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June 6, 1994
Face it: Classical music is a dead language. In the latest skirmish of the Thirty Ears War, music-lover Claire Rydell writes that composers "Milk a Dead-End Aesthetic" (Counterpunch, May 2), composer Burt Goldstein retorts with ad hominem tut-tutting ("New Music Merits Respect, Not Attack," May 16), Times Music and Dance Critic Martin Bernheimer scolds the troops for defecting ("Modern Progress Under Salonen's Green Umbrella," May 18), and UCLA Professor Paul Reale preaches that history will go on ("In Support of Well-Conceived Music--Old and New," May 23)
July 14, 2002 | CHRIS PASLES
In the middle of an interview, Yasuo Shinozaki hands over typed notes about his programming choices for an upcoming concert at the Hollywood Bowl. When the Los Angeles Philharmonic's assistant conductor talks music, he turns thoughtful and then locks eyes with his listener. When he conducts, the critics say, he minds order and shape. All of which make one thing clear: For Shinozaki, music is in the details.
October 12, 2013 | By Robert Hilburn
Johnny Cash's life in the 1960s is mostly remembered as a time of glorious achievement - from the landmark prison albums at Folsom and San Quentin to the launch of the ABC-TV series featuring such guests as Bob Dylan and the Doors that led to his becoming a giant figure in popular culture, a symbol to millions, no less, of the best of American social values. But Cash also experienced excruciatingly dark times in the decade, fueled by drugs and guilt over the breakup of his marriage.
September 28, 2000
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