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Fun with Dick and CP

This week’s cover dick is in poor taste (“College Guide,” Feature, Aug. 21). Regardless of the aspect of student culture drawing dicks on drunks, this image should have left drawn dicks implicit instead. Fill your pages with as many dicks as you please, but a cover that will have eyes of all ages on it? Let no dick be seen. Baltimore can do better, however raunchy or tacky we may be at times. . . . This cover doesn’t even showcase an interesting dick. I’m no saint, my motherfucking language is graphic as fuck, but not in all company.

The truth is, if you simply MUST have a floating dick on the page, do it with pizzazz and don’t reinforce a pathetic tradition. Or at the VERY least put it where it belongs: the floating dick goes on the side of the drunk dick’s face. Disappointing, City Paper, disappointing.

Heather Drinkwater

Baltimore

Pony Boys

I read your wonderful article about BronyCon (“What’s So Funny ’bout Peace, Love, and BronyCon?,” Feature, Aug. 7) and thoroughly enjoyed it. However, as a staff member of the Traveling Pony Museum (rather than the Traveling Brony Museum), I noticed the unfortunate error in our name. It would be most appreciated if you could issue a correction. Our online presence is not very strong currently; such publicity would help us expand our influence, and make our appearance next year that much better.

Tae Cooke

Olean, NY

Editor’s Note: The name of the museum has been fixed online. City Paper regrets the error.

Oedipus, Complex

Way to go for ruining my only good time of the day—happy hour at Alonso’s.

You made me cry (“The Infernal Machine,” Stage, Aug. 21). Embarrassing as shit when the bartender and waitresses come over and ask me what is wrong? Every single Goddamned thing. . .

In my life, I have discussed Sophocles/Theban plays in depth with the likes of Clifton Fadiman (longtime editor of the Book of the Month Club and editor of Fitzgerald), numerous nonfiction writers and editors of great stature, the screenwriter of Die Hard et al., numerous top shrinks, including all the heads at Hopkins, SEPH, U of MD, etc., dudes who did seminal studies like Phil Zimbardo, Gordon Livingston, great legal minds, on and on.

That said, the only person whom I ever met who understood Theban plays was my original shrink at SEPH when I was a young man of 17. She went far, far out of her way to protect me from the “men” who would hate me “at the institution” and “literally” saved my life, gave me a chance for a future. She understood the father vs. the son because she had lived it herself, in her own family.

Odd, because many years later, I am exactly right where she sought to keep me from—at the mercy of evil, blinded, fearful men who wish to destroy me. Unfortunately, this time, I have no allies.

And what she understood was organic, simple . . . yet, so complex.

That said, your review of Antigone by Sophocles, performed by Glass Mind Theater, was sublime. While tragedies have been the source of millions of hours of higher education, has anyone ever termed it so well?

“Probably no better analysis of ‘tragedy’ is thus: Sophocles actually shows us something far more complex and nuanced: The true nature of tragedy is when two right answers collide and bring to ruin all involved.”

Adding to that gem, “Instead, the play is about the devastation that family brings to us, the difficulties we inherit and cannot control. It is about the way a teenager reacts to the unfairness inherent in birth and fate, taking pride in her misfortune.”—which could explain, amongst many things, the seemingly inexplicable “acting out” all hot girls with fucked-up parents seem destined to experience to the day they die.

One could reread this review a thousand times and still find something new to think about. A remarkable feat of understanding for someone who is still so very young.

Bene fecis!

William C. Bond

Baltimore

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