|
New Work Gay Couples: John and Martin
posted: April 26, 2010
Martin, left, and John in their backyard.
Talking with John and Martin about their 33-year journey together made it clear that walking down the road of life hand-in-hand with another person can lead to taking unexpected paths.
This is part of my series, Love and Marriage, interviewing and painting long standing same-sex couples. To see the rest of the series so far, visit the Gallery I have here.
Martin: Two years ago, when there was the opportunity in California to get married, John said, “You’re going to think this is crazy, but what about going out to California to get married?”
John: That was on our 30th anniversary. We’d been thinking about getting married ever since Massachusetts made it legal, but we hesitated. Like a lot of things that we do together, we had to grow into the idea of getting legally married.
Martin: There was no real reason to get married. We had been domestic partners since New York City started that.
John: But that was for a practical reason. I work for the city, and Martin could get my health insurance benefits if we were domestic partners. We didn’t make a big romantic thing about the domestic partnership. I think it was also part of the whole process of my coming out. Like at work: when Martin’s mother died, I said I was taking bereavement leave and the secretary had to verify our domestic partnership. At work, they probably surmised that I was gay, but I didn’t discuss it. I worked in city government, which was very blue collar and very racially diverse and there were probably a lot of people that would be very much against gay people or a gay couple. So this was part of my very slow coming out process.
A year or two after that I changed jobs and I made a conscious decision that I was going to be very out. So I went into this office which was composed of a lot of police officers and civilians and I was very out about it and it was absolutely fine. There was absolutely no problem.
Martin: I had a different past, I was in the arts, I was in photography and I did theater work, so my whole adult career I’ve been around gay people and they knew I was gay and in that world it didn’t matter to me. When we moved to this neighborhood 11 years ago, I was a little bit nervous about moving together into a house, into a mixed race, primarily African American, neighborhood and I didn’t know how we’d be accepted. Well, from day one, from day minus one -- before we even moved in -- people were talking to us, friendly to us, including us in their families, their celebrations. We have an annual pot luck party that I started 10 years ago and we have anywhere from 70 to 80 people here every year, and those are gay, straight, black, white, all from within this neighborhood; it’s a very, very close neighborhood. When we got married last year, well, we had a lot of neighbors come.
John: We had a reception party at our church here.
Martin: Two new neighbors, a husband and wife from the next block, convinced us that we should have one. We had over 40 neighbors from the neighborhood come besides our family and friends. So I’d say that people have accepted us, and who we are.
John: About a dozen or so years ago, I started going to church again. I hadn’t really gone very much except at Christmas and Easter for a long time, but as you get more mature you start thinking more about spiritual things. When I started going to an Episcopal church in Brooklyn Heights, I thought there would be more gays there and it was a little bit of a disappointment that there weren't that many. Some gays choose to be in a totally gay world, and only have gay friends, go to gay churches, the whole thing. But Martin and I have chosen to be more out in the general community, as well has having a lot of gay friends, certainly.
Martin: Since society is not gay or straight, if you want to live in society you’ve got to be part of it. I know some people that only do gay things and only go to gay churches, their whole life is revolving around gay groups, gay organizations, gay everything and I don’t need that and I don’t like that. I do some gay things, but not exclusively.
John: My church is a very liberal congregation, and one year I suggested that the priest talk about upcoming Gay Pride. He said, “Oh yeah, that’s a great idea!” I said, “I don’t know how people might feel about that.” He said, “Who cares?”
So I was outing myself a bit, and of course he did mention it. He was straight, but very pro gay rights, and later on Grace Church participated in the Gay Pride Parade for the first time and we’ve done it ever since.
Martin: We’ve gotten into a lot of causes which have really solidified our relationship, like when John went on a Witness trip to Israel and Palestine, which I wasn't open to it at first.
John: It was a Witness trip organized by a retired Episcopal priest and his wife and an ecumenical Palestinian Christian group which helps the community of Palestinians to fight against the occupation in a peaceful, in a nonviolent way. Like Liberation Theology, using the Christian principles to liberate themselves. So anyway, they organize these trips with typical Christian pilgrimages to the holy sites, as well as meetings with Israeli people in the peace movement, and Palestinian officials and Palestinian people and we would travel in the West Bank to see the effects of the occupation, the settlements, and the separation wall.
Martin: I didn’t go with John. I had been in Israel 30, 40 years ago, when I went to live on a kibbutz for a year. My family were Zionists involved with the founding of Israel. So there was a history there. When John first talked about going, for about 10 minutes I thought of going with him. And then I said, “It’s too Christian, too Palestinian, I don’t think I can do it.” So I didn’t go. He went, and we had our annual Passover Seder two days after he returned -- we do a big Seder here.
I still thought that anything that Israel did was probably right, and these Palestinians were setting bombs off in Israel and they had to be stopped.
Two years later, John was going on the same Witness trip again. This time, I thought about it and I said, “I’ll go, but I’m going as a hostile witness.”
On the third day there, in the middle of the night I woke up at 2 o'clock in the morning, and I said, “I get it, I really get this,” because I had been humiliated the day before by the Israelis, who thought I was a Palestinian.
I lost my luggage when I first arrived and I had to go back to the airport in Jerusalem, and I went with a Palestinian taxi driver. I sat up front with him and we were held at a checkpoint, and I watched all the Israelis being allowed back into the airport. They held us for only a half hour, where some Palestinians are held for hours and days, and during that half hour I watched the Israeli soldiers drink their coffee, read their paper, and not to come over to ask us who we were, or what we were doing. We just had to sit there and wait. And it was a little bit of a humiliation.
When I started hearing Palestinians tell their stories in the next few days in all these meetings, I started to realize, “Hey, I know what they’re feeling, I know exactly what they mean, because I experienced that two days ago.” And before the end of the trip, I had changed and realized that it’s a human rights issue. Yes, the suicide bombings had stopped after they put up the separation wall, but maybe that was because the Palestinians stopped sending them, and not just because of the separation wall.
So I came back from the trip a changed person, and again, we were having a Passover Seder about a week later and I looked at what we usually talk about, about being the oppressed people by the Egyptians and all that, and I said, “Whoa,” and I threw out everything we ever said and I rewrote the whole Seder.
John: I just remembered what led me into going to Israel, why I started to feel the way I did: it was after Katrina.
Martin: We started going down to the Gulf Coast after Katrina, to help rebuild. We’ve been down there nine times. We started to see how the government was not doing anything and I think that’s why I eventually went to Israel.
John: As I became more religious and all that, I started thinking of wanting to give back to the world, and the idea of adopting a child has somewhat appealed to me, although it’s also quite daunting, but when I mention it to Martin he always says...
Martin: First we have to have a dog...first let’s deal with a dog. 15 comments |
permalink
Black & White
posted: April 20, 2010
Russian conductor Valery Gergiev, for today's Wall Street Journal. I always work in color for them and then they convert the art to grayscale if need be for print; this time, though, I thought it best to leave it in stark black and white.
Some More
posted: April 13, 2010
Shakira for the Wall St Journal; she’s an advocate for educating impoverished children and spends millions on schools in her native Colombia.
Some stuff I’ve done in the past week or so in digicut.
Record industry giant Bruce Lundvall, in today’s Wall St Journal.
.
Burka Cell girls, for an article in the Christian Science Monitor about technology growth in Muslim countries.
.
Initially I did it with a darker vibe.
.
Another idea for the same article that I liked and went to final on, just for fun.
.
For an article in the Utne Reader about a therapist who specializes in counseling high-powered, mostly minority executives who struggle with the shame of coming up in poverty.
.
March 18 Movement
posted: April 5, 2010
Version Blogging can be a way for people to have their voices heard and their stories told to a very wide audience, but in some parts of the world it can also be a matter of life and death. On March 18, 2009, Iranian blogger Omid Reza Mir Sayafi died in prison in Tehran, after being arrested for his blog writings, which the authorities said were insulting to religious leaders and spreading propaganda against the Islamic Republic of Iran. I was contacted by the organizers of the March 18 Movement, which was created in his memory and promotes freedom of speech, to do a poster for them. Here’s a link to their site and more information about their group, as well as a link to their facebook page.
A pale version More
posted: March 30, 2010
Some woodcutty things I’ve done lately. There’s a great sense of freedom for me when I work in this way: it’s much more forgiving than painting, I can take more liberties with the interpretation of the characters, and there’s something very liberating about taking a more graphic approach. I guess I could sum it up by saying I like it lots. Above is for a Christian Science Monitor book review of The Bridge, David Remnick’s bio of Obama. The faces pictured inside Obama are some of the people that the reviewer cites as having played an important role in who and where Obama is: Alice Palmer Bobby Rush Jesse Jackson Martin Luther King John Lewis Bill Ayers Rev Joseph Lowery Richard Hatcher Below, there's a new sheriff in town, Secretary of Labor Hilda Solis. The deputies pictured behind her are Labor Solicitor Patricia Smith and assistant secretary of labor for OSHA, David Michaels. For The Nation. Been getting a lot of print requests for this one; she has fans!
Composer Garrett Fisher for The Wall St Journal
And economist Gary Becker for The Wall St Journal this past weekend.
