BEHIND THE HEADLINES

Hometown News goes behind-the-scenes in the ways decisions are made in reporting the daily life of a seemingly pedestrian community – the kind of place where many of us grew up or perhaps resided. Focused on a family newspaper as it moves to a new generation of leadership, the novel builds on the aspirations of a core of young professional journalists. They share the ideal that aggressive reporting will foster grassroots democracy and an entrepreneurial vision as well as a widespread, healthy community. At most of the nation’s 1,500 daily newspapers, however, the bottom-line corporate outlook has meant that newsroom resources were squeezed to fatten corporate profits, even before the Internet began to erode paid readership. In that business model, readers and advertisers both got less and less for their money, and lively news from the neighborhood went untold. Unlike the Front Page tradition, today’s editors and writers have been stymied more by corporate bean-counters within than by Public Enemies without.

Hometown_News ~*~

To find out more about Hometown News or to obtain your own copy, go to my page at Smashwords.com.

 

A CLUTCH OF MAPS

One of my favorite passages in all of poetry comes from Howard McCord’s “Longjaunes His Periplus”:

A chest of maps
is a greater legacy
than a case of whisky.

Followed by:

My father left me both.

Like my younger one, I’ve always been fond of maps. My bedroom wall was lined with tacked-up National Geographic charts, which tended to sag in our humid summers.

I was reminded of this the other morning when I was looking for a Boston street map, just in case I lost my bearings. Yes, I could have gone to the maps at Yahoo or Google. Even looked for the satellite views and all of the scary ability to snoop that goes with it. I couldn’t, though, use a GPS, neo-Luddite that I partly remain.

So I opened the drawer and here’s what I found (I won’t give you the years, though many are from the early ’80s):

  • Connecticut.
  • Pennsylvania (Exxon).
  • Seacoast (New Hampshire).
  • Idaho.
  • New Jersey.
  • Sierra Club USA.
  • Pennsylvania (official).
  • AAA USA.
  • Long Island/New York City.
  • Saugus Iron Works.
  • Maine.
  • Historic Bath.
  • Delaware.
  • Audubon Flyways.
  • Walking Tours of Bath.
  • Strafford County.
  • Dover (0ne of a half-dozen varieties).
  • Maudslay State Park in Newburyport, Massachusetts. Has a great stand of mountain laurel overlooking the Merrimack River.
  • University of New Hampshire campus.
  • Museums of Boston.
  • Gonic Trails.
  • Doctors Without Borders global view (two copies).
  • Portsmouth, New Hampshire.
  • Paul Revere House in Boston.
  • Manchester, New Hampshire.
  • Vermont.
  • New Hampshire (one of several varieties).
  • National Geographic the Making of New England and another of Canada.
  • North Cascades.
  • Mount Rainier, including trails.
  • New York City subways (two versions, three maps).
  • Brunswick and neighboring Maine.
  • National Geographic Endangered Earth.
  • Virginia.
  • White Mountains trail guides.
  • Mount Agamenticus.
  • Lamprey River.
  • Pawtuckaway State Park.
  • Trumbull County, Ohio.
  • Baltimore (two versions).
  • Britain and Ireland.
  • Mohegan Island.
  • Historic New England properties.
  • Maryland.
  • Lake Champlain Ferries.
  • Maine State Ferry Service.
  • Ipswich, Massachusetts.
  • Portsmouth-Exeter-Hampton etc.
  • York (Maine) Water District trails.
  • Minute Man National Monument, a series of sites in Massachusetts …
They even take me places I haven't yet been, as well as back to some old favorites. All without leaving the house.
They even take me places I haven’t yet been, as well as back to some old favorites. All without leaving the house.

And that’s before we get to the drawer of topographical maps, especially those from my Cascades years. Or the books and atlases. Or the genealogical maps, Guilford County, especially in those files.

Oh, the memories! And you want to tell me they’re obsolete? Fat chance!

DISTANT DRUMS GROWING CLOSER

High among my regrets in this zigzag life of mine is the number of friends who have slipped away along the journey. I started to add “lovers,” but will hedge for a moment, given all of the complications.

Unlike my parents’ generation, mine has exhibited a tendency to let the connections go once we’re no longer in physical proximity. We don’t exchange Christmas cards the way they did. And we don’t visit much in our travels.

