I just finished reading your [Jan Ramsey] editorial about contemporary “news” consumption [Mojo Mouth, March 2018]. I re-watched Being There a couple nights ago and after reading your piece all I could think of was Chauncey Gardiner’s replies to reporters: “I don’t read” and “I like to watch.” It seems that we’ve become a nation of Chauncey Gardiners. I guess that’s how we got where we are today.
—Mark Fowler, New Orleans, Louisiana
Welcome to Jazz Fest
To my Jazz Fest brothers and sisters, the veterans and the virgins, the faithful and the cynics, I guide you to Hemingway as we (re)convene for our 7-day ritual. For we are happy it is Jazz Fest again, but we also know there is no ending to Jazz Fest and the memory of each person who has attended the festival differs from that of any other. We always return to it no matter who we are and how it has changed or with what difficulties, or ease, it can be reached. Jazz Fest is always worth it and you receive a return for whatever you bring to it. I’m glad the pilgrimage has delivered you back to where you belong. Welcome to New Orleans.
—Andrew Gibbs, New Orleans, Louisiana
Let me start by saying that I’m a really big Toonces fan. I’ve been to many of their shows and I’ve listened to this album [Milk For My Tears, album reviews December 2017] approximately 50-100 times.
By describing this album predominantly in terms of genre, Alex Galbriath comes to a conclusion, “[the] dominant sound [of Toonces] is a warped spin on bossa nova,” that does not accurately represent this record or band. Galbraith has missed an opportunity by not discussing the lyrics or stories of songs like “I’m Happy” or “Monarch.” It seems to me that the reviewer gave this record only a cursory listen. There is not a single bossa nova or samba groove on this album. And besides, Toonces already has their own genre: retroglaze. Galbraith has not written a negative review necessarily, but it does misrepresent the sound of the album and the band.
—Robin Sherman, New Orleans, Louisiana
The April 2018 French Quarter Festival issue’s A to Z incorrectly refers to Becky Allen as a female impersonator. Apparently Microsoft Word deleted the second “female” in the sentence that should have read as follows: “Allen, a charismatic female female impersonator, brings the hot stuff in the form of show tunes and standards with a great sense of humor and an over-the-top attitude.” We regret the error.—ED
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