By Jared Chausow
By Katie Toth
By Elizabeth Flock
By Albert Samaha
By Anna Merlan
By Jon Campbell
By Jon Campbell
By Albert Samaha
Huntington Station, New York
Toni Schlesinger responds: Please know that I was writing from the point of view of people who love life so much that they want to spend as much time as possible enjoying it.
Reel To Real
Linus Coraggio Brant's letter [January 12] takes to task Sarah Ferguson for comparing Phil Kline's electronic works to those of the "acoustic purists" Charles Ives and Henry Brant ["Season's Bleepings," December 29].
As a record producer for both Brant and Kline, as well as of works by the late Ives and dozens of other American composers, and as executive director of Composers Recordings, Inc., I believe that comparing younger composers to their elders and ancestors is always a valid and useful route toward understanding and appreciating new musical styles and techniques.
What is irksome is that Brant refers to Kline as a "synthesizing sound-lab technician," when he is, in fact, a trained and respected composer who, the Voice's own Kyle Gann says, "is doing the most original things with tape recorders since Steve
Reich's Come Out."
He So Horny
Charles McNulty makes a significant mistake in his review of the Pearl Theatre Company production The Country Wife, by William Wycherley ["Lust Horizon," January 19]. The name of the leading male character is Horner, not Homer. This is important because the name puns on cuckoldry. Horner sleeps with other men's wives and thus, as convention has it, makes their husbands wear horns.
Jonathan Brody Kramnick
Lerner obviously understands the subtleties of complicated medical issues, and writes about them so well. I pay $2400 a year for health insurance, and I want to know what's going on with HMOs in New York. As far as I know, she is the only one regularly covering the subject.
I'm going to recommend this column and its archive to some people I know who would also be interested.
Like Alexis Soloski, I also saw the production of Lyz!, a new musical adaptation of the classic Lysistrata, and I do not agree with Soloski's harsh critique ["Sex Shirkers," January 19]. And apparently neither did the audience around me.
The man who sat to my left laughed himself to absolute hysteria because the play was so funny. He nearly fell from his seat.
The play was written with humor and brought Greek comedy into the current ages.
Califon, New Jersey
Re Nat Hentoff's "The Trashing of Clinton's Women" [January 19]:
I look forward to more information from Nat Hentoff on the Clinton secret police and on their attempts to intimidate potential witnesses. I personally can't imagine anything more frightening.
I, too, have long thought that this underside of the Clinton saga is far more important and sinister than most of the surface information relayed to us by the press, particularly the electronic media. If, as Alan Dershowitz would have us believe, this trial is merely about sex, then I guess the American Revolution was just about a little tea floating in Boston Harbor. No big deal.
King Of Jungle
Re Jeff Salamon's music review "Moment by Moment" [January 26]:
Thank God someone can write about jungle jazz with a sense of authority, linking classic jazz tracks with the latest 12-inches. As someone who listens to drum'n'bass far more often than I actually dance to it, it's refreshing to have a knowledgeable writer confirm my suspicions about the music's reference points. I'm also grateful Salamon didn't needlessly praise drum'n'bassheads who talk a better game than their music would suggestmost of whom give me fusion flashback nightmares.
Ethan Brown's review of the New Year's Eve party at Vinyl was excellent in its description of the crowd, the music, and the environment ["Happy New (Age) Year," January 12]. The quibble I have is his generic "trance" label for the music, when it was, in fact, the subgenre known as Goa or psychedelic trance. There's a lot of other trance music that does not feature "Hindi-fetishisms," fluorescent body paint, and other similar trappings. Brown should have been at Roseland on the 26th, when X-Dream, Chris Liberator, and Commander Tom (among others) provided ferocious, hard acid trance: a very different sound that is still equally compelling to a dance crowd. It's great to see a positive review of a trance event, but it would help if the reviewer were a little more knowledgeable on the subject matter.
The Big Surprise
Re James Ridgeway's "In the Interest of Justice" [January 19]:
Ridgeway states that Chief Justice Rehnquist could be the "big surprise" in the president's Senate impeachment trial. But then he incorrectly points out that Rehnquist has been "attacked on the left" because he "ignored evidence" of impeachable conduct by federal judges under his supervision.
To our knowledge, no one "on the left" has made such an attack. Rather, the charge comes from the completely nonpartisan Center for Judicial Accountability, Inc. The center filed an impeachment complaint with the House Judiciary Committee last November, asserting that the chief justice had mandatory supervisory and ethical duties that he jettisoned to cover up corrupt judgeswith whom he has personal and professional relationships. By law, the chief justice was required to have disclosed those relationships or recused himself.