What’s missing?

By Caitlin Kelly

Whether by innate voracious curiosity or decades of working in journalism, my first instinct in response to almost everything I read, hear or watch is to ask….what’s missing?

It’s essential in that work to pay really close attention not only to what’s offered…but what isn’t being said? What does a long pause or silence in an interview mean? Why does almost every American national TV news report lack any useful or meaningful context? I routinely shout at the TV screen in frustration!

It might be a lack of diversity in sourcing — very common.

It might be sadly clear that the “news” item was simply a rewritten press release, also known as a “puff piece.”

It might be the reporter, editor and producer were too lazy or ignorant to dig deeper — like (!?) a recent report on the national nightly news from CBS that urged listeners to get vaccinated against polio (a good thing) but failed to even mention how polio is spread.


Or it might be the creators knew there was a minefield beneath the flowers — and decided to just let things lie.

This was immediately obvious to me while recently watching a new documentary about Leonard Cohen, a renowned Canadian singer/songwriter who died in 2016, but who has millions of fans worldwide. His life never lacked for drama — partnered with very beautiful women, one (Suzanne Elrod) who bore him two children, Lorca and Adam, spending six years in a Zen monastery outside Los Angeles, emerging to discover that a longtime friend and manager, Kelly Lynch, had robbed him blind, pocketing some $5 million of his earnings. She only got 18 months in prison — and he went out on tour at 79 (!) to make back his losses, which he did.

Here’s the thing:

I love his work.

I know many of his songs by heart.

I admire his art.

But to produce a documentary that doesn’t even speak to his children, or explain that maybe they wouldn’t speak on camera (!?) struck me at once as a huge oversight. It could not have been in error.

The film includes many musicians talking about their admiration for Cohen and his influence on them, from Judy Collins to Brandie Carlisle to Glenn Hansard.

As someone from an accomplished family, and parents who were devoted to their work, this hit hard. I’ve long wanted to write a book interviewing the adult children of highly successful parents, and not just “celebrities” like the Kardashians. I know that being the child of famous and successful parents can come at a very real emotional cost.

A little more candor here would have done the trick for me.

Work should be fun! (Really?)

By Caitlin Kelly

Long loud harrumph.

Thumps cane for emphasis.

No!

Ok, yes, of course, often, maybe, if you’re really lucky, much of the time.

But always, every damn day of a 40+ year career?

Unlikely and foolish to desire.

The tedious cliche is “that’s why they call it work.”

The opposite fantasy is “love what you do and you’ll never work a day in your life.”

Ask anyone who’s been in the working world for a decade, let alone 20, 30 or 40 years.

This is also, I know, somewhat stiff-upper-lip generational — and I think an insistence work be “fun” is really proxy for a lot of other frustrations: carrying massive student debt for decades, low wages, terrible/non-existent promotions and raises, toxic managers, coworkers and/or customers (hello, foodservice and retail!)

As I’ve written here many times, I generally enjoy my work as a writer of journalism and content marketing, coaching and teaching. But there have been many times I was utterly miserable, even for a full year — like my last staff job as a reporter at the New York Daily News — where I was consistently ignored or bullied. It was torture.

It was a steady, decent paycheck at a then-respected newspaper, then the nation’s sixth-largest.

But happy? No, I was not happy. Fun? No, it was not, ever, fun.

When I worked for a few months in Toronto at Canadian Press, the national wire service, I had to write up every weekend’s accidental deaths across the province, slugged (named) Fatalities — aka Fats. NOPE. Not fun.

As a trade magazine editor in New York, I had a terribly low freelance budget and a highly demanding boss. Not a fun combination.

I do not subscribe to the belief that all work is, or should be, drudgery. But accepting that even the coolest-looking work has downsides and frustrations is more realistic. Even the best-known and wealthiest musicians and film stars have had work that failed to find an audience, auditions that were a disaster, spent years in the trenches working away before hitting the big time. Fun? Probably not.

