HIGH HOPES

While we were busy chronicling the customary discrimination against women at the Vienna Philharmonic, Laurie Niles, a volinist in the Pasadena Symphony, has been describing her effort to get an audition at the Los Angeles Philharmonic. We learned about Niles from a friend's smart tip. He pointed to this item at LA Observed, which in turn pointed to Laurie Niles's Violin Blog.

"Apparently the Big Orchestra in Town got more than 500 resumes for their one section violin position," she writes, "and after carefully reviewing mine decided not to 'invite' me to the audition. Waah! They even returned my $100 deposit fee!" Read about her extraordinary commitment to getting that audition, no matter what. The odds are actually greater than 500 to 1, but LA Observed says, "Don't bet against her."

Postscript: It should be mentioned that the problem of a woman being picked for the LA Phil doesn't have much to do with gender these days, in contrast to the Vienna Phil. This is particularly true for violinists. There are nine women and nine men in the first-violin section, for example, and at least four women among the 15 second violinists. The total for all sections of the LA Phil -- by my count 31 women and 72 men -- is about average for American orchestras.

February 20, 2004 10:23 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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This page contains a single entry by CriticalMASS published on February 20, 2004 10:23 AM.

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