Frances Jetter Profile
posted: February 15, 2010
One of the best things about Drawger is the friendships I’ve made, and one of the closest of those is with Frances Jetter. Drawger also sparked my series of profiles of illustrators, and I’ve always felt it wasn’t quite complete without Frances, a deficiency I’m finally remedying.
“My family worked in factories and my grandfather was a clothing workers union organizer. After I became an illustrator and was working for The Nation, he told me that around 1910 he spilled acid on cloth in shops that were open seven days a week. We are very pro-union in my family. “When I was in high school I saw an issue of Ramparts at a friend’s house, with an article about Napalm in Viet Nam, and the first political piece I ever did was a portrait of a Vietnamese mother and baby. This was during the Viet Nam war. “I didn’t want to go to a collegey-type place -- that was my protest -- so I went to Parsons for graphic design, not really knowing what graphic design was. “The teacher that had the most influence on me, in the first year there, considered graphic design to be a mixture of illustration and problem solving. So it wasn’t the corporate-identity type thing --that didn’t interest me -- it was about coming up with ideas. Sometimes I built things and sometimes I did linoleum cuts, or other kinds of prints, but anything was welcome. We also worked with type, and I got to like type then, but I really liked solving problems with images. “Later on, I majored in photography, because the photography teacher, Larry Fink, was the most interesting person and did the most interesting work. Then I studied with his teacher, Lisette Model, at the New School. She was very old then and she was very scary: very tiny and terrifying. She was ferocious. Really a unique person and tough and interesting. “At one point I had a work study job involving taking pictures in prisons and mental hospitals. It was for an organization called Hospital Audiences which sent the entertainment to institutions. They sent good entertainment to the prisons and some ridiculous entertainment to the mental hospitals; they sent Charles Mingus to the Queen’s House of Detention. They were actually very afraid of what might happen with some of the prison audiences, because they didn’t have enough guards there, so they weren’t going to send them anyone boring. “But for the mental hospitals ... I remember a performance where dancers had nude body suits on ... a really pretentious piece. “I was supposed to take pictures of the audiences as they watched the performances, but then somebody in charge of the volunteers said, ‘You could end up here as easily as any of the people -- any of us could -- and would you like your picture taken here?’ “That got in the way of my taking pictures. Not just there, but in general, because it’s capturing someone when he or she may not want to be captured. I don’t view it as something wrong, but I started to think it was questionable to photograph a person in a mental hospital. And I missed drawing also, I guess, so I didn’t follow photography. “I started to focus on linoleum cuts when I was showing my work around -- this was when you could still get appointments with art directors -- and one of the art directors selected one of my linoleum cut prints and said, That would show up best in my magazine. So I was hired for that place. “I don’t know at what point I decided I wanted to work for The New York Times to do editorial work. I worked with the Book Review for awhile, which was pleasurable, but I really wanted hardcore political things. I was also working for the Ideas and Trends section of the Week in Review, which were softer articles. I think that’s the kind of things women were given. “In my head, you could be one of the boys if you did the hardcore political things. Now I see that there was probably more freedom in some of the softer pieces. “I didn’t want interference from a very young age. I thought it was a right not to have what you do interfered with, in any way. I don’t know where I got that from, but I thought that making these pictures was the best thing to do with your life. I was very bothered by even tiny interferences – I wanted my things to be left alone. “I think I always had the feeling that it’s Us against Them, that it’s workers against management, and that management is the bad guys and that things aren’t equal. “What I liked about editorial work is that I could make the subject matter my own and that I pick parts that I could relate to. The whole idea of playing with things and turning them upside down and finding what the article really meant ... plus the reading part was always the most fun. “I spent lot of time reading the encyclopedia and I’d see if there were words or images in the reference material; that part was just delightful. And then playing with things and seeing the connections; when you’re really looking and you’re not nervous, you see how things connect to one another. “By reading those articles, I became more interested in politics and social issues. I guess I’ve always been sort of angry or aggressive or looking for a fight and I think that fit in well with some of the political subject matter. For me it was having some feeling for the underdog as well as being somebody who is pissed off and rebelling because someone else is in control. “I’d use up all the time doing sketches. I could go through one and a half pads of tracing paper doing sketches, trying to get the expression on the face and in the hands just right. At a certain point, if I’d been up all night, I’d decide, ‘Well, this has to do,’ because the piece was due in a few hours. “Sometimes, when I handed in an illustration after being up the whole night, I’d be up the next night thinking of what should have been done with the color or what could have been better and really feeling miserable about it. And agonizing over it when it was in print. “And then if it was something that was killed, then I’d be more in love with it than ever, because it would be like this dead thing that wasn’t realized or appreciated. If too many people like one of my pieces, I’m immediately suspicious. “It’s different now that I’m doing almost no illustration or what I’m doing is not for a client; whether you call it fine art or illustration, I don’t really need to define that. But I’m doing it without someone interfering. “I just finished a book about torture. It’s called Cry Uncle. It was largely based on what went on at Guantanamo and Abu Ghraib and some secret CIA prisons. It’s a picture book with some words in it. It’s a large format book -- the images are 18 by 24 -- and it’s hand printed. It has letter-pressed type; the type mattered to me as much as the images, as well as how the book itself how looked and felt. “I wanted the paper to feel like skin on the cover. It’s got the words done in letter press, pressed in, and the paper is sort of fleshy looking and wrinkled, it’s paper from Nepal, and it looks like skin. Some of the other papers are from banana leaves and there’s something very much like human skin about the paper. “The paper is also translucent, so you see everything that has come before, when you’re looking at the pages. It’s in an accordion fold -- and unraveled, about 40 feet long. “It’s a very interpretive book, it’s based on what they did and my visceral reaction to it, because what they did was so appalling. In most cases they had a list of things they could do to the prisoner that wouldn’t leave physical scars, but it was intended to make somebody crazy. It’s not like they could even get information out of somebody after this kind of torture. “Some of the descriptions of what they did were so disgusting that I’d realize that I was making the face myself, of someone who is being victimized. I think to get the feeling into the piece, you have to be reacting to what’s going on in it. “In working on the book, there was a weird mixture of feeling disgusted over what went on and feeling really excited about making the pieces. I’ve always felt a little bit of guilt about that, because I was always doing things about tragedies and wars and illnesses. “I love the idea of doing books. I’m planning another book that I started even before this one. But in between I’m going to be working on some other things. We’ll see.“ To see more illustrator portaits and interviews in the series, visit the Art Talks Gallery here. Fun with Woodcut
posted: November 16, 2009
Composer Guo Wenjing for The Wall St Journal
I'm so much digging playing around with this approach. Here are a few things that have run in The Wall St Journal and The Progressive and the Christian Science Monitor.
Conductor David Robertson for The Wall St Journal
For The Progressive, an article by Howard Zinn about Obama winning the Nobel peace Prize:
And for the Financial section of the Christian Science Monitor, about new financial and ethical investing products:
Unplugging the Internet
posted: November 3, 2009
"Is this the party to whom I am speaking?"
The telecoms are fighting hard to preserve their ability to control the flow of traffic on the Internet. But many people and tech companies are afraid that the local telephone companies, which own almost all the wire that connects homes and business to the Internet, will begin to throttle or even pull the plug on traffic they don't want -- traffic like streaming music and movies, or internet phone systems, or peer-to-peer file sharing. They could impose tiered services, in which they could sell companies that need the Internet better service than those who cannot or will not pay. And they could simply block the traffic of competitors, or anyone else.
The FCC is considering "net neutrality" rules to prevent that sort of thing and to make sure that all web content is available to everyone on equal terms. Of course the phone companies deny any intention to do evil, but then why are they so up in arms and lobbying with all their might to block the regulation? Enter Ernestine's replacement, operator "One Ringy Dingy" McCain. McCain, who admitted to not knowing the difference between a Mac and PC and doesn't even use email, is happy to help the telecoms pull any plug they want. On Oct 22nd he introduced legislation to give telecoms the right to decide how you access information. Or don't access it. Battling net neutrality (and pulling plugs) comes with a price, it would appear, since McCain is the single biggest recipient of campaign donations from the telecom industry, having gotten $894,379...so far. Curtain Call
posted: October 26, 2009
All his life, Parker has been dreaming of the day he gets a standing ovation inside the Shubert theater he stands outside of.
Here's what he fancies Variety will have to say: "After Parker ankled as the headliner in last season's boffo hit, the B.O. went from socko to floppo. Now he's back on Broadway, topliner at the whammo tuner at the Shubert and is rumored to be on his way to H'w'd. Anything Parker's in has legs -- except Parker, of course."* *For translation , see the Variety Slanguage Dictionary. (To see more portraits of New York City hydrants and fireplugs, visit The Secret Life of Fireplugs gallery here). The Ebony Hillbillies
posted: October 13, 2009
Bill Salter on upright bass, Norris Bennett on banjo, mountain dulcimer and vocals, David Gibson on washboard (yes, those are shotgun shell casings on his fingers) and Henrique Prince on fiddle and vocals.
In Grand Central station on the shuttle platform, New York City commuters can be transported to a world of down-home celebration by the Ebony Hillbillies. When I asked Henrique Prince, the fiddle player and vocalist, to talk about what he calls Old Time music, he had a lot of history to share.