I think we’re fortunate if we can find work that:

pays decently

offers kind, fun, funny, smart co-workers (even one of these!)

decent management

respect for the work we do

offers room for growth, internally or a boost to our next job elsewhere

helps other people live better/safer lives

I admit that, at its best, journalism has been amazing fun for me, many many times.

But it’s not a well-paid career.

It’s not a secure career and getting fired or laid off is pretty normal, even if expensive and annoying.

Forget a pension.

It’s often insanely competitive, even within your organization. So there’s plenty of stress and anxiety as well.

What’s the most fun job you’ve ever had?

No more yelling!

If you ever watch the HBO series Succession, here’s one very toxic boss, Logan Roy

By Caitlin Kelly

My favorite place in the suburban New York county where I’ve lived for decades is an indie art film house; some weeks I’m up there multiple times to see a film. I love movies!

Its programming director was recently fired for yelling at his staff, leaving one in tears.

There have always been bad-tempered toxic bosses, but in some places there’s now (happily!) a diminished appetite for them — as several high profile male NPR radio hosts have also learned in recent years, also fired for abusing their staff.

I welcome this, as someone who grew up in an emotionally abusive family and then worked in journalism, one of the most dysfunctional of industries; with a constant oversupply of eager job-seekers, nasty bosses can thrive and rise, thrive and rise, usually without any form of accountability. If they keep losing talented staff, well, hey, whose fault is that?

Having also survived years at boarding school, also being yelled at by old women who were our housemothers, I have little appetite for people unable to hold their damn tongues and be civil. I don’t care how frustrated you are.

I’ve survived quite a few terrifying bosses, one a woman at a trade magazine publisher in Manhattan, who thought nothing of shouting abuse across the room at all of us and, when I dared confront her, stood very very close to me and leaned in further….her pupils oddly dilated. I quit within a month, and with no job waiting and newly divorced.

At the New York Daily News, I dared to ask the photo editor a question in an open newsroom so large it ran from 34th to 33rd street. His idea to humiliate and intimidate me, he yelled at me that I was asking a really difficult question; how to fill out a photo request. What a dick. This was a wholly normal question for a new employee offered zero training. I was then 50 — and quietly told him that being abusive wasn’t going to alter my request. He then ran to my boss to complain about me. Such a FUN workplace!

And, of course, there was another trade magazine boss, a weird little troll who shouted at me for disappointing him when I was editing a 48 page trade magazine with no staff at all, able to offer only extremely low freelance rates that guaranteed careless work from the only writers we could afford.

He came into my very small office and, as I pleaded with him that I was doing my best, snarled: “Define best!”

I was, no surprise, fired a few days later.

I ran into him decades later while riding our shared commuter rail line. As he went to sit beside me, he asked: “Do you remember me?”

“Yes,” was all I said.

Journalism attracts people who are smart and tough and highly impatient, expected to produce flawless results very, very quickly…not a great combo. Then the most demanding rise into management where, sure, they have high standards — but also can get away with shouting and raging with impunity.

I’ve even encountered this toxic arrogance as a freelancer, like a young woman then an editor at the Columbia Journalism Review (ooooh, the delicious irony) who I finally had to hang up the phone on since she was unable to let me finish a sentence.

And, funny thing, she too has since risen in the industry.

I shook for an hour after that phone call — because if you’ve been the subject of a lot of yelling, especially as a child, it really evokes a sort of PTSD.

So every time another abusive manager loses their job, income and authority, I’m thrilled!

Have you been the victim of such bad behavior?

How did you handle it?

Why read a grim book?

By Caitlin Kelly

There are happy books and there are books you think…really?

I’m expected to get through the whole thing?

There are books, whether novels or non-fiction, about alcoholism, drug use, family abuse, that can feel like a real slog. The subject is undeniably depressing, frightening, even terrifying and most of its characters are people you would never want to meet.

