By Jim Schutze
By Rachel Watts
By Lauren Drewes Daniels
By Anna Merlan
By Lee Escobedo
I'm just sorry you didn't have more information about some of the queer-friendly organizations that have been supportive of American. The result was that viewing the feature on the Web, there were a half-dozen links to the religious-extremist Web sites and no links to the sites of the dozens of gay-friendly sites of organizations that have been extremely supportive of American and its equal-opportunity, non-discriminatory employment policies--organizations such as People for the American Way, the Human Rights Campaign, GLAD, etc.
The Dallas Observer has hit another arts-community low with your factually inaccurate and sourceless, rambling diatribe about the USA Film Festival ["That sinking feeling," April 9]. It is apparent that no research of any kind was conducted that would have allowed the pesky facts to get in the way of this story.
The festival has always encouraged free criticism of its programming, and frankly, we don't care if the Observer writers don't like or don't get all the films we present. We don't present them for the benefit of the Observer's film writers, but rather for a large community that welcomes and supports both diverse, interesting programming as well as programs that celebrate pure artistry and entertainment.
However, when your writers attempt to tackle (even in a highly select and cursory fashion) such subjects as the festival's "soul," artistic vision, finances, history, mission, and purpose, a little homework is required if credibility is the desired result.
Mona Oros More
USAFF Executive Committee
Editor's note: We'd be interested in knowing what "pesky facts" we got wrong, since Ms. More does not cite any.
After having had the pleasure of reading the Christina Rees review of Richard Diebenkorn at the MAMFW ["Empty beach," March 26] and after having had the displeasure of enduring the "Pretty vacant" response letter [April 16], I am prompted to point out that Rees' review of the exhibition is very similar in tone to Peter Plagens' review of the same in the February issue of Art Forum. This puts Rees in pretty good critical company.
Concerning the company of "Pretty Vacant," we can only hope that the tasteless personal attacks of his or her letter are not indicative of the typical Diebenkorn fan.
Barry Wayne Bailey
Ching-ching-ching. You know what that sound is? That's a hammer hitting the head of a nail. Once again, Zac Crain has said what I believe people around the area are afraid to say [Out Here, April 23]. "Write your own freakin' music, people!" I totally agree with every point you made in this article. The nostalgia is cool, but it does indeed get old. I've only seen the Mullens once live, but it was enough. I kept thinking to myself, "Does that guy up there really think he's as cool as Joey Ramone?" I couldn't get past those thoughts.
The hair style was "Ramones." As for Matt "Three-Chord" Mayo, didn't that style of riff-writing die already? I realize that there are plenty of so-called punk bands in the Dallas area that still write like this, but that doesn't make it right, now does it? Each and every one of them deserves to get reamed in one of your articles. Keep it up!
Jim Schutze's article "Flood money" [January 22] is an awesome piece. I salute Jim for his reporting, his vision, and his superb writing. If every Dallas voter would read this article from beginning to end, there would be no votes for the Trinity Proposition 11. This is journalism of the highest order, and I hope that Jim Schutze wins more awards than Jim Cameron did for that other Titanic story.
As I am flipping through the April 2 Dallas Observer and considering my choices for this year's Observer Music Awards, I am again plagued with the problem I ran into last year--what to do with the categories in which Meredith Miller is nominated.
Since seeing Meredith Miller perform more than two years ago, I have regarded her as one of the most talented solo musicians in the Dallas music scene today. I bought her CD and would try to make her shows to enjoy her clever songs and pure voice. As a matter of fact, I was so taken with her talent that it took about three shows before I realized that maybe her stage presence was the result of more than just a bad day.
I certainly don't claim to know anything about the music industry, but from a common-sense standpoint, it seems to me that a musician's goal should be to endear their audience to them, further fostering their appeal to both fans and potential fans. Meredith Miller, however, seems to think that trying to play the "I have such an elusive aura about myself" card works. She is unapproachable, withdraws and seems uncomfortable when given compliments, and acts like no one else in the audience could even begin to understand the complexities of life that seem to have inspired many of her songs. As a matter of fact, should you request that Ms. Miller play one of your favorites on her CD, think again; she will usually look at you like you are an idiot.