17 replies to this topic

[BW]

Just picked this up from a link that'd already been posted elsewhere on the board:

http://www.villagevo...0234/zimmer.php  

"Attitude With Altitude and Horsepower to Spare Trocks Transcendent"

by Elizabeth Zimmer August 21 - 27, 2002

It's a nice, entertaining Trockadero article but the last line is what got me.

"I was out of the country earlier this month when New York magazine saw fit to terminate the column of Tobi Tobias, a stellar dance critic whose writing has graced its pages since 1980. We will make room for her here."

[Watermill]

and out of touch NYMag is to think that broadening (read "dumbing down") their approach to dance is the way to go.

Reminds me of Pauline Kael's remarks about modern audiences' penchant for "settling" for what's placed in front of them. With mediocrity becoming the norm (Think of the 3 Tenors receiving standing o's in megastadiums for barely average performances)
this is no time to lower the standards of our critics.

And if we're talking bottom line: for every dollar tourists spend on the NYC art scene other businesses  (Hotels, restaurants, uh...magazines?) take in six more dollars.
Why do the hordes come to Lincoln Center?  To see the best.  How do they know it's the best?  Because somebody (critics)  told them.  Who helps keep it the best?  The critics, by demanding quality, pointing out bad choices and sloppy work, by holding AD's accountable. (See NYTimes/He's No Balanchine article)

I know this logic is much too convoluted for an editor counting inches and ads, whilst spinning like a top, but it's beyond frustrating  to see one of the precious few serious regular dance columns reduced either in quantity or quality.

But then again...t'was ever thus...

Watermill

[Watermill]

Dirac, your sarcasm is bracing, like a good after-shave lotion...
(Bet no one ever said that to you before!)

Here in the Pacific (but not Peaceful) Northwest, our best dance critic, Martha Ullman West, is in a sort of semi-retirement, resulting in some of the most lazy, amatuerish and at best unknowledgable dance criticism I've ever read. In Portland's two papers it's mostly by theatre critics thrown the assignment by idiot editors. In Seattle, Mary Bayley has a good eye but a generous pen, resulting in  reviews more than critiques.

Tobi T would be a welcome scourge.

With PNB, tours of ABT & RB, Kirov, the White Bird Series in Portland, a new AD at OBT, Eugene, Bodyvox, Conduit and lots of
modern and ethnic stuff, (plus trips down to SFB and up to Vancouver BC) Tobi could be kept very busy.

C'mon Tobes, take a chance!

(After years in NYC: Not bloody likely...)

*sigh*

Watermill