I admit, I didn’t enjoy reading a huge 2018 best-seller, Educated, by Tara Westover, about the terrible family she grew up with, eventually escaping to a better life. I was (however unfairly) impatient with her for staying so long in an environment that was so awful. An earlier best-seller, also by a white woman, Jeanette Wells, was 2005’s The Glass Castle. But I did enjoy a Canadian book like this, North of Normal.

One of the best books I read last year was also emotionally difficult, In The Dream House, by Carmen Maria Machado, a memoir of lesbian domestic abuse. Now that sounds appealing! But her writing is extraordinary and it’s a great book.

I recently read the 2020 Booker Prize winner, Shuggie Bain. As I described it to a friend, a fellow journalist, she said she just couldn’t do it. I found that interesting as journalism, with our decades of exposure to some very tough stories, tends to harden us somewhat.

I did enjoy it, but it’s rough — a young boy, Shuggie, living in Glasgow poverty with an older brother and sister and a severely alcoholic mother, abandoned by his father.

I also found elements of it painful and hard to read because my mother was also an alcoholic, and the novel is filled with his hopeless hope that someday, someday, she won’t be — a fantasy painfully familiar to any child of an alcoholic.

The author, Douglas Stuart, survived a very similar childhood, so his ability to turn such grim fare into a compelling novel is impressive. And his background isn’t the standard trajectory of writing classes, workshops and an MFA — he worked in fashion design for decades and was writing it while working as the senior director of design for Banana Republic.

From Wikipedia:

In a conversation with 2019 Booker winner Bernardine Evaristo on 23 November, livestreamed as a Southbank Centre event, Stuart said: “One of my biggest regrets I think is that growing up so poor I almost had to elevate myself to the middle class to turn around to tell a working-class story.”[22] Discussing the “middle-class” publishers’ rejections he had received for Shuggie Bain, he told Evaristo: “Everyone was writing these really gorgeous letters. They were saying ‘Oh my god this will win all of the awards and it’s such an amazing book and I have never read anything like that, but I have no idea how to market it’.”[22] Stuart said in a 2021 conversation with the Duchess of Cornwall that winning the Booker Prize transformed his life.[36]

But I also liked a very tough book, Triomf, from 1994, by Marlene van Niekirk, the most celebrated Afrikaans author of South Africa. It’s dark as hell; the family she features even includes incest.

What, then, is the appeal of such books?

For some, voyeurism….thank God it’s not me!

For some, curiosity, having never experienced poverty and/or alcoholism, or life in a cult in the woods.

I hope, for some, as a way to develop or deepen empathy for people whose lives are wholly different from their own, as — in non-fiction — the storytellers have clearly been able to survive and thrive despite a really difficult earlier life. It becomes a narrative of resilience, not despair.

I admit, I cried hard at the end of Shuggie Bain, as it brought up a lot of unexpressed and painful memories of my own experiences of being “parentified”, always worrying about my mother’s health and safety instead of my own, (even though we were not, thank God, poor), and tied to a woman who was unable or unwilling to create a larger social safety net for herself. So reading a similar book can be painful but also cathartic — someone else really gets it. And, God forbid, someone else had it much worse.

Do you ever read books like this?

Which ones?

How have they left you?

NOTE: I refuse to use Amazon for any purchases, (I loathe its labor policies), so links to these books will not connect to their site.

Come join our pitch slam! Dec. 15, 6-7 ET

By Caitlin Kelly

On December 15, between 6-7pm ET, my friend Abby Lee Hood and I are offering a Zoom pitch slam — $25.

If you have been pitching (some of?) your ideas fruitlessly, this is a great and affordable opportunity to get smart, kind, helpful feedback from two busy full-time freelancers; I’ve sold more than 100 stories to the very demanding editors of The New York Times and Abby writes for a wide variety of outlets, some in their native Tennessee (i.e. local and regional news) but also for the Times, Teen Vogue, Washington Post and more.

Pitching isn’t easy!

So this webinar, which will be recorded, offers everyone a chance to either pitch their idea and get our candid-but-kind feedback or just watch, listen and learn.

