A Hollywood Landmark Debut

Although I do not long for an architectural critic who is merely a hometown booster, I do expect Nicolai Ouroussoff to review the Hollywood & Highland project in terms of its impact on the urban fabric of Los Angeles in addition to expressing his opinion as to its architectural merits (“Grand Illusion,” Nov. 9).

Having visited the project several times over the opening weekend, I can attest to the fact that Hollywood & Highland has single-handedly created the feeling of a city where none existed before. The crowds were not only immense but obviously proud that Hollywood has an exciting new center.

And while some may denigrate the presence of stores such as the Gap and Banana Republic, as a resident of the Hollywood Hills, I am thrilled to have stores in which to shop without driving to Pasadena.

LARRY W. McFARLAND

Los Angeles

*

The huge white elephants that sit perched high atop the courtyard of Hollywood & Highland represent an omen prophetic of this architectural monstrosity’s future more than they hearken memories of Hollywood’s illustrious past. Times Architecture Critic Nicolai Ouroussoff was too kind in his justifiably lengthy thrashing of the project.

Sadly ruined in the making of this $700-million Hollywood disaster epic is the once grandiose courtyard of the Chinese Theater. As if afraid a real star might steal the scene, designers of the Hollywood & Highland project have sterilized the legendary courtyard and destroyed its unique ambience. Gone are the neon dragons. Gone are the bigger-than-life marquees. Gone is the red canopy and ticket booth. And gone too were the throngs of tourists milling about in awe of real Hollywood history Sunday afternoon as the now sanitized site seemed hardly worth noticing next to its new neighbor, an oversized and over-hyped new Hollywood wannabe.

FRANK A. GAGLIANO

Los Angeles

*

Nicolai Ouroussoff’s review of Hollywood & Highland and Pasadena’s Paseo Colorado were far more revealing as exposes on the author’s strongly held prejudices against contemporary American culture and consumerism than valid architectural critiques.

His primary assault regarding both Hollywood & Highland and Paseo Colorado are that these projects are in fact, oh my God, malls! And if you eliminate everything he condemned (chain stores, both high- and low-end eateries, cineplexes, parking structures and the 3,500-seat Kodak Theatre--because it’s only bait anyway), what are you left with?

In particular, had Ouroussoff followed the news for the last five years as Hollywood & Highland went through planning with the city and community groups, he would realize that the whole point was to lure back to Hollywood the very chain stores he derides, which had deserted the area decades ago.

PHILIP HINDENACH

West Hollywood

*

We suspect that it is Mark Swed who has the “tin” ear, as we, discerning musicians, thoroughly enjoyed the opening concert at the new Kodak Theatre with tenor Russell Watson (“A Tin Ear for Acoustics at New Kodak Theatre,” Nov. 12). The acoustics are brilliantly realized, the sound in perfect clarity, making our evening quite glorious.

CARL and PATRICIA EARL

Hollywood

The Kodak Theatre is beautiful and the sound system is great. I think the Hollywood Bowl Orchestra might have found a new “winter” home.

SUSAN BAKER

Los Angeles

*

Voicing His Surprise

I was surprised to see in Diane Haithman’s article (“After a Rocky Year, L.A. Opera Reworks Top Administration,” Nov. 12) the suggestion that some of the operas I programmed for 2000/2001 did not achieve what was expected at the box office.

I think you will find that the box office over the year exceeded targets by $276,000, with “Peter Grimes” in particular $57,000 ahead.

PETER HEMMINGS

Founding General Director

Los Angeles Opera

*

Stop the Stomping

Too bad. Los Angeles could’ve been home to an amazing and thriving community of dance artists, dance audiences and dance presenters. To my personal dismay, I doubt it will ever happen. Lewis Segal’s mean-spirited review of Dwight Rhoden’s extraordinary dance company (“Complexions Troupe Puts on Its Best Face,” Nov. 3) can easily be pointed out as evidence of how the L.A. Times systematically contributes to sabotaging the possibility for any claim that “dance is alive and well and living in Los Angeles.”

GROVER DALE

Beverly Hills

Dwight Rhoden is a gifted and visionary choreographer who will long survive Segal’s pathetic review. In years to come, I assure you, he will be a giant in dance circles.

PETER ANTHONY ANDREWS

Los Angeles

Dance critic Lewis Segal is correct when he suggests (“Lack of Context Limits Persian Program,” Nov. 5) that we need to invest more effort “enlisting the Islamic community as a whole in projects that illuminate the beliefs and traditions of a complex, misunderstood religion.” We would alter but one word, from “religion” to “region.” For the Middle East is extremely diverse ethnically and religiously, and its cultural products are as often about the arts as they are about a particular faith tradition.

