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Archive for the ‘photography’ Category

Princess, schmincess — a few very cool role models for a little girl

In art, beauty, behavior, blogging, children, Crime, domestic life, education, family, life, love, parenting, photography, women, work on May 20, 2013 at 2:26 pm

Loved this!

So my amazing daughter, Emma,  turned 5 last month, and I had been searching everywhere for new-creative inspiration for her 5yr pictures. I noticed quite a pattern of so many young girls dressing up as beautiful Disney Princesses, no matter where I looked 95% of the “ideas” were the “How to’s” of  how to dress your little girl like a Disney Princess…
It started me thinking about all the REAL women for my daughter to know about and look up too, REAL women who without ever meeting Emma have changed her life for the better. My daughter wasn’t born into royalty, but she was born into a country where she can now vote, become a doctor, a pilot, an astronaut, or even President if she wants and that’s what REALLY matters. I wanted her to know the value of these amazing women who had gone against everything so she can now have everything. We chose 5 women (five amazing and strong women), as it was her 5th birthday but there are thousands of unbelievable women (and girls) who have beat the odds and fought (and still fight) for their equal rights all over the world……..so let’s set aside the Barbie Dolls and the Disney Princesses for just a moment, and let’s show our girls the REAL women they can be.

The black and white photos of Emma, dressed and posed as Amelia Earhart, Coco Chanel, Susan B. Anthony, Helen Keller and Jane Goodall are charming, lovely and thought-provoking — taken by her mother, Austin, TX-based photographer Jaime Moore.

English: Helen Keller. Français : Helen Keller.

English: Helen Keller. Français : Helen Keller. (Photo credit: Wikipedia)

I don’t have a daughter or even nieces to hang out with, but smart, powerful, high-achieving role models are huge for young girls, especially in cultures that tend to value women primarily or exclusively for being thin/pretty/docile/mothers.

It’s not easy to be a smart, ferociously determined young woman, and find a welcoming place in a larger world that is sharp-elbowed enough as it is.

Molly Ivins

Molly Ivins (Photo credit: Wikipedia)

Growing up, some of the women in my field of journalism who inspired me included contemporary photographers Susan Meiselas, Deborah Turbeville, and Jill Krementz (who I got to meet and shadow for a day, {also Kurt Vonnegut’s wife}) and other successful women journalists, from Molly Ivins and Nelly Bly and Margaret Bourke-White to war correspondents Marguerite Higgins and Martha Gellhorn, (also one of Hemingway’s wives).

Have you ever heard of Washington Post photographer Carol Guzy?

She has (so far!) won four Pulitzer Prizes:

As a young girl, Carol Guzy always wanted to be an artist. But as she was coming of age in a working-class family in Bethlehem, Pa., such an ambition seemed impossible. “Everyone I knew said, ‘Oh, if you’re an artist, you’ll starve,’” she recalls. “You have to do something really practical.’” So Guzy chose to go to nursing school. Halfway through she realized she would not, could not, be a nurse. “I was scared to death I was going to kill someone by making some stupid mistake,” she laughs. So while she was trying to figure out what to do with her life, a friend gave her a camera and she took a photography course. Her fascination with photography led to an internship and then a job at the Miami Herald. In 1988 she moved to The Post. Her photographs have won three Pulitzer Prizes and three Photographer of the Year awards in the National Press Photographers’ annual contest.

A long list of cool, brave women led the way so that I could do the work I enjoy. I admire the hell out of them and am grateful to them for speaking up and out and taking risks, both physical and professional.

Signature of Susan B Anthony

Signature of Susan B Anthony (Photo credit: Wikipedia)

Did you have a role model growing up?

Who — and how did that affect you?

Tim Hetherington, war photographer in HBO doc April 18, 8:00 p.m. ET

In film, History, journalism, Media, news, photography, television, the military, war on April 18, 2013 at 12:53 am

By Caitlin Kelly

English: Tim Hetherington at a Hudson Union So...

English: Tim Hetherington at a Hudson Union Society event with Sebastian Junger, co-director of the Oscar-nominated, Sundance Film Festival Grand Jury Prize-winning documentary, Restrepo. (Photo credit: Wikipedia)

For those of you not working in news journalism, or photojournalism, award-winning British photographer Tim Hetherington was only 40 when he was killed in Misrata, Libya with photographer Chris Hondros in April 2011.

It’s easy to forget — or not even really understand — that while soldiers are killed, or maimed and traumatized by fighting in war, so are journalists, photographers, videographers and their fixers and interpreters. You can’t phone in war photos, so those shooting with a camera are often as much in the line of fire, as much in harm’s way as the soldiers they are with.

It is a small and tightly-knit community of men and women war journalists who move from one conflict zone to the next, their helmets and Kevlar flak jackets ever at the ready.

Author, writer and film-maker Sebastian Junger, who lives in New York, gave this long and intimate radio interview yesterday on the Leonard Lopate show on WNYC. He made an award-winning war documentary, Restrepo, with Hetherington.

