Friday, June 20, 2008

Summer Makeover in Orlando

From LA Observed:
Sam Zell's Orlando Sentinel has unveiled its new more colorful and "get to the point" redesign. The editor of the Chicago Tribune today told her staff that the paper will remake itself and do it at unheard-of speed for a complete redesign: launching in 90 days. Meanwhile, Zell's COO Randy Michaels was at the L.A. Times this week, leading to tense closed-door meetings all over the place and fueling all sorts of rumors. The details of staff and page cuts threatened for this month have yet to be announced, but they are nervously awaited. The anony-blogger at Tell Zell has launched an effort to investigate Zell's handling of the pension funds, and asked questions about the lease of space to Zell's sister. Sphere: Related Content

Weegee: A Summer Snapshot

Weegee's photos from the 1930s and '40s defined Manhattan as a film noir nightscape of gansters, bums, slumming swells and tenement dwellers.
Click photo for Video.

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Saturday, June 7, 2008

Well, can you write?! he wants to know.
"Oh, Mr. Richardson!" I cooed.
"I can write like a son of a bitch!"

Some summer reading ...

"Jim Murray: An Autobiography" (MacMillan, 1993). Following are two separate, but related, excerpts from early in the journalistic career of the Los Angeles Times' Pulitzer Prize winning sports columnist. Jim Murray passed away in August, 1998.


I was a Depression child. With all that connotes.

That means you never trust the system again. You know what can happen to it. That means you go through life never able to fully enjoy it. That means you have an ever-present sense of foreboding. I don't know how it affected other people but I have never been off a payroll in my life. I'm sure I would get the shingles if I didn't know I was getting a paycheck every day. I never quit a job in a huff. I swallowed guff.
I don't recommend it. It's just the way I was. A legacy of hard times, constant fear of the future. I was disgusting. Good Soldier Schweik. That's because the most terrible thing in life to me was to be out of work. I had seen what it did to people. To families. To marriages.


If someone had promised me in 1939 that I would make $32.50 a week for life if I would sign a paper, I wouldn't have hesitated.

I noticed in later life all those people who said money wasn't important to them always had plenty of it. I don't apologize for it but I never quibbled on a contract in my life. I was a terrible businessman. What I was, was a wimp.

But I knew I was a writer. When I arrived in Los Angeles in January 1944 I was the greenest of greenhorns. I had on a rust-colored overcoat you could have worn in the Bering Straits (and the temperature outside was in the eighties), wing-tip shoes, button-down collar and maybe a vest. Do you know where City Hall is? glowered the city editor, James H. Richardson. No. Do you know where the FBI is? No. Do you even know where Figueroa Street is, for cryin' out loud? No, sir. Richardson threw his pencil down. Well, can you write?! he wants to know. "Oh, Mr. Richardson!" I cooed. "I can write like a son of a bitch!"

I got the job.


_ _ _


In many ways, those were my happiest journalistic years. God we had fun on the old L.A. Examiner. It was a Hearst paper and the literati looked down their noses on it but we pulled all the stops on murders, suicides, public scandals and, particularly, on Hollywood stories. L.A. was exciting. The world was in flames. We told it all in dripping red headlines.

The city editor, Jim Richardson, was a one-eyed, iron-lunged, prototypical Hearst city editor, a tyrant of the city room. But he liked the way I wrote and for a time I was the youngest rewrite man in the whole Hearst chain, a fact of life that so irritated another rewrite man, Reggie Taverner (who had been Aimee Semple McPherson's press agent), that he quit. And loudly consigned Richardson to his "bobo" (me). Earlier, before he got too angry at me, I remember Reggie telling me one of the secrets of Aimee's ministry was that she was a practicing nymphomaniac.

I can tell you all you need to know about Jim Richardson with one anecdote. In the Black Dahlia murder, in which a young army camp follower, Elizabeth Short, was found slain and cut in half on an empty lot in L.A., the Examiner was able to score a scoop in identifying her by means of wirephotoing (a fairly new process at the time) her fingerprints to the FBI in Washington.


Armed with her identity, Richardson instructed a reporter, Wain Sutton, to telephone her mother in Massachusetts. "Don't tell her what happened," he instructed, "tell her that her daughter's just won a beauty contest at Camp Roberts. Then get all the information on her."

Sutton did as instructed. The mother happily confided her daughter's life history. Then Sutton put his hand over the mