Letters to the Editor

by the Readers

The Things We Say…

(Re: Cover Story, "All For One," a.d. amorosi, April 12)

I was immediately interested and intrigued when I picked up last week’s music issue on the way to work. Mostly because the cover alluded to a feature on the "Garlic House" punk collective. After reading it, that intrigue instantaneously turned right into confusion and bewilderment, bewildered as to why people we considered friends were making sadly misinformed quotes, about situations that they know nothing about. Mr. Jaworski said "[they have] lost their DIY ethic, [they] are not a personal organization, 4040/Rotunda is not a political organization. There is nothing personal or intimate about it." I am not sure what Mr. Jaworski thinks we have going on at The Rotunda/4040. Perhaps whimsical ideas of offices with secretaries, university grants and cash piling up around us are floating around in his head. But in reality, I am sorry to say that we are not close to living up to such grandiose expectations. The Rotunda (at least "R5 Productions" shows) is operated by only two people, my partner Anthony Croasdale and myself. If we have lost our DIY ethic, I would like to know where it has gone. I wonder if Mr. Jaworski knows that I, solely just myself: print and stamp every single solitary advance ticket for the Rotunda shows, print and distribute every single calendar of upcoming events, print and distribute every concert poster, update the webpage every time a new show comes along, type and send out a weekly newsletter to 4,000 people, book and deal with all of the bands, agents and managers, open, clean and close the venue every night, pay all of the bills and rent, insurance and taxes.

The list could go on and on. Between myself and my partner, we have far exceeded in producing over 500 shows in the Philadelphia area, every single one done by ourselves with low door prices, friendly security, no barriers etc. etc. If we are not "Doing It Ourselves," I would love to know who is doing it for us then. We receive no financial backing or cash support from the University of Pennsylvania. Every band, bill and tax is paid ourselves. Our relationship with UPenn is one of landlord and tenant. UPenn does not control who or what we book at the venue. Knowing this, I find it humorous that Mr. Jaworski feels that we lost our political and intimate qualities, as just two weeks ago we raised over $1,500 and 200 donated books for the "Books Through Bars" organization in just one afternoon. We brought Green Party candidate and nationally known political activist Jello Biafra to speak during the Republican National Convention. These are just two examples among the countless other events and benefit shows we have hosted and promoted. I just wish that Mr. Jaworski had taken time to realize what we have done recently, before telling a newspaper that we have lost our DIY ethics which we greatly pride ourselves on.

Sean Agnew
Co-Owner and President of 4040/R5 Productions-Rotunda

Missing the Point

(Re: Movies, "Copydog," Sam Adams, April 12)

It is very sad to see someone who writes for a major metropolitan city weekly ignore the value of a movie such as this one. It seems to me that, in an effort to be unique, you have missed most, if not all, of Amores Perros’ unforgettable scenery and context. The saddest part about your article is the overflowing ignorance that you display which permeates throughout your desperate attempt at being original.

Amores Perros is, simply put, an incredibly well-done and executed movie with a real, honest and powerful message. You argue that it is a copy of all things indie from the United States, poignantly mentioning Tarantino’s name thus suggesting a Pulp Fiction reference, and I can tell you that, yes, it has borrowed its fast-paced, nerve-wrecking style in many of its scenes, but that wasn’t the point of this film. In fact, I argue this: violence comes second nature to this movie; it is but a filler and not the driving force of the immensely complex plot in which it develops. Violence to you and to many of the American audience members is but an everyday life reflection to many of us in the Latin world. You have to be wise enough to look beyond the violence and see what this movie is really about.

Let me ask you Sam: Have you ever been in Mexico City? Or for that matter, in any of the large cities of Latin America such as Caracas, Bogota, Lima, Sao Paulo, Buenos Aires? If you ever do, I assure you that, outside of the impenetrable fortress of your Holiday Inn or Marriott accommodations, you will see an act of violence within less than 48 hours. This is the problem with American reviewers: You sit in your comfy chairs and type these reviews, far from the hustle and bustle of the real world, and you miss the point completely.

The three love stories drive this movie, whether they are intertwined or not, and are brought together by two main things: the car crash scene and the thematic concept of the movie which is the regret we humans experience after love’s failure. It is not, like you suggest "…the film’s reliance on violence to propel the narrative…"

The point is not in the details of style and cinematic flimflam, i.e.: the sepia tones, the use of flashback, etc, etc. The point is the message, and you obviously didn’t capture that at all, neither in your review nor in your head.

I would have to say that yours was the worst review I’ve ever read for a movie of any type, and that’s saying a lot since I’ve been a CP reader for at least 15 years. Your arguments are baseless and without sound foundation, and the originality you seek gets lost in the immense ignorance you display. I certainly hope that the CP uses its good judgment in the future in publishing such inconsistent and regretful articles. I respect Howard Altman and some of the people in the CP staff, but Sam, you are an ignorant hijo de la chingada, if you know what I mean. Oh, I’m sorry, I forgot that you are that new breed of American creature that exudes Mexicano-phobia. Hey, get a clue from other reviewers like Sean Burns of the PW. He, at least, tries to get it and, more often than not, he does.

There’s a lot going on out there, CP, and you are all either willingly ignoring it or completely ignorant of its existence. Either way, it’s very very sad. Keep up the shitty work, people.

Ramon A. Martinez
Philadelphia

Sam Adams replies: Mr. Martinez’ regrettable race-baiting aside, the nub of his argument seems to be anyone who knows anything about Latino or Mexicano culture must fall before the indubitable merits of Amores Perros. That seems to be pretty obvious nonsense, regardless of one’s personal travel history. (I’ve been to Latin America twice, and never had shots fired right outside my window; I can’t say the same for South Philadelphia.) As for reviewers "typ[ing] their reviews far from the hustle and bustle of the real world," it’s only because it’s hard to concentrate in the middle of a major thoroughfare.

Moonbase Mistakes

In the April 5 issue’s Critical Mass, ("Creative Onslaught") Meredith Broussard lauds local arts trailblazer and Slought.net founder Aaron Levy. However, she makes two huge mistakes. First, she refers to Gate to Moonbase Alpha (for which she finds an ad while flipping through Levy’s portfolio) as a musical group. Gate... is an ambient and experimental musical EVENT occurring once per month during the school year. It features local as well as national acts whose music is hard to categorize and even harder to promote and book properly. It offers varied artists a forum in which to play their increasingly popular yet sometimes misunderstood but always talent-heavy music. Secondly, the writer fails to mention Gina Renzi, the other half of the organization and hardworking promoter for Gate to Moonbase Alpha. Promoting "underground" music is trying enough without suffering lack of exposure by media members who fail to fully research certain topics.

Robert Renzi, Jr.
Philadelphia

Venice Follies

(Re: City Beat, "Delay of Game," Senna Waldo and Frank Lewis, April 12)

I was born and raised in Manayunk; my family still lives in the area. My brother and nephew play hockey in Venice Island. Many people go swimming in the summertime there. Now [Tom] Connelly said that he would donate upwards to $200,000 for Pretzel Park and $2 million for cleaning the canal. What happens to all the people who play hockey, basketball and swim down there? Where do you relocate all of those people? The park is not large enough. How does one play hockey or basketball on the canal? But if the developers win, I sincerely hope they lose their shirts when the first rain makes the river meet the canal, which floods out the Island. I bet the businesses remember the flood two years ago.

Vance Corey
Lansdale