By Chuck Strouse
By Scott Fishman
By Terrence McCoy
By Ryan Yousefi
By Ciara LaVelle, Kat Bein, Carolina Del Busto, and Liz Tracy
By Pepe Billete
By Ryan Yousefi
By Kyle Swenson
Judy Shoots, Judy Scores!
Congratulations to Judy Cantor and New Times for the article about Gonzalo Rubalcaba ("The Quiet Cuban," October 9). I know for a fact that it is not easy in Miami to play contemporary Cuban music. It is also true that it can sometimes be difficult even to write about it, or for that matter, to even mention it in some circles.
So I would like to praise Ms. Cantor not only for her wonderful piece, but also for her courage. I have read all her articles about Cuban music, and they're all on-target and reveal an apparent and surprising sensibility and understanding of the music.
Alvaro F. Fernandez
Ship 'Em Back to the Land of Baguettes!
Knowing you guys and gals at New Times, I am almost positive you printed Pasquale and Alain Genteur's letter to the editor (October 2) to show South Florida what a couple of imbeciles they are. (They should understand that French-derived word.)
For the record, from my 1990 edition of Webster's Ninth New Collegiate Dictionary: "en*tree 1: the principal dish of the meal in the U.S."
I suggest we the readers of New Times start a collection and send these guys back to France so they'll no longer get flustered over expressions such as French fries, French kiss, and French dressing.
Yeah, Mon, He Know How to Ramble On
I was surprised that New Times accepted for publication a review written by someone -- Jim DeRogatis -- whose education in Jamaican music was so obviously limited as to be illustrated by the information he "borrowed" from his library at hand ("Dub and Dumber," September 18).
I am a Lee Perry/Upsetters aficionado and have one of the largest local collections of Perry's music, much of which I played on Conscious Riddims at WVUM-FM (90.5) from 1990 to 1993. Outside my obvious interest, I must say that DeRogatis's description of Perry as "adding nothing new" to the already established technical playground called dub is shortsighted at best. A seminal reggae figure attempting to "capture the stoned experience"? What a surprise! That was one of his goals. After all, reggae was and is a spliff-inspired genre.
The fact is that Perry was an innovator, incorporating unusual sounds (cows, babies crying, et cetera) into his music. In the context of his time, he was a genius. DeRogatis should have kept to a topic with which he had reasonable experience. Instead it was a rambling, semi-informed tirade about a career he obviously had minimal experience exploring.