Praise, Criticism and Features
The paper has received the Pulitzer Prize on a number of occasions. Despite an illustrious and long history, the paper's news reportage is not as extensive as in the past. The current day Chronicle has followed the trend of other American newspapers, devoting increasing attention to local and regional news and cultural and entertainment criticism to the detriment of the paper's traditionally strong national and international reportage, though the paper does maintain a Washington, D.C., bureau. This increased focus on local news is a response to the competition from other Bay Area newspapers including the resurrected San Francisco Examiner, the Oakland Tribune, the Contra Costa Times and the San Jose Mercury News.
Lance Williams and Mark Fainaru-Wada received the 2004 George Polk Award for Sports Reporting. Fainaru-Wada and Williams were recognized for their work on uncovering the BALCO scandal, which linked San Francisco Giants star Barry Bonds to performance-enhancing drugs. While the two above-named reporters broke the news, they are by no means the only sports writers of note at the Chronicle. The Chronicle's sports section, called Sporting Green as it is printed on green-tinted pages, is staffed with two dozen writers. The section's best-known writers are its columnists: Bruce Jenkins, Gwenn Knapp, Scott Ostler, and Ray Ratto.
Another area of note is the architecture column by John King; the Chronicle is still one of the few American papers to present a regular column on architectural issues. The paper also has regular weekly sections devoted to 'Food', 'Home & Garden', and 'Wine', the latter of which is unique. San Francisco Chronicle Magazine is published on the first Sunday of each month and regularly focuses on the previously mentioned topics. In early 2006 a new section, '96 Hours', was added to the Thursday edition of the paper, covering entertainment from that day through Sunday.
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Famous quotes containing the words criticism and/or features:
“Cubism had been an analysis of the object and an attempt to put it before us in its totality; both as analysis and as synthesis, it was a criticism of appearance. Surrealism transmuted the object, and suddenly a canvas became an apparition: a new figuration, a real transfiguration.”
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