Here are some images of American soldiers by Hetherington at the International Center of Photography, on display until May 13.

Every journalist, journalism teacher and student of journalism needs to watch this film and know what news reporting can cost.

A life.

English: Tim Hetherington at a photo session i...

English: Tim Hetherington at a photo session in Huambo, Angola in 2002. (Photo credit: Wikipedia)

I hope you’ll make time to watch this documentary and remember the sacrifice and bravery of those who witness war on our behalf.

We owe them our attention and respect.

Freelancers don’t want to be “paid” in exposure!

In behavior, blogging, books, business, culture, journalism, Media, Money, news, photography, US, work on March 6, 2013 at 2:59 pm
If you’re a freelancer in any field, chances are that you’re being asked, more and more, to work without pay for the “exposure” to millions of potential buyers for your work.
Just say no.
Nate Thayer discussing Pol Pot's trial, July 1997

Nate Thayer discussing Pol Pot’s trial, July 1997 (Photo credit: Wikipedia)

Here’s a link to his site, and some of his email with The Atlantic.com:

After a brief phone call where no specifics were really discussed, and she requested I email her:

Hi Olga: What did you have in mind for length, storyline, deadline, and fees for the basketball  diplomacy piece. Or any other specifics. I think we can work something out, but I want to make sure I have the time to do it properly to meet your deadline, so give me a shout back when you have the earliest chance.

best,

Nate Thayer

From the Atlantic:

Thanks for responding. Maybe by the end of the week? 1,200 words? We unfortunately can’t pay you for it, but we do reach 13 million readers a month. I understand if that’s not a workable arrangement for you, I just wanted to see if you were interested.

Thanks so much again for your time. A great piece!

From me:

Thanks Olga:

I am a professional journalist who has made my living by writing for 25 years and am not in the habit of giving my services for free to for profit media outlets so they can make money by using my work and efforts by removing my ability to pay my bills and feed my children. I know several people who write for the Atlantic who of course get paid. I appreciate your interest, but, while I respect the Atlantic, and have several friends who write for it, I have bills to pay and cannot expect to do so by giving my work away for free to a for profit company so they can make money off of my efforts. 1200 words by the end of the week would be fine, and I can assure you it would be well received, but not for free.

If there is a phrase that causes apoplexy among veteran freelancers, it’s the increasing fantasy that “exposure” — i.e. having millions of people see our stuff, without pay — is worthwhile. Editors now routinely offer freelancers in many fields exposure to their audiences, none of whom are guaranteed to offer us paid work.
I can’t buy groceries or gas with “exposure”, nor get my hair cut or see a dentist. None of them work for “exposure.”
Very few freelancers have the cojones to tell editors offering us this insult to just piss off. Nor do they ever make public that they actually took a stand — what if no one else has? In a crappy economy, everyone’s afraid to lose a client or get a rep for being a diva.
Thayer is right.
Enough already!

Taking a hooky day today!

In behavior, blogging, books, business, cities, culture, domestic life, journalism, life, photography, urban life, work on January 11, 2013 at 12:39 am
English: Looking south from Delancey Street, a...

English: Looking south from Delancey Street, at central mall that divides Allen Street (Manhattan) on a sunny late morning. ZIP 10002. (Photo credit: Wikipedia)

It is a sad truth that I can see the towers of Manhattan from our street 25 miles north of the city, shimmering like Oz — yet I rarely head there for pure pleasure.

I’m just not the sort of person who sits in a loud, crowded cafe and “works” on her laptop. I don’t want background noise when I’m speaking to clients or colleagues, nor the hassle of having to move or carry stuff. I’m writing this at my dining table, staring up the Hudson River, listening to WNYC.

But for today — play day!

I’m taking the train into Manhattan with Jose (yay! hubby time!), and meeting a blog pal — Mrs. Fringe — for coffee, my third (so far) blogging blind date; two years ago I met Lorna, of Gin & Lemonade on her visit here from Scotland, and met Michelle, The Green Study, in Minneapolis in October.

I’ll head downtown to the Lower East Side to see a show of ballet photographs by Henry Leutwyler, which closes on January 12, at the Foley Gallery on Allen Street. (I’m going to see the New York City Ballet on Tuesday evening, and can’t wait!)

I’m meeting a new friend for lunch at this spot, Spitzer’s Corner. I have only one work commitment — a 4pm phone interview with a professor at MIT whose wisdom I need for a meeting I’m having on Monday. I plan to browse the LES, which has some of my favorite shops and restaurants, before heading to Joe’s Pub at 7:00 p.m. to watch my friend Elizabeth Bougerol play with her band, The Hot Sardines. Both shows are sold out, which is so terrific — I met Elizabeth a few years ago when we sat beside one another at the Sunday Night Dinner, an ongoing fun event held in the Queens home of Tamara Reynolds.

Then we’re heading out to dinner at Le Philosophe with my friend Tracy, who makes gorgeous hats — Madonna and Mary Blige have worn them — and her partner, an architect.

This workweek has been insane. Truly (happily) non-stop.