"I discovered a number of years ago the rhythmic possibilities of violin music, that there's a whole element of dance music to it. I love dance. I thought it would be wonderful to put together a band that did this old time kind of music, which is the truncation point of both country music and jazz. So I wanted to go back to that point where it was this wild sort of banjo fiddle music and had all this improvisation. "No white man played a banjo before about 1820. The banjo comes from Africa and the original idea was that the slaves that were packed together on the ships used to die. It was believed that if they danced, it would keep their spirits up, but they wouldn’t dance to European music. So they captured, especially in the Gambia, iriti players -- an iriti is a one-stringed African fiddle. "There's also the akonting, an instrument from Ghana, which is very similar in appearance to a banjo. It has a bridge on a skin made out of a big gourd, and a long neck and it has a short string also. So they captured akonting or ngoni players, and iriti players and they tied them to the deck. And the Africans would dance to that music for exercise to survive. "So these people got to the New World and eventually they would make the instruments here, out of gourds. There's a famous picture of a black banjo player by William Sydney Mount, a Long Island painter who painted a lot of black people. Anyway, the African musicians got here and the music got transferred to Europeans, among them some who were living in the mountains, King Williams people --the hillbillies -- and eventually the hillbillies took it for their own. "Banjo playing goes back to the 1600s, and they were playing them with fiddle players. There are accounts of people seeing this in the 18th Century. Slaves lived close to the master and white people started picking up and getting closer to it and learning it. "By the 19th Century, there began to be white banjo players. Dan Emmett was a white banjo player, lived in Mt. Vernon, Ohio, near the family of black banjo players, and he probably picked it up there. He probably learned the song, Dixie, which he was given credit for, from them. He was the first guy to take burned cork and put it on his face, and he had a band, basically recreating African American music on stage and it was all minstrel, black-faced thing. "I learned Bach early and I just liked everything on fiddle. I sort of learned how to do it and didn’t know what it was. And over a period of time, I just learned more and started to track down things and I found out about Murph Gribble who was a player in a string bands in Eastern Tennessee in the ‘20s and ‘30s. Gribble, John Lusk, Nathan Frazier, these are all black players and the music was well known and well recorded by black bands like the Mississippi Sheiks, and a lot of string bands and jug bands, like Earl McDonald -- the guy who discovered you can make music in a jug, instead of a bass. "All that music comes out of the black players. What happened was they were on black record companies and in the ‘20s, when The Depression happened, all those companies failed. And they never came back. But white companies came back and they segregated the music. They would only record white country players, and wouldn’t record black country bands; the only black players they recorded were those who did the blues. And that’s why the music’s been sort of segregated ever since. "Tunes like The Yellow Rose of Texas, which was originally about a light skinned black woman, is a song out of a black minstrel show. But nobody associates that anymore. "The earliest improvisational music in America is black banjo and fiddle music. The jazz band is centered around a banjo and a fiddle player. All of the earliest jazz bands had at the center a violin and banjo. In fact, Elmer Snowden, the guy who originally had the Washingtonians before Duke Ellington took over, was a banjo player. Snowden was the same name, by the way, of the black family of musicians who lived near Dan Emmett in Mt. Vernon, Ohio, that he learned from. "But the later Snowden, I don’t think is related. Anyway, Elmer Snowden was originally the leader of the Washingtonians, so it was very common for there to be banjo players and washboard players in jazz bands. Then, as the music got louder, as it got more modern, they kicked the banjo and the fiddle players out." "If I could tell you what I feel about playing this music, I wouldn’t need to play it. Music does all that stuff that you can’t say." This is part of my Overlooked New York series of portraits and interviews with impassioned New Yorkers. The Birthday Wake
posted: October 5, 2009
The evening had started off fine. It was Siggy's birthday and Harry was out to show him a good time. After throwing his money around in Canon's (and getting a buy-back from Big Walter, who never gives anyone a free drink -- it really was a red letter day!), Harry dragged Siggy over to Broadway and they zig zagged their way downtown, stopping off at every bar along the way.
By the time they got to 16th Street, they were loaded but good, and Siggy started bawling over Mary (again) and Harry took a swing at him to shut him up and they both wound up limply throwing swats at each other that never landed. That's the last that either of them remember. So here it is, morning, and the boys are just coming out of the fog, after having a couple of nips at the hair of the hound that bit them. (To see more portraits of New York City hydrants and fireplugs, visit the gallery here) Under the High Wire - Do Over
posted: September 23, 2009
I was thinking the original picture I did (at bottom) was overly sentimental and...corny. So I decided to do it straight. I think I like this one better. But then I thought...maybe no towers at all?
Last night I watched James Marsh's 2008 documentary, "Man on Wire" which chronicles Philippe Petit's high-wire walk between the Twin Towers in 1974.
What struck me most about the film was the relationship between Petit and the two people closest to him, his girlfriend Annie and Jean Louis, his boyhood friend and right-hand man. They were both devoted to Petit and his dream of "walking in the clouds" and spent years working toward it, according to the film. But as soon as Petit had accomplished his remarkable, breathtaking and glorious feat, he abandoned his friends and leapt into the spotlight of celebrity and media adulation. Jean Louis and Annie returned to France. The entire movie was fascinating: both the suspense of the caper and the artistry and creative expression of Petit's high-wire walks were riveting, but what I came away with most of all was the touching attachment that Jean Louis and Annie still felt for their old friend Petit who had left them so far behind.
So here it is without towers.
And this was the original, below.
The Lobbyist and The Pol
posted: September 21, 2009
On the surface, these two hydrants look autonomous, but under the table they are tightly entwined. It brings to mind the sly relationship between the health industry lobby and many in congress.
E L Doctorow...and More
posted: September 15, 2009
Here's a portrait I did for the Book Review section of the Christian Science Monitor, of E. L. Doctorow. His novel, Homer & Langley, about the Collyer brothers, infamous New York City hoarding hermits, is out on the bookshelves this month. These eccentric brothers, who lived in a four-story brownstone in Harlem that was packed floor-to-ceiling with junk, have inspired authors before, among them Marcia Davenport in My Brother's Keeper, and Stephen King in Salem's Lot.
Playwrights have found inspiration in them too (Richard Greenberg's The Dazzle) and in movies and TV shows (Unstrung Heroes and Frasier and The Honeymooners). Check out the wikipedia article about the Collyer brothers, it's a fascinating read. My portrait shows Doctorow with a pile of stuff that features things that were documented to be found in the Collyer brothers' house after their death, according to Wikipedia...if you look closely, you'll spy: Model T Ford upright pianos grand piano banjo violins stove stacks of newspapers chandeliers dressmaker dummy hope chest "cursed" armchair brother Homer died in.
And here are a few other editorial pieces I've done in recent weeks, both painterly and woodcut style.
Film director Agnes Varda for The Wall Street Journal. Yes, she has two-toned hair.
Rebiya Kadeer, women's rights activist and businesswoman from Uighur region of China, for The Wall Street Journal.
Michael Jackson, as he might have been and as he was, for a Kate Clinton column on race, for The Progressive.
Employees put on furlough, for HR magazine.
And yet another Madoff for The Wall St Journal. No Exit
posted: August 31, 2009
The Valet, an alien visitor observing the strange creatures passing by in the city they call New York. In case of detection, he has his panic button positioned close at hand. The only problem is ... no hand.
For him, I would edit Sartre's famous quote to, "Hell is ... people." Woodstock Flashback
posted: August 11, 2009
When I was 15, I smoked hash and wore bell bottoms that were frayed from walking on the hems and I decided to go to the Woodstock Festival. It sounded like another event where we could all get together and do things our way -- the counterculture way -- the right way. I wanted to be a part of it.
About a month before the festival, my best friend Joanie and I bought tickets at a record shop on Broadway. They were not only very expensive -- I think it was $6 for each of the 3 days , which was a lot of money to us then -- they also proved to be unnecessary since Woodstock wound up being so swamped with kids that no one bothered to collect tickets at all. We each packed up our camping gear, which for me was my brother's old Boy Scout sleeping bag I found mouldering in the basement and a can of Chef Boyardee ravioli. We never ate the ravioli since I forgot to bring a can opener. We left a day early and took the subway down to Port Authority where we got a bus to a town whose name I can't remember. When we got off the bus, we found we had no way to get to the festival. We weren't alone in this. Dozens of baffled kids were milling around, and eventually one of them spotted a flatbed truck driven by a longhair. He was headed to Max Yasgur's farm, so up we clambered and off we went. Joanie and I were ill-prepared in more ways than our camping gear: we didn't have anything to get high on. I guess we were scared to carry anything on the bus -- we might have gotten stopped and searched crossing the border into Upstate New York or something. But lucky for us, a guy on the flatbed had mescaline and we bought a few tabs and took them right away. Ah! We were gonna have a blast! Well ... not right away, that's for sure. The ride to the farm was short, and within 10 minutes we were wandering around with thousands of kids, looking for a place to put our stuff down. Half an hour later, we were waiting for the mescaline to hit, but it never did. We'd been sold beat drugs. At Woodstock! Man. Where was all that peace and love and brotherhood? Beat mescaline aside, it was a mind-blowing sight, thousands and thousands of longhairs blanketing that hilly landscape. Many more kids showed up than there were tickets sold and word got around that there were a half million of us camping out there; we had created a city of our own on that Upstate farm. What was it like over the next few days? Frankly, pretty miserable. I remember the rain: walking in it, sitting in it and sleeping in it. Joanie and I went swimming in the lake to wash the mud off, but we were too shy to skinny dip and kept our underwear on. I laid down on the hood of a car in a field, fell asleep, and woke up with a sunburn. I don't remember the music much at all, but I was never a concert-goer type anyway and was there for the experience, not the groups. Most of all I remember three things: When the festival was over, Joanie and I had to find a ride to town to catch the bus, but all the cars were so jammed with hitchhikers that we couldn't get a seat in any of them. Finally a Volkswagen beetle stopped and offered us the back bumper, so we jumped on. At first it was fine as we crept along in the line of cars leaving the festival site, but the traffic eventually thinned out and we started to barrel down the road. It was terrifying.
