismantled worker protections in Texas for decades. No workers’ compensation insurance coverage is required and one construction worker dies on the job every day. Already there are reports of crews spending hours cleaning up only to be denied their promised pay.

International Musician, Recent News

Study Finds Jazz Musicians Have Unique Response to Unexpected Events

Wesleyan University Scientists used electroencephalography to examine the differences in the brain activity of classical and jazz musicians during unexpected chord progressions. The study, published in the journal, Brain and Cognition, included 12 jazz musicians (with improvisation training), 12 classical musicians (without improvisation training), and 12 non-musicians, observing them while they listened to a series of chord progressions. Some progressions were typical of western music and others were unexpected progressions. Jazz musicians had a different response to the unexpected progressions that demonstrated increased perceptual sensitivity to unexpected stimuli along with an increased engagement with unexpected events.

International Musician, Recent News

Eminem Wins $600,000 in New Zealand Copyright Case

In a case hugely significant for global copyright infringements, New Zealand’s high court ruled that their National party infringed on Eminem’s song “Lose Yourself.” The rapper’s publisher was awarded NZ $600,000 (about $414,000 US). In September 2014 they used a version on the tune, a track titled “Eminem Esque,” in an election campaign advertisement. The court’s ruling stated that “Eminem Esque” had substantially copied “Lose Yourself” and that there were minimal differences between the works. The National party advertisement in question was played 186 times over an 11-day period of time.

“This is a warning to soundalike music producers and their clients everywhere,” says Adam Simpson, director of Simpsons solicitors, which acted for Eminem’s music company. Eminem was never approached for permission to use his work.

International Musician, Recent News

New Silkroad Leadership Announced

Twenty years after founding the arts orPganization Silkroad, Yo-Yo Ma of Local 802 (New York City) is passing the baton to three of his collaborators. “I am thrilled to hand over artistic direction of Silkroad to Jeffrey Beecher [of Local 149 (Toronto, ON)], Nicholas Cords [of Local 802], and Shane Shanahan [of Local 802], three extraordinary colleagues who have taught me so much about collaboration, music, and friendship,” Ma says in a written statement.

“Together with Executive Director Eduardo A. Braniff, these inaugural co-artistic directors will shape the next chapter of Silkroad, bringing the passion and curiosity that we have developed to new communities and inspiring radical cultural collaboration that is essential to creating a better world.”

The new directors have pledged a commitment to diversity and inclusion across their board, staff, and ensemble, as well as among collaborators and in its audiences. “It is a commitment rooted in the belief that to ensure Silkroad’s continued impact on the world’s stages, in classrooms, and in our communities, we must engage an ever-broader coalition of voices, one that represents the many perspectives that shape our world,” the directors said in a statement.

They announced a series of US-based residencies for the next year and promised to unveil an “ambitious array” of new commissions “that frame a wide range of traditions, human experiences, and social issues.”

International Musician, Recent News

British Report Says Career Teaching Music Is Becoming Unviable

A new report shows that British music teachers are suffering from low play and less job security than ever before. The British Musicians’ Union (MU), the authors of the report, warns that job dissatisfaction and stress are on the rise due to widespread lack of financial support.

The current music education provision in England provides for “peripatetic” music teachers in schools, who travel from location to location to teach children to play instruments. They are frequently either self-employed or have contracts that provide no regular work and sometimes clauses that restrict them from working elsewhere. They may even be charged for the use of teaching rooms. The MU recommends protecting the future of music in Britain by providing the teachers with fit-for-purpose template contracts.

Unknown Hinson
International Musician, Member Profiles

Unknown Hinson Leaves a Mark with Persona and “Chart Toppin’ Hits”

Unknown Hinson

Stuart D. Baker of Local 342 (Charlotte, NC) performs rockabilly and blues tunes onstage as his redneck, Dracula-inspired persona, Unknown Hinson.

The story of guitarist and performer Unknown Hinson is closer to rockabilly myth than biography. His wild, womanizing, honky-tonk persona has been carefully crafted by Stuart Daniel Baker of Local 342 (Charlotte, NC), a music teacher and studio musician.

