"should I stay or should I go?"

[David Skolnik]

David I

Could you rephrase this so that it is clearer?  I'm not sure what you 
mean.  What stress is self imposed? Thanks

David Skolnik



At 09:56 AM 11/12/2004 -0800, you wrote:
>David,
>
>I think the "Prima Dona" line is about right....the situation you 
>described sounds like NO problem at all.
>The stress you're bringing down on yourself is totally self-imposed...
>
>IMHO
>
>David Ilvedson
>
>
>----- Original message ---------------------------------------->
>From: David Skolnik <davidskolnik@optonline.net>
>To: Pianotech <pianotech@ptg.org>
>Received: Fri, 12 Nov 2004 01:02:57 -0500
>Subject: Re: "should I stay or should I go?"
>
> >Kent -
> >I don't mean to single you out, as I know there have been many others who
> >have responded similarly to this thread, BUT, having previously indicated
> >my own awareness of the need for flexibility, I am, nevertheless,
> >disappointed by a general willingness to adopt a passive approach, even
> >when it would seem clear that the situation cries out for the
> >pro-active.  Case in point.  Yesterday, after reading and responding to the
> >initial post by Quentin Coderville, I had a call for an emergency tuning
> >(they said "touch up", but it was a tuning) for a Tony Bennett performance,
> >in a venue at which I had no previous experience.  I went in after the
> >dress rehearsal.  While I had spoken with the production manager before
> >hand, I hadn't thought to ask him to make sure everyone knew to either
> >leave or be quiet, so, as I began, a few clusters of stage hands and others
> >continued to converse, with clearly no intention of leaving (sitting
> >comfortably in the front row) or with any awareness that they were, in any
> >way, interfering.  Had it, in fact, been only a touch-up, I might have
> >elected to tune through the noise, but the piano was clearly in need, and I
> >had less than an hour to tune and correct some mechanical problems.  There
> >was no reason I had to accept added obstacles, and so, feeling freshly
> >empowered by this discussion, I, politely, humorously, but firmly,
> >indicated that I needed quiet.  They apologized and departed.  A few
> >remained at the back of the theatre, thinking that their conversation could
> >not be heard, so I had to repeat my request in a more projective voice,
> >while trying to maintained the afore mentioned mix of civility and
> >resolve.  This too worked.  It was only when the ushers began to come in,
> >10 minutes earlier than I expected, that I knew I was up against a much
> >greater learning curve.   The point is, SOMEONE has to teach these
> >people.  If I (or you) don't tell them, why SHOULD they know better?   Yes,
> >it makes us appear as prima donnas, but for a critical use situation
> >(concert, recording) I think it's perfectly reasonable to expect the same
> >conditions for tuning as for performance.  Again, the point is to know when
> >that reasonable expectation cannot reasonably be fulfilled.
>
>
> >David Skolnik