Here's a link to see a larger version of this.
As we sped along, clinging to the back of that car, we were passed by the coolest girl I ever saw. She was driving a chopped motorcycle, wearing a miniskirt, looking tough and sexy and independent.
Here's a link to see a larger version of this A few days after we got back, I was going downtown on the IRT when a guy with long blond hair and a sunburn sat across from me. When he spied me sitting across from him with my own sunburned face he gave me a covert little peace sign. That sunburn was the badge that marked us both as veterans of Woodstock, the legend of which would grow far beyond its reality.
Here's a link to see a larger version of this. Cover for The Progressive
posted: August 3, 2009
Capitalism, Sarah Palin-Style
Here's the cover I did for this month's issue of The Progressive, to illustrate an article by Naomi Klein, who uses Sarah Palin as a symbol for the Wild West capitalism rampant before the economic meltdown. She contends that if the bailout works and the economy returns to the course it was on, it will be back to a world epitomized by Palin and the drill-baby-drill-shop-till-you-drop-for-tomorrow-will-never-come outlook on the world. The article provided lots of fodder for visuals: a pirate ship of finance and depletion of natural resources and global warming and hyper-consumerism and... Well, see for your yourself -- here's an excerpt from the article: "What if the bailout actually works, what if the financial sector is saved and the economy returns to the course it was on before the crisis struck? Is that what we want? And what would that world look like? The answer is that it would look like Sarah Palin. Hear me out, this is not a joke. "Palin was the last clear expression of capitalism-as-usual before everything went south. That’s quite helpful because she showed us—in that plainspoken, down-homey way of hers—the trajectory the U.S. economy was on before its current meltdown. The core of her message was this: Those environmentalists, those liberals, those do-gooders are all wrong." To read more, here's a link to The Progressive's site. Recent Woodcut Style
posted: July 20, 2009
Here are a few pictures in my woodcut style I did this week for The Nation and The Wall Street Journal.
The first, above, is to illustrate "Obama's Faithful Flock," a piece by Sarah Posner about the troubling developments in Obama's policies regarding "Faith-Based and Neighborhood Partnerships", for The Nation. Below is another for The Nation, for an article by Jonathan Schell, "Remembering Robert McNamara"
Another for "...And a Law for Poor People," an article about removing restrictive and unfair regulations on federally funded lawyers for poor people, by Peter Edelman.
And lastly, this one (below) for The Wall Street Journal, a portrait of Macau's pro-democracy leader, Antonio Ng Kuok Cheong.
Brooklyn Botanic Garden Portraits
posted: July 13, 2009
Dr. Pell, laboratory manager and scientist
Here are a few of the portraits I've been doing for an online gallery for the Brooklyn Botanic Garden, profiling a cross section of the people who make The Garden flourish. Working on these portraits has given me a great excuse to get out of the studio and into one of the most beautiful and rejuvenating environments you can find in New York CIty.
Patricia, above, who oversees the Children's Garden
Caleb, above, who plans and tends the Herb Garden.
Anne, above, curator of the Rose Garden
And Niurka, above, who stands watch over the plants and people at The Garden. Alaskan Roulette
posted: July 4, 2009
Could Sarah Palin's puzzling speech yesterday mean the end of her political career?
Trapped!
posted: June 29, 2009
It's a cold winter day on a side street heading west. The puddles have a thin shell of ice and there's a dusting of powdery snow on the sidewalks. Some frost collects on the rubbish filling Bernard's little shack.
Bernard is crushed every evening when the Super crams the building's trash in his cubby, and is not released until daybreak by Sid and Strange, who man the garbage truck. The daily harvest of crud has grown with the new crop of residents who have moved into the building. The mountain of detritus of these bored and boring snobs -- twice-worn shoes, boxes from J Crew and Fresh Direct, last year's yoga mats -- piles up around Bernard more than ever before. Trapped and released and trapped again in his garbage heap every day, Bernard can't take it any more. Hydra[nt]
posted: June 22, 2009
The water beast, Hydra, guarding the entrance to the Underworld in lower Manhattan awaits Hercules: "Bring it on, big guy!"
Hydra[nt]
posted: June 22, 2009
The water beast, Hydra, guarding the entrance to the Underworld in lower Manhattan awaits Hercules: "Bring it on, big guy!"
Some Recent Wall St Journal Portraits
posted: June 15, 2009
Chinese dissident Bao Tong
Bosnian American writer Aleksander Hemon, winner of MacArthur Foundation "Genius" grant
Clarinetist Stanley Drucker
Here are some painted portraits I've done in recent weeks for The Wall St Journal -- it's not all woodcut all the time!
Bernie Madoff Exploring New Territory
posted: June 9, 2009
I've been having fun lately in this style. Above is a recent portrait of Janice Y. K. Lee, author of The Piano Teacher, for The Wall Street Journal.
And another to illustrate Ruth Conniff's article in this month's Progressive about Obama weighing the demands of Wall Street against the needs of the people.
And below, a double portrait of bluegrass musicians Buddy and Julie Miller.
I'm still doing plenty of work in my painted style, but it's been great exploring this new territory.
Daisy
posted: June 2, 2009
Here's the next in my series of Plug Portraits.
Hopeful little Daisy tips up her face to bask in Big Boy's glow on a quiet street on the Upper East Side. Daisy
posted: June 2, 2009
Here's the next in my series of Plug Portraits.
Hopeful little Daisy tips up her face to bask in Big Boy's glow on a quiet street on the Upper East Side. Tortured Answers
posted: May 21, 2009
The Sentinels
posted: May 18, 2009
Here's the second in my series of Plug Portraits, my tribute to the curious spigots that sprout from the streets and sides of buildings around New York City.
These are The Sentinels, Charlie (in yellow) and Joseph (never call him Joe, if you value your knees). They're on the alert, squinting down the block, scanning the terrain, ready to spring into action at the merest opportunity. The Sentinels
posted: May 18, 2009
Here's the second in my series of Plug Portraits, my tribute to the curious spigots that sprout from the streets and sides of buildings around New York City.
These are The Sentinels, Charlie (in yellow) and Joseph (never call him Joe, if you value your knees). They're on the alert, squinting down the block, scanning the terrain, ready to spring into action at the merest opportunity. Waiting on Appeal
posted: May 14, 2009
Here's the first of a series of portraits I'm painting of the plugs I've seen all my life, poking out of the buildings and sidewalks around New York City. I love hardware stores and gadgets and mechanical stuff in general, and all things New York in particular, so these curious little plugs scattered across the city landscape have always attracted me.
They each seem to have their own personality and story; this unlucky fella has been craning his neck out from between the bars of his cell in a neighborhood high school for years, yearning for freedom. He even has an ankle bracelet, poor guy. I hope he makes it out on appeal! Gel Conference
posted: May 7, 2009
This is the best picture I could find of myself...nice and far away. Photo by Axel Kramer
Last week around this time I was pretty busy: I was preparing for my Friday presentation at the Gel Conference at the TimesCenter in midtown. Every year Gel attracts about 400 managers, editors, user interface experts, finance managers...you name it... from companies like BBC, CNN, Microsoft, Google, YouTube, Time Warner, and The NY Times. The organizer, Mark Hurst, contacted me a couple of months ago about giving a presentation and I was really looking forward to it (even though I had some oversized butterflies flapping around inside my stomach).
Gel is a two-day event, so on Thursday the attendees participated in workshops, tours, and seminars, and Friday was the "theater day", when all 400-or-so attendees gathered in the TimesCenter theater to hear about a dozen speakers present on-stage. It was an amazing experience and I only wish I had been able to stay to see the rest of the other speakers, which included Steve Heller, author and art director extraordinaire, Barry Scheck of the Innocence Project, and Risa Morimoto, who directed and produced "The Wings of Defeat" -- but I had a deadline that afternoon, so back I ran to get to work. A Brooklyn Chicken Coop
posted: May 5, 2009
Gregory holding The Church Lady, Miz Mildred, so named because her comb is the biggest and it flops over her head like a church-lady’s hat. Sometimes she’ll flop it over so it covers one eye. She’s very stylish.
This is part of Sidewalk Farmers, my series of profiles of people around New York City who grow their own food.
