By Chris Lane
By Jeff Balke
By Aaron Reiss
By Angelica Leicht
By Dianna Wray
By Aaron Reiss
By Camilo Smith
By Craig Malisow
"See Juarez" [by Charles Bowden, December 11] was certainly as fine a piece of journalism as I've ever read in Houston. We here in the Lone Star state need to know what's going on just south of our border. As the article's headline implies: It may be coming soon to a neighborhood near you. Globalization is no respecter of nationality, and transnational capitalism is just as happy to feast on its own children as on its neighbors.
No Phone, No Voice Mail, No Desk ...
I was incensed to read of Ed Fowler's mistreatment by the Houston Chronicle [The Insider, "Bad Sports," by Tim Fleck, December 18]. That's what we get for being a one-newspaper (hard news, not alternative like you) city. Your article explains why the Chronicle was so unaccountably rude when I called trying to leave Fowler a voice-mail message to find out if and when his book will be on tape. I was told, "He has no desk, no phone, no voice mail and we do not know when we will hear from him."
I like Ed's writing. It has always made reading the sports section worthwhile. My husband and I went often to Landry's and Joe's Crab Shack to see him and his cohorts when "Tell It Like It Is" was in production.
Since the Press doesn't have a sports section as such, would you consider creating one for Ed, or giving him something newsy to investigate? Hey, send Ed to the movies!
So Funny She Forgot to Laugh ...
Well, Ms. Williams, I'd like to thank you for a completely useless review [Theater, "Das Pits," by Lee Williams, December 18]. I've seen Das BarbecY, and while it's convoluted, it's still not that hard to follow. However, if you're looking for the meaning of life in this evening of theater, you won't find it. That's the point. It's just a fun, funny show.
Gosh, I'm sorry you actually had to spend an evening listening and paying attention to the show in order to follow the story. Imagine that. It's obvious you weren't paying that much attention, or you might have heard the banjo, guitar and other "country" sounds coming from the keyboard. Maybe when Stages gets enough funding, they'll be able to hire a full band for you, but I think Steven Jones gets a great sound from his four-piece band (which, incidentally, seems to be working as hard and having as much fun as the actors). Perhaps next time you won't read Everett Evans before you go to see a show and will thus be able to write your own review. This play is light and funny, and the actors are truly talented and working their butts off to give the audience a good time. And they do.
I am an avid Widespread Panic fan and want to commend you on publishing a story about and a photo of "the boys" [Critic's Choice, "Widespread Tactics," by Alan Sculley, November 20]. They played for an affordable $16!
Widespread came on at about 9:30 p.m. at the new Aerial Theater and opened with "Hatfield." From that moment on, I knew they were going to put on an incredible show. And that they did, playing two sets and finishing at 12:45 a.m. It was great for me to see Widespread with a couple of thousand people, since nowadays they play in front of 10,000 on any given night. It is good to know they are still out to turn people on to their scene. They are always looking to make someone feel good.