First, Free the West Memphis Three refers to a 1993 Arkansas case that convicted three teenagers of brutally murdering three young boys (not one, as La Briola unforgivably blundered). Two of the teenagers, Jason Baldwin and Jessie Misskelley, received life sentences, as La Briola reported. However, Damien Echols, the third teen who was believed to be the ringleader, received a sentence of death by lethal injection. The lack of due process, compounded by a complete void of evidence and the resulting death sentence, has thrust the controversial case into public awareness with a lot of help from Rollins. Henry is surrounded by a long list of committed supporters, such as Pearl Jam, Motörhead, Slipknot, the late Joe Strummer, Ice T, Iggy Pop and even our (once) very own Trey Parker. Rise Above: 24 Songs to Benefit the West Memphis Three is a collaboration of many of these musicians, paid for and produced by Rollins. The CD was released this past October (not "over a year ago," as La Briola once again erred) with the intention of raising enough cash to hire proper defense attorneys.
I had not heard of Rollins suggesting that if world leaders engaged in a bit of spanking the monkey that we would achieve world peace. I didhear him propose less graphically (at Auraria last April) that we could diffuse war conflicts by bombing opposing sides with Ramones records on the theory (and simple truth) that Ramones fans can't hate other Ramones fans. Rollins's "vanity publishing company" 2.13.61 is the source of most of his material. However, 2.13.61 also publishes music and novels by lesser-known artists/authors of all genres, who may have otherwise had to sell out to grab a publishing deal.
And since La Briola brought it up, let's talk about selling out, shall we?
Is standing up for what you believe in selling out? Is touring college campuses in an attempt to expose more minds to some of the serious issues surrounding us in an entertaining way selling out? Is making public appearances on television, acting in movies with Al Pacino, or being paid insane amounts of money to do voiceovers (so you can fund your underground-driven publishing company) selling out? Or is it simply living a good, productive, fruitful life -- one that perhaps the author wishes for himself, hmmm?
C'mon, it's not like Hank's on Who Wants to Marry a Millionaire or doing any duets with J Lo, and he sure as hell knows how to pronounce David Bowie's last name.
Hey, La Briola, just because he's got big muscles, you didn't need to make him look like a boob.
Kity Ironton
Denver
What the Dickens?
The Center will not hold:Why do you review the Denver Center Theatre Company's A Christmas Carol every year? What's to review? Every year it's the same script, the same set, pretty much the same actors, the same audiences -- and each year, the same review: "A ripping good show! Bring the children. Denver Center does it again!" And again...and again...and again.
In "A Christmas CarolGlows," in the December 19 issue, Juliet Wittman devoted more space to Mr. Dickens's text than the DCTC's production did. There was A Christmas Carol at the Aurora Fox (a rather ambitious production), and Scrooge at the Jester's Dinner Theatre in Longmont. Who reviewed those efforts? Give someone else a break; the DCTC has tons of coverage. For my part, I'm a bit weary (and more than a bit wary) of Radio City Music Hall productions of that wonderful story. Too much "art," not enough heart. Why does every adapter, director and costumer feel the need to improve, explain or tweak that story?
Well, let's see what happens next year. But please -- please -- no more reviews of the DCTC's production. We know it's "sparkling, shimmering, visually stunning, with dozens of actors." Give me Alistair Sims in black and white any day.
Sharpen your focus, m'dear, and don't be led with the rest of the sheep. Is seeing a show at the Denver Center really like going to church?
Charles Berendt
Denver