I think we’ve simply been too swamped trying to stay afloat in busy schedules, and while it’s possible I’m in an aberrant corner of the baby boomer phenomenon, when I ask around, no one argues to the contrary.

The one exception might be those individuals who serve as “switchboards” connecting social circles, the ones who know the news about everybody, those unique folks you easily confide in, for that matter, or at least easily reveal much more than you’d intend. In my Hippie Trails novels they show up as characters like Tate in the dorm or Nita in the newsroom. But they’re rare, and now that I’m retired from the office, I’m far from the last one of my active acquaintance.

Yes, it is hard to keep up.

~*~

One factor might be simply that guys, as a rule, rarely correspond. More often than not, it’s been their wives who’ve kept me informed – the ones I’ve yet to meet, in many cases, if we’re still exchanging holiday greetings. And that’s before the reality of divorce.

As I’ve also found, attempts to resume contact after a long hiatus can be problematic. Usually, only silence has followed or, in one case, a polite but all too curt update.

Quite simply, we’ve all gone our separate ways.

Admittedly, working in the newspaper trade did little to enhance this. It’s a field with high turnover, at least in the entry-level operations where many of us served in our younger years – the time most prone to socializing together. But the hours are typically nights and weekends, and few anymore would retreat to a nearby bar till closing, as we did during my first internship. Besides, in my last newsroom, closing hour had already arrived before we clocked out and the intensified drunk-driving crackdown dimmed any desire to stop on the way home.

That last newsroom really split into three working circles that rarely interacted anyway – the Sunday paper, where I devoted most of my career, dayside, and nightside. Few of us lived in the same city as the office, either, so once our shift was over, we fanned out across the state for home – well, some split across a state line to the south or east, as well. There was little to link our “outside” activities and families to theirs, despite some attempts such as minor-league baseball outings or a picnic. Mostly, we were pulled along our private byways.

~*~

Looking at my broader life, I’ve known some incredibly talented people and wonder from time to time how they’ve fared. (The kinds I’ve sketched in my Hometown News novel, for that matter.) Many, as I sense, have wound up performing in the small, out-of-the-way places where they’ve settled – something occasionally confirmed in a successful Google search. Or I keep reflecting on a comment a poet repeated the other night, someone born the same year as me – “I never achieved the great things that were expected of me,” even “I failed to accomplish” – something I suspect is very common among those of us born this side of the crest in the baby boom wave. Those just a year or two ahead had that much of an edge in the job openings, especially when it came to university tenure track.

Still, once in a while some jarring bit of news breaks through.

The latest reports the fatal heart attack on Thanksgiving Eve that claimed a photojournalism guru who was at the edge of one of those circles. I knew him through Marcy, the amazing shooter we’d hired at the small newspaper where I was the No. 2 guy in a staff of eight full-timers trying to cover sections of five counties – an operation so tight we didn’t even have access to live wire photos. We were forced to be resourceful (or else mediocre), and some of my proudest work comes from that shoestring venture – especially the projects with Marcy.

Given the long hours and very low pay, it couldn’t last forever. For those of us who were the hired guns from outside, the clock was always ticking – it was only a matter of time before moving on, hopefully out of our own initiative. In this instance, Marcy and Larry married shortly after I’d swept up my own young bride, and as a young couple, they soon shot off to new adventures to the east while my wife and all of our possessions trucked southwest and later northwest.

Larry, as you may have guessed, was the photo guru. In our few encounters, he always loomed larger than life as he overflowed with ideas and energy and, especially, an outrageous glow of humor. He went on, as his obituary confirms, to build a storybook professional resume of management-level success that included the National Geographic and a handful of big-city, big-name newspapers before easing on into college teaching, at least until he was embroiled in a scandal.

Newsroom management, I might add, has always been a tightrope walking act. I’ve seen some very good leaders who were shaken from their heights and simply could never quite get back into the business – they’d gone too far up to go back in the ranks but not far enough up to move from one disaster to the next, as the top level seemed to do.

