The Public Voice
Letters To The Editor 09.08.11
Thursday, September 8, 2011
Law & Order: Seaside
Get a dog, buy a gun, shove some dip under your lip, and sit in a rocking chair facing a window that you leave open on purpose (“Seaside burglaries on the rise, police say,” Sept. 1-7). Just make sure they fall “inside” the house. - Gabe Skvor | via Facebook
Law & Order: Salinas
This is just my opinion, but I don’t come to Salinas anymore because their own community is allowing gang members to kill their own, even if it’s by accident (“Two shootings, one homicide plague Salinas in 14 hours,” Aug. 25-31). They have to fix this, from inside. - Kent Schisler | via Facebook
More public money wasted on green jobs (“City of Salinas sues Green Vehicles,” Aug. 25-31). I wonder how many Salinas Police officer positions could have been funded with this money that is now gone forever. - commonsense | via Web
Critique the Critique
This critique is highly disappointing and misses the mark completely (“Dancers twirl, far away from Philip Glass’ music,” Aug. 25-31). [Choreographer Molissa] Fenley’s strength lies in her ability to interpret Glass’s scores with an unrivaled sophistication and grace. Through her signature choreography she exposes an enigmatic dimensional layer of space in response to the music opening up a collaboration between the two that is nothing shy of stunning. The dialogue that ensues is intriguing, and obviously thought provoking, and certainly beyond the status quo. Her talent lies not only in her capacity to see beyond the evident but to take the observer into another realm. She has a rare understanding of Glass’s music and choreographically translates it at a perceptive, arcane level. This is artistic intelligence and elegance at its finest. - ckelley | via Web
Movement and music can exist independently of each other and yet still be heavily influenced by one another. Dance can be abstract, but unfortunately Monterey is not exposed to dance in this capacity, which I think challenged the reviewer in this case. Also, Molissa Fenley has been working with Philip Glass for many years. Their matured relationships allows them to rub against our expected interpretations of both the music and the dance. Rather than push away, I encourage you to delve into the dissonant nuances and re-envision the subtleties within the movement and the music. - bgreekek | via Web
To describe the last half dozen years at the now Museum of Monterey as turbulent would be putting it mildly (“Museum of Monterey hires director; money woes persist,” Sept. 1-7). As one who totally supports the museum’s collections and wants to see a museum under the guidance of the Monterey History and Art Association succeed, I have tried to remain optimistic and helpful throughout these years. However it is a little frustrating when it is only through the Weekly that I find out there is a new director and has been one for over two weeks. If I am not mistaken, as a member, I received a letter from the association the last time there was a change in leadership not too long ago. The day the Weekly article came out, I received a letter from MHAA inviting me to the annual meeting and to vote on new directors—could not a mention of the good news been included in that mailing?
The additional rubs were that the annual meeting is scheduled for 2pm on a weekday; I doubt that I am the only member who will need to be at work at that time. Also missing from the mailing was any description of who the new candidates were other than their names. How member friendly is that? Perhaps these concerns will be considered next time, once an institutional memory exists. - Peter Hiller | via Web
(Ed note: Mr. Hiller is the curator of the Jo Mora Trust Collection.)
Correction: A story in last week’s paper about the Museum of Monterey contained several errors. Lisa Coscino is a gallerist and former gallery owner. Coscino has worked with the Aquarium on previous projects, but no plans are currently in the works for future collaboration. The museum’s meeting for paid members will take place on Sept. 20. The Weekly regrets the errors.