I have a major business piece in The New York Times this weekend — so had to shoot some last-minute questions to a source in Islamabad at 9:00 Wednesday night — and am working on another Times piece about a very cool young woman, so cool I’m also pitching her story to a variety of other publications as well. That’s meant asking colleagues for their help and contacts, like a woman who used to live in my town seven years ago I found on LinkedIn.

I’m also working on a speculative and very interesting business possibility that has me speaking to people in Nova Scotia, Toronto, and Illinois for their insights and advice. It’s a big step away from journalism, but a potentially very interesting one.

My fab new assistant — the non-stop C of Small Dog Syndrome — is keeping me busy keeping up with her progress.

I decided last week to take Friday off entirely, which, of course, put extra pressure on the rest of the work week to grind it out. The one joy of working freelance is that I can indeed disappear occasionally when it suits me. Believe it or not, Jose has to really nag me all the time to take time off for fun. Any of you who work for yourselves know this all too well!

Here’s a neat new book, “Tweak It”, about how to carve out work-life balance.

Do you ever take a hooky day — a weekday away from school or work — for pure relaxation?

What’s your dream job?

In behavior, blogging, books, business, education, journalism, life, Media, men, news, photography, science, sports, women, work, world on November 27, 2012 at 12:36 am
English: Club Eifel disc jockey DJ Blaze plays...

English: Club Eifel disc jockey DJ Blaze plays music at the 2009 Air Force Ball. (U.S. Air Force photo/Airman 1st Class Nick Wilson Spangdahlem Air Base, Germany) (Photo credit: Wikipedia)

Here’s a fascinating bit of social science data — a survey of 8,000 LinkedIn members worldwide asking them to name their dream jobs.

It differs, as you’d expect, country by country; the top choice, in India, Singapore, Indonesia and Brazil was engineer, while Germans and Hong Kong residents chose scientist.

Canadians and Americans said being a teacher was theirs.

I’m surprised, certainly in the U.S., because public education has recently become such a battleground, over texts, tests, salaries, tenure. The pay is generally low and some parents’ expectations savagely and unrealistically high, if the parents are even involved at all.

The top choices also differed hugely between American men and women.

In order, men chose: professional or Olympic athlete, plane or helicopter pilot, scientist, lawyer or astronaut.

Women chose: teacher, veterinarian, writer/journalist, nurse/doctor/EMT, singer.

I’m not sure what to make of this, except to suggest that guys are hopeless fantasists and girls seem to have some really serious STEM (science, tech, engineering, math) aversion.

Let’s parse these a bit:

Guys, clearly, want: power (physical, mechanical, financial), fame/groupies, a view from high above the earth, literal or metaphorical. Each of their choices relies on individual strength and skill, even when used within a team environment. Each allows them to be a hero, to save lives and/or make history.

Girls, it seems, want: emotional connection, intellectual growth, to help and nurture others. Their choices suggest they want to relate to children or animals or other people in a helping manner — or just be famous, dammit!

The question that most intrigues me is…why? Do men and women want such utterly different lives, incomes and trajectories of influence because of their parents? What they read? See on television? Their friends and neighbors?

I wanted to be a writer since I was very small, partly because my mother was a journalist for magazines and it looked like a hell of a lot of paid fun. (It is, at its best.)

I also wanted to be, for a while, a radio DJ, an actress, a photographer and a foreign correspondent. I did a lot of acting in productions at summer camp and was good at it, but knew the odds of professional success were slim. I started out as a photographer by selling three magazine cover images when I was still in high school and did news photography for a while, but male editors and art directors refused to give me work, arguing that men with families (!) needed it more than I.

So I stuck with journalism/publishing which, in many ways, has been my dream job. It suits me emotionally, intellectually, politically and spiritually — I know, for a fact (thanks to some powerful emails over the years) — that my work has touched people. One woman said a medical story of mine had even saved her life. For me, no paycheck is large enough to compensate for work that fails to connect people to one another. I learn something new almost every single day. I know that providing accurate, timely and useful information is essential to democracy and any form of social justice, and I get to be a part of that.

The money is shitty, but occasionally better. I like working with a tremendous amount of physical and intellectual freedom and autonomy. I loathe routine. I like meeting people from every walk of life, as I have, from Prime Ministers and Queen Elizabeth and Olympic athletes to convicted felons and victims of violence.

I love being paid to have an idea and explore it in depth, sharing the result with millions of readers. It’s a huge thrill knowing that my two books are in libraries all over the world.

And I love being part of an international tribe, men and women of all ages who still get up in the morning dying to get to the next story, whether they’ll tell it through words or images or sounds, or perhaps all three. When a journalist is killed covering a story, we all feel a little ill, because it could have been us or our husband or someone we’ve worked with — or have. I’ve been fortunate enough throughout my career, which began when I was still an undergrad at University of Toronto, to find editors willing to entrust me with their pages, budgets and assignments. They’ve sent me to a tiny Arctic village, to a Club Med in Mexico (!), to dance at Lincoln Center in New York, to Google’s headquarters in Silicon Valley, to Edmonton and Winnipeg and Copenhagen.

