GULAG NPR

Tim Rutten's media column (in the Los Angeles Times on Saturday) noted that "National Public Radio's decision to sever its 21-year connection to [David D'arcy, below] one of its most experienced arts reporters" -- purportedly because he was unfair to the Museum of Modern Art -- raises doubts "about how its news operation sets and enforces journalistic standards."

Trouble is, Rutten's column about the D'Arcy/NPR/MoMA controversy is lodged behind the LAT's Subscription Curtain. So here's some of what he wrote:

According to D'Arcy, he was questioned in a telephone conference with Barbara Rehm and William K. Marimow, both of whom are managing editors of NPR News. As D'Arcy recalls it, Rehm told him, "'there are real problems with your piece.' I was asked why I didn't confront Lauder directly over the Schiele case. 'You made Ronald Lauder look like a hypocrite,' I was told. [Lauder is chairman of MoMA's Board of Trustees.] Bill Marimow said, 'You made these guys look like bad Jews,' while Rehm hissed 'shabby, shabby' in the background. Then they told me I had violated every rule of journalism.... I don't think they accused me of bombing the World Trade Center, but it may have been slipped in. They asked me for all sorts of off-the-record material. Then, they said, we'll get back to you."

When they did, it was to terminate his contract. With their lawyer listening in on the phone, they also told D'Arcy his editor, Tom Cole, a staffer at "All Things Considered," was "suspended without pay for one day and, Rehm, according to D'Arcy, told him that "Cole agreed with all the criticisms and had showed the appropriate remorse."

Maybe NPR should change its letters to GULAG? How about GITMO? In any case, what did Rehm have to say when Rutten called her for comment on D'Arcy's firing? Zilch. She didn't return his calls. What did Marimow have to say? "We looked into this matter and we issued a correction and that's all I have to say." In other words, more zilch.

March 21, 2005 2:59 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.
HERMAN WOUK'S LATEST 
It's hard to say which comes off worse in Herman Wouk's latest novel, his first in a decade: the U.S. Congress or the American press. "A Hole in Texas" offers the choice between two emblematic stereotypes: a red-faced opportunist who heads the House Armed Services Committee and a mustachioed investigative reporter for the Washington Post.
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