Unknown Hinson was first conceived by Baker as a character for the Charlotte, Virginia, public access TV show, The Wild, Wild South. With his creative partner Don Swan, Baker would perform politically incorrect songs and skits and feature Hinson’s music videos. Wild, Wild South came to an abrupt end in 1995 when Swan, who played Rebel Helms on the show, passed away. Baker then spun off Wild, Wild South into the Unknown Hinson Show, which found success, winning Creative Loafing’s “Best Of” poll for Best Public-Access Television Show four years in a row.

Baker’s Hinson persona is a legendary oddball outlaw. The story goes, Hinson learned one chord on the guitar from his mother who mysteriously disappeared when he was 10, leaving him orphaned. His father—and namesake—was “unknown.” Hinson went to work for a traveling carnival, playing the guitar and working as a sideshow act biting the heads off live chickens.

In another chapter in Unknown Hinson’s legend, in 1963, at age 21, he was framed for the murder of his boss at the carnival. Sentenced to 30 years in the Illinois State Penitentiary, he spent most of his time “pickin’” guitar and growing his knowledge on the instrument by listening to the radio in prison. Rumors also persist that he is a 400-year-old vampire.

“If people believe in Santa Claus or the Easter Bunny, or call me a vampire, I’m going to let ’em. It doesn’t bother me none. I’m just going to go out and put on a good show for ’em,” says Baker, in character, as Hinson.

Rarely does Baker appear out of character. Baker grew up in a musical family in North Carolina. His father was a musician who taught him to hold a guitar right-handed, even though Baker is left-handed. He also played the drums in a local band he started with his brothers.

Baker decided to move to New York City in 1979. He found the “studio racket” as he put it to be a “dog eat dog” world. “I learned a lot but everything I was making was going to rent and food,” says Baker. After two years of session work, subbing on guitar for bands, and even putting together his own group, Baker returned south. During the day, he would do more session work on the guitar and bass. He began moonlighting in the house band of a honky-tonk bar in Darlington, South Carolina. This is where Unknown Hinson began to materialize.

“I didn’t realize what I was doing in a honky-tonk full of drunks six nights a week. I told myself ‘well, what you were doing then was R&D for Unknown Hinson,’” Baker explains.

Baker also found inspiration for Hinson from his childhood. “Any small southern town is going to have interesting, funny characters,” he says.

In 1999, Baker moved away from the Unknown Hinson Show, taking his act on the road. He started recording albums of the songs he performed on the show. He soon built a cult fan base performing as Hinson with songs like “Unlock This Bathroom Door” and his signature appearance characterized by a tuxedo, silk bow tie, and jet black hair slicked into a high widow’s peak. Baker based this look on a combination of the redneck persona and his fondness for old horror film icons like Frankenstein and Dracula.

Baker’s break from television didn’t last long. He has been the voice of Squidbillies—a cartoon that pokes fun at southern hillbilly stereotypes—as backwoods patriarch Early Cuyler for the past 10 seasons and he is currently working the 11th.

Not surprisingly, admiration for the actor and musician in the industry is expressed in unconventional ways. The grandson of Hank Williams Sr., Hank III, has a tattoo of Hinson on his bicep, which Baker considers “an honor.”

While he’s known for his comedic and outrageous character performances, Baker proves he has chops and has been a frequent touring partner of Reverend Horton Heat and also as a bassist with Billy Bob Thornton and the Boxmasters. Baker has earned accolades and professional recognition, including the Independent Music Awards and Vox Pop vote for Best Alternative Country Song for “Torture Town” in 2009, and the Ameripolitan Music Award for Best Male Outlaw in 2014.

After more than a decade of performing, Baker announced his retirement from touring in late 2012. Shortly thereafter, his wife and manager, Margo Baker, lost her battle with cancer. That fall, he began touring again. “It’s what I do. You’ve got to do something to justify your life,” Baker says. “I didn’t want to sit on the couch all day, watch television. I’m about making music and playing for people.”

Because of his larger-than-life appearance and colorful lyrics, Baker’s character is often pegged as a comedy act, a designation he thinks shortchanges his talent.

“A lot of people pin me as just a ‘hee-haw act,’ but I try to have quality music,” he says. “I’m known as much, if not more, for my guitar playing than my songwriting.” In the end, Baker seems indifferent to all labels, vampire or comedian, concentrating instead on what he does best: pleasing the crowd.

