Author: Douglas McLennan

CRUSHED GLASS

Philip Glass doesn’t get much attention these days. Time was when his music was anticipated with excitement or hostility. Now it is largely ignored. “Except by the general public, which still sort of likes his music, and by professional beat critics, who routinely dismiss the new works as inherently simplistic or, less often, as tedious recyclings of earlier tricks.  His music, outwardly similar to what came before, has declined in quality, and that decline can be described. – New Republic

WHAT ABOUT THE BLACKLISTEES?

When a member of the Academy Awards suggested they devote a segment of the ceremony to the blacklist, he was told in concise terms: “‘The Academy’s policy is to remain totally non-political and…any mention of the motion picture industry cooperation with the House Unamerican Activities Committee constitutes a political statement.'” Political or not, history is inescapable and a part of the present. Shouldn’t the Academy “pass a simple resolution honoring the anonymous blacklistees, those who were denied work and recognition at the time? The question is not whether such a resolution may constitute a political statement. It’s the decent thing to do.” – The Nation 04/03/00

A RISING STAR

Critics have almost universally panned Elton John’s “Aida,” but they’ve all agreed on one thing: singer Heather Headley, in the title role as the Nubian princess who falls in love with her captor, steals the show. Trinidad-born Headley has joined Audra McDonald as “the most exciting young singing actresses in the American theater.” – Newsweek

LOSING THE LEAD

A study released by the European Fine Art Foundation predicts that next year the European art market’s sales figures will lag behind those of the U.S. market for the first time. Who’s responsible? Analysts are pointing their fingers at a range of factors: stringent EU tax regulations, increasing competition among auction houses, a dearth of available masterworks, and the success of Internet auctioneers. “The very nature of the art business is in flux.” – Time (Europe)

IF YOU KNEW SERGE LIKE I KNOW SERGE

A new book about Diaghilev’s Ballet Russes by a widely published dance critic and historian, and supposedly one of the foremost authorities on the period is cause for celebration. “Surprising then, that she has left herself wide-open to criticism by sweeping generalizations and inaccurate reporting in her personal contributions, a collection of essays which confuse rather than clarify the impact of Diaghilev, the Russian genius who changed the whole concept of ballet in the last century.” – Culturekiosque