Specify either a 300 Winchester magnum or 300 Weatherby magnum, and use 200-grain Barnes-X ammo. These very powerful magnums are plenty for Bigfoot and enough if you get crossways with a big grizzly.

It will kick terribly, but you'll probably never have to shoot it anyway. You will, however, be carrying the thing all over kingdom come, so keep it light.

Jay Bute
El Lago

Animal farm: When I was in high school in 1969, I lived in Quanah, Texas, on a farm near the Red River. One morning at about 6:30, when I was driving to school early, I saw a dark-colored, hairy-looking primate walking across a wheat field about a quarter-mile away. It looked to be about four feet tall.

I have no idea what it was, but it was a strange sight. I thought at the time that maybe it was a bear or something.

Henry Kubicek

Dead or alive: Sir, the story of Bobby Hamilton may amuse you and your readers. But in my opinion, he and his cronies are bloodthirsty monsters who are planning to kill a Bigfoot just for the money and glory.

That kind of man gets no respect from me. I am a person searching for the truth and looking for and trying to get a picture to just prove that they (Bigfoot) are out there. Bobby is known as the Monster Hunter.

Joseph R. Perry
Mohawk, Tennessee

Goosing the News

Overlooked winner: Oh, Tim, ye of little faith! Don't you realize what broadcast dynamite this is [The Insider, by Tim Fleck, March 13]? The viewers are going to eat this up. You have to remember now that we're talking about Channel 13 viewers, here. These are the same stunned sheep who watch such idiots as Marvin Zindler scoping out ice!

When I read this story in the Press, I felt exactly like you: big deal, not much to report on and what a chuckle that you got a free ride on Channel 13's back.

But you have to remember that when KTRK runs the story, it will get the full complement of their "journalistic" theatrics and special effects: First, it will be teased for two weeks prior to airing; they will add flashy, hypnotic, Japanese-convulsion-inducing graphics and the pièce de résistance, the "dumbfuck's point of view angle."

The DPOVA is achieved by going to the parking lot of Bed Bath & Beyond and ambushing patrons with the question "Do you think it's right that Councilmember Gibbs surfs the store's Web site from her city computer?"

Clear the shelf, Wayne, I see another Emmy in your future.

Fred Morales

Picks and Pans

Ambition counts: I agree to some extent with the unfortunate oversight of several noteworthy bands hailing from Houston for SXSW [Racket, by John Nova Lomax, March 13], and credit is due to anyone with ostensibly sincere aspirations of creating an unbiased coalition for local artists. Agreed, there is a definite lack of enthusiasm and support for the local music scene, which is partly the consequence of talented artists lacking ambition or desire to thrive beyond their adoring little Houston cliques.

To claim that those selected for SXSW were a poor representation of the meaningful critical trends in music and entertainment only confirms that lack of awareness in the industry both locally and nationally. Things have changed, and we are no longer being represented by "half a dozen country acts or whatever." While the Houston artists on this year's SXSW bill may still be somewhat underappreciated locally, they have embraced marketability and strive to promote themselves beyond the realm of Houston.

In the case of SXSW, being recognized for diligence and substance takes priority over representing a city that has little to offer for success stories.

Rai Stephens

Local but international? Each Press music editor has expressed the common theme of SXSW accepting a ton of Austin artists while excluding those from Houston.

SXSW is based in Austin and is basically a local music festival on a grander scale. So it's only natural that Austin bands receive preference. Houston bands are considered alongside bands from the rest of the nation and the world. Most of them are unable to measure up.

The Houston scene is tired. Bands are not as eager to promote themselves as they used to be. The few clubs left booking local bands are more worried about selling drinks. If you want to check out a band, you have to sift through the other five or six acts on the bill. Shows start late and end late. The set changes are often longer than the sets themselves.

Things were not always that way, but those were admittedly better times.

Instead of bitching and moaning about SXSW each year, how about spending four days there each year and seeing local bands from other locales? You will quickly find out that there are good original musicians from everywhere.

The stupidest thing you can do is to attend SXSW and take in showcases by Houston bands (who will, of course, play the same sets they normally play).

How about watching bands you've never seen before? Maybe then you'll find out what you're doing wrong.

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