It’s not been a picnic! Some bosses have been toxic brutes, male and female bullies whose behavior rendered me physically sick with stress. One editor’s criticism of my writing actually left me in tears, (I was very young), but also forever changed my writing for the better.

Here’s a beautiful blog post by friend and fellow writer Cynthia Ramnarace — whose New York home was ravaged by Hurricane Sandy — about the extraordinary kindness her former newsroom colleagues recently showed her, eight years after she moved away. I doubt you’d ever get this in a cut-throat big-city newsroom, but there is a deeply shared set of values most journalists have in common, which I really appreciate still, after 30 years in the biz.

My alternate dream jobs? Choreographer, owner of a small housewares store, interior designer, jet pilot, conference organizer, consultant and public speaker. I think a few of them are still possible!

Are you in your dream job?

If not, why not?

If so, tell us about it!

What do you see?

In beauty, behavior, culture, design, life, photography on November 4, 2012 at 1:03 am

Here is a lovely blog post from a young British man who keeps a limp yellow balloon as a reminder of a lost young man who needed his help — and who gave it to him. When he looks at the balloon, on the surface nothing more than a piece of yellow rubber, he sees connection, kindness, a reminder of the things he’s grateful for in his own life.

I love his clarity of vision — both rare and precious.

And here’s a great post by a feminist blogger deconstructing one of the most iconic photos of a man and woman kissing. Turns out it’s not at all what we thought — or hoped.

And here’s a recent post by labor activist Sara Ziff, whose organization represents the rights of models, arguing that the use of teen girls on the runway is a poor choice.

Not to mention, two huge and shocking scandals that have recently rocked the United States — the conviction and sentencing of Jerry Sandusky, a football coach who abused children in his care and the late Jimmy Savile, a beloved BBC entertainer, now accused by 300 adults of abusing them when he was also a popular figure, like Sandusky — whose public facade was a deep devotion to the care and welfare of children.

We see what we want to see.

The other day, my husband came upstairs from the laundry room and burst into tears. A proud and private Hispanic man, he very rarely cries. Typically, he began apologizing for his emotional reaction to what he had just seen — one of our neighbors, a retired single woman fighting multiple cancers. Normally gruff and private, she was staggering along the hallway with a friend, clearly weak, in pain and scared.

Jose saw it all.

It’s one of the reasons I love him. He is a career photographer and photo editor, so his talent, and profession, is observation and analysis. But it’s much more than that. He sees the person inside the clothes, the fear inside the bravado, the doubt beneath the smile.

I live in a suburb of New York, in a small town that, to my eye, is bursting with beauty: a red brick concert hall built in 1885; wrought iron fences, cupolas, wisteria, a view straight up the Hudson River, one often shrouded by fog or mist or snow or rain. Every day that I live here, and that’s now more than 20 years, I am deeply grateful to live in a place with so much to delight my eye and lift my heart.

As I write this, a bouquet of crimson-tinged calla lilies, in a hand-made pot, sits on my desk. It’s curved, sensuous, lovely — and a reminder of my wedding day, because my bouquet contained those colors and those flowers. So in them I also see, and savor, a sweet moment from my past.

I’ve lived in Paris, London, Toronto, Montreal, Cuernavaca and a small town in New Hampshire. Each place had ugly bits and moments of deep, desperate unhappiness in my life.

But each also offered its own specific beauty, from the austere, gray elegance of Paris to Toronto’s enormous parks and ravines and the islands in its harbor to Lebanon’s white houses with dark green shutters. I have a photo I took on Green Street, there, of late afternoon sunlight gilding the telephone wires.

I was in the Times Square subway station recently and, for once, looked up at the stretch of round glass embedded in the ceiling that allows light in from the street above. It was a sunny day, and the shadows of those above created a moving, kinetic artwork, their bodies and their motion making a dancing, ever-changing light show — of glass and concrete. It was mesmerizing.

Beauty is everywhere.

So is need — for love, tenderness, warmth, compassion, connection.

We are, all of us, surrounded daily by loveliness, grace, wisdom, intelligence.

We are, all of us, surrounded daily by pain, fear, anger, depression, frustration.

We are, all of us, surrounded by tremendous material wealth — and grinding, terrifying poverty.

We are, all of us, living in a world tinged with mystery, magic, madness.

We are, all of us, surrounded by exquisite creation — the squirrel nibbling an acorn, the hawk circling overhead, the blue jay flashing through the pines, the mushroom clinging to a rotted log.

We are, all of us, sheltered nightly beneath a sky freckled by galaxies, mere pindots on the shoulder of the universe.

As you move through your world(s), what do you see?

