By New Times
By Connor Radnovich
By Robrt L. Pela and Amy Silverman
By Ray Stern
By Keegan Hamilton
By Matthew Hendley
By Monica Alonzo
By Monica Alonzo
In an earlier, and arguably more civilized, time, a cad who held up a woman to public ridicule for no good reason would be called out or horsewhipped by the lady's male relatives (Flashes, August 7).
We all have episodes in our past with which we would not care to be embarrassed in later years. What might it have been for The Flash--penning smiley-face greeting cards, ghostwriting captions for the Victoria's Secret catalogue, ingratiatingly volunteering to write the "School Pride" column for his high school newspaper, perhaps?
New Times should not have compounded this salacious indiscretion by putting an out-of-context film clip of the incident online.
I bet Jineane Ford doesn't "jiggle" when sighting over the barrel of a dueling pistol.
Jineane Ford's career appears to have gone from a 3-B (blondes, bras, breasts) movie to--how appropriate--the "boob tube."
Jineane Ford's early performances involved considerable BRA-viewer.
What power in the press! New Times tried and convicted Wayne Legg from the word "go" ("Barrister Behind Bars," Paul Rubin, July 31). Before New Times sentences him, please hear my plea for leniency.
My age has been publicized, so senility is anticipated. Granted, at 87 I don't remember what I had for breakfast--but long-term memory is vividly accurate. I can give New Times the full names of all my ex-friends who did not vote for Barry Goldwater.
I've had time to know Wayne well, watched him in action and benefited from his shared abilities during his entire professional career, all gratis.
But now that I do know the courts, Wayne was guilty of what I call "ambition" and the state calls "greed." Some of his fees were high, but always legal. Doctors used to do it all the time. Charge the rich more in order to be able to care for the poor.
Wayne is not homeless. He has a very small, one-bedroom dwelling, but these suits have left him financially and physically drained, his good name permanently besmirched. There's nothing left to take but any short days of useful existence.
If he's given a penitentiary sentence, the taxpayers should march on City Hall. They have already paid millions on these trials. Why spend more to provide his room and board for a prolonged period?
When all attorneys go to court on the same charges, Arizona pens will never hold the overflow.
Please do walk a step or two in Wayne's boots.
Cleo Nevans Taylor
David Holthouse's story "The Devil and Todd McFarlane" (July 31) was a very informative article, especially how Holthouse ended the story by identifying McFarlane selling out with his comic-book character Spawn.
McFarlane appeared to be a man who had enough of the establishment and decided to challenge it, and he was winning. I like how he was talking to the establishment in the article. He was not afraid to lash out. It was great. I felt like I was at a boxing match, cheering for the small guy beating the crap out of the big guy. Then I got to the last paragraph of the story. The last round of the fight. Todd McFarlane got KO'ed. Knockout. He is laid out flat on his back. The establishment won again.
McFarlane didn't get knocked out for selling out the African American. He got knocked out for selling out himself. He lost the title "he raised his baby himself." But the black market paid him his $50 million purse.
I attended Todd McFarlane's Spawn premiere through a fluke, and had an unexpectedly enjoyable time. So, naturally, I was curious about David Holthouse's "The Devil and Todd McFarlane." It gave me a little insight into the mind of McFarlane, but the way the article ended leaves a bad taste in my mouth. The image Holthouse leaves us with implies racism on McFarlane's part. McFarlane created the characters in Spawn to tell a story and to make money. Because he's doing the second means that a lot of people are buying into the first.
But he didn't create Spawn to make racial statements. That a character changed from black to white in making the transition from comics to movies seems like apples and oranges. So what? McFarlane wasn't trying to sell out, or slam people of color, or whatever other silly premise from which Holthouse seemed to be writing. Now, if Holthouse was really trying to be fair while raising the specter of racism, why didn't he mention that Spawn cast a Latino actor in a role that normally would've gone to a white actor? John Leguizamo's Clown pushed the plot along and stole much of the movie from its heroic namesake. Why didn't Holthouse mention that angle? Is this an example of some kind of selective colorblindness? Or is Holthouse a different flavor of racist?
Barry Graham's "Ambulance Chasteners" (July 24) was right on the economic dollar. I have my own experience to share about Southwest Ambulance.
Two years ago, I suffered a major asthma attack. Being new to the Valley, my fiancee called 911 to see what hospital would take my particular insurance plan. Now, before my fiancee could write down the facility's name (which happened to be less than a half-mile from our house), EMTs from Southwest were beating down my door to get me into their vehicle.