Those rare situations stink. I agree. But from my own experience with blind auditions and from the actual data on how they allow, for example, the percentage of women in symphony orchestras to jump from around 5% to more than 50% in the case of the New York Phil in particular and above at least 35% across the whole industry of orchestral music, I'd say they were resoundingly effective in diversifying professional music. Yes, there are a couple of instances I know of where musicians didn't make it past the probation period. But these instances are extremely rare. The audition to get a job is so difficult, it tends to weed out the un-humble and those whose focus is not mainly the production of great music. They know how to select for top skill and the auditions test for it. Part of that skill is the ability to be flexible, to identify vibe and style of your team, to blend when necessary and to take risks when called upon and above all to be a great collaborator with others of extremely high skill. The process tends to filter out the on-the-job jerks. Not every time, but mostly. And that is what probation review is for. It is for every player and is decided by committee. I think for the rare mistake, such diversity advocacy is well worth the occasional error as opposed to the current system which yields very poor diversity numbers in tech as we are all aware.