HARMONY COMES TO THE U.N.

Kofi Annan, global musicologist? "Today, our subject is music," the U.N. Secretary-General told his audience yesterday in New York. "What's that got to do with the U.N.?, you may be asking. My answer is that music has to do with everything."

It's the "soundtrack" of our lives, Annan said, beginning with "the first lullaby sung to us as newborn babies." It penetrates our daily existence so thoroughly, he added, that "many of us take it for granted -- just as we do the soundtrack of a film." He even quoted Plato, who wrote that music "gives soul to the universe, wings to the mind, flight to the imagination."

Annan spoke about clashing values, world diversity and the unifying force of music. Aware that his orotund remarks might be a bit much, he caught himself and said: "You see, I am getting carried away I'd better stop."

With that he introduced the real musicologist, professor Leon Botstein, president of Bard College and music director and principal conductor of the American Symphony Orchestra, who had come to the U.N. to lecture on "why music matters."

The U.N. Secretary-General was merely playing the genial host, as he has done for previous lectures on more familiar U.N. topics such as human rights, cloning, Islam, globalization and climate change.

I have no idea what Botstein himself said. It's doubtful, however, that anything he might have said about the unifying force of music could heal the divide between the United States of Canada and Jesusland.

November 9, 2004 10:17 AM |

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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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