My 30-hour train journey: New York to Minneapolis

In beauty, books, cities, culture, journalism, life, photography, travel, urban life, US, work, world on October 29, 2012 at 5:30 pm

As some of you may know, a hurricane is due to hit the Eastern Seaboard of the U.S. sometime this morning. I’m giving a speech Tuesday evening at 7:00 pm in Minneapolis, Minnesota so Friday night, Jose suggested I jump on a train to make sure I actually got there in time, as all of New York’s public transit was being shut down, and flights were sure to be canceled.  By Sunday evening — as I was almost at my destination on Amtrak — the wait time to speak to a customer service rep for Delta airlines was between seven and ten hours…

I bought a $227 one-way ticket (with nowhere to sleep but sitting up in my chair) and hoped for the best.

So, here I am, writing this from my Minneapolis hotel room, and here’s my story…

I left from Croton-Harmon, the Amtrak station about 15 minutes drive north of our home, to get to Albany, a two-hour journey, where I changed trains for the 15 hour trip to Chicago. I initially boarded the Ethan Allen Express, named for a Vermont hero.

The Hudson Valley, where I begin this trip, is one of the prettiest places in the United States, its trees now a blast of red, yellow, orange, brown and crimson — all likely to disappear after the hurricane blows through this week. The train tracks hug the eastern shore of the Hudson River, speeding (a relative word — crawling, compared to a TGV) past 18th. century towns and landmarks like West Point, the military academy. We passed Our Lady of Restoration Chapel, built in 1840 facing the river, where I was married (the first time) in May 1992.

The car is filled with students. A young girl is busy rolling cigarettes on her notebook, carefully adding filters. The girl behind her is knitting a gray scarf. Two young men behind me discuss their friends.

“She married a prince of some foreign country! That’s crazy. She’ll never have to work and someday she’ll be a queen.”

The train for Chicago, the Lake Shore Limited, leaves Albany at 7:05 p.m. and I settle into my aisle seat, a large woman in the window seat whose bum will press up against mine (and vice versa) for the next 15 hours, even though we don’t speak. The train is packed, and I can hear many people saying they, too, are fleeing Hurricane Sandy and whatever havoc it might wreak.

I sit in the lounge car, now that it’s dark, and watch a DVD on my laptop,  Frozen River, an excellent 2008 feature film about two desperately poor women who smuggle illegal immigrants in their car trunk across the St. Lawrence between the U.S. and Canada. It’s an apt choice because at Syracuse, two hours north of Albany (and 1.5 hours south of the Canadian border) immigration officials climb aboard and check some people’s identification. I overhear them say they are removing someone with all their luggage.

In the lounge car, a bearded young Aussie in a black hoodie is yammering on to a pretty young Hispanic girl who, with great pride, tells him she passed an employer’s drug test by using her mother’s urine.

We all sleep in whatever position we can manage within our seats, but no one bothers to pull the dark blue curtains so the brilliant orange lights of the passing landscape keep flickering through the glass. My soft challis scarf makes a perfect eye-shade wrapped around my head and my wool cape is long enough to make a warm blanket and small pillow.

I fall asleep at 1:00 a.m. but am awake at 4:00 as we stop in Cleveland, Ohio. A man three rows ahead of me is reading his laptop, the screen blindingly bright in the darkness.

The train crosses northern New York, a narrow sliver of Pennsylvania, Ohio, Indiana and into Illinois. A man got on in Albany struggling to carry a huge ice chest filled with food, as well as his rolling suitcase, black fabric covered with pink flamingos, so full he cannot zip it closed. He looks poor and scrawny and tired, like many of the passengers. This is the America that will vote in a week for their new President.

Who will they choose?

This is a whole other America, one I rare see in my affluent suburban bubble near Manhattan, where a devastating moment is your kid not getting into Harvard or Yale.

At sunrise, around 7:00 a.m., we straggle to the lounge car for coffee and tea. One woman’s hair (like mine) is squashed and crimped from behind — bedhead.

Trainhead?

I sip my tea and eat my pain au chocolat that Jose packed for me, and watch the sun gilding the shorn cornfields of Indiana, a vegetative high and tight. It seeps across the pick-up trucks and barns and silos and quiet farmhouses. Cows and horses stand in their paddocks, waiting for the day to begin.

We barrel through this quiet landscape, timeless, lovely, calm.

Chicago!

I have a four hour layover, from 9:45 a.m. to 2:15 p.m. until my train leaves for Minneapolis, (its final destination is Seattle). I buy a locker (using a scanner that takes my fingerprint! for $12) and stuff my things into it. I buy my three usual weekend newspapers, The Wall Street Journal, New York Times and Financial Times, and head out into the sunshine.

Right outside the train station is the Chicago River, crossed by a number of bridges. This is the view from the Adams Street bridge.

I was in Chicago in November 2011 for the first time, so I know where I am and where to go, which I consider such a luxury — feeling at home in a place far away. I head toward Lake Michigan to find a spot for breakfast, to settle in and read my newspapers.

But first, I want to say hello to my history, and head a few blocks over to State Street, to this white tower, built in 1912, developed by my great grandfather Louis M. Stumer. The architects, Holabird and Roche, did many of the city’s grandest buildings. I love having a personal connection to this great city and a building that still stands at its heart.

100 years old, thanks great-grandDad Louis Stumer!