His wife – and later, former wife – was one of the two photojournalists who have long set the very high standard I apply in editing news pictures, and I’ve often said I’ve worked with some of the best in the business. Her images always had a signature warmth and vision, even before we evaluate her impeccably flawless lab work. But I lost track of her career, picking up only mention that she, too, had gone on to college teaching – something I know she must do well. Somehow I missed that she’d shared in a Pulitzer Prize and now, as I look that up, I see the years she covered the White House for the Associated Press and more. There’s her portrait of five living presidents together or Bill and Hillary with the pope or Socks the cat atop a White House lectern. Yeah, she done good – real good. As I said all along, she’s the best. (Well, with one – just one – exception, who I came across thanks to her reference. But that’s another long story.)

What I didn’t remember – or perhaps even know – was how much Larry fit into that little paper where I’d worked. He was born within its circulation area and became its photographer at the beginning of his career – the same job his future wife would fill. His degree was from the state university at the other edge of our coverage.

What keeps coming back to me is the fact he was only a year older than I am. He always seemed to be, well, that looming presence up the ladder. The one landing in places I might aspire to. One well ahead of me, the way a guide would be.

There were a few close shots at that leap – near misses – but they rarely linger on my list of regrets. If anything, in retrospect, I feel blessed I was instead enabled to reclaim my own life by putting in the required work hours and then going home, where I could live and love and worship and pursue my own literary practices.

I am puzzled that this distant news hits me more than the deaths of a half-dozen colleagues of my generation from my last newsroom did – cancer, diabetes, heart-attack, perhaps even suicide. But I also acknowledge a circle of dear friends facing long-term, but ultimately fatal, diagnoses as well as others who have already had close calls, plus a few others who have passed on – or passed over, in the old Quaker term. Natural mortality is circling in, after all, and there’s no escaping. I’m aging.

So here I am with some glorious wedding photos – taken a day after the ceremony by a Pulitzer Prize winner. The ones that stay in the filing cabinet, given my own eventual divorce. Not just because of the wild polyester suit I wore for the occasion. Historic documentation, as I’m reminded.

And all of that’s flooding back now. Even without the novels.

ART GLASS PIECES

When it comes to art museums, I head straight for the paintings. The other displays, including art glass, come later.

Actually, glassworks as art rather than craft came to my attention largely through the glass-blowing compatriots of my now ex-wife (we’d save clear bottles for her circle to melt down and reform as fine-art creations) and her grandmother, a knowledgeable antiques dealer who specialized in glass collecting, which was quite appropriate considering our location in a former glassmaking mecca that included Toledo, Tiffin, and Fostoria, Ohio. (At the end of the 19th century, an oil boom meant plenty of cheap natural gas, allowing affordable conversion of sand into glass.)

These days the Henry Melville Fuller Paperweight Collection at the Currier Art Museum in Manchester has expanding my regard for glass artifacts, even if I do head first to the paintings.

My favorite paperweight has a cobalt-colored core enveloped by clear glass. How they ever produced the swirls of bubbles remains mystifying.
My favorite paperweight has a cobalt-colored core enveloped by clear glass. How they ever produced the swirls of bubbles remains mystifying.
A blown-glass vase created by an art student. We saved clear beer bottles for the cause.
A blown-glass vase created by an art student. We saved clear beer bottles for the cause.

 

COMPOSING A REQUIEM

When I first drafted this novel three decades ago, little did I expect it to be a requiem for a profession I’ve loved and served all my life. Now, though, as the history has unfolded, I’m left hoping against hope it’s not a requiem for community after community across America as well. Read it and weep – yet laughing along the way. We are, after all, still a resourceful people

 ~*~

Hometown_NewsTo find out more about Hometown News or to obtain your own copy, go to my page at Smashwords.com.

 

 

NEWSPRINT, PAPERBACKS, AND HARDBOUND VOLUMES

My entire life I’ve harbored a bias regarding quality in the world of writing. Even though I’ve long been a front-line journalist, I’ve believed the text in a hardbound, academic or commercially published book must somehow be superior to what’s presented in a newspaper.

For that matter, magazines were, in that measure, a degree above newspapers, but a step or two below either paperback or hardbound volumes.

In the past few years, though, that misconception has been shattered, in part because of conversations I have with one of America’s top literary voices and in part because of encounters with a host of other living authors of more mundane accomplishments.

Yes, we have every right to expect a work that requires a year or two to draft to be superior to reports written on the fly, but in some ways, that long work often turns out to be little more than a series of daily reports strung together. What turns up can be as formulaic as any pyramid-style news dispatch, and filled with more cliche and unchallenged bombast. Read carefully and you might notice a higher standard of editing in your daily paper.

