By Monica Alonzo
By Ray Stern
By New Times Staff
By Stephen Lemons
By Chris Parker
By Monica Alonzo
By Stephen Lemons
By Robrt L. Pela
Murder, He Wrote
I was delighted to read Paul Rubin's series about the Jeanne Tovrea case as I lived in Phoenix at the time of her murder ("Tovrea Murder--a Series," February 27, March 6 and 13). While no one has been tried or convicted, I am glad to see that an arrest has been made.
I am glad to know that there are still police detectives like Ed Reynolds who don't give up on unsolved cases. If some of the accusations against Edward "Hap" Tovrea Jr. are found to be true, one wonders if the late Ed Tovrea Sr. underestimated his son after all.
New York City
I am concerned about something I read in one of Paul Rubin's articles about James "Butch" Harrod. When Harrod was arrested in September 1995, he was taken to the Phoenix police station and interrogated. More than an hour later, he was finally read his Miranda rights by Detective Ed Reynolds. I am confused about what happened when he was initially arrested at his home by Phoenix police.
Don't the police have to have a warrant to arrest? That warrant spells out the reason for the arrest. If arrested, you must be read your right not to incriminate yourself.
So, how come Harrod was read his rights more than an hour later? Doesn't that mean anything he said before he was read his rights is inadmissible in court? I'd like to know what the exact procedure is when you are arrested; it seems to be different from place to place.
Editor's note: According to police reports, officers intentionally refrained from telling James Harrod that he was under arrest for murder. Instead, they asked him to submit voluntarily to questioning on an unspecified matter. Harrod agrees with that account.
There seems to be a persistent and false rumor floating around the Phoenix theater community. It has been reported in print and on the Internet, but most recently by New Times ("Escaping Planet Earth," Robrt L. Pela, March 13). I should like to dispel this rumor before it travels any further.
I, Christopher Haines, have no intention whatsoever of taking over the reins of Planet Earth Multi-Cultural Theatre as its artistic director. I have no such desire.
I have been associated with Planet Earth for the past three seasons as an actor, a writer and a director. When Peter Cirino, founder and current artistic director of Planet Earth, started considering a move to Seattle, he asked me if I would be interested in running the company here. I turned him down.
Planet Earth Multi-Cultural Theatre is Cirino's vision. I do not want to try to fill someone else's shoes. Certainly not his; he's a big guy. I have my own shoes to fill as an actor, a writer and a director. So please, whomever, stop trying to add "artistic director" to my list of credits. I am busy enough as it is.
Robrt L. Pela responds: Peter Cirino told me, in a taped interview, that he "hoped Chris Haines would take over" the theater. Cirino insists that Haines is still his first choice and that Haines has not yet turned down Cirino's offer.
Jason Ward's letter objecting to the cover story about Chronic Future is a sad commentary on the state of the local music scene (March 20). Ward comes across as a bitter, jealous musician, when in truth, he is an awesome bass player that we in Chronic Future greatly admire. This area will never be another "Seattle" until bands stop the cross-town rivalries and put-downs of fellow musicians. Until we start respecting ourselves, it is unrealistic to expect others to respect us.
The Valley is one of the most vital music scenes in the country. In fact, the undiscovered talent pool is so huge it could keep a major label in platinum for several years. How long have we heard local musicians complain that the local radio stations and newspapers ignore the music scene? Along comes David Holthouse, who appreciates the music in the Valley and writes sterling reviews of bands such as Fred Green, Trunk Federation, and Sepultura.
Jason Ward's implication that money bought Chronic Future's way onto the charts and into New Times is not true. In fact, Ward told us that MCA has pumped more than a million dollars into his projects. That is many times more than has been spent on our band. It is not Chronic Future's fault that Flotsam & Jetsam did not get major press or airplay.
Nobody complains when megalabels like MCA and Sony sink millions into record promotion. But when a small indie label does it successfully, without the millions, people start crying foul. We heard that Ward's band left its major label for an indie. We hope that it will find great success with its next album. And we will be cheering them on.
Ben Collins, Chronic Future
While I'm a person who can view and appreciate almost any kind of movie, from the avant-garde to the mainstream, I found Lost Highway difficult to watch and more so to comprehend ("The Asphalt Jumble," February 27). Though I, unlike reviewer Andy Klein, didn't have the opportunity to view the film twice, there wasn't a whole lot in the movie to convince me to spend the money to see it again.
In the first part, the film's characters seemed distant, even removed, from any true human interaction with each other, creating too sterile a setting. If there had been a bit more feeling portrayed by the characters I might have been able to focus more on the true underlying "plot." I was more obsessed with how they were so uninvolved with each other, so as to deny myself any chance to get more absorbed by the film.
In the latter half, the film takes on less of a fantasy tone. The scene where Robert Loggia takes a ride in a Mercedes is classic. It so perfectly portrays how people would like to react when confronted on the road by obnoxious individuals.
I found it hard to fathom how the two distinctly different halves related to each other. While I don't consider myself particularly dense when it comes to deciphering complex films, I do have to admit that this one had me reconsidering my abilities. I plan to rent it when it comes out on video, because as I mentioned, I can't justify another seven dollars to figure this one out.
Chad Harrison Ford
I have been a Howard Stern fan since his days at WNBC ("Stern und Drang," Robert Wilonsky, March 6). I've seen him develop his style and grow and am truly amazed at his success. One area that tends to irritate Stern is when writers take advantage of the infrequent interviews he allows to trash him.
This article hits the nail on the head. The author seems to "know" Stern. Wait a minute . . . nobody knows Stern. But, I'd guess that Stern will be pleased with this article!
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