In 2001, the alt-weekly adopted a new policy eliminating "adult" ads. But after taking a glance at the Personals section of a recent issue of the Weekly, Westword's Michael Roberts thinks the paper has reversed course. Weekly publisher Stewart Sallo tells AAN News via email that Roberts is incorrect. "Boulder Weekly's policy on 'sex ads' has not changed," he says. "We discontinued our adult advertising section in 2001 and redrew the line to eliminate ads that contain images that explicitly objectify women."
"Boulder Weekly and our brother and sister alt-weeklies," Stewart Sallo writes, "are the next generation in the evolution of the newspaper." He notes that for the Weekly, "the past two years have been a watershed period for our organization, with unprecedented growth in readership and revenue, despite the unfavorable economic conditions we have faced."
"It's been quite a ride at the helm of this wacky ship," writes publisher Stewart Sallo in this week's 15th-anniversary issue. "We've sailed through uncharted waters as the only weekly ever to succeed in Boulder, Colo., despite many serious obstacles throughout the years." Sallo notes that despite the "well-publicized woes of the newspaper industry," the Weekly is "riding an unprecedented wave of growth," which he largely chalks up to the purchase of the Colorado Daily by E.W. Scripps Co., which also owns another Boulder paper, the Camera. "Much like any other corporate-consolidation effort, this event created a more formidable, unified competitor for us, which caused the problem-solving minds at the Weekly to dig deeper in search of a strategy that would keep our ship sailing smoothly."
There's no shortage of evidence that Mel Gibson has an anti-Semitic agenda in his film, "The Passion of the Christ," Stewart Sallo writes. The Boulder Weekly publisher says Jews historically have been most vulnerable to Christians' acts of "revenge" during the Holy Week before Easter, when passion plays were staged. Adolph Hitler praised one such performance in Germany as a convincing portrayal of "the menace of Jewry," Sallo writes. He raises concern about the potential of Gibson's film "to generate hatred and divisiveness."