MEDIA BUZZ

With the arrival of the Vienna Philharmonic on Friday for three concerts at Carnegie Hall, the orchestra's historic exclusion of women (not to mention its racist ideology) is to be discussed that afternoon on Soundcheck, the WNYC New York Public Radio talk show about music and culture. Invited to air their views about the orchestra's discriminatory practices are two feminists -- the composer and scholar William Osborne, a longtime critic of the VPo's hiring policies, and Abbie Conant, the former principal trombonist of the Munich Philharmonic.

"It would be a chance to look at the history of this issue," Soundcheck producer Brian Wise notes, "where progress has or hasn't been made, the questions of whether female musicians can or can't affect the sound of the orchestra, and where Vienna fits in alongside other European orchestras on this issue."

Another guest with a different point of view from Osborne and Conant is also to appear: James Oestreich, classical music editor of The New York Times, an apologist for the orchestra in my view. Soundcheck broadcasts at FM 93.9 on weekdays from 2 to 3 p.m. in the New York region. Here's the Souncheck archive of past shows. You can listen to them online. For some background about the issues and Osborne's Internet activism, go here: "Taking on the Vienna Philharmonic."

Meantime, yours truly appears on the tube this morning in an hourlong interview about my literary/journalist wanderings on Conversations with Harold Hudson Channer. The program airs 10:30-11:30 a.m. on Channel 34 of the Time/Warner Cable Television Systems in Manhattan and on Channel 107 of the RCN system. "Conversations," which airs Monday to Friday, is also streamed online during the broadcast at MNN.org. (I've never been able to get the link to work. Maybe you can.) Channer's guest in a repeat show on Wednesday will be Andre Schiffrin, who ran Pantheon Books at Random House for 28 years and subsequently co-founded the alternative commerical publishing house The New Press.

March 8, 2005 8:57 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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