The MailSept. 22, 2006
Weight, Weight, Don’t Tell Me
I was so disappointed to read “Blighted Cropp” (9/8). Would the weight of a male candidate matter in the least bit? Be real honest: No, the issue would not be raised, and in no other venue has it been. Being that Linda Cropp is not only a woman but also an African-American, it is terribly frustrating that you would allow a continued objectification of women’s bodies to be the undertone for your feature article!
Have we really made so little progress that things like this are not only tolerated but, worse, accepted? I am so disappointed. I suggest you find a more solid base that deals with real issues that are true for all people and do not relate solely to a male-oriented cultural phenomenon that makes it OK for a political contender’s body to become the object of discussion before her qualifications and ability.
Today I am ashamed to be a loyal reader of the City Paper.
An apology to women in general is needed, but more than anything a direct apology is in line to Linda Cropp for no other reason than you made her an object to be judged solely on the lines and shapes of her person.
Women won their rights, so I suggest you allow us them and stop making our bodies the issue and deal with us in the new millennium as we should be, lest you understand the consequences if you do not.
Nikki Ervin
North Cleveland Park
Feline Ill
I cannot believe you would print Max Cannon’s disturbing and cruel comic strip about the cat (Red Meat, “Forbidden Fruit Cocktail,” 9/8). What kind of person would find that amusing? You owe your readers an explanation. Max Cannon must be a very unhappy person if he thinks that is humorous.
Martha Fessenden
Brightwood
Editor’s Note
On July 21, the Washington City Paper published Pamela Murray Winters’ review of Ellington: The Life and Music of the Duke, a MetroStage production that closed on Aug. 20. Here’s an excerpt from the review:
“Duke Ellington led an interesting life; unfortunately, you’d never know from David Scully’s grade-school lecture of a script, which is way more concerned with weary rhymin’ than with wit, energy, or even content. We get birth and death dates, and the idea that Ellington moved around a lot and changed his style to suit both himself and his audience, and that’s it.”
As it turns out, this paper was in no position to render such summary judgments on Ellington. The reviewer left the show shortly after intermission and did not return, and the review made no mention of this omission. Washington City Paper regrets this inexcusable lapse in critical integrity and apologizes to MetroStage and all those involved in the production of Ellington.
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