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Cue Sheet – September 20th, 2005

SAFETY IN NUMBERS

    Phil Rosenthal has a nice column in the Chicago Tribune about the success of National Public Radio in a difficult time for broadcast media. Rosenthal points out that NPR is bulking up its news divisions, and it has doubled its weekly audience, from 13 million to 26 million, in a little more than six years.
    This is all well and good, but two things disturb me about today’s NPR.
    First, the $15 million, three-year expansion of the news department (made possible more by inheriting a huge chunk of the Ray Kroc fortune than by garnering listener support or government funding) comes at the expense of NPR’s cultural programming. Music shows have been withering away over the past few years, ever since NPR execs put their trust in an evil Rasputin audience-research expert who, admitting that he dislikes music, phrases his findings in a way that belittles music lovers and portrays them as the death of public radio. Well, who needs cultural programming from NPR anyway? KUAT-FM has gotten along just fine without it for a good 20 years, drawing on other sources like Minnesota Public Radio/American Public Media and Chicago commercial station WFMT.
    Second, Rosenthal and NPR are measuring success by body count. The assumption: The audience has doubled in six years, so NPR must be doing something right. Well, public broadcasting’s historic mission has not been to attract the largest possible audience; that’s what commercial broadcasters are for. NPR and PBS are here to serve unserved audiences with valuable information, entertainment and educational programming on which commercial broadcasters could not make a profit.
    If NPR’s success is to be measured by audience size rather than quality of content, we might as well give up on it now and throw our allegiance to all those exciting new reality shows on TV.

radio-life,

AS IF MUSIC WEREN'T ENOUGH

    Burt Schneider, who used to announce from time to time on KUAT-FM but now serves as the local All Things Considered host on KUAZ, has pointed me toward an interesting reader’s list at Amazon.com. Someone has recommended 19 novels revolving around classical music. Most seem to be murder mysteries; my taste runs more to literary fiction, so I’ve read only two items on the list: John Hersey’s Antonietta and Ann Patchett’s Bel Canto; Patchett’s is by far the better novel of the two. Burt would add a 20th title: A Time of Our Singing by Richard Powers, a novelist I admire although I haven’t read this book, either.
    I haven’t perused any music-related novels (other than Bel Canto) in several years, and I’ve come to avoid them because novelists apparently can’t avoid making some huge musical blunder that spoils it all for me. In Sándor Márai’s excellent Embers, for example, which is about the decline of the Austrian empire rather than music, characters play a Chopin two-piano piece that doesn’t exist. There was no reason for Márai to invent one. He just got sloppy.
    On a more positive note, off the top of my head I would recommend (tepidly) Frank Conroy’s Body and Soul, following the development of a young pianist, and (far more strongly) Mark Salzman’s The Soloist. The latter, about a concert cellist facing performer’s block, jury duty and a young prodigy for a student, is that rare work of fiction that gets the music right. It probably helped that Mark himself plays the cello and is the son of the late Martha Salzman, who was an excellent harpsichordist you may remember from her performances around Tucson.

quodlibet,

About Cue Sheet

James Reel's cranky consideration of the fine arts and public radio in Tucson and beyond.