The album sounds youthful? Well, is the band youthful? Where are they from? Is this their first album, or have they been making music since 1993, that time of pure-flowing indie-nectar-truth that Annie speaks of? She's convinced the band is "uncorrupted by talentless hacks who just want to get girls to sleep with them," but that presumes she knows their musical backgrounds and sexual preferences.
Another interesting tidbit is that Aguirre has also been the erstwhile manager for a couple of the buildings in the Warehouse District for several years. He charges artists paltry rents but has failed miserably with the upkeep of the buildings themselves. These same warehouses are being eyed for possible destruction--partly due to their poor condition. Perhaps if Aguirre was more concerned about the preservation and maintenance of the buildings and less about empire-building, the Warehouse District would not be in the precarious state it is in today.
I'm thankful that MOCA and Russell are approaching these challenges realistically and may be able to preserve some of the buildings Aguirre didn't screw up.
Aguirre should have been identified as the executive director of Dinnerware; that omission is the fault of the editor. We apologize.
The space was in the basement (I was often accused of "relegating" local artists to the basement; I thought I had "secured" a space for them), and we had to fight the fire marshal to keep it. The point is that Anne-Marie Russell and David Lewis spent a lot of time and effort trying to save the space, but unfortunately, the repairs and electrical costs were beyond our budget.
While having complete freedom to run Hazmat, I was also very aware of the vision of MOCA to become a true museum. I asked several community members who shared that vision to join the board. Anne-Marie was my first choice. She has the experience, ambition and energy one needs to see a vision like this through, and she put the rules and regulations of a formal museum in place. I quit because I was not the right person to curate exhibitions under the constraints of the new formal organization of the museum. I also quit because I don't have the spine for the gossip, back-biting and anger leveled at me by certain members of the community, for whatever reason (usually because they didn't get a show). I would have been in tears had that Weekly article been about me ("Getting Toole'd," Currents, Feb. 22).
That article about MOCA was a personal attack on Anne-Marie, and though she may be lacking the diplomatic people skills required to peaceably navigate the waters of an established art community like ours, she also has the cojones to see the vision of a museum through.
I wish the transition could have gone more smoothly, and I lament the loss of the Toole Shed studios and all the other spaces that are reducing the presence of working artists downtown. It pains me to see the negative effects that gentrification and politics have had on conversations about saving the character of our downtown.
I was misquoted. While Habitat for Humanity Tucson is constantly evaluating how we can serve more families through creative collaborations with all sectors of our community (including for-profit homebuilders), we remain committed to partnering with our community volunteers, as they have built more than 260 local Habitat homes during the last several decades.
Assistant director of development, Habitat for Humanity Tucson
Clean diesel engines on biodiesel are a real alternative to pricey hybrids that still use unleaded gas. More than half the cars sold in Europe are clean diesels, but they are still too hard to get in America.
Biodiesel, especially from sources besides corn and soy, is an essential sustainable energy solution. Increasing biodiesel use is a positive for Tucson, the environment and national security.
Daniel R. Patterson
Tucson Planning Commissioner