“They can make of it what they will, I’m still going to play the same for a crowd of 300 or a crowd of 3,000,” he says.

faith seetoo
On the Cover

Faith Seetoo – Zen and the Art of musical

Faith Seetoo of Local 76-493 (Seattle, WA) has spent most of her adult life on the road as associate conductor with more than a dozen touring Broadway shows, among them: The Phantom of the Opera, Miss Saigon, Mamma Mia!, A Chorus Line, and Newsies. Since April 2017 she has been on the North American tour of Aladdin.

Seetoo’s first glimpse into the world of theatre music came when she saw Peter Pan at the Pantages Theatre in Los Angeles as a child. She was so taken by the show that she wrote to both the show’s star, Sandy Duncan, and the conductor of the orchestra, Jack Lee.

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Nurit-Bar-Josef
On the Cover

Nurit Bar-Josef: Behind the Scenes with the National Symphony Orchestra Concertmaster

Nurit-Bar-JosefWhen Nurit Bar-Josef of Local 161-710 (Washington, DC) was selected as concertmaster for National Symphony Orchestra (NSO) at age 26, she was the youngest concertmaster ever appointed to a major symphony orchestra. More than 16 years later, she recalls initial surprise on finding out she’d won the spot.

“I knew some of the others who had auditioned—it’s a small world—and I thought they might think I was too young or too inexperienced,” she says.

The young musician was aware of the huge responsibility she had accepted. “I knew what to expect from my previous experiences in St. Louis and Boston, where I saw just how much the concertmaster has to deal with on a daily basis,” she says. Bar-Josef was assistant concertmaster for Boston Symphony Orchestra and Boston Pops when she auditioned with NSO.

Leading from First Chair

“It’s constant pressure; when you are sitting in that chair, you are expected to always be on—it’s 120%, all the time. I feel like I represent the orchestra and there are times when the whole orchestra is looking to me for guidance,” she says. “That’s the biggest challenge; no matter what is going on at home, or what’s going on around you, or on the podium, you are out there for your colleagues.”

Meticulous preparation is key, she says. “Knowing the score well, in and out, and knowing everything that’s going on. You have to have that first violin part down like no one else,” she says. “And because you are number one, you have to always play the solos and play them well. I try to do my best every single time.”

“It’s a good lesson in time management because there is so much music coming out, week after week,” says Bar-Josef. “It forces me to prioritize and manage my practice, even when I have limited time. I have to figure out what I need to do now and what can wait.”

Above all, she has a passion and dedication to the current repertoire, whatever it may be. “Every week, whatever we are playing, I throw myself into it. That’s what we live and breathe for that week. Oftentimes, I feel like we are actors given a role to play,” says Bar-Josef. “If we play a Shostakovich symphony, he becomes my favorite composer that week. If we are playing Brahms, I am all about Brahms, emotionally and physically.”

For pleasure, she says, “I always, always enjoy playing a Beethoven symphony or even a Beethoven violin sonata. I wouldn’t say that he’s my favorite composer, but I would say anytime I’m playing Beethoven I’m musically and technically fulfilled,” she says.

Like all principal string players, Bar-Josef spends time marking bowings. “The other principals are waiting to get my part in order to mark their bowings to match mine, and I’ve got the library waiting for all of that to happen. That’s added pressure,” she says. “Part of the process is making sure my colleagues have the music well enough in advance to feel comfortable.”

A Conductor’s Liaison

Nurit Bar-JosefBar-Josef has the honor of meeting guest conductors and acts as a liaison to the rest of the players. She ensures a smooth working relationship between members of the orchestra and the conductor. This, she says, “is an incredibly rewarding responsibility.”

“I learn a lot from working with conductors,” she says, explaining that many of them request a one-on-one meeting before the concert, especially if she will perform a solo. “Every musician who comes to visit is different. It’s really important to me that I represent the orchestra well. No matter what is going on, I try to connect with the person on the podium.”

“Conductors travel the world and they conduct all different orchestras, from the top notch to smaller groups in smaller towns,” she continues. “I want them to feel like the NSO is an all-around good experience. As concertmaster, I am part of that—making that connection with the person. It’s a short period of time and it can be really intense for those few days.”