A fantastic art supply store, Blick, is their main tenant. If you love great paper, notebooks, pens — go! I stocked up there last time.

I settle in for breakfast at the Corner Bakery, and pick up a sandwich for the rest of my journey, another 8.5 hours further west to Minneapolis.

I board the Empire Builder, a two-storey train I last took from here in August 2002, (heading to Vancouver, Canada to see my mother through brain surgery) that goes all the way west through another half-dozen enormous states, to Seattle, where its final miles of track are mere feet from the Pacific Ocean. (I was then in Dayton, Ohio researching my first book, about women and guns, when the surgeon told me to get there as fast as I could. Last-minute airfares are so costly, I went by bus and train.)

This time I’m seated beside a woman who is a retired archeologist, whose late husband was an astronomer whose experiments rode inside two space missions. She did work in Michoacan, a state in Mexico I’ve also visited and knows Santa Fe, NM well, where my husband was born, so we have lots to discuss.

But I soon withdraw into music on my laptop and an empty two-chair spot, to sleep as much as I can. I listen to Briton John Renbourn’s acoustic guitar and Canadian singer Sarah McLachlan, — gentle, meditative — both a perfect soundtrack as the sun sets over the fields of Wisconsin. We stand still — waiting, every time for a freight train ahead of us — as the fading light paints a stand of white birch trees to our right a soft pink.

The train rattles along, through towns like Red Wing, Minnesota and Lacrosse, Wisconsin. Here’s a photo of the station at Columbia, Wisconsin; a few minutes later a small parade of kids came by in their Hallowe’en costumes.

As I walk the car’s narrow aisle, I see a group of women knitting the most extraordinary things I’ve ever seen. “Are those…feathers?” I ask one. “Yup. It’s going to be a cowl,” she says, showing me creamy wool with gleaming feathers sticking out of it. “This ain’t your grandma’s knitting!”

I get to talking to two of the women — 38 of them belong to a passionate Minneapolis group that’s just gone to Chicago for a three-day knitting conference. Their fingers are all flying: an orange sweater, a pale pink sock, a black hat. One offers to make me a muffler, complete with feathers, if I pay for the materials. Yay!

One woman lived for years in Pakistan, and her friend has been to Afghanistan and Thailand and Pakistan. People are amazing. You never know who’s sitting beside you or behind you or in front of you — until you find out.

We stop for a brief break somewhere in the Wisconsin/Minnesota? darkness. People are eager for fresh air, a cigarette, a chance to walk around a bit.

This is a Santa Fe car parked on the tracks beside us as we took our micro-liberty.

“All aboard!”

We shuffle back in and climb the narrow stairs, as this train has two levels, including my favorite — the observation car — whose individual seats face outwards. When I did this trip in 2002, and came all the way from Seattle back to NY, it was one of the best experiences of my life.

You really can have no idea how beautiful the U.S. until it has flashed past you for days and nights on end, mile after mile after mile: farms and fields and rivers and cities and ducks on still ponds and flying geese and abandoned factories and slick college campuses and huge mansions atop hills…

I ask a conductor if Minneapolis is halfway across.

“Oh, no! That might be in Montana.”

We are late, hardly unusual for Amtrak. Americans don’t like the train much, (or, to be correct the wealthy and powerful lobbyists for the auto and airline industry do not), so the system and its cars is slow, outdated and inefficient.

We pull into Minneapolis at 11:00 p.m. Sunday night. I started my trip at 3:58 p.m. Saturday in New York.

A man with two enormous incisions, with fresh black thread sticking out of his stitches, his right hand swollen like a balloon, clutches his small, trembling reddish dog against his enormous stomach. “She doesn’t like stairs,” he tells us.

We de-train.

I stumble into a taxi and head for my hotel. I’ll have two full days to recover before I speak about my book, Malled, and retail, to 100+ students at the University of Minnesota.

Made it!

Rejection hurts? Pshaw! Man up, ladies!

In behavior, blogging, books, film, journalism, Media, Money, movies, photography, women, work on June 5, 2012 at 3:36 am
Aggie pitcher Megan Gibson pitches A&M to a Bi...

Aggie pitcher Megan Gibson pitches A&M to a Big 12 sofball victory over Iowa State, March 25th, 2007. (Photo credit: Wikipedia)

Last week in Brooklyn, home to the hipster/indie/creative class, an event was held to help adult women better understand the most crucial element of their business.

Not their fancy MFA or Ivy degree(s). Not their raw talent or burning desire to Change The World.

How to pitch their ideas to those with the authority and budgets to hire them.

This is from the Poynter Institute website (which is a terrific resource for all journalists, if you don’t know of it):

Hundreds of women (and a few men) crammed into a standing-room only bar in Brooklyn to discuss ways to close the byline gap.

At “Throw Like A Girl: Pitching the Hell Out of Your Stories,” which was organized by women’s nonfiction storytelling organization Her Girl Friday, a panel of experienced journalists and editors rejected suggestions that sexism or gender bias is exclusively responsible for the gap. Instead, they emphasized the need for young female journalists to develop the confidence to let rejection roll off their backs.

