By Jena Ardell
By Jon Campbell
By Alan Scherstuhl
By Tessa Stuart
By Roy Edroso
By Jon Campbell
By Albert Samaha
By Zachary D. Roberts
Pose and poesy
Re 'Michael Musto re-vamps Lindsay Lohan's (Nude) Marilyn Monroe' [March 5–11]: This week's cover is one of the most exciting Voice covers in years. Musto is dead-on, as usual, and he also manages to look 10 years younger than Ms. Lohan in her New York magazine spread. Well done.
Your point is taken—actually, it's taken to the point of incredible bemusement and utter concurrence. Musto's sardonic brilliance aside, he needs to remain behind the keyboard (and not in front of the camera lens) for a considerable amount of time—like, forever.
Lindsay Lohan is far easier on the eyes, however vapid she may be, and she's a decent antidote to the Musto spread. But I'm ready to take a look at Marilyn.
I didn't think it was possible to love Musto more. He has trumped even himself. Musto is a god(dess).
Bravo to Michael Musto! Well done, sir! Well done!
Bedminster, New Jersey
A Dear John letter
Re Graham Rayman's 'Shopping for Gracie Mansion' [February 27–March 4]: Everyone knows that Catsimatidis's dumpy stores are rip-offs—and with surly clerks, to boot. Given a choice, few New Yorkers would shop there. Please give us a choice for a budget-conscious mayor.
Re R.C. Baker's 'Smog Alert' [March 5–11]: I was shocked by your Jasper Johns review only because that's exactly what I felt about the show, and even found myself by accident in front of White Flag, thinking what a terrific painting it is. I guess my surprise comes from the fact that most reviewers tend to be on automatic pilot when writing about Johns. I never thought he could draw, and when he stops using a "template," he fails. Thanks.
Re Tom Robbins's 'The Labor-Latte Alliance' [February 27–March 4]: As a beer-guzzling, but also politically astute, working Teamster myself, I'd like to quibble a little with Tom Robbins's portrayal of my fair union's supposedly surprising endorsement of Barack Obama.
First of all, many Teamsters would probably find Robbins's assertion that Obama "couldn't find the air brake in an 18-wheeler" a funny way of distinguishing the would-be Democratic nominee from the Teamsters' president, since Jimmy Jr. never worked a day in his life and (egad!) went to law school, just like Obama!
Secondly, Robbins's shock that a union with the "bluest of collars" would endorse Obama seems to miss the point that in many cities, like New York, for example, many of those "Archie Bunker–type" Teamsters are actually black or Latino. By the way, black guys in my shop are genuinely geeked about Obama running for president, and that fact should be as important an indication of the sentiment within the ranks as any.
Lastly, "Obama-mania" hasn't healed the divide within the union. If Hoffa genuinely cared about such acts of reconciliation, he might try actually bargaining for good contracts for his members—something he and his cronies failed to do during the most recent UPS contract talks (a criminally underreported story with far-reaching consequences for organized labor).
Not to sound reductive, but good wages and benefits will always matter more to American workers than flowery promises from men in suits—whether they remind you of Bobby Kennedy or Old Man Hoffa.
Sign me: Moves Boxes and Reads Books
Do what thou wilt
Re Abigail Deutsch's review of 'The Blue Flower' [Sightlines, February 13–19]: The vitriol in the comments of "Aghast" and others [Letters, February 20–26] is uncalled for. These reactions are out of scale with Deutsch's measured, considered review, and it's hard not to suspect that all three commenters are, in fact, friends of the production. The question is not whether the show's production team thinks the show is great, but rather whether the many ideas and elements that go into a show, be they Dada or pedal steel guitar, come together as something coherent and satisfying.
Making theater is hard. If you can't take reasonable criticism (and yes, reviews are short; get used to it), get in another business.
Re Ernest Hardy's review of 'Little Chenier' [Tracking Shots, February 27–March 4]: I have to disagree with your review of Fred Koehler's perfor-mance. I have had seven years of experience working with mentally challenged young adults. Koehler's portrayal was certainly within the wide range of mannerisms they exhibit. If you were around mentally challenged people, you would see that his performance wasn't "grating," but very accurate and sincere.
Last week's Runnin' Scared story on Democratic superdelegates [Maria Luisa Tucker's 'Delegating Authority,' March 5–11] characterized a quote from Representative Yvette Clarke's spokesman, Scott Levenson, as "all [he] has to say." In fact, Levenson spoke at length to the Voice. The quote that was used reflected the gist of that conversation, but was not the sum total of what was said.