Though Bar-Josef relishes the challenge of these responsibilities, she admits her role can be isolating, sometimes setting her apart from her colleagues. The time requirements mean she has less time for socializing, particularly when they are out on tour. “When we go on tour, I’m constantly thinking about what we are playing tomorrow, what we are playing tonight, and how much time I have to prepare. I don’t have a whole lot of time to hang out and have fun in some new city.”

Though she is passionate about playing solos, Bar-Josef admits, “It’s one of the hardest things I do. It’s very rewarding that I get to play amazing solos like Scheherazade, though it’s stressful. There’s a lot of pressure playing solos with some of the greatest conductors standing one foot away from me.”

Bar-Josef is currently one of an estimated 25 women concertmasters in the US and Canada. While there have been some remarkable women in this leadership role over the years—for example, Cecylia Arzewski (Atlanta Symphony Orchestra 1990-2008) and Emmanuelle Boisvert (Detroit Symphony Orchestra for 23 years)—their numbers are still far below the current ratio of women to men in orchestras. Bar-Josef feels like more women will likely take the leadership role in the future.

Of course, blind auditions help to ensure the best candidates, male or female are selected fairly. And fortunately today, unlike just a couple decades ago, female orchestra musicians enjoy equal treatment. “I have never felt that anyone looked at me as a female or thought they’d rather have a man in my position; I never once felt that a guest conductor was disappointed by having a female concertmaster,” says Bar-Josef. “Today, I feel it’s all about the music and what type of musician you are—gender doesn’t matter.”

The Joy of Chamber Music

nurit-bar When Bar-Josef has a chance, she looks forward to performing in smaller chamber groups. “I always love playing chamber music,” she says. “I enjoy the camaraderie and the intimacy of it—sitting in a group close together, having my sound blend with theirs and not having to worry about leading a section. I can be much more free in a chamber group.”

A founding member of Kennedy Center Chamber Players, she performed with them for nine years. “It’s basically a core group that started out as the principals of the National Symphony—Principal Viola Daniel Foster, Principal Cello David Hardy, and Principal Keyboard Lambert Orkis. We would ask other people from the orchestra, both titled and nontitled players, to join us for four chamber music concerts a year at the Kennedy Center Terrace Theater.”

The other group she’s been involved with for a long time, the Dryden String Quartet, came together less formally about 16 years ago. “When I first moved to DC, I didn’t have any family here. I had to play over Thanksgiving so I was stuck in town,” she recalls. “Daniel Foster asked me if I wanted to go to his family’s house for Thanksgiving and he said, ‘Bring your violin, we might do some sight reading.’ He’s cousins with [Time for Three] violinist Nicholas Kendall and [Philadelphia Orchestra Assistant Principal Cello] Yumi Kendall. It ended up being a pretty good group.”

The group named itself after John Dryden Kendall, grandfather to Foster and the Kendalls,  who brought the Suzuki method to the US. “The first concert we played was at an embassy event in honor of their grandfather,” says Bar-Josef. “Unfortunately, everybody is just so busy in their own lives it’s difficult to find time. We try to get together at least once a year, sometimes twice if we are lucky.”

Every now and then Bar-Josef finds time to perform in other chamber groups. “I like to do outreach with different NSO players and Millennium Stage performances at the Kennedy Center, house concerts, or whatever pops up,” she says.

She has performed at the Seattle Chamber Music Festival, Bay Chamber Festival, Aspen Music Festival, and festivals in Tanglewood, Portland (Maine), Kingston (Rhode Island), Steamboat Springs, Garth Newel, and Caramoor, where she performed piano quartets with André Previn at his Rising Stars Festival.

This season Bar-Josef looks forward to working with incoming NSO Music Director Gianandrea Noseda. “I am excited that we have so many great programs coming up with him,” she says. In particular, she looks forward to playing Chausson’s Poème in November. “It’s just such an honor and a privilege. I’ve always wanted to perform that piece and what better opportunity than with the NSO and Noseda conducting.”

Nurit Bar-Josef currently performs on the G.B. Guadagnini, 1773, the “ex-Grumiaux, ex-Silverstein” violin.