What I now realize is that I had expected the books to be eternal monuments that would sit forever on public and private library shelves. I never expected them to be commodities with their own precariously short shelf life, with rare exceptions. Even public collections have only so much space and so much patience. Rarely do I find there a recommended piece I desire.

What this all comes down to is that reality that good writing is good writing, no matter the place it appears. That, in itself, is cause for celebration.

Now, for more on the newspaper dimension, there’s my Hometown News novel. Adding a further twist to this plot, though, is the fact it’s available only as an ebook.

Hometown News

WHERE’S THE BUSINESS MODEL?

Newspapers have long run on a peculiar business model.

People buy the paper mostly for the news, but what they pay for the product covers only a fraction of the actual cost. Traditionally, advertising generated the other 80 to 90 percent.

That imbalance always resulted in an inherent tension in the executive offices, where any expenditure for news coverage was viewed with suspicion, especially when few of the publishers – the top local executive – came from the news-gathering side.

The rest of the operation included the composing room and related departments that manufactured the actual pages that then went to the presses, plus the “mail room” where supplements were inserted and the bundles were arranged for distribution, the circulation department, and then the ad sales reps, accounting, community services/promotion, and human resources. Especially accounting. In more recent decades, the computer techs assumed their own role.

For a bit of perspective, go to a store and buy an artist’s newsprint sketchpad and then compare its cost and the amount of paper against what the typical paper carries. You’ll see what a bargain the daily paper has been. What you pay for the news essentially covers the cost of getting it from the end of the press to the place you read it.

So this is how things ran until the Internet came along. And then, for a host of reasons, publishers began putting websites up and readers began getting the news without having to view any of the surrounding advertisements that were paying the bills. That, in itself, was a recipe for disaster.

Curiously, long before the arrival of the Internet, I’d noticed that what the readers paid for a paper would be sufficient to staff a newsroom and its supporting services. Leap ahead, and you can see that if users would pay for their local news online, you could create journalism that would not have the advertisers lurking in the corners. Unfortunately, online users have become spoiled and rarely pay for anything. Attempts at firewalls, as we’ve seen, have also failed.

At the moment, the future of American journalism looks grim. And that’s bad news for our political structure and the lives of our communities themselves.

~*~

Hometown News

To find out more about Hometown News or to obtain your own copy, go to my page at Smashwords.com.

 

MAX RUDOLF (AND JAMES LEVINE)

The cult of celebrity continues to baffle me. The mass-media fascination with people who are famous for being famous draws none of my interest except, maybe, for a few who are simply breathtakingly gorgeous – the ones, I should add, whose words and actions aren’t completely repugnant. As you might guess, the photos are worth far more than any accompanying text.

OK, I’ll push the blame away from mass media and on to the audience that prefers celebrities to real reality. (Not to be confused with “reality television.”)

To see this outlook at work, we can extend the People magazine and supermarket tabloid spotlight beyond the realms of Hollywood and Nashville, high-level fashion models and designers, professional athletes, monarchy, and rock stars.

In the publishing industry, for instance, we have “bestselling author.” At least there’s an accomplishment to back up the fame, regardless of quality. The recognition level, let’s be honest, will be lower than in the aforesaid big-money glamor fields. But my guess is that these aren’t the writers who are high up on your own list of favorites, either. For that matter, few who make it to the bestseller list ever gain that widespread recognition. No, we are far from the days of Hemingway, Faulkner, Steinbeck, Thomas Wolfe, Mitchner, Sandberg, or Frost in the eyes of the general public.

Likewise, in classical music or opera, where fame is a crucial component of box-office appeal, we’re far from the era when having “Sol Hurok presents” as part of an artist’s credentials spelled a degree of celebrity. Hurok was an artist manager who handled all of the big names, or so he made the world believe. But the cult of celebrity still plays a role, as Yo-Yo Ma, Renee Fleming, and Lang Lang demonstrate. (Note, though, that by now we need both first and last names.) And, we should acknowledge, you don’t get there without talent.

All of this, though, is by way of introducing my favorite conductor ever: Max Rudolf (1902-1995).

As another former Metropolitan Opera conductor once told me, “Rudolf could have been as famous as Leonard Bernstein, if he had wanted it.” Obviously, he didn’t.