A few weeks back I went out to Brooklyn to talk to Gregory, who has recaptured an important part of his childhood by keeping a chicken coop in the community garden on his block. "I was born here in New York City, but I grew up in Selma, Alabama. We had chickens, and one neighbor had rabbits, and another neighbor had a couple of goats, so we all bartered with one another. "I loved the chickens. As a young child I saw them mostly as pets, until my grandmother explained that yes, you can treat them as pets, but they are a source of food, so you can’t get too attached. I tried to remember what my grandmother said, but I loved them, I loved them. "I moved back to New York about 20 years ago to be an artist--I do wood sculpture--and I got married in '97 and when the kids got a little older, I started hanging around here in the community garden. It had become kind of overrun; the group of neighbors that started the garden, well, they became senior citizens and no longer had the energy. The block association wanted to keep the garden going, so myself and a couple of other neighbors volunteered and about five years ago we started renovating. "What started me on wanting chickens is when I saw an article in Martha Stewart’s magazine about raising bantam chickens, and I saw the different colors of eggs, and it just brought back so many childhood memories that I was like, you know what? This can be done here! We can do it in our back yard! The kids would love it and I thought the community would really enjoy chickens here, too. "I have a couple of senior citizens that help keep an eye on the garden. One of them, Miz Smith, lives right next to the garden, and she’s like the guardian angel. When I can’t come around, she'll let me know who was in the garden and what they were doing. If she doesn’t know them she will confront them. And a lot of times it’s kind of scary for the person, because they can’t see her, they just hear her voice as she stands up in her window, "Who are you? What exactly are you doing out there?" Like a God of authority coming out of the sky. She’s very helpful; I love her. "And then I have Miz Margaret, who in her younger days was a part of the garden; she helped get the garden started. She lives across the street from the garden and she also lets me know who's coming in. She can’t really see what they're doing but she can see them coming in and out and she will always let me know when someone was in the garden. "Chickens are fascinating. They're very social social animals; you'd never keep just one--they need to be around other chickens. I love the way chickens interact with one another, the way they automatically build up their hierarchy. The term 'pecking order' is true about chickens, because they have a leader and each chicken has its place in the hierarchy. Normally the leader would be a rooster, but in the absence of a rooster, the most dominant female will take that role. "They need open space, because they need to scratch the earth to dig for worms and other bugs, and they need activities that can be as simple as just pushing hay around on the floor. Or scratching very vigorously with their feet to throw the hay up in the air. They need to stay busy; if they don't, you can really have problems: they'll start pecking at each other and fighting and arguing, and jockeying for the best space in the coop, so you need to keep them busy. One thing that I do is to throw a handful of oats or sunflower seeds on the floor inside the coop, so during the day when I can’t be around that’s enough to kind of keep them busy. "When we first got the chickens, Big Red was at the top of the pecking order, but Big Red is a little older, so now Hattie is in charge. Hattie's my favorite chicken; she’s like the mother hen, she’s there to make sure that there's no danger around, and when she sees a predator, like a stray cat, she'll start clucking very loudly and rapidly. That will alert the other chickens and they'll run for cover and after they're all safe, then she'll run for cover. So I like that, I guess because by nature, I’m a nurturer. I’m a youth worker by profession so I like to see that activity, that, wow, she’s really looking over her flock! "The chicken that’s on the bottom of the pecking order, we call her Pecky. We adopted our chickens from another family that keeps chickens in Brooklyn, whose flock had become overpopulated for the size of his yard. Chickens love social order: everything has to be in place, and every chicken has to know what their role is in the flock. When they get overstressed, or overpopulated, they start picking at each other. Kind of like what humans do: when we’re on the train after work, we’re stressed out, and the trains are overcrowded, and we kind of nudge and elbow each other, because we’re looking for our own personal space. Chickens do the same thing, and Pecky was on the bottom of the pecking order and when we got her, she had most of her feathers pecked off by the other chickens. "But she has all her feathers now and the other chickens don't beat up on her anymore, unless she oversteps her bounds. Once you understand the nature of chickens, you see there's a reason she’s on the bottom. Pecky can be very loud, Pecky can run around and disturb the flock, so she has to be kept in line. It’s sad, but at the same time, it’s a wonderful thing to observe. There's a lot you can learn from a flock of chickens." No School For You, Girl
posted: April 27, 2009
For girls, attending school in Pakistan's northwestern region has become a life threatening prospect. Since 2007, at least 168 schools have been blown up by local Taliban militia in their campaign to enforce their extremist interpretation of Sharia law which forbids girls from going to school.
In 1960, Rockwell painted a picture called "The Problem We All Live With," showing kindergartner Ruby Bridges, the first African-American child to attend an all-white school in the South, being escorted to school by US Marshals. In Pakistan, if the Taliban gets its way, girls will be marched away from school. The Taliban in Pakistan
posted: April 24, 2009
Pakistani president Asif Ali Zardari and the Taliban
Last week the president of Pakistan, Asif Ali Zardari, signed off on a truce made in February with the Taliban in the Swat valley, which appears to have only emboldened them and increased their threat in the region.
On PBS NewsHour last night, Margaret Warner moderated a short segment about the Taliban in Pakistan. She interviewed Wendy Chamberlain, a former U.S. ambassador to Pakistan and Husain Haqqani, the current Pakstani ambassador in Washington. Ms. Chamberlain was a career foreign service officer who now heads the Middle East Institute, a nonpartisan organization that seeks to teach America about the Middle East and vice versa. Neither she nor her organization seems partial to hysterical rants, but her description of the Taliban in Pakistan is frightening: "Their goal is to topple the democratic government of Pakistan and they have a strategy that's proved to be working, a strategy where they go into a district, go into a town, terrorize the local authorities, the civil society, the aid workers, women, barbers, and impose their law ..." To read the transcript of the NewsHour segment, go here. A New Style for The Wall St Journal
posted: April 20, 2009
I do a lot of painted portraits for The Wall Street Journal, but last week I got an opportunity to try something quite a bit different. They needed a portrait of the artist Qiu Zhijie for their Asia edition, and in looking at the variety of work he's done, I was particularly struck by some of his woodcuts.
I decided it would be nice to try his portrait in my woodcut style, which I used for the book "Animals Darwin Saw" that came out this year. The only problem was, when I'd finished playing around with the color variations, I couldn't make up my mind which one I liked best. I'm still not sure... Standing Out From the Crowd
posted: April 17, 2009
Here's a recent piece I did for SooJin Buzelli. The article profiled a boutique investment banker doing business in Vietnam.
In the article he's quoted as saying that in a country of 85 million people, Vietnam has 55 million cell phones in use. That gave me an opportunity to create a very yakky environment for the guy. Standing Out From the Crowd
posted: April 17, 2009
Here's a recent piece I did for SooJin Buzelli. The article profiled a boutique investment banker doing business in Vietnam.
In the article he's quoted as saying that in a country of 85 million people, Vietnam has 55 million cell phones in use. That gave me an opportunity to create a very yakky environment for the guy. Another NYC Bird Watcher
posted: April 14, 2009
Recently I met with Dr. Robert DeCandido, PhD, known around Central Park as "Birding Bob." In addition to his observations about Mother Nature, he shared some keen insights into Human Nature. He's the latest addition to the Bird Watchers section of my Overlooked New York Website.