“You can’t see rejection as a real reflection of your value,” said New York Times metro editor Carolyn Ryan. “Every day, seasoned reporters pitch and get told no. Practicing pitching makes you a better pitcher. Rejection is part of the process.”

New York Times reporter Amy O’Leary, who hosted the discussion, said that as a young reporter she was so afraid of rejection that she would often agonize over her pitches for weeks or even months at a time. Meanwhile, she said, her male counterparts would happily send off pitches they had written in a day.

I’m going to piss a few of you off here and I’m fine with that.

Grow a pair!

I grew up in a family of full-time freelancers. My father directed film and television documentaries and series. My step-mother wrote television drama. My mother wrote journalism. No one had a paycheck, pension, paid sick or vacation days or any form of back-up beyond our own gumption and savings.

We ate well, drank good wine, traveled widely and wore cashmere. We drove new-ish good cars.

And rejection — of our ideas and pitches and plans and goals, no matter how hard we’d worked on them — was as normal to all of us as breathing. Nor was it anything more noteworthy.

So I really don’t buy this notion of women being too afraid to pitch, pitch, pitch again.

I wrote an essay about how well and carefully my husband cared for me after my hip replacement this year. So far, it’s been rejected by The New York Times, More and O magazine. I’ll sell it, or some version of it, to someone. Just not yet.

What makes me so sure?

Well, the essay I wrote about my divorce and pitched to Woman’s Day, which soundly rejected it, was bought by another women’s magazine — and won me a Canadian National Magazine Award for humor. Sweet!

But what if I’d curled up in a little sad ball, held a pity party — and never pitched it again? Rejection to a writer (any artist likely) is like blood to a surgeon — a messy and inevitable part of every workday.

If you can’t handle rejection, you’re not ready to make a living as a creative/independent person. Even people with cube jobs — especially people with cube jobs — have to pich their ideas, (if not for their day-to-day living) for buy-in to get their projects approved, funded or green-lighted, to their colleagues and bosses.

Do you find it difficult or terrifying to sell your ideas?

What are you doing to get over it?

Honoring brave journalists with the annual Dart Center Awards

In behavior, blogging, books, business, Crime, culture, education, film, Health, journalism, Media, news, photography, science, sports, the military on May 3, 2012 at 12:22 am
journalists_guide_to_firearms_ak47_glock1

journalists_guide_to_firearms_ak47_glock1 (Photo credit: gnotalex)

It’s a fact easily overlooked — the news we read and hear and watch is brought to us by human beings with hearts.

Some of the stories they gather, and some of the very best in my view, are the ones we skip over because they’re dark, disturbing and deeply painful.

Journalists who gather this material often end up suffering from a condition known as “secondary trauma” which can cause insomnia, nightmares, anxiety and depression. It’s a form of PTSD, which soldiers experience after the violence and brutality of war. I experienced it myself after writing my first book about American women and guns, after steeping myself in reports and interviews of violence, suicide and homicide for months.

A female friend who returned from Haiti after reporting there for weeks began telling her Facebook friends she couldn’t sleep, night after night. I suggested her insomnia was quite likely the result of secondary trauma. Another female friend wrote a searing book about MRSA, the flesh-eating infection, and she too experienced the aftereffects of recounting terrible stories, receiving a Dart Center fellowship to deal with it.

Most journalists aren’t trained in any way to know that this even exists. They work in, or return to, newsrooms filled with colleagues who have no experience or understanding of the horrors they may have seen, smelled, heard or survived, and few bosses with training to recognize or handle it either.

The very compassion and empathy that leads journalists into this tough work can also leave them shattered by it.

The Dart Center is an American non-profit organization whose focus is helping journalists prepare for, and recover from, reporting stories of this nature. I admire them and the men and women who do this work.

A panel discussion is being held tonight from 6 to 8pm at the Columbia School of Journalism in New York City honoring this year’s winners.

From the Dart Center website:

The New York Times received the Dart Award for “Punched Out: The Life and Death of a Hockey Enforcer.” (John Branch, reporter; Marcus Yam, photographer; Shayla Harris, videojournalist; Josh Williams, multimedia producer.) This searing three-part investigative series tells the story of Derek Boogaard, one of the N.H.L.’s most feared “enforcers,” who died with massive brain injuries at age 28. The series reveals the consequences – physical, psychological and social – of the adulation of violence surrounding the sport.

Judges called “Punched Out: The Life and Death of a Hockey Enforcer” a “groundbreaking” and “exemplary piece of accountability journalism.” They praised Branch for his “masterful storytelling” and “tender objectivity,” and for focusing on “human beings, science and anguish instead of thrill, agony and defeat.” They commended the series for “taking on the sports page” and “drawing attention to sanctioned violence of fans.” Judges also recognized the far-reaching, and wide-ranging impact of the series that has made it nearly impossible for those most vested in hockey to turn a blind eye to its cruel reality and disastrous impact.