What impressed me – and continues to impress – is that what he really wanted was to make music of the very highest level and to nurture that tradition. This could follow a much different route than mere celebrity, even in the arts.

At the time, Rudolf was music director of the Cincinnati Symphony, which he headed for 13 years.

To be honest, the first time I heard the ensemble, I was not impressed. It was on a road trip to Dayton, and Rudolf was pushing for rhythmic precision at a time when I wanted plush sonic, well, uprisings of bombast. Only later did I comprehend what he was instilling – a unity of perfection of structure and meaning.

He offered his players precise, expressive, often restrained gestures and obtained “maximum results with minimal effort,” as I think one critic observed. Unlike the over-the-top dramatic Bernstein, I should add. What I now see is that the gravity of playing was somewhere back in the orchestra, rather than focused on the podium. In other words, despite all of his Germanic authoritarian roots, something organic was happening. And, as I would see, they played as one – more than some of the famed soloists I’ve heard.

His lineage runs back to the opera at Prague, where he worked under George Szell, and ran to the Metropolitan Opera, where he wound up as administrative assistant to Rudolf Bing. (Two abrasive personalities, from all we’ve heard.)

When he accepted the Cincinnati post, others had cautioned him not to go. “You’re making a name for yourself here in New York. You’ll give that up if you leave.”

Thankfully, he followed his heart, and classical music has been all the richer.

One of the things I remember is the amber sound he developed, not just in Cincinnati but in some of his other recordings as well – the Metropolitan Opera and even Italy.

As one of this first-chair players once told me, his mantra was, “First it must be in time.” And then the rest could follow. The trills, for example, as miniature roller coasters rather than flutters.

The former first cellist told me he received eight coaching sessions a week as a young player. How remarkable!

Even in the recordings, I still marvel at the entire ensemble playing with more unity than some soloists I’ve heard. If the Cleveland Orchestra was the Rolls-Royce, then Cincinnati was a Ferrari … fast, tight cornering.

He once lamented to a reporter that, at the time, the Cincinnati audience did not appreciate Mozart. He was one of the greatest Mozart conductors, ever.

And then there were his discoveries, beginning with Erich Kunzel and James Levine, who achieves some of the sound I associate with Rudolf.

There is, after all, a theory that your ideal orchestral sound is the one of the first great orchestra you heard. For me – and I believe, Levine – that’s Cincinnati.

Unfortunately, Rudolf came down with hepatitis, blamed on seafood during his summer in Maine, and that cut short one season and more. In his place came the Michigan native Thomas Schippers, assuming his first and, lamentably, only orchestral leadership post. As Time magazine lamented, the operatic master Schippers could not take over the Metropolitan Opera when the opening occurred because he was tied down in Cincinnati. And then, all too early, both Schippers (an addicted smoker) and his wife died of cancer. He was 47.

I can only assume Rudolf had been somewhere in the background pushing for Schippers’ appointment, and no doubt did the same in getting the young James Levine a position in Cleveland under Szell.

Rudolf went on, in part at his friend Rudolf Serkin’s urging, to create an opera program at the Curtis Institute in Philadelphia, and then a conductor’s program there. Among his prodigies on the podium are Robert Spano, Michael Stern, and Paavo Jarvi, who later spent a decade at the helm in Cincinnati.

~*~

Back now to James Levine, who went on to the top of the conducting world. The story I want to hear is what role Rudolf had behind the scenes. In Levine’s music-making, I hear Rudolf as well – the sound of the musicians making music together (a center of gravity back in the band, not simply at the podium). And the warmth, that amber sound in the strings I so admire.

Levine more or less moved into Rudolf’s earlier role at the Met, but then he expanded it all into his own. Aficionados can argue all they want, but both Rudolf and Levine will probably wind up in the top two dozen opera conductors ever.

Just as Rudolf did in Cincinnati, Levine later restored the Boston Symphony to its glory. Its sister band, the Boston Pops, had its own Rudolf legacy – Keith Lockhart, who came by way of Kunzel, that former Rudolf assistant.

I hate to think what might have been lost if Rudolf had followed the advice not to go to Ohio. Could he have exerted the same influence in Manhattan? I doubt anyone could.