What should be noted is that although more than a million people of Mideast descent live in Southern California (among them Persians, Arabs, Kurds, Armenians, Turks, Israelis and North Africans), we have not had a cohesive cultural center that weaves history and artistic traditions together.

It’s true that audiences attending the odd Middle East music, dance or literary event for the first time may find themselves without sufficient vocabulary to fully grasp what they are experiencing.

Yet groups like the Avaz International Dance Theatre, along with Ney Nava Dance Theatre, the Lian Ensemble and Axiom of Choice, among others, have been performing Persian arts in L.A. for years.

These groups work without the benefit of a large, supporting institution, which can help put Mideast cultures in greater perspective.

Happily, for the first time that we know of, Levantine Cultural Center, opening in 2002, will both identify major Middle Eastern artists nationwide and provide a central address in SoCal where it can all come together. Whether music, dance, film, painting, literature, oral history or new media, we believe that the center will create context for the complex and beautiful arts created by those of Mideast descent.

JORDAN ELGRABLY

Board of Directors

Levantine Cultural Center

West Hollywood

Blame Nashville

I think Robert Hilburn in his otherwise excellent article about Garth Brooks’ impending “retirement” (“Now You See Him ...,” Nov. 16) missed a key reason for the entertainer’s leaving the stage early. Hilburn notes that Brooks is a fiercely competitive man, unwilling to slide down the charts, play smaller arenas, or work under the dreaded Nostalgia Act designation.

Brooks would be more willing to take on that challenge if the “new” Nashville hadn’t made it all but impossible for seasoned performers to succeed. Where once upon a time sheer talent could win out in country music, the record companies and moneymen have jettisoned this in search of the almighty youthful demographic. The result: an influx of teen or twentysomething pretty girls and hat acts wailing about the agony of a senior prom without a date.

JOHN CORCORAN

Calabasas

The Media and War

In his article of Nov. 12, “Propaganda Machine Signs Media Enlistees,” Howard Rosenberg comes off alternatively as cynical, critical, un-American and, at the end of the article, even envious.

I submit to Rosenberg: What would you have the media report on during war? And further, why should they not be happy to greet the men and women of the armed forces who are fighting for the defense of our nation, for our future security and freedom (which includes the very freedom of speech that you exercise on a daily basis)? I believe you should thank them, instead of criticizing anyone who appears in any form of the media to be supporting them.

CARLA ROBINSON

Playa del Rey

I am in total agreement with Rosenberg’s article. This is exactly what I knew these media freaks would resort to.

They have saturated the airwaves with “the war on America”--even the titles are offensive.

Makes me feel like I’m tuning into the newest war movie.

ALEXIS CUNNINGHAM

Laguna Beach

Hold the Applause

So the Ovation Awards “attracted an estimated crowd of 2,400 to the 3,500-seat venue” (“‘Lion King’ Rules Ovation Awards; Solo Shows Also Honored,” by Don Shirley, Nov. 14). Perhaps the problem here was ticket pricing: either $125 or $35.

When calling to purchase a $35 ticket, I was informed that I must be a member of Theatre LA in order to buy the ticket. Membership cost: an additional $10.

Not caring to be forced to join a group in order to purchase a ticket, I did not go to the event. The board of directors might want to rethink this policy should there be an Ovation presentation next year.

FRED MARTIN

Studio City

Facing the Facts

Regarding Brian Lowry’s On TV column of Nov. 14 (“All the News That’s Fit to Print”):

How quaint. You still think the aim of network news is to inform! It lost its credibility years ago. Save the time you spend on network news for something meaningful.

RAY MENZIES

Irvine

I think you print journalists are just jealous because you aren’t as good-looking as your TV counterparts. Some people just have a face for print journalism.

DONALD BREESE

Irvine

Due to the great success of our recent fund-raiser and the generosity of our listeners, we have canceled plans to have me broadcast “All Things Considered” in short-shorts and a halter top.

JOHN RABE

KPCC-FM

Pasadena

Don’t Blame Fox

Those complaining about Fox announcing the Emmy winners on the World Series broadcast (Letters, Nov. 10) should direct their ire at CBS.

If CBS thinks the Emmy Awards is such a special event, then they should carry it live, as ABC has always done for the Academy Awards.

Just think of the howls you’d hear from sports fans if Fox delayed the World Series broadcast for West Coast viewers!

WILLIAM F. SHARPE

Santa Monica