Here’s the sign-up!

Hope you will join us!

A perfect Manhattan afternoon

By Caitlin Kelly

What a luxury it is to live so close to New York City!

I can drive in from our suburban town and (if lucky!) be parked on the street within 30 to 40 minutes.

I seem to have tremendous parking karma — which means, very often, I’ll find a spot on the street where I don’t even have to pay (on Sunday, for example), saving me as much as $50 for garage parking for 3-5 hours in fancier neighborhoods.

So I drove in last Sunday to Lexington and 83d, a neighborhood called the Upper East Side, UES, to meet a young friend for brunch at the Lexington Candy Shop, which is a tiny diner on that corner that opened in 1925.

They’re touchy about guests staying too long and by noon there was a line-up.

Then it’s an easy walk west along 83d to the Metropolitan Museum, which, for now has timed admission you reserve in advance.

If you’ve never yet been to New York or to the Met, the whole experience of the UES is well worth it; even the walk, across Park and Madison leads you past elegant townhouses and uniformed doormen, a guy smoking a stogie leaning on a car, a dog-walker with a huge, shaggy something and two pugs. The people watching is always good, and there are so many lovely architectural details to enjoy — from flower-filled window-boxes to carved gargoyles to the wrought-iron frames of pre-war apartment building entrance doors.

The Met has wide steps that make great seating, and musicians — competing! — settle in to entertain. There are plenty of food trucks — for $14 I got a falafel wrap and a lemonade.

New York state residents can pay as little or as much as we want for the Met’s admission fees — everyone else pays $12 (students), $17 seniors over 65 or the full fare of $25.

It’s tempting to think you have to see everything there if you’re a tourist, but that would be impossible! If you really do pay attention to objects, and read labels and wall signs, you’ll soon feel overloaded.

I find it all so moving — the Roman marble family sculpture from a cemetery; the tiny metal pins in the shape of animals that Roman soldiers wore (!); red and black Greek pottery; exquisite enamels of the 17th c; medieval tapestries —- and that’s just a few main floor galleries!

What amazing things have been produced by so many people. To see them close up is such a joy.

I love to visit a pair of gold earrings I find totally enchanting.

The place is quiet and civilized and there are plenty of benches to rest on. Everyone must be masked.

You can have the oddest moment of looking at something millennia old — and stare out the Fifth Avenue windows at the millionaires’ apartments across the street.

The gift shop is full of gorgeous things, jewelry and scarves, pens and pencils and books and puzzles and posters.

I remember it being full of astounding art and art history books — but not now?

It’s an interesting reminder that, without rich people’s generosity, many museums (certainly in the U.S.), would have a lot less stuff to show us; labels tell you what an item is and how old and maybe what it was used for, but also when it was acquired and using what funds. So the Jayne Wrightsman Galleries, for example, are huge and full of very ornate French material, not my taste at all.

Every room in the Greek and Roman galleries had the name of some wealthy benefactor.

These eyes, which would have been added to Roman or Greek sculptures are creepy — but also amazing.

I have a favorite painting I like to say hello to as well, on the second floor, of Joan of Arc, painted in 1879.

Have you been to the Met?

What are some of your favorite local museums?

Trust. It’s everything.

12/27/95–On Military Route “Arizona”- A sign warns of mines that were planted in a field during the Bosnian war. In a report published by the Bosnian and Herzegovina Mine Action Centre, it stated, ” In Bosnia and Herzegovina there is still remaining more than 80,000 mines/ERWs. Mine problem is present in 129 municipalities/cities, or 1,398 affected communities/settlements.”photo, J.R. Lopez, New York Times.

By Caitlin Kelly

If you’ve been reading Broadside for a while — thank you! — you know I’m generally an openhearted person.

I like people and approach new situations, professional and personal, with a sense of optimism.

Working as a journalist means I have to quickly put strangers at ease and gather useful information from them. We have to establish trust fast — something of a contradiction.