WNYC received the Dart Award for “Living 9/11,” which was presented by PRX, the Public Radio Exchange (Marianne McCune, reporter and producer; Emily Botein, producer; Karen Frillman, editor; Fred Mogul and Beth Fertig, reporters; Eric Leinung, Jillian Suarez, Erin Reeg, Norhan Basuni, Radio Rookies; Courtney Stein, Sanda Htyte, Radio Rookies producers; Kaari Pitkin, Radio Rookies senior producer; Chris Bannon, executive producer; Andy Lanset, original 9/11 recordings; John Ellis, composer; Paul Schneider and Jim Briggs III, mix engineers.) This hour-long documentary guides listeners through the stories of people who were deeply affected by the September 11, 2001 attacks and who are still struggling to make sense of the events.  The documentary is built around a diverse range of viewpoints, capturing visceral and immediate emotional reactions to the attacks while also illuminating universal truths about 9/11’s lasting impact.

Judges called “Living 9/11” “insightful,” “hard-hitting” and “deeply sensitive,” going far beyond more conventional anniversary programs in its integration of history, science and narrative.

The creative class is struggling, too. Do you care?

In art, beauty, behavior, books, business, culture, design, film, journalism, life, Media, movies, music, news, photography, television, US, work on April 30, 2012 at 1:17 pm
De artist

De artist (Photo credit: Wikipedia)

It’s not just lawyers who are hurting  — 7,500 of them surplus in 2009 in New York alone.

Or older men.

Or those who used to work in manufacturing.

The “creative class” is as well.

Those working in photography, architecture and graphic design have seen a 20 to 30 percent drop in employment, according to the U.S. Department of Labor. Since August 2002, those working in the music field have seen their work opportunities plummet by a staggering 45.3%.

“The story has really not been told,” Scott Timberg, an arts and culture writer in Los Angeles said to host Kurt Andersen on the weekly public radio show Studio 360, which examines all forms of culture. “They don’t always have a tattoo or beret.  They’re like Canadians, among us secretly, silently and invisibly.”

“A life in the arts…means giving up riches, making a trade-off to do something they’re passionate about,” Timberg said. “It’s become forbidding for a much wider group of people…I see some of the best getting knocked out.”

Timberg also wrote about this recently on Salon:

Neil Young and Bruce Springsteen write anthems about the travails of the working man; we line up for the revival of “Death of a Salesman.” John Mellencamp and Willie Nelson hold festivals and fundraisers when farmers suffer. Taxpayers bail out the auto industry and Wall Street and the banks. There’s a sense that manufacturing, or the agrarian economy, is what this country is really about. But culture was, for a while, what America did best: We produce and export creativity around the world. So why aren’t we lamenting the plight of its practitioners? Bureau of Labor Statistics confirm that creative industries have been some of the hardest hit during the Bush years and the Great Recession. But  when someone employed in the world of culture loses a job, he or she feels easier to sneer at than a steel worker or auto worker.

As both a Canadianan, living in New York since 1989, and a member of the creative class, I’ve absolutely felt the sting of this terrible recession. My last staff job, as a reporter for the New York Daily News, the nation’s sixth-largest paper, ended in 2006.

My income the next year fell by 75 percent. Fun! It’s now barely back to 50 percent of that figure. In 2008, 24,000 journalists lost their jobs.

It’s an interesting dilemma because being a creative professional — like those who choose law, medicine, dentistry — demands years of attention to one discipline. You start out with talent. You may invest tens of thousands of dollars in higher education, workshops, coaches and ongoing training. It’s crazily competitive and the criteria of success often utterly quixotic and subjective. A lawyer wins or loses a case. A dentist fills a cavity.

But a creative person, in any field, can languish in poverty/obscurity for years, if not decades, if their work or style isn’t fashionable or they just doesn’t know enough of the right people. To really make it financially, you often need to layer the daily hustle of a used car salesman onto the independence of spirit of the artist.

Many of us just can’t squeeze both personalities into one brain.

Yet we all hope to enjoy the basics of middle-class life: a home, a family, a vehicle, a vacation once in a while.

It’s a dirty secret but those of us who work creatively, whether we paint, sculpt, take photos, design buildings or play in a quartet also want the things that cube-dwellers do. Our groceries cost the same, our gas just as overpriced.

But, unlike many corporate cube-dwellers, we may have to purchase our health insurance in the open (i.e. costly) market; in 2003 (when I went onto my husband’s plan through his staff job) I was paying $700 a month. It’s now normal to pay $1,000+…adding an overhead of $12,000 pre-tax dollars just to avoid a medical bankruptcy.

Especially in the United States where corporate billionaires are lionized, creative folk — typically self-employed and working out of public and the media’s view — are seen as slackers, stoners, half-assed. (Author John Grisham earned $18 million last year — hardly typical.)

Very few creative professionals in any genre or medium will ever earn that in their lifetime — no matter their objective excellence, awards or peer respect.

Yet other nations actually pay their artists to help them quality work; the Canada Council hands out $20,000 grants every year to fortunate writers who have produced two books deemed worthy.

Are you a member of the creative class?

How’s it going for you these days?

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