"The first bird that turned me on to birding, growing up in the Bronx, was a Cardinal in my yard. To see something red was really nice. "Later, when I was playing stickball as a kid I saw a bird with a red head bringing nesting material up under a metal awning on a porch. It turned out to be a House Finch, which is a non-native species, and it had color -- it wasn’t just a common Starling. "When I got out of college I started hitchhiking around the United States and I wanted to figure out a way to work in one of the nice places I was visiting. So I started working with Bald Eagles in Arizona, and Peregrine Falcons in California on government funded projects, and I went back to school and got my PhD in evolutionary biology and ecology. "I wound up back here in New York City, working as a park ranger, and they couldn’t find anybody to lead the bird walks in the park, and so they asked me to do it. That was probably in the spring of ’94, and though I'm not a ranger anymore, I’ve been doing them ever since. "Our primary group is on Sundays, and on a good day there might be 60 people who show up. It's a group of people that you get to know: you hear about their lives, or if they got laid off or how their book is coming along. We have a lot of talented people with great life stories and we watch each other change and mature over time. "But there are different bird groups and they each have different auras about them. "The Museum Group, for example, is a good place for singles, for people who want to meet one another. Our group, called The Bird Walks, has older people who are married and have kids. So for our group... yes, the birds are really pretty, and we look for rare birds and it's always fun to add one to your list, but if you took away the social part of the bird walks I don’t know if that would be good for the birding community or for yourself in the long-term. "On our walks we try to make it fun and it’s relaxing and they learn a little bit, and get to move around. They start off as neophytes and they think, 'Wow, if I could just identify five birds in a year that would be amazing!' And then over time we watch them get really good, and then they can take it from there. "Some of the bird walks you see are very serious and they're really focused on the birds. They're really quiet -- they don’t say a word -- and they're very disciplined and I go, 'Wow, I'm really impressed!' Me, I grew up in a big family in the Bronx, where it was rumble tumble and making noise, so that isn't my way. "The Spring is the best time to watch the birds because they're all in their nice plumage and you can kind of be noisy and moving around because the birds are really concentrating on feeding. But then you have this thing between the groups: 'Oh, your group, they don’t know what they're doing; they're too noisy' and so on. So friction develops between groups. "Take the Screech Owl project. Screech owls bred here in Central Park until the 1950s, and then they disappeared. Since they really don’t migrate, once you lose screech owls from a place, they are gone. So unless somebody comes and brings in some more, you ain’t going to get them back. In the 1990s, when I worked as a ranger for the Parks Department, we started a program to bring screech owls in and it was met with almost universal hatred: 'How could you bring in those poor little owls? It’s all for publicity! They'll never make it in the city! You're going to kill them!' It was crazy. It polarized the park. The flip side now is they're still here after 10 years, though they're hanging on by just a thread. "Some people are going after me now because I do owl walks at night and I use a tape recording of a screech owl call to bring the owls in and it’s like, 'Bob! you are disturbing the owls, how could you do that?' "They'll come right up to me and yell in my face. I watch their religious intensity and it’s scary, because here I am, making the owls known to people -- which the owls need in order to survive in the park, because the more people know about them, the more the Central Park Conservancy will notice and want more owls. "The people who are attacking me are out in the park themselves seven nights a week watching the owls, so there's quite a disconnect: they say what I do is bad, but what they do is fine, because they care so much more about the owls than I do. "You know, just because people like the environment, it doesn't make them any different than any other group of people. They think that they're holier than thou and living the Holy Life, but they have the same foibles, the same fears, the same mistakes as every other group. And the same anger toward other people. "The environmental people are in some ways more conservative than other groups I’ve been in, because it's a matter of being Righteous: you have to be good to the environment, you have to behave a certain way, and they have their Rights and their Wrongs. That’s the scary part about it: when people feel they hold the moral high ground, it doesn’t matter what the facts are, they're going to justify what they do, because they feel they're doing the right thing and that's all that matters." Illustrations for The Nation
posted: April 7, 2009
These are two pictures I did for The Nation this week. The first one (above) is to illustrate an article by Emma Sokoloff-Rubin called "When Culture Trumps Law", which details the obstructionist efforts of doctors in Brazil when rape victims come to them for legal abortions. You can read the article here. The second one (below) is for an article called, "Guantanamo at Home" by Jeanne Theoharis; with the proposed closing of Guantanamo, it takes a hard look at the harsh treatment of terror suspects in prisons on American soil. You can read the article here. The articles provided plenty of food for thought -- and ideas for the pictures to accompany them.
New York Bird Watcher
posted: March 31, 2009
Matthew Wills showed me around The Ramble in Central Park, where he introduced me to the tufted titmouse and I spotted the first red tail hawk I've ever seen in person. He's in the new Bird Watchers section I've added to my Overlooked New York Website.
"My mother became a bird watcher when she and my father moved to Nantucket. This was in '79. So I finished high school there, and went off to college, and I would hear reports about how she was taking a class with some local naturalists and learning a lot about the island. "One of the things they did was assign her a length of beach to patrol to find and collect dead birds, to identify them and help figure out what had killed them. "In the fall of 2001, I quit my job. I worked for a dot com, so I made some money but I thought the job was completely soulless and horrible, and I quit before they fired me, because they were going through waves of layoffs. "So that fall I had a lot of time. I lived in Park Slope, just a few blocks from Prospect Park, and I spent a lot of time in the park. I don't know if you remember, but it was a disturbingly, hauntingly beautiful fall that year, and I was seeing great blue herons in there and getting quite close. "When I went home to visit my parents in Christmas of 2001, it turned out my mom had pancreatic cancer, which is one of the worst because it really lurks in there and you can't find it. So bird watching became a way to connect with my mom; I would tell her all about the red tail hawks I'd see in Prospect Park. That year they nested out in the open and when the young ones were out, they were just like everywhere! They were buzzing over the heads of people, chasing each other, totally freaking out the nannies. They were so close when they flew by that you could see the little mouse in their claws. It was pretty spectacular. "I started to read a little more about birds and trying to learn more about these hawks, and I went up to Nantucket in the spring, and while I was there a box came in the mail and my mom had bought me a pair of binoculars. I hadn't used them before that ... I was just eyeballing. "Bird watching has made me interested in other things around me as well; I'm sort of an amateur naturalist now. When I'm in the park and I see a fungus, I wonder, what kind of mushroom is that? And what kind of insect is that? And what kind of plant? Part of the appeal is also that you're in the woods here, but you look over and, yeah, we're still in New York. Even though obviously I love New York -- after all, I live here -- still, it wears you down sometimes and bird watching is a great refresher. "It's also a way of using senses that you don't normally use, or use them in a different way. I mean, we're all about talking really fast in the city and trying to make our point and here in the park it's much quieter and you're listening for birds because each species sings in a different way. And there are all kinds of birds on the ground, and you can hear them rustling in the leaves, looking for grubs and other yummies to eat. "I suppose some people get jaded, but I find it wonderful, entering this whole different world, turning on these different senses or expanding them or whatever I'm doing. There's a great sense of achievement when I see something that I haven't seen before, but just seeing the old familiar ones, that's still wonderful, too, because as you observe them more, you learn new things: like that little downy woodpecker over there, which is pretty small, but nonetheless very bold: they'll land on a tree this close to us! "Even the city is a natural world and it's full of life. And that's another thing, people are like, what are you looking at in the park? And I say, if you just look a little closer, you'll see the most amazing things. Rush Limbaugh for The Progressive
posted: March 27, 2009
ka-BOOM From the article: "While Obama is declaring the argument between big-government liberals and free-market-fundamentalist conservatives over, Rush Limbaugh is keeping up the fight: 'The battle’s never going to be over, the war is never going to be over because battles are going to be fought continually over and over again, because this is who these people are,' he says. And then he recites the rightwing bromide that FDR 'prolonged' the Great Depression with his New Deal programs." After reading the article, I knew right off the bat that I wanted to picture Limbaugh as a human cannonball: a sham display of Big Top bravado. St Patrick Gets Lucky
posted: March 17, 2009
The luck o' the Irish in action
Facebook Baby
posted: March 9, 2009
Lots has happened since then. When Mad talked about advertising, it was talking about television, radio and newspapers. There was no Internet. The debate back then was over whether TV, which catered to the sponsors, would kill off newspapers, which took pains to separate the news from the ads. Now the Internet, originally an academic project financed by the American military, has become the World Wide Web, which is both a powerful vehicle for disseminating information and a mighty commercial mechanism. And it's proving to be the Web which is finally killing off the newspapers. New web ventures have a patina of geeky chic, but behind them all are hard-nosed venture capitalists who are trying to figure out how to monetize the web – their polite way of saying they want to make money from web users. This is something of a challenge since the Web started off free; we have many warnings that this will change, and that our culture will veer off into an even higher stage of materialism and consumerism. What's more frightening is that many efforts to monetize the web accomplish it with a massive invasion of our privacy. Our web searches reveal what we are thinking about and interested in; our emails explicitly contain our personal concerns and professional activities. All this information is fair game for Web businesses to collect, analyze and use or sell in an effort to make advertising more effective. The latest development is the social network, primarily Facebook and Myspace. These seemingly innocuous platforms for people to communicate are valued in the billions by investors. Consider Facebook. In the past few months, I've been asking lots of people I know have who have set up Facebook accounts: why? The vaguely perplexed answer is usually that everyone else is doing it and that it's a great way to get in touch with people from yesteryear. On the surface, Facebooks shows the users ads along the right side of the page à la Google. But underneath, it's clear that Facebook hopes to marshal the enormous amount of personal information that users cheerfully upload to make their service more valuable to their advertisers – or partners as they refer to them. Facebook has proved to be rather innovative and bold about its use of the information, and on a couple occasions has had to back down. Here's a little history: for a while, Facebook was sending messages to alert your friends when you bought something from one of Facebook's partners. All the friends in your network would get a friendly friend update: "Zina just bought a monitor from Dell!" After a little hub bub, Facebook took a half step back from it; you are no longer automatically opted in. More recently, Facebook changed the wording in its Terms of Service to read that they will retain everything you've ever uploaded, even if you try to delete your entire account. When the company backed down for now, they said it was all a misunderstanding and they're having a comment period on its Terms of Service and "principles", with a vote on any user-suggested amendments at the end of this month. The problem is, for any user-suggested amendment to be enacted, it requires 50 million users to cast a ballot for it. Yes, 50 million. See this column in the Chicago tribune by Wailin Wong. The brave new world of interconnectivity is upon us: we are each a potential commodity for corporations to buy and sell. They provide social networks, and services of all kinds – they let us mouth off, store our files, use their programs, and they treat all these as data to be mined for advertising opportunities. We aren't the customer, we're the product. It's only advertising today, but what happens when Facebook sells access to your messages and posts and photos to a political group to mine for data or hands it over to a government agency that has been granted the right by some yet-to-be-passed legislation? It might seem relatively benign today: who cares about some lame advertisements appearing on their Facebook pages? But volunteering to be a commodity brings with it the abdication of some crucial rights to privacy. The tomorrow that this kind of abdication makes possible might not be worth the thrill of being contacted by a long-forgotten classmate you once sat next to in homeroom or reading what your pal had for breakfast. Some links to articles about Facebook that raise some interesting questions: Tom Hodgkinson for The Guardian Brad Stone for The New York Times Newt Gingrich for Mother Jones
posted: March 2, 2009
OMMMMM...My God! They said they'd like something with my "trademark attitude" to open the OutFront section. I came up with several different ideas, and the one they chose was of Guru Newt, the newly enlightened and enlightening leader of the Republican Party. He's all over the place lately, even pictured on the cover of yesterday's Sunday NY Times magazine. It looks like after their trouncing in the election, the Republicans are desperately looking for someone to give them direction. The Pub Show Opening This Saturday
posted: February 26, 2009
Invite art by Jennifer Daniel Opening night is this Saturday, Feb 28th, from 6 to 8 pm -- and onwards. If you're not in the neighborhood, it's easy to remedy that: take the L train one stop into Brooklyn to Bedford street -- it's a block from the subway station. Here's a map. It should be a fun night --I hope I see you there! Pancho Ramos, East Village Farmer
posted: February 23, 2009
This is part of an ongoing series of profiles of people who grow edibles in New York City. Geithner and the Zombie Banks
posted: February 16, 2009
The experts, like those discussed in this piece by Arianna Huffington, say that many of our country's largest financial institutions are zombie banks*, the walking dead, fundamentally insolvent but kept alive by regulatory camaraderie. For those of you in a reading mood, there's another good piece on the banking crisis by Robert Kuttner here on the HuffingtonPost. For years, these giant banks and brokerage houses have accumulated bad investments, but the guys who run them are not falling on their swords or jumping out of the their windows. They are hanging on for their dear lifestyles in the hope of being propped up by Geithner, which he shows every indication of being willing to do.