Working as a journalist also means assuming most people are not lying to me, or want to do me harm in so doing, because a journalist who publishes lies is someone with a very short career. So we fact-check when possible and seek out sources whose background and credentials are as legit as we can find.

When it comes to personal relationships, trust is also paramount, at least for me.

My first marriage, to a physician, lasted barely two years; he bailed and remarried, quickly, a fellow therapist (!) he worked with and with whom he spent a lot of personal time. I was wholly reliant on him financially, so I had to trust him. I had little choice then.

Jose and I have spent time apart. I traveled alone for six weeks in Europe in June-July 2017, as blissful as I could be. I love solo time and traveling alone, exploring to my heart’s content.

I had an amusing evening in Berlin, sharing a table with three handsome young men (all co-workers), one of whom (as part of the conversation!) took off his dress shirt.

It was all good fun, nothing more.

Trust is the basic foundation of every interaction we have, from infancy to death:

— our parents

— our physicians

— our caregivers

— our teachers and professors

— our school/college administrators

— the police

— the courts

— our clergy and religious leaders

— our political leaders

— activists

— our relatives

— our romantic partners/spouses

— our employers

— youth group leaders

— our co-workers

— government agencies whose job it is to regulate/fine/shut down offenders

If you’re a person of color, or non-Christian, or gay, you have now become a target for hatred — with more and more deaths-by-vehicle, targeted by sociopaths or a pervasive police brutality that is deeply shocking, if no longer surprising.

You can’t even go out for a bike ride or a walk trusting in your personal safety.

And, as I’ve written here before, trust can be quickly shattered, and is difficult to regain….after dating a con man in 1998, being laughed at, literally, by my local police and D.A., my worldview would never be the same again.

My family relationships, too often toxic through anger and alcohol, taught me to be wary of intimacy.

Trust also underpins every freelance personal and professional relationship:

— our friends

— our colleagues

— our clients

— our agents

— our editors

— our social media networks

I spend a lot of time (too much!) on Twitter, where I have some 5600 followers, including some very senior people in my industry.

I’ve made several very good friends with people I still have yet to meet face to face, whether in Brazil or Tennessee.

So this past weekend, we did!

SO MUCH FUN!

A gay couple, one of whom works in our industry (journalism) and her partner, came up to our home and shared a long lunch that started at noon — and ended at 5:30.

We all took the chance of getting together and hoping we would be as we are on social media — fun, funny, playful, smart, interesting.

We were and we did.

I call these Twitter blind dates, not that we want a romantic thing, but we go into them really only knowing a tiny profile photo, a bunch of tweets and LinkedIn profile. Hoping for the best!

I’ve done this many times, never disappointed.

With a retail expert who lives in Virginia.

With a travel blogger and an archeologist (2 people) in Berlin.

With a pair of travel agent sisters in Zagreb.

With a fellow blogger, in London, https://smalldogsyndrome.com/.

We’ve been repeat house-guests a few times, and that also requires trust — that we’re quiet and thoughtful and don’t smoke or do drugs or will break or stain or ruin things. We bring food and drink and a gift and we always send a thank-you note.

We also trust our hosts to offer us a clean, soft bed. To let us have quiet alone time. To offer good food. To not (as one did to me?!) leave a filthy cat litter box beneath my pull-out bed.

I also once house-sat for a family of four headed to Tuscany from Vermont — unpaid. I was perfectly happy to walk their small affectionate dog. I was not at all happy to also get stuck watering their large garden in a heat wave and (!?) cleaning their pool.

That friendship died with this abuse of my time and energy. I trusted them to be fair with me, and they were not.

Do you trust easily?

Living in the past. Long past!

By Caitlin Kelly

Loved this Guardian story about people who choose to live in the 1930s, 40s, 50s, 60s and 70s — estehtically, anyway.

And I recently did a lot of global reporting — speaking to people in Seattle, DC, Ontario, Genoa, L.A., Stockholm, London, Finland and Philadelphia — about a hobby they all share, historical costuming. (The man in Philly does it for a living!)

