Crazy About kilts
I just had to write in about the boo-hooing of the Utilikilt in one of the fashion articles [Fall Fashion: Dial-a-Style, “The Creative,” Sept. 27]. There really is a fantastic juxtaposition between wearing a “dress” that really big men with axes traditionally wore during their raids of coastal villages (which, I would like to point out, most likely were populated with people wearing very fashionable pants). As someone who has a group of women friends who see it as their charitable contribution to the universe to ensure I keep up a decent wardrobe, the Utilikilt was the first thing I ever bought by myself that they have ever approved of. With all of this sudden concern over men’s wardrobes, be it on TV or in the latest men’s magazine, I love having an article of clothing that I am excited about putting on. You can wear the damn thing with a black T-shirt at the bar or with a white button-up with cuffs, and it works just fine. I moved down to New Orleans a few years ago from Seattle, and every time I wear it to a see-and-be-seen social event, I get inundated with people who want to know where to get one, either for themselves or their boyfriends. Small children hug my legs, middle-aged women from Ohio break out their cameras, bartenders dole out free drinks, and stylish, beautiful women whom I have never met before ask me about my underwear. If something as wrong and ridiculous as a kilt can garner such praise, I would hate to see what happens when you wear something hip and stylish. Oh, wait, that would be . . . nothing.
Stephen AgansNew Orleans, LA
Fall Fashion Falls Flat
Molly Lori and Adriana Grant’s Dial- a-Style feature [Fall Fashion, Sept. 27] is anything but “ultrapersonal,” as I see these watered-down, alternaclone looks everywhere throughout the city (and beyond). There do exist stylish folk in town, but they are not in the articles. Lori and Grant would have done well to take Saif Romani’s advice about fashion in Seattle: “[Y]ou have to put thought into what you’re wearing and pay attention to details.”
A detail overlooked is a wonderful description of “The Creative,” which had something to do with mixing and matching: “a lime green vest over a darker green top, with a powder blue jacket, a black skirt with embroidered flowers, blue tights, green flats, and an orange necklace.” OK. Great. So where is all of this in the photo of Kristen Ramirez?
The look on the cover of the entire issue perfectly fits the description of utilitarian: outfitted for inclement weather or a long day outdoors. Grant’s idea of utilitarian, the “I Heart Foie Gras” guy, is more of the same metroblah that can be found in any city.
Seattle has many stylish people, whether indigenous to the Pacific Northwest or universally chic, that were not represented in the articles.
Katie MilesSeattle
Recycle, Reuse
Bob Marley’s song “War” is actually a speech delivered in 1968 by Haile Selassie. A truly brilliant and powerful song. True artists don’t follow arbitrary rules pronounced by idiot couch potatoes [Barrstool Blues, “It’s Alright, Bob (They’re Only Jealous),” Sept. 27]. A musician wants his music heard. Are people listening to Bob Dylan, or are they listening to dipshit bloggers? Dylan has recycled biblical verse and Beat poetry with great success. He’s already proven himself to be a brilliant, insightful musician. He’ll be remembered and quoted for as long as we last as a species, and we’re lucky to be the chosen few who are living during the time of his creativity.
Rourke McGaffinSeattle
Dead moon Junkies
My friend and I were hooked immediately [“Never Say Die,” Sept. 20]. Who were these old-timers? We were moments away from leaving the Satyricon in Portland five years ago when the Dead Moon fans piled in like addicts about to receive their monthly fix. It made us curious, and once they got onstage, the presence was immediate—you knew something was about to kick you in the balls. And it did!
Since that day, we’ve been dragging friends and fellow musicians to Dead Moon shows and declaring them the grandparents of the next wave of rock. With every show over the last few years, their crowd is noticeably younger, which is important. Every band can learn something from these guys, no matter what style music you play. They can rock a crowd into a frenzy faster than any other band I’ve ever seen.
Thanks for putting this article out. I’m always happy to see great bands get well-deserved exposure to those who haven’t experienced their music.
DJ BradassSeattle
Art for Everyone
It is with no small amount of disappointment that I write to point out a critical omission in Seattle Weekly‘s Fall Arts Guide [Arts Populi, Sept. 6]. Namely, Live Theatre Week (Oct. 16–22), a festival of special events offered by theaters all around Puget Sound that includes Seattle’s participation in Theatre Communications Group’s national program, Free Night of Theater.
It seems ironic that a publication boldly extolling “Art for the People” on its cover made zero mention of the many opportunities for theater newcomers or the economically disadvantaged to experience theater in their area at no cost. Particularly in the case of Free Night of Theater, as to date 36 Puget Sound companies are offering free-of-charge admissions— exceeding $58,000 in tickets—to the people as part of this effort.
Theatre Puget Sound’s efforts to organize theaters around Seattle City Council President Nick Licata’s declaration of Live Theatre Week have been Herculean. Implementing the Free Night of Theater campaign in Seattle (and beyond) has been no small task. The breadth of participating theaters is unprecedented, and the list continues to grow.
I find it disheartening that Seattle Weekly chose to withhold support of the theater community by omitting the largest collaborative audience development initiative ever implemented in Seattle from its preview of important fall arts happenings. It is a disservice to the region’s hardworking yet generous theaters and a discredit to your publication.
Karen J. Zeller LaneExecutive Director, Theatre Puget SoundSeattle
Out With the Old
I think that the “new” Weekly is a big improvement over the old. First of all, the layout is crisper and much more coherent—much easier to read—and this is coming from a retired graphic designer. And more importantly, the writing is much better. I don’t know how many times I have started an article in the past and gave up after a few paragraphs because I couldn’t figure out what the story was supposed to be. Too many times in the past, the writing was sloppy, self-indulgent, and unfocused. So, I think this newest Weekly is a step in the right direction and you have a chance to be a real fine publication, not just a cleaner version of The Stranger.
Bill ArmstrongSeattle
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