By Jim Schutze
By Rachel Watts
By Lauren Drewes Daniels
By Anna Merlan
By Lee Escobedo
By Eric Nicholson
Biederman says "the Jones Boys" filed a plea claiming that the president "sexually assaulted, sexually harassed, and/or committed oral sex with a 21-year-old White House intern." Are those facts or allegations? More to the point, what bearing do they have on the Paula Jones case other than to use the media to commingle an irrelevancy to further hound and hurt the president?
Biederman said that, in depositions from both Paula Jones and her co-worker friend, Pamela Blackard, they insist that then-Governor Clinton was "leering" at Jones. Did Biederman read the deposition? Did it really say "leering"? Exactly how different is a "leer" from an ordinary facial expression? Did the president's eyes pop out? Hos nose twitch? Drooling or frothing from the mouth? Eyebrows leap upward? A visible "glint" in his eyes? Was Pamela Blackard there to witness this "leering," or was she taking Paula Jones' word?
Did "the Jones Boys" help Paula Jones change her version of her meeting with the president so as to enhance the sexual harassment argument in the second telling? If so, did Biederman ask "the Jones Boys" for clarification? An editorial in The Washington Post has "...Jones' lawyers scrounging for damaging tidbits--some supported, some not--with which to further damage Mr. Clinton's reputation." I believe it got to the point that the judge told "the Jones Boys" to stop their trial-by-media (my term) techniques. Now that the judge has dismissed the case, do you think "the Jones Boys" will cash in their chips? It's doubtful: The publicity they have freely gotten has been worth millions, and their cash boxes will soon runneth over! Hallelujah, sayeth the treasurer!
The media, probably with some gratuitous assistance from "the Jones Boys," have unmercifully scoured every nook and cranny of President Clinton's past in search of every woman he has ever met with as governor and president to see if there was anything sexual to be found. The public has been inundated with allegations by radio, newspapers, magazines, and TV. Even Jay Leno has, for all intents and purposes, found the president guilty and holds him up to ridicule every night. Now, that's harassment.
In my opinion, if you want an example of legalized sleaze--no, make that two examples--could they, conceivably, be found right here in Dallas: Bickel & Brewer and "the Jones Boys"? One wonders if any of them can spell the words "ethics" and "integrity," but then, the love of money can buy almost anything.
Dr. Sydney Kay
The unintended but hilariously poor timing of Ms. Biederman's article is exceeded only by her misplaced indignation as a champion of bimbo outrage.
I think ya'll hit the poor boy a little too hard ["God help him," April 2]. Come on, now--how can anyone not remember Vanilla Ice from the '80s? He wasn't the best thing since sliced bread, but his presence in Dallas sure does bring back memories of times long since gone.
He is just like any of the other shitty '80s acts who seem to come around again and again...Information Society, Flock of Seagulls, etc. Another in the long line of sparks that faded into nothingness.
It will be a cold day in hell before I buy another of his CDs, but I have to admit that I break out the Ice Ice Baby every few months when I need a reminder of my younger years.
Where credit is due
While visiting Dallas the weekend of March 21-22, I was fortunate in attending the final performance of The Only Thing Worse You Could Have Told Me, a production of Plano Repertory Theatre presented at the Swiss Avenue Theatre Center.
I have been very active in the theater community in Houston for over 30 years as an actor, director, producer, and reviewer. In your March 19 issue, there was a review of this production written by Jimmy Fowler ["Gay is great"]. While I agree with the extraordinary praise given to Terry Martin (the actor in this one-man play), I take great exception to his omission of the director. Any "critic" of the theater should have the knowledge to understand that a director, in most cases and certainly in this one, can have a powerful impact on a production.
To omit Mark D. Fleischer, the artistic director of Plano Repertory Theatre, who did a superlative job in directing Mr. Martin, renders Mr. Fowler's review incomplete, unprofessional, and unpublishable.