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
In the end the police will move on to the next case, the State Attorney will begin her next term in office, and Mr. Diaz's reputation in this community will be permanently destroyed. I only hope that when these events occur Mr. Korten will report these facts with as much vigor as he used in supporting the police in “At Long Last Busted.”
Joseph A. DeMaria
Club Kid's Lament
Just tell us, is it cool or what? First let me get some things clear about me. I don't currently work for Club Space or any other nightclub associated with Luis Puig, even though I did once work as a DJ for his Club 609, as well as other clubs around town. I have not visited the new Club Space, but I have a friend who works there and I have gotten a lot of good feedback from acquaintances.
I occasionally enjoy reading unbiased reviews of new or old nightclubs in New Times, though whether you like a particular club is a matter of individual taste. It is in my opinion as a reader that Victor Cruz's article “Nightlife on the Edge” (August 31) about Club Space had absolutely nothing to offer.
The subheadline [“There's something distinctly different about downtown Miami's Club Space. Maybe it's that party-animal cop who's beating the crap out of a defenseless customer.”] underscored the one thing that happens in most clubs, regardless of whether a cop was involved. There are problems in clubs every single night in Miami and anywhere else you sell alcohol. This kind of situation happens. We all know that!
While I was reading, I kept wondering, Is this is all this particular club has to offer: a drunken cop, promoters with hard-ons, and pussycats at the door who would let in Miami's homeless people for the right price? What did you like about the club, Mr. Cruz? Was the music any good? Were the drinks moderately priced, or did they lower your pants and bend you over the bar (price-wise)? What kind of a light show did it have and how was it decorated?
But I guess you could not possibly tell your readers that, because you probably were too busy in the men's bathroom checking to see whether the cop was okay. There is only one word to describe this poor excuse for a club review and that is lacking. Hopefully your readers will have enough sense to experience Club Space on their own and draw their own conclusions.
The first thing we do, let's get our story straight: In her letter appearing in the August 24 issue, Lynda Joy Folmar spews criticism of Tristram Korten's portrayal of the rap industry and Joe Weinberger (“You Go, Joe,” August 10), not to mention the legal profession. Unfortunately there's more smoke than fire in Ms. Folmar's points, and New Times is guilty of perpetuating Ms. Folmar's misinformation by quoting her in bold type.
Luther Campbell may have won a Supreme Court decision but that did not make him a worldwide historical figure. If anything it showed that his “music” was not original but derivative of someone else's pre-existing work. In fact the Supreme Court decision simply confirmed that he ripped off Roy Orbison's “Oh, Pretty Woman,” but that the 2 Live Crew version (a parody) fit within the “fair use” exception to the copyright laws. This enabled him to ride on someone else's creative work and make money off it without having to pay the owner of the copyright for that privilege.
Is this one of Ms. Folmar's examples of black artists being robbed of payment for their creativity, or just the opposite? If anything it was probably Broward County's attempted ban of As Nasty as They Wanna Be (as being obscene) that propelled Campbell to worldwide fame (or was it infamy?). But you can thank grandstander and former Broward Sheriff Nick Navarro for that. As far as Ms. Folmar's reference to Shakespeare, she really shows her ignorance and commits a miscarriage of literary history. In Shakespeare's Henry VI, Part 2, the line “The first thing we do, let's kill all the lawyers” was spoken by an anarchist who wanted to overthrow the lawful government of England by inciting a rebellion of the laboring class -- but without drawing any attention to himself.
Let's set the record straight. Shakespeare's use of the “let's kill the lawyers” phrase was intended as anything but criticism of lawyers. Viewed in proper context, killing the lawyers would eliminate opposition from those who guarded individual liberty. In other words killing the lawyers would make it easier for the conspirators to effectuate their plan of orchestrating anarchy for their own selfish motives.
In the future, before Ms. Folmar throws darts, she should get the facts straight.