MET POSTSCRIPT

A regular reader from Texas writes: "My Dad retired from Chevron in 1990. At the time of his retirement, he was quite high on the Chevron management food chain. I asked him about your article regarding Chevron-Texaco's failure to fund the Met broadcasts next year. Dad observes as follows:

"1. Chevron-Texaco is not the same company he worked for. There have been a couple of turnovers in the upper management and, although some of the men running things worked under him at one time, it was not under circumstances that would enable him to judge their priorities regarding corporate support of the arts.

"2. The whole area of corporate sponsorships is non-core and very minor. It simply doesn't receive much attention from upper management. If you will take a look at Chevron-Texaco's 2002 Corporate Responsibility Report, you will get a feel for the scope of the community involvement projects funded by the company. Some of the stuff simply gets lost in the shuffle.

"3. Chevron was always sensitive about its image. There is no reason to believe that sensitivity vanished with the purchase of Texaco. Perhaps one could contact the Vice Chairman whose portfolio includes corporate sponsorships and persuade him or her to reinstate the funding. As you observed, the total amount is really quite small and its reinstatement would probably cost less than rounding errors in the annual report."

December 12, 2003 10:05 AM |

Categories:

Me Elsewhere

'WILD SIDE' STILL ROCKS 

Nelson Algren was one of the great American authors of the 20th century, it is no exaggeration to say, and among the most neglected. Consider his underrated classic, "A Walk on the Wild Side." The title -- popularized and co-opted as an idiomatic phrase by Hollywood and Madison Avenue (institutions Algren loathed) -- is familiar to most anyone who speaks English or knows Lou Reed's lyrics. But the novel itself? Hardly.

BUSTER KEATON REVISITED 
Buster Keaton: Tempest in a Flat Hat is not a biography. "This book is merely a fan's notes," Edward McPherson writes in the introduction, although his publisher ignores the disclaimer and calls it a biography on the cover. In fact, the book is a bit of both, a difficult combination to bring off unless you're David Thomson, who set the standard with Rosebud, his penetrating rumination on the life and career of Orson Welles, which was nothing if not a distillation of every obsessive thought he ever had about the myth and the man and all his movies.
LAUREN BACALL, STILL SALTY AT 80 
When Lauren Bacall writes that her singing voice ranges "somewhere between B minus sharp and outer space," she's being candid and funny. It's not every stage star with two Tony Awards for best actress in a musical whose vocal talent offers so little promise. (OK, Harvey Fierstein excepted.) Still less would one admit it.
THE STARS ACCORDING TO BOGDANOVICH 
Peter Bogdanovich's superb collection of movie-star profiles and interviews -- a sequel to Who the Devil Made It, his interviews of top film directors -- begins with an affectionate tale about Orson Welles that reminds us just how intimate the author's connection to Hollywood's greatest has been. But contrary to what we've come to expect from dime-a-dozen celebrities and celebrity interviews not worth two cents, the tale avoids bromidic egotism and journalistic platitudes.
SAMMY'S WHITE DREAMS 
Four decades ago Lenny Bruce sentenced Sammy Davis Jr. to "30 years in Biloxi," stripping him of "his Jewish star" and "his religious statue of Elizabeth Taylor." Now we have two new biographies of Davis that spring him from ridicule, if not from doubts about his legacy, and restore a measure of dignity to a black entertainer whose huge fame and success never overcame his devout wish -- indeed his lifelong effort -- to be white.
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