Get SF Weekly Newsletters
Pin It

SF Weekly Letters September 18-24, 2013 


Editor's Note

You know the story of Lincoln's ax? Over years of mythic, presidential use, first the head and then the handle were replaced, which begs the question: Is it the same ax anymore? The question can be extended to lots of things, including newspapers. In this week's issue, you'll notice we've begun a redesign: new fonts, new layouts, more color, some helpful arrows. In coming weeks, we'll bring in new content as well -- experimenting, you might say. The goal here is to create a more interesting, more readable, more dynamic SF Weekly. In the process, we shall be asking ourselves how we balance what we have been with what we're becoming -- while always staying sharp.

Speaking of changes, we're looking to revitalize some of the city's street corners with a new project called Rock the Box (see page 25). We want to find artists to take our most beat-down newsracks and turn them into public art. It's a way of changing the city, too, little by little, into something better.

Brandon R. Reynolds, Editor

A Train to Nowhere

Next stop, money drain station: This is the first crack in the monolithic-local-media-support for this incredibly dumb, wasteful project ["Get on Board the Excess Express," Joe Eskenazi, Sucka Free City, 9/11]. Good to see evidence that the new owners aren't imposing a party line on issues, since this piece would never appear in the Bay Guardian.


Sounds of the City

Jazz music is dying sound on Fillmore Street: A friend turned me on to Ian S. Port's article ["Museum Piece," Music, 8/28]. Turning the Fillmore into a historic jazz preservation district was a joke from the get-go. Port thinks that the black community has any interest in jazz music? Jazz is a dying music form. Name one good young tenor player, or vibe player, or piano player. There is no next Herbie Hancock, or Miles Davis, or Bobby Hutcherson coming around. The young, black kids listen to rap. If Port can find a major black jazz artist over at Yoshi's Oakland, go and see who the audience is. Older white people. Think they're going to drive out to the Fillmore? Let's face it, someone steps off Fillmore Street, they're basically in the projects. Whoever thought up the idea of revitalizing the Fillmore via jazz has never been there. As for Rassela's, has Port ever been there? I'm surprised that it stayed in business for a year, let alone 14. That is a miracle in it of itself. But jazz? S.F. hasn't been a jazz town for 30 years. Good luck.

Rob P

Blog Comments of the Week

Good guys come to the rescue of the good guys: How amazing, one moment the whole world looks bleak, then someone comes along and because of his or her kindness makes the whole world sunny ["Jewelers to Replace Firefighters' Wedding Rings Stolen While They Battled Mt. Diablo Blaze," Erin Sherbert, the Snitch, 9/12].


The Bay Bridge will always be known as the Bay Bridge: Somebody needs to put an end to this nightmare ["Willie Brown Bridge: Lawsuit Imminent," Joe Eskenazi, the Snitch, 9/11]. There are more important issues in the Bay Area; naming the bridge after Brown is adding insult to injury.

Jessica T


Subscribe to this thread:

Add a comment

Popular Stories

  1. Most Popular Stories
  2. Stories You Missed


  • clipping at Brava Theater Sept. 11
    Sub Pop recording artists 'clipping.' brought their brand of noise-driven experimental hip hop to the closing night of 2016's San Francisco Electronic Music Fest this past Sunday. The packed Brava Theater hosted an initially seated crowd that ended the night jumping and dancing against the front of the stage. The trio performed a set focused on their recently released Sci-Fi Horror concept album, 'Splendor & Misery', then delved into their dancier and more aggressive back catalogue, and recent single 'Wriggle'. Opening performances included local experimental electronic duo 'Tujurikkuja' and computer music artist 'Madalyn Merkey.'"