The Zombie Banker with his propper-upper. Darwin Day
posted: February 9, 2009
The folks at Chronicle wanted me to work in my scratchboard style, and I was happy to oblige. It was a terrific project on a subject of real interest to me. And it felt really good to be doing a book about the father of the theory of evolution at a time when our schools are under full frontal assault from the "Intelligent Design" chimps. Check out this graph from The Economist that shows how the US stacks up against other countries about accepting evolution -- (Spoiler Alert: in 2006 only about 40% of Americans polled believed that man evolved over millions of years). Scary. But now you can fight the powers of darkness -- buy the book and give it to a kid! Here are a few pre-type spreads.
Making it BIG on Broadway!
posted: February 5, 2009
The proud parent! It looked so beautiful up there, I felt like a proud parent! The poster was also in big display windows all around the theater. Man, what a thrill! Where To, Mr. Daschle?
posted: February 2, 2009
Peter and Leo asked for it... To make things worse for Daschle, his tax problems came to light just as his financial statement to the Office of Government Ethics was made public. This required report showed that he made millions of dollars giving public speeches and private counsel to insurers, hospitals, pharmaceutical companies, and other firms with complex regulatory and legislative interests in Washington. Daschle was also an adviser to the law and lobbying firm Alston & Bird, which paid him $2.1 million last year in addition to providing him with a 401k plan worth between $100,000 and $250,000. During his three years with the lobbying group they earned more than $16 million working on behalf of some of the leaders in the health care industry in their dealings with the government, often before the department he's in line to lead. He managed to do all this without ever registering as a lobbyist. But the bottom line is that he got a lot of money from health care, pharmaceutical and insurance companies which have billions of dollars at stake in the regulations from the Health and Human Services. The Senate Finance Committee has scheduled a closed-door session today to discuss Daschle's tax problems. I wonder how all his old buddies will view these revelations? To read a little more, here's an article in the Washington Post, and another on Politico. Piggy Banker
posted: January 27, 2009
Here are a couple of particularly illuminating quotes from Bill Moyer's discussion with political columnist and blogger David Sirota and Wall Street Journal columnist Thomas Frank about banks and the bailout: DAVID SIROTA: What we have done is simply handed the money over with no mandate to actually change the behavior, change the structure of the banks, or change the management of the banks. So my take is pretty simple. If we’re going to throw this much money — remember, $350 billion is half the bailout — if we’re going to put that kind of money into the banking system, we should get much more leverage. And the one other thing I think is really important, you’ll notice that in the entire debate over the bailout, nobody has really tried to make the point or ask the question: is spending $700 billion, a trillion dollars, giving it to the banks, is that the best way to improve our economy? THOMAS FRANK: We're probably close to being majority shareholders in a lot of banks in this country. And yet we will not have the power to vote, right? We can't vote the shares. We can't appoint directors. These are the conditions of the TARP, of the Troubled Assets Relief Program. That's a terrible blunder. If we're going to throw all that money to these people, we need to be able to tell them, look, you have to let us have directives. We have to be able to have a voice in the operation of this business. You can watch the whole thing here on the PBS website. Miracle on Wall Street
posted: January 24, 2009
The government (that's us) has guaranteed almost $100 billion in losses on Bank of America's bad assets -- most of them coming from Merrill Lynch. Read the story here. Broadway Theater Poster!
posted: January 12, 2009
The play is opening for previews on February 26th at the Shubert Theater, which is a very large house usually reserved for big musicals, so they're expecting it to be a great success. The project was fantastic from start to finish, with lots of revisions and collaboration between me and the art director, not to mention all the input from the producers and stars. The art director and project manager said that my political satires were what decided it for them, especially the one of Obama the snake charmer and also the snooty Masterpiece Theater piece I did of Obama and McCain for the SF Chronicle. Of course I loved every minute of doing the poster, and can't wait to see it up at the Shubert and everywhere else.
A little closer... Joe the Plumber, War Correspondent?
posted: January 8, 2009
Here's a link to more about Joe's latest endeavor. Best Friends
posted: January 7, 2009
Joanie sitting on the stoop we practically lived on as kids. We did everything together: we snuck onto the train tracks that run under Riverside Park and ran from the "chickee cops" down there, we raced iron age skateboards all over the neighborhood when we outgrew our rollerskates, we pored over Superman and Archie and Veronica from her massive comicbook collection and had sleepover dates every weekend. When we were 12, we sipped gin from my parents' liquor cabinet in preparation for Saturday night temple dances and both fell in love with Joe up the block. It caused a 6-month rift in our friendship, which was repaired when Joe found love elsewhere. When we were in our teens we smoked hash and dropped acid and went to Woodstock, where we slept in the mud with a few hundred thousand other kids. In our later teens we went to bars to meet our future husbands -- for the night -- and began getting married to some of them. And here it is, nearly 50 years later. Joanie married a rock n roll drummer from Texas, and they have two gorgeous daughters who are out on their own. She works hard, is a shop steward in her union, and plays fierce games of tennis nearly every day of the week in Riverside Park. And she remains my oldest and dearest friend. I've started a Drawger Show called Best Friends for anyone and everyone to submit drawings or photos of or about their best friends, from childhood on. You don't have to be a Drawgeroo to enter.
Here we are, cuttin' up long ago Cover for The Progressive
posted: January 5, 2009
One thing I had to be mindful of was that I didn't want the scenes to look like Obama was being threatened or attacked by activists...I wanted to get across the idea that the activists were urging Obama in the right direction, and that they were all pulling together. There was a passage in one of the articles that described Obama being very open to hearing different opinions and urging people to call him. So one of the sketches featured Obama in the oval office on a phone with a multitude of wires feeding into it, representing the many voices he'd be listening to and the many problems he faces.
