The members of the NSO sent a legal letter today to David Rubenstein and Deborah Rutter of the Kennedy Center over the firing of the symphony orchestra. The Kennedy Center was just announced as the recipient of $25 million to maintain itself when they made this egregious decision. I told you that the Kennedy Center is well funded and can certainly afford to pay the orchestra during this time. Rubenstein is a multi-multi millionaire. Rutter makes $1.3 million a year. Salaries for executives at the Center are almost $5 million a year. This is shameful behavior.

Here’s the release from the NSO:

Washington, DC—Today, the musicians of the National Symphony Orchestra released a statement firing back at Kennedy Center President Deborah Rutter’s decision to furlough the musicians, making their last paycheck April 3^rd. Rutter also threatened to take away the healthcare of the musicians past May. The announcement comes on the heels of the news that the Kennedy Center would receive a $25 million grant as part of the coronavirus stimulus package.

On Tuesday, the musicians sent a legal letter to Kennedy Center management, challenging the legality of the decision to furlough them. The letter notes in part:

“In particular, we write to respond to the Kennedy Center’s position, as expressed on our call yesterday, that it unilaterally can “suspend” the parties’ entire collective bargaining agreement (“CBA”) because of “exigent circumstances” on one week’s notice. That position is baseless.”

Said Steve Wilson, bassoonist and Co-Chair of the Orchestra Committee:

“On the same day that President Trump signed the stimulus package that would send $25 million to the Kennedy Center for, among other expenses, employee compensation, Kennedy Center president Deborah Rutter illegally decided to stop paying us, and refused to promise to continue our healthcare past May.

“We were glad to learn yesterday that the Center has now decided that it will cover ‘full healthcare benefits for all furloughed employees.’ But it is unfortunate that Rutter and Kennedy Center management have opted to violate our contract and federal labor law rather than come to us to discuss a collective solution.

“We understand that the COVID crisis affects everyone. That’s why we have, throughout, been willing to collaborate and discuss ways to work with Kennedy Center management during this challenging time. Illegally breaking our contract isn’t an option here.

“Much smaller and less-resourced organizations than the Kennedy Center have managed to take care of their workers. We’d hope that the Kennedy Center – part of the federal government – could be a standard-bearer, rather than leading the race to the bottom.”

Justin Bieber’s “Intentions” may have been good, but there are going to be some “Changes” to his plans for 2020.

Bieber has had his “Love” tour cancelled just in the nick of time. Thank god for that virus. Tickets, as I told you earlier in March, were not selling. Many of the shows set for stadiums were downgraded to arenas. Now he doesn’t have to worry about it.

Right now, they’re saying “Postponed” and telling fans to hold on to the tickets they purchased. That is unrealistic. Refunding should be made available. If the tour wasn’t selling with a current album out, it’s not going to sell later in the year when there’s nothing new going on.

Year to date, “Changes” has sold only 166,000 copies of CDs and paid downloads. Including streaming, the number of sales is 450,000. That’s since February 14th. They would have to put Justin on a bill with Britney Spears and 5SOS to make a real tour work financially. Or downgrade again to smaller venues like Radio City Music Hall.

Here’s the official announcement:

In light of the current public health crisis, and with the deepest concern for all those being affected, Justin Bieber will be postponing all currently scheduled 2020 dates for The Changes Tour. While Justin — along with his band, dancers and crew — has been hard at work preparing an amazing show, he has always put the health and well-being of his fans first and foremost. Justin is anxiously awaiting the opportunity to get back out on the road and perform in a space that is safe for everyone. He asks that fans hold on to their tickets, as they will be honored as soon as the dates are rescheduled. Information on rescheduled dates will be forthcoming soon.

Alicia Keys published her memoir today, called “More Myself.” In it she recalls how she got permission to sing Prince‘s “How Come U Don’t Call Me Anymore” on her first album.

First he wanted to speak to her on the phone. Then he said she had to come to Paisley Park.

“So I’m doing a cover of your song, ‘How Come U Don’t Call Me Anymore,’” I explained. “It’s one of my all-time favorite songs, like … ever. And, uh, I was wondering if I could use it on my album.” Silence. “Why don’t you come play at Paisley Park?”

I paused. “You want me to come play at Paisley Park?” “Sure,” he said. “You should come down. I can show you the place, and then you can play the song for me.” Weeks later, I was standing at the outer gates of Prince’s gray, concrete, sixty-five-thousand-square-foot fortress in Chanhassen, Minnesota…Before my backup singers and I began setting up for our sound check, Prince pulled me aside. “I only have one request for you,” he said. “No cursing allowed. That’s my one ask.” “I’ll try,” I said, nodding and blushing.

I played every song on my album, including the one that had brought me to Paisley Park. Afterward, Prince met us backstage in the dressing room. “Great show, great sound,” he told us as we beamed. On our way out, he pulled me aside again. “You’re going to have to put a dollar in my curse jar,” he said, a grin spreading across his pale face. No, I hadn’t dropped the f-bomb, but I had committed a couple of minor infractions. I laughed and thanked him, and he saw me out. Later, back at the hotel, I did not sleep a wink.