By Erin Sherbert
By Howard Cole
By Erin Sherbert
By Erin Sherbert
By Leif Haven
By Erin Sherbert
By Chris Roberts
By Kate Conger
Evenhanded Treatment of Mormom Church
When I saw that "The Fairfield Wives" (Aug. 5) would extensively cover the internal structures and operations of the Mormon Church, I was concerned. It wasn't that I hold the Mormon Church dear in any way, rather that I am increasingly annoyed by what I consider to be media mischaracterizations of spirit, if not fact.
The article could easily have degenerated into an invective expose of Mormon hypocrisy and toadyism. Instead I found that I could not fault the author's representation of any fact or essence. Her descriptions of the relationships and interactions between the participants at varying levels of the Mormon power hierarchy rang perfectly true to me -- a recovering Mormon.
Kimball G. Everingham
Swift Justice, Springer-Style
I find it so appalling that these women could allow this sick man to get away with this ("The Fairfield Wives"). If even half of this conduct had been perpetrated upon me I would have knocked that old fart to the ground so quick it wouldn't be funny.
Then a couple of days later, when he came to, we would negotiate a settlement wherein he would be obliged to pay for mistreating me and resign from medical (mal)practice for the rest of his miserable existence. He could move his wacked-out family into a trailer park and become a Springer guest freak and die.
Of course, he would still be assured of eternal salvation from the wonderful Mormon Church, which aided and abetted this deviant.
As a member of the Mormon Church in the Fairfield area, I relate closely to the story about John Parkinson and the tragedy that he perpetuated ("The Fairfield Wives"). Thank you for a complete and accurate account of a story that needed to be told.
Diapers vs. Smack
Whitechocolatespaceegg may not be Liz Phair's best record to date, but the tendency of fans and critics to attribute this to her newfound domesticity is shortsighted ("Whitechocolate What?" Music, Aug. 5). Ask any new parent who is also a musician/performer, and they'll tell you that new family life brings its own angst and turmoil. Some will continue to channel it into their art while others, tired of the triviality of most modern pop/rock and the machinery that grinds it out, will simply move on to the new challenges that await them. If, according to Bill Wyman, Phair has indeed "looked at the price, and refused to pay it," then kudos to Phair.
Granted, dirty diapers can't compete with good old heroin chic, but even if she never makes another album, Phair's best work is still ahead of her.
Hey, Man, If You Can Remember Negative Creep, You Didn't Read It in the First Place
One day recently I picked up SF Weekly and looked at the table of contents. Beneath it was a cartoon, Negative Creep: "The Comeback -- A Negative Creep Miniseries -- Episode 5" (July 15). Something strange happened when I was halfway through reading it -- I think it was an acid flashback! WOW! I've been reading it ever since, trying to get that feeling again, but it just isn't like that first rush.
I'm going to read Negative Creep every week, even so. Thanks guys.
Morally Offensive Illustration
Why is there a black man on your cover ("Project Employment," July 22)? Is he the embodiment of the "12 convicted drug dealers and other major felons"? This equation is reiterated on the contents page with a photo of a black man beside the headline.
That the artist conceived and rendered this depiction is menacing enough. But why did the editors approve the drawing? What did the editors want to convey?
It is clear to me you intended to blatantly reinforce a prejudicial stereotype, thereby pandering to a point of view that is wholly unbalanced, devoid of fair play, and lacking journalistic integrity.
What explanation can you offer your readership beyond apologizing for your glaringly and morally offensive racism?
Brian F. Ostrum
Fine Contribution to San Francisco Dance
Apollinaire Scherr's article on Brady Street Dance Center ("Brady Street Redux?" Stage, July 15) describes former Executive Director Keli Fine only as "the leaseholder," thereby ignoring her vital role in creating and maintaining the center. When Keli took over Brady Street in 1995, it was on the verge of expiring. Within one year, she completely turned the place around, implementing a full schedule of classes and rehearsal rentals. She created an atmosphere where all felt welcome. It was upon this base that Krissy Keefer created her popular programming.
Far from lying "relatively dormant" since Keefer's departure, Brady Street has hosted performances most weekends, many to sold-out houses. In the wake of the crisis caused by the removal without notice of the lights on the eve of a benefit performance, and the subsequent removal of the sound equipment, Keli worked nonstop to keep the theater running and to honor all its commitments.
Keli Fine is a talented dancer and gifted choreographer who overcame many obstacles to realize her dream of creating a low-cost, high-quality, accessible space for the San Francisco dance community. In passing the baton to San Francisco Dance Center, she continues to exhibit the vision and generosity that made Brady Street possible. She deserves more credit and appreciation than she has received from the dance community for her work on their behalf.