It means making and wearing clothing of much earlier eras and centuries, finding patterns and appropriate fabric, and wearing the correct undergarments to create the correct silhouette. (No sports bras allowed!)

It’s an amazing obsession, and demands a lot of patience and skill and meticulous attention to detail. It’s mostly enjoyed women, and mostly white women — something they’re well aware of! I did include an Iranian-American.

One of the women I spoke to is a mechanic in Finland. One is an Army wife in Ontario. One is a jewelry appraiser in Stockholm.

All were a joy to speak with! I could have spent hours geeking out with Jenny Tiramani, a legendary costume designer who worked for years at Shakespeare’s Globe Theatre — and who founded and runs London’s School of Historical Dress.

Here’s the piece, my first sale to the Styles section of The New York Times, for whom I write fairly often:

Here’s the start:

It’s a world of corsets, stays and chemises. Of weskits, bum rolls, breeches and hoop panniers. For actors, wearing period costume has long meant literally stepping into the past: lacing soft modern flesh into antique shapes and learning how to use the toilet without peeling off multiple layers.

“Bridgerton,” Shonda Rhimes’s racially diverse Netflix series set in 1813 England, has suddenly ignited new interest in Regency fashions. But a global community of hobbyists has been designing, making and wearing clothing from the 19th century and earlier for many years. Long a private obsession fueled by films like “The Leopard” and “Pride and Prejudice,” social media has widened the conversation, with fans of all ages and backgrounds worldwide now trading notes on how best to trim a sleeve or adjust a straw bonnet.

Pre-pandemic, they gathered in Los Angeles at Costume College, an annual conference, at Venice’s Carnival and the Fêtes Galantes at Versailles. Some lucky Europeans, like Filippa Trozelli, find themselves invited to wear their historical clothing to private parties at ancient local estates.

As someone who loves vintage/historical textiles — and who wore an Edwardian day dress for her first wedding — I totally get the appeal of this obsession. I love the notion of time travel, of swishing through a garden in yards of silk or meeting up in Venice with equally obsessed pals from around the world.

I had long wanted to write about this subculture, as I follow several of the women on Instagram, but never had a “peg” or “hook” — i.e. what relevance would it have now? Thanks to Bridgerton, it does!

The joy of seeing art again

By Caitlin Kelly

I hadn’t been to a museum since early March 2020, after attending a conference, where I saw a show of Degas at the National Gallery, which I loved.

I really miss seeing art face to face!

So when a very good friend got us tickets to to see a show at the Whitney (closing this weekend), and an outdoors lunch afterward (30 degrees be damned!) I eagerly said yes.

I had planned to double-mask but my one mask was so hot and so uncomfortable I couldn’t.

The show is fantastic. I’ve been to Mexico several times and so I knew the work of the big three muralists — Rivera, Siquieros and Orozco. I’d seen some of their work in situ. The scale is astonishing, truly monumental. You really need to step back a good. few feet to really grasp it all.

This show offered insights into how the Mexican muralists inspired American artists between 1925 and 1945, years of economic upheaval.

There’s the Bonus Army.
There are riots and police brutally putting them down with guns and batons.

There’s a powerful shared spirit of rebellion.

The show includes this huge, wall-length black and white photo of an L.A. mural — commissioned to show happy Mexicans — that instead is a powerful, damning repudiation.

Note the rapacious eagle — the symbol of American might and power — hovering above a crucified Mexican.

Of course, the mural, like so many, was quickly destroyed or painted over.

Their rage and honesty are searing and challenged, then as now, corporate and political power.

Today’s many #BlackLivesMatter murals — honoring the many Blacks shot dead by police — seem to be the contemporary equivalent.

These muralists did not mess around!

Rivera was hired to paint a mural at the then-new Rockefeller Center in midtown Manhattan, a hugely prestigious commission — but failed to curb his politics as expected.

