From books to pop to dance, critics are taken to task

RE “A Memoir Rendered With Skill but Little Substance,” by Michael Standaert, Oct. 10: A memoir shows what the writer has found interesting in his or her life. To criticize such a work because it doesn’t include particular gossip is to contribute to the mediocre hunger for a continual stream of glitz.

W.S. Merwin’s writing reveals his unique relationship with his world. Why require him to be like everyone else? Why ask him to say more about poetry, instead of watching how he, a poet, is?

There is much to be learned about a person based on what they leave out from their story. If we want to understand subtlety and sensitivity, we must turn from our ordinary way. It is a good time to question if we have grown addicted to entertainment, if we have lost touch with the rewards of challenge.

KILLARNEY CLARY

Los Angeles

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MY condolences to Richard Cromelin. It appears that he missed one helluva show [“Not Green’s Day,” Oct. 10]. In my 30 years of going to concerts (including the Sex Pistols, the Clash and the Ramones in the 1970s), I would rate Green Day’s as one of the top five concerts I have ever seen.

What I will remember about it, apart from the incredible performance of the band, is Billie Joe’s desire to connect with and interact with the audience. He has usurped the title of “Hardest Working Man in Show Business” from Springsteen and I don’t think he’s giving it back any time soon.

As far as Cromelin’s complaints about them playing to the stadium, guess what, they’re playing in a stadium.

CHRIS EISENBERG

Sherman Oaks

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RE Lewis Segal’s dance review, “Making It Look So Easy,” Oct. 10: I am outraged. His view is so myopic as to be offensive, ignorant and utterly useless as information for your readers regarding the quality, intention, dynamic range, musicality, artistry and actual experience of our work.

In his attempt to describe us in a “positive” way, Segal deliberately implies that we are soulless airheads with no other abilities, presence, originality or expression than that of clean, fast feet and some generalized mode of cheeriness. He is absolutely wrong to separate our feet from the total expression that each of us embodies in this work, and, sorry to say, he lacks any perception of our constant lines of communication with our musicians.

These facts are basic to what we do. As Jazz Tap Ensemble members, we value deeply our individual creativity and musical relationships as well as the absolute joy of dancing well.

LYNN DALLY

Artistic Director, Jazz Tap Ensemble, Los Angeles