ALONG THE MISSISSIPPI

On my Monday free of the office, I drove up the palisades to nose around a picturesque river city in dull, mid-October weather. Looked at the signs. City Fish Market – Fresh or Smoked, down along the water. “Bill’s,” one door said; the other was “Private.” Down the main street from Doug’s Steak House, which was supposed to be THE place for Mississippi catfish, the town school stood in front of Lock and Dam No. 10.

I pulled into the Corps of Engineers parking lot as the Jack Wofford pushed its barges into the lock, noticed an observation tower, and climbed up to a deck  occupied by mostly married retirees. But in the corner, more my age, was a woman in a London Fog trench coat and big boots, her long, black hair blowing in the cold wind. For a while I wondered if she was part of the pairs and quartets of older folks with their cameras who had come to view the autumn foliage and poke around the gift shops and galleries. She turned her head, noticed me briefly, turned back several times. Between twenty-five and thirty-two, I guessed. Proper makeup, classy.

Then, on the riverboat, a cook appeared at a door and fired back with his camera.  She laughed.

Once the retirees beside her left, I asked her how the crews got their three lengths of barges – 3×3, for nine in all – out of  the locks. “I don’t know,” almost a question. “I’ve never been here before.”

This time I noticed her crooked teeth. Began to wonder about games.

The cook emerged again, this time from the pilot house, and threw something, calculating for the wind. The object curved sharply at the last moment, into her fine catch. She unwrapped it a bit, saw it was a brownie with a phone number and address inside. She giggled to another old couple: “I think he’s had a lot of experience.”

Once the riverboat churned out of the lock, she descended to a powder blue Ford Torino, donned kid gloves with little holes for driving, and drove off.

The wrapper around her plates left me wondering if she was from the Henry County in Iowa or the one up in Minnesota.

I was left wondering, of course. Why so dressed up? And free on a Monday? That wasn’t a typical single person’s car. A professional, between stops? An art major, who gave it up for money? A government worker, with Columbus Day free? Off to a sweet rendezvous? Delightful divorced? Bored, with kids?

Me, at the time, with my own wife a thousand miles to the west, presumably finishing college.

THE MISSING VOICE

A central problem for newspapers in the past half century is that they became increasingly homogenized and thus lost their distinctive, individual identities. Admittedly, that was always a problem when people saw it as “the paper” rather than the Times or Post or Chronicle or Herald and so on. But in the days when a city would have two or more daily newspapers, each one needed to have some unique identity to set it apart in the marketplace. Sometimes it was along party lines – Republican or Democrat – or social identities, such as blue-collar or proper society, but often it also meant the kind of news that was emphasized: national and international, for instance, versus local. And hometown columnists were always a voice that readers could count on. Think Herb Caen in San Francisco, Mike Royko in Chicago, or Jimmy Breslin in New York – or any of the great sportswriters.

In those days, newspapers were thinner than they became in the last decades of the 20th century – often just two sections – rather than the four to eight that followed in the great mergers and closures that led most cities to have only one daily journal. Much of that problem, we should note, could be blamed on the “unduplicated readership” that ad-space buyers relied on in allocating their budgets. No matter how marvelous the Washington Star was in its final days, or the suburban Journal papers were in the counties around the city, they couldn’t overcome that hurdle – when it came to outright readership, the Washington Post had the monopoly. Since everybody had to read it, there was no point in advertising elsewhere.

With few exceptions – New York, Boston, Chicago, Philadelphia – we’re left with single-paper markets where the product looks and reads like those everywhere else, except that the stories take place there than elsewhere.

As the local newspaper more and more became a one-size-fits-all model, what I no longer heard was the feeling that it “speaks for me” or my section of the wider community. And now, even those special voices within its pages are no longer there – one by one, the columnists were never replaced.

The newspaper I longed to create had little resemblance to that bland crime-and-crashes emphasis that too often prevails these days, in place of more difficult and costly investigative reporting or a bigger view that critically examines education, the fine arts, social justice, the environment, and so on.

It’s hard to get excited by what’s there. And we wonder why circulation kept declining even before the Internet?

This is, I should note, a contrarian viewpoint, since the publishers kept proclaiming the “improved service” each time they merged two papers into one. So here we are, online and blogging.

~*~

Hometown News

To find out more about Hometown News or to obtain your own copy, go to my page at Smashwords.com.