Some of my earliest memories are of international football matches, between England and Germany among others, like the game this Sunday afternoon. I can’t honestly claim to have seen the famous England 6-3 defeat at the hands of Hungary in 1953, or even to have been more than vaguely aware of it. Much later, my friend A.J. Ayer told me that he had been taken to the game by Arthur Koestler, still enough of a Hungarian to gloat over his native country’s victory. In the following year came the “Miracle of Berne” when those same magical Magyars lost the World Cup final to West Germany.
ON THE SEATING CHART of the creative fraternity, record producers occupy one of the rows behind film directors and in front of book editors. In recording, it is the performers who are the "artists," as the music press and the people who run the Grammys like to remind us. Producers, as a rule, are hired by record companies to produce in a fundamentally commercial sense: to supply product. The task involves extraction (from the artists), organization and supervision (of those artists and their work), and collaboration (with the artists), in varying measures; the producer's job is essentially sus
“New York City needs, and must have, a change. It must change completely in all of its institutions from top to bottom.”—CANDIDATE JOHN LINDSAY, a week before his election as mayor. Lindsay is often called “the Republican Kennedy.” There is some resemblance. Like the late President, he is forever tilting with a lethargic bureaucracy, trying to impart to it some of his own dash and sense of urgency. Kennedy tried, but soon abandoned, the experiment of sitting in on a State Department staff meeting and startling middle-echelon officials by telephoning them to ask their opinions.