This may seema little late, but what the heck - it's stuck with me.
Around the time I graduated college, The New York Times went through something of a sea change - partly it was the changing of the guard at the top of the paper - Arthur "Pinch" Sulzberger, Jr. replaced his father as Chairman of the Board in 1992. But part of it was a realization that the "grey lady" was just... too grey. Too old, too stodgy, out of step with the times (the eighties, really, were about a lot of this - shaking things up for "the new." I see that now).
The effect, which you could see especially in Arts & Leisure, was that newer, younger voices emerged and they were supposed to be more "hip" and with it ("hip" - in quotes - covers a lot of what was so wrong with all of this). Im practical terms it meant that a slew of extablished writers, especially longstanding critics - Vincent Canby in film, Christopher Lehmann-Haupt in books, among others (Frank Rich, well ensconced, would last through this; but they added a "Sunday critic" to at least give the appearance of sensitivity to charges that Rich exercised outsized influence over the New York theater world).
But these younger voices were not necessarily better; they tended to underline the Times real flaw - a wealthy patrician (i.e. "grey") approach to New York's complex ever-changing scene, especially in the Arts. Late to notice rap and hip-hop, the Times struggled with how to fit modern changes in pop music with its traditions of enshrining classical and opera (and even there, wrapping classical music and opera in a cocoon of stodginess that resisted newer, experimental work in the field).
J and I bonded, in Baltimore, where I lived after graduating from college, over a front page Sunday Arts article by Bret Easton Ellis. By that time, Ellis had blown away the intial hoopla created by Less Than Zero with The Rules of Attraction, a limp, dreadfully told saga of college age anomie at a school that looked suspiciously like Bennington (Ellis' alma mater). Ellis wrote an article describing the new "Generation X" - young people, fresh out of college, who were rejecting the values of the "Baby Boom" that had come before them. I can't begin to describe how stupidly fatuous this article was; it made J and I embarrassed to be in the same cohort, so much so, we collaborated on a brilliant (if I say so myself) long (deadly for getting published) letter to the editor. Even though nothing happened with it, I loved the process of creating it (and still, discussing things like it with J).
But I digress (regress?). The selection of Ellis smacked of so much misunderstanding - an Upper East Side notion of "get me someone who's up on the youth of today," and in hindsight, I can see the flailing more clearly now than I did then. Because the Times, still, suffers from this. And the reason I bring all of this up is that the Times has never recovered. I realized, reading the Arts section on Friday, that the Times is devolving into incoherence in the Arts - saddled with critics who are, several of them, poor writers, and most with critical outlooks too attuned to the faddish and the flashy and less about good, established critical standards as a base for looking at new material. In short, the Times has gone from a distant, reserved patrician Upper east Side approach to the worst of the Upper West Side - where what's fashionable is accorded undue seriousness, and yet a snobby superiority to anything "common" (e.g. "Middle American") continues to rule the day.
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