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Letters to the Editor 

Week of September 24, 2003


I dunno about your writer, but Blow Buddies makes me weak in the knees: Brock Keeling's Dog Bites column could win a literary contest in the lame category ["Lovin' and Losin'," Sept. 10]. His superficial descriptions of the sex clubs he visited have no connection to reality and precious little humor. He more than infers that sex clubs should be way low on anyone's to-do list. He does a disservice to a great alternative to other sexual venues. (Oh, I forgot: In a bar you can discuss art before he sits on your face.)

But maybe the brave new world gets damp over digital chemistry more than biological chemistry. My knees never got wobbly looking at a man online like they do at Blow Buddies at that moment you just know "it" is going to happen. How could you let pass an opportunity to experience such a quintessential moment? Blow Buddies runs a tight ship -- the music is right, the lighting is right, the staff is funny and supportive, and some nights it's all just magical. But Keeling will never know that.

Philip Rossetti


I dunno about your writer, 'cause Björk's the best: Read Garrett Kamps' review of the 2003 Björk show and have to wonder just what he was expecting [Music, Aug. 13]. Despite acknowledging Björk to be one of the finest singers of our time who's managed to sell music that is more art than pop to a mainstream audience, he makes numerous clichéd and wrongheaded assumptions/conclusions. Starting at the top:

A $50 ticket is approximately $3 a song for Björk's 17-song concert. An incredible bargain in my book.

Jumbo Vision monitors? This wasn't a Rolling Stones arena concert (where tickets are way more than $50). No seat was further from the stage than her previous concerts at the Warfield and Oakland's Paramount Theatre.

"Seemingly unaware of just how big a joint she's playing ... the ice princess is nearly inanimate at first, almost to the point of sedating the audience." What is Kamps talking about? Never, at any point during the show, was the crowd lulled into sedation. Björk easily held the audience in a state of rapture through each and every number.

"Which is why, I suspect, toward the middle of her set, during delectable, heart-wrenching songs like 'Cocoon' and 'All Is Full of Love,' people are heading for the restrooms, perhaps wondering what happened to the fireworks." What a ludicrous statement. This wasn't a rock 'n' roll show. It was a Björk concert. Big difference. People come to see Björk sing her songs. And if people are heading for the restrooms, maybe they merely need to relieve themselves.

"Björk forgoes the high-concept stagecraft found in her videos, relying instead on the power of her voice. But it's no match for the huge space, which also swallows her 'elfin' features and tiny, epileptic dance moves." The space wasn't that big, and it was exactly the power of her voice that kept her fans entranced.

And really -- elfin? Ice princess? Can Kamps regurgitate a few more ill-conceived clichés?

Further, "Hyperballad" is NOT a "fist-pumping anthem," and the audience was NOT left "to speculate if that's really all it's going to get." It got everything it came for and more.

For all that Björk has brought to a genre of music filled with forgettable Grammy winners and water-treaders, she deserves far better than to be belittled by the likes of Garrett Kamps in his pitiful column of blather. If he preferred the show at "Trannyshack," fine. I, too, heard it was quite a scene, but he does a genuine disservice to those who weren't able to make the Pier 30-32 show and those who did, and to the artist herself, with a column brimming with inane opinions and misperceptions.

Mark Burbey

Not Lame

Your writer's not bad, as liberals go: I appreciate Peter Byrne's honest critique of KSFO mock jock Melanie Morgan and the recall that I signed ["Unintended Consequences," Bay View, Aug. 20]. An honest evaluation of such conservative issues is not a strong point of the liberal media. Again, I thank you.

Hal Nash


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