By Jim Schutze
By Rachel Watts
By Lauren Drewes Daniels
By Anna Merlan
By Lee Escobedo
By Eric Nicholson
If Laura Miller is serious about running, sign me up to work on the campaign. I'm all for getting rid of the smooth talkers and their B.S., and I've always thought that Ms. Miller would do a lot more good working on City Hall from the inside. You go girl!
Way to go, Laura! Where do I get a yard sign?
Tim J. Bradley
Editor's note: Several readers have made similar inquiries. Laura Miller informs us that she will obtain a telephone number for her campaign in early January. Call directory assistance at that time, and ask for "Laura Miller Campaign."
In perusing the Dallas Observer for the last 17 years, the majority of its articles were short-sighted, self-absorbed, or mean-spirited. Charles Bowden's article alone is an example of what the alternative press should be providing. The pictures and prose were so potent ["Through a lens darkly," December 11] that I found myself questioning my schedule for the day and considering how I might better spend my time in terms of responding to those matters that should consume all of us.
After quite a day at school here in northwest Arkansas, where the unemployment rate is nearly zero and the wealth brought in by Wal-Mart, J.B. Hunt, etc. is more and more visible, I was brought to abrupt reality by the story of the evil in Juarez. I shall share this with my history students. Thanks for waking us up and sending me (for one) back to the novels of Dickens, Hugo, and Zola for a refresher course in what price the modern world exacts upon the poor and working mass of humanity.
Unidentified floating objects
Re: Lex & Terry ["Lex & Terry's wet dream," December 18]. I hate to burst your bubble, but to use your own words, you guys are "a turd in a punch bowl." So why do you still have a show? Unfortunately, some people get off on crap.
Name withheld. I'm not interested in getting an early-morning call from a couple of really annoying DJ's hell-bent for on-air revenge.
Either I'm getting old and cranky, or local radio really does suck. The latest example is well documented in Rose Farley's article on Q102 and Lex and Terry's embarrassingly crappy morning show.
It's not that Lex and Terry are complete Neanderthals. That would be insulting to Neanderthals. The sad, simple fact is: They just ain't funny. Apparently there's a good reason why they were No. 1 in Jacksonville: They were in Jacksonville. It's a shame their witless repartee doesn't translate to a major market. It's a bigger shame the suits at SFX still don't realize it.
It didn't use to be like this, of course. For all its warts and flaws--maybe because of them--Q102 was the rock and roll soundtrack of late '80s-early '90s Dallas excess. Bo and Jim, Redbeard, Bring in the Weekend parties, the clean, dynamic production values--man, that was a real radio station.
I have no idea what it's supposed to be these days. Between flip-flopping formats, knee-jerk programming, and bone-headed management decisions (canning Bo and Jim, turning Redbeard into an alternative jock--geez, it's hard to pick just one), it seems like Q102 has forgotten everything it learned about radio back when they had the DFW market in the palm of their hands.
But I guess you should expect that from a rock and roll radio station that's getting its ass kicked by WRR.
WRR. Jesus, that kills me.
"The other arena" [December 11], a touching plea on behalf of deserving theaters without space, falls absolutely flat without the rest of the story. A rent hike from Deep Ellum Opera Theatre (DEOT) crushes a spunky little group; the big bad Theatre Projects Consultants talk to dozens of little groups only to give them no guaranteed venue; and of course, a touching paean to gifted little performance groups gone by, sob-wrenching--but wait.
Why did the rent go up at DEOT? Hmmm, they were only charging one-half the operating costs of the space to use it. That would have to mean that--do the math--they took it upon themselves to subsidize New Theatre Co. and others that used the space, for which I must say they received nothing but adolescent resentment.
Well, add DEOT to the pile of groups without space, but more importantly to the pile of groups that no longer see a reason to help less fortunate and considerably less appreciative groups out. And on the subject of appreciation, of the defunct groups mentioned, I no longer count the number of times I have personally helped productions by these groups or their survivors, usually on technical set-up, loans of equipment, and sometimes even operating a run, only to find my name nowhere in the program and myself persona non grata in their midst.
The Theatre Projects Consultants no doubt saw exactly the same lack of appreciation from the start. The word that our small group, Bucket Productions, got back from the TPC was that it seemed unlikely that small groups would get much consideration, not because of stature, but because of attitude. The consultants cited a distinct mindset of entitlement. The belief that just because they exist, artists deserve big chunks of the pie is wrong. This isn't high school. This isn't college. The real world costs a lot. Space is expensive; save your pennies. Tech work is expensive; thank your people. Money is expensive; show some humility and appreciation. I will work with DEOT anytime, not because they are bigger than XYZ theatre company, not because they have a cool space (they don't anymore--the rent went up on them too, dummy), and not because they are my friends, but because they say "thank you" and mean it.
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