By Chris Lane
By Jeff Balke
By Aaron Reiss
By Angelica Leicht
By Dianna Wray
By Aaron Reiss
By Camilo Smith
By Craig Malisow
Year after year the Cauldron reporters have resisted administration attempts to turn their paper into a PR rag for the university, largely because of the influence of Nicole Casarez. During my tenure, she backed tough editorial decisions I made, but most important, she let me make them on my own. Her confidence in the student reporters she teaches breeds confidence in ourselves and our work. Even when I felt like I didn't have a friend on campus, I knew I was doing the right thing.
My job was to write stories for students, and to give them a voice. Looking back, I wouldn't change a word I wrote (except for the names I misspelled). I'm proud of the tradition of tough reporting that continues. As for "ruining Marsha's memory," as Jack cowardly put it, she would have gotten such a kick out of all this. I'm glad to be reminded (by your article) of her fierce belief in justice and truth. Thank you again for your article.
Tackle the Times
Who cares? If the worst example of editorial sloppiness that Richard Connelly [News Hostage, May 8] can find in the Chronicle is an inconsistent reference to where Willie Nelson was born, he has too much time on his hands. I'm sure that Michael Clark is considering tendering his resignation for mistaking the fact [in his readers' quiz on Nelson] that Willie was raised, but not born, in Fort Worth.
My suggestion would be for Connelly to spend his resources examining The New York Times, since it apparently has much looser journalistic standards than the Chronicle.
Pan the play: If Lee Williams thinks that the overdone (especially Charlie Scott's performance), grating, sappy Meat/BAR ["Beer Nuts," May 15] is "character-driven and full of some of the best dialogue on any stage this year," then this must have been one shitty year for stage productions.
The only thing that made this show bearable was the acting of Winscott, Bowers and Schulze. Otherwise, I couldn't wait to get out of there, especially after hearing a monologue in which one actor actually said, "We talked about the world we live in." Who the fuck says that?
We got good art: I read your article with great pleasure ["The Center of the Universe," by Kelly Klaasmeyer, May 22]. I moved from New York to Houston last year to (commercially) promote art and artists in this exciting city. It's great to see growing recognition for Houston's art scene both locally and nationally. I look forward to more art-oriented articles in the Press.
Matthew X. Kiernan, director
Matthew Travis Gallery
Saleen right along: I appreciated the review of the new film Bruce Almighty ["Power Play," by Bill Gallo, May 22]. Gallo's article was inspired by, from what I could tell from the trailer, a movie that will rival all of the other so-called man-versus-God flicks with ease.
And I also wanted to say that I appreciate the Houston Press. After spending exactly one year in Seattle, and faithfully reading that city's alternative newspaper, I felt it was nice to return to Houston and have a basis for comparison in the Press.
But the main reason I'm writing is because of a couple of minor issues I have with the review. I would like to have seen something on one of the writers, Steve Oedekerk, the man responsible for the brilliant piece of kung fu spoofery Kung Pao, Enter the Fist.
And for the record, Gallo mentions a $100,000 Italian "sports" car that is actually a $375,000 American-made super car, the Saleen S7. It is a work of art itself.
Other than that, Bill, keep up the good writing, and thank you for not divulging too much more than we would have seen in the preview.
Name withheld by request
Wrong region: When you call Adoor Gopalakrishnan one of the world's great directors, your readers might expect that you have a modicum of knowledge about what you're talking about ["Hooray for Bollywood," Urban Experience, by Troy Schulze, May 8].
Mr. Gopalakrishnan's films can hardly be called "Bollywood" films -- his films originate in Kerala (not Bombay) and are not in Hindi (the language of Bollywood films). He has no connection with Bollywood, but by your assertion you have managed to slight not only him but a whole regional cinema.
F.Co fan: If you're going to appear somewhat credible in your attack of F.Co's King of Texas release [Local Rotation, by William Michael Smith, May 22], at least know that it's Ryan Mucha, not Brian. Have you even been to one of F.Co's live shows, or did you just listen to the CD in order to formulate your opinions, while blindly offering up some obtuse comparisons? Get real.
It's time to recognize that Texas music is here to stay, and has some great original stories and ideas coming out of it. It's also time to start promoting these performers and their music, and not just look down upon them with such arrogance.