From Wikipedia:

The Rockefeller family approved of the mural’s idea: showing the contrast of capitalism as opposed to communism. However, after the New York World-Telegram complained about the piece, calling it “anti-capitalist propaganda”, an image of Vladimir Lenin and a Soviet Russian May Day parade were secretly added in protest. When these were discovered, Nelson Rockefeller – at the time a director of the Rockefeller Center – wanted Rivera to remove the portrait of Lenin,[2] but Rivera was unwilling to do so. In May 1933, Rockefeller ordered the mural to be plastered-over and thereby destroyed before it was finished, resulting in protests and boycotts from other artists.[3] Man at the Crossroads was peeled off in 1934 and replaced by a mural from Josep Maria Sert three years later. Only black-and-white photographs exist of the original incomplete mural, taken when Rivera suspected it might be destroyed. Using the photographs, Rivera repainted the composition in Mexico under the variant title Man, Controller of the Universe.

The controversy over the mural was significant because Rivera’s communist ideals contrasted with the theme of Rockefeller Center, even though the Rockefeller family themselves admired Rivera’s work.

The Whitney show is large, with works by others, like Ben Shahn and Philip Guston. There are works by Canadians and Japanese, also influenced by the muralists and their commitment to social justice.

From the Whitney:

With nearly 200 works by over sixty Mexican and American artists, this exhibition reorients art history by revealing the profound impact the Mexican muralists had on their counterparts in the United States during this period and the ways in which their example inspired American artists both to create epic narratives about American history and everyday life and to use their art to protest economic, social, and racial injustices.

Our scantest resource? Attention

Imagine just lying very still and looking up in silence

By Caitlin Kelly

Every time I post here I wonder how many of the 22,000+ (?!) followers WordPress tells me read Broadside actually finds the time to pay attention to anything I’ve offered.

The highest counts these days are maybe 200 or so views.

I admit to envying fellow Canadian David Kanigan — whose blog and life are very different from mine — and who consistently gets a lot more likes and comments on his blog.

This can now feel like shouting into the wind — a fruitless waste of my time and limited energy trying to capture anyone’s fleeting and overwhelmed and pandemic-weary attention.

But I still enjoy it and I really appreciate those of you who do make time to read, comment and share, so onward!

I thought of this as I recently listened to a Doors song 11 minutes and 48 seconds in length.

And the Arlo Guthrie classic, from 1967, Alice’s Restaurant — 18:34!

I’m a huge fan of music and film and books and it’s fascinating to consume older media that assumed, rightly, a much longer — and much less distracted — attention span.

Different pacing.

Different plot development.

Quieter scenes.

Fewer edits.

For amusement, I once counted every single image in the introductory credits to the HBO series about journalism — The Newsroom.

The difference between its initial 2012 opening credits — with 53 separate images in 1:29 and the 45 images of the 2015 season, in 1:07 — are striking. The second set are super quick jump shots, much more emotional, much more compelling — with Ron Rosen the editor.

His list of credits is very long, and very current.

He’s shaping how we see and how we pay attention.

One of my favorite film directors is American Kelly Reichardt, whose films move slowly and beautifully, often through a rural, timeless Oregon landscape.

I keep re-watching the 1968 film “2001”, also intrigued by how slowly some scenes unfold and how very little dialogue it contains.

It demands our sustained, often mystified attention — and amply rewards it.

No doubt our brains were wired very differently before the ’90s when we all started moving online, let alone the daily deluge now on social media.

I find it more challenging than ever now sit still for hours and just read.

I often wonder what it was like to live in the 18th century where domestic amusements were embroidery — slow! — or reading or playing a musical instrument. When a letter sent, sealed with wax, took days or weeks or even months to reach its reader. Then the reply.

What different brain chemistry they must have had!

Living through a pandemic and the useless political “leadership” that’s killed so many is bad enough — add to this grief and anxiety that absolutely rob us of the ability to stay focused and pay attention and retain a damn thing.

Who has this much time now?

Who reads past the headline?