Interior illustration
Another interior illustration Her Highn... I Mean, Senator Caroline Kennedy
posted: December 26, 2008
Update: this illustration accompanies an article on the Gothamist. Blagojevich Going Out of Business Sale
posted: December 10, 2008
Reshaping America
posted: December 1, 2008
It appears the current standard of beauty is a grotesque mask that only vaguely resembles a human being. Overblown lips, tight, shiny foreheads, bulbous cheeks and chins framing pinched little slices of nose, all of it mixed up in a permanently bland expression -- this is the new ideal, an aesthetic fashioned on porno stars and adolescent fantasies, unattainable except by surgical procedure. And nobody seems to notice that they don't even look human anymore. The rubber balls inserted over rib cages (the last rung of which is removed to make the waist a size smaller), the asses plumped up or shaved down, the eye jobs and neck lifts, the wigs and rugs and toups and weaves...it's all making me forget what people actually look like. So it was exciting to see a beautiful and dignified Vanessa Redgrave, eyebrows on the move in a face lined by decades of amusement and worry and thinking. I looked Ms. Redgrave up on the web, to see what she had to say about her refusal to go the cosmetic surgery route, only to discover that she'd had the bags under her eyes removed in '85. I kept searching and searching to see which movie stars had foresworn plastic surgery. And I came up empty. So much for natural beauty. Transplanted Backyard Farmers
posted: November 24, 2008
Sara and her mother, Assunta, in the backyard Sara, 41, has spent most of her life trying to run away from her peasant farming roots; now, with her mother Assunta's help, she's got them firmly planted in her backyard vegetable garden in Brooklyn. "I grew up on a farm in the middle of Naples, in a little house with three families: my mom’s parents, my parents and my aunt's. Naples is an urban area now, but it used to be all agriculture. My grandfather’s fields were right in front of our house and they were as big as two city blocks. As they built up the city my grandfather always refused to sell the land. Residential buildings were being raised all around us, five to ten stories tall and entire blocks long, but we kept our land. “It’s still heartbreaking for me to remember, that right before he died he had to sell half of his land to make sure that three of his seven children who did not farm the land would have an inheritance. They built a large paper factory 30 feet in front of our house in 1975 and when we come out on our balcony we face a two story high and 100 feet wide brick wall, not a beautiful field of green and blue sky anymore! "The elementary school that I went to was right next door, and the children could look out the window and see my mom and aunts working on the farm and they called me a peasant and I was ashamed. "Unfortunately none of our cousins in Italy kept this tradition going and when my one aunt who takes care of the land dies, there will be no one left to take care of it. I'm really scared that they'll make a parking lot out of it. My dream is that when she retires, she'll donate the land to that elementary school, Lombardo Radice -- the name means roots! -- to teach the children how to cultivate and grow vegetables and how to appreciate where Naples comes from: that we were all peasants and we all took from the land and gave back to the land. That being a peasant isn't something to be ashamed of! "My family first came to America when I was eight. My parents had been having a hard time forgetting about our brother who had died when he was five -- everywhere they went remindedthem of him -- and my father wanted to just go away and start a new life on new land. So we moved to Brooklyn for 4 years and I loved it. "Then, when I was 12, we went back to Italy. My father was asked by his mother to come and help out his brother whose pastry shop, cafe and gelateria business that my father had helped start up before he came to America, was failing. His brother was in debt and he needed a partner to keep the business going. My father took his $40,000 life savings and moved us all back to Italy. My uncle was the manager and my father was the pastry chef, but as the business recovered, the Camorra [Neapolitan Mafia] became more and more aggressive and greedy. My father fought back and they kept threatening him. It was terrifying. "My uncle who was here in America, heard the story and he said, 'Why don’t you just come back and forget it." He offered his house in Bensonhurst, Brooklyn for us to live in. My dad felt a great weight off him from this offer, and once again had a chance to realize his dream of giving his three daughters a better future. So we came back to America when I was 18. "For a long time there was a part of me that pushed gardening away; I called it 'peasant living'. Even when I was a teenager in Italy I used to be made fun of because I was a peasant so I wouldn’t touch the dirt because it made my hands dirty and I didn’t want to be made fun of. "Also, my mom was very demanding in the house and I had to do a lot of housework. So I kind of went the other way: I didn't want to do anything that she told me. "As I got older, I was no longer so afraid of what other people thought of me. I think now I can be who I truly am. And growing things is part of my DNA. My mother says, 'If I touch a plant they love me.' And now I feel that love, too. "What really sparked the gardening for me was when my husband became a high school principal and he was coming home late, which meant I had to do the cooking. I had never cooked. I had no idea that you have to plan ahead to buy and prepare food. I just didn’t have that kind of thinking. My husband would come home and say, 'What did you cook today?' And I’d say, 'Oh, I didn’t think about it.' So we had these terrible fights. "My mother wanted me to learn to cook when I was a little girl and she often said, 'If you don’t know how to cook, how are you going to get married?' And I answered, 'Mom, what do you think? I’m going to marry someone who knows how to cook!' And I did. And not only that, I had him hang out with my mother and learn how to cook. So he cooked all my favorite Italian dishes! "So when he became a principal, we were fighting about the cooking and I bought this beautiful $3,000 stove but I wasn’t cooking at all. So I said, 'Listen, I’ll go to Naples for 8 weeks and hang out with my aunts and I promise I’ll come back with all the recipes.' And that’s what I did. I sat with my uncles and my aunts and I took pictures of all their great dishes and it was like all this love coming back; it was like I found something in me that I had lost. "Gardening has changed my relationship with my mother a lot. It has given us more in common. I feel like I want to know more about her and I have so much more pride and I am so proud of her and I don’t fight her anymore, and instead I feel like, 'God, I messed up, I lost out on a lot and now there's a lot of catching up to do." NYC Rooftop Beekeeper
posted: November 19, 2008
At 6:30 in the morning I met David Graves of Berkshire Berries outside a lower Manhattan building whose rooftop plays host to one of the 15 beehives he keeps on roofs around New York City. Getting to the hive wasn't as simple as taking the elevator up to the 12th floor and walking a few stairs up to the roof. I discovered I would need to summon all my Spiderman skills to get to the tiny satellite rooftop where the beehive sits. This meant climbing up an iron ladder bolted to the side of the main roof, and then inching across a one inch pipe balanced between a ladder rung and the adjoining rooftop while clinging by my fingertips to a boarded-up window frame. A scary bit of acrobatics, but the view and conversation made it well worth the fright. "The first beehive I ever had was back in 1984, at my house in Becket, Massachusetts. I was working as a service manager at my dad's Chevrolet dealership and my wife and I used to do craft shows on weekends and sell homemade jelly in our front yard, and I started beekeeping at the same time. I got lots of honey from the hive, but the black bears got to it, so I decided to put one on the roof of Dad's Chevrolet garage. "I was a pretty novice bee keeper at the time, and when I went on vacation they made so much honey that it melted down the roof and spread all over his used car lot. We laugh about it today, but at the time my dad told me to get those bees, in so many words, out of there. "When I first came to the green market here in New York City, I thought to myself, there are lots of buildings down here, and lots of flowers, but no black bears! I just needed permission to put a hive on someone’s roof and I'd be able to produce some extremely local honey. At first I got permission to put a hive on the Greenmarket's office building on 16th Street, and from there I started getting more rooftops. "The way you obtain bees is in a package through the US Mail; it's a three pound package with one queen and about 13,000 bees. So what I did was, I took one of these packages of bees and put a little sign on it, 'We’re very gentle and we’d like to share our New York City honey if you have a rooftop we could live on,' and I would stick it on my greenmarket stand at Union Square and before you know it, people would say, 'Oh, I’d love to have a hive on my roof, I’d love to teach my children about agriculture right here in the city!' That's how I got locations on the Upper West Side, Lower East Side, Brooklyn Heights, The Bronx, and Harlem. "When you put a hive in a city like this, you have to make sure it’s out of people’s way. If you put one at ground level, you're going to get in trouble. All my hives are under lock and key, and I get full permission from the super of the building or the owner of the building; that’s essential. If it’s close to neighbors we have to check with the neighbors to make sure it’s okay with them and if they don’t understand honey bees I explain to them how they are sent through the mail. The only person who is going to get stung is me, the beekeeper, and very rarely do I get stung. The honey bee has no desire to sting, whereas maybe a yellow jacket, wasp or hornet tend to be a little bit more aggressive. They're the ones that sting people and that’s where people get confused; they can’t differentiate the honey bee from the more aggressive bees. So it’s important that we educate people, because as we know honey bees are essential in agriculture. I describe them in three words: beneficial, predictable and docile. "They are so docile that you really are not going to get stung, if you handle them properly -- but I do welcome stings in my hands once in a while, because it’s cured my arthritis. Which is why I don't wear any protective gloves. "Last year I lost all my hives, due to colony collapse disorder (CCD). I believe what's causing CCD, and some scientists certainly agree with me, is that the electromagnetic waves from cell phones and cell phone towers are interfering with the bees' ability to navigate to and from nectar sources. The honey bee relies on electromagnetic waves on the earth's surface and the position of the sun to navigate. As we put up more and more towers, these artificial electromagnetic waves crisscrossing the earth’s surface are messing up their roadmap, and I believe and they can't find their way back to the hive with their load of nectar and pollen. And when the queen doesn't see food coming through the front door, she shuts down and stops laying eggs, and the hive gets smaller and smaller, and it becomes more susceptible to parasitic mites and viruses. "Also, we’re losing a lot of forage for honey bees through development. I think we’re losing 58,000 acres a year of our wetlands, and that’s an astronomical amount. Global warming is a factor too, because with the loss of our ozone, the honey bees could be going blind, so there’s lots of stuff out there that’s affecting honey bees. They have a lot going against them. "This time of year, I have to visit the hives every two or three weeks. I have the help of Antoine, who is a taxi cab driver, who stops every day that I'm in the market to talk about bees and he takes me around to my locations. I teach him everything I know about bees, and so he doesn't charge me. "For Berkshire bees, quitting time is about 5 pm. New York City bees, they work harder and longer. And as you can see, we’re here before 7 am, and these bees are already starting to work, whereas the country bees won't be opening the doors till about 9 am. And these city bees will still be hard at work at 7 tonight! Maybe it's because it's warmer here or maybe it's the city lights. Whatever it is, they definitely work longer hours. "After being down in that busy green market all day, when I take a break from the stand to go check my hives, once I get up on a roof all my problems just kind of vanish for awhile and I can sit and watch the bees at work. And then I open up the hive and taste the honey that’s right on the combs -- well, you can’t get any better than that!" The Same Old Tune
posted: November 17, 2008
The presidential campaign is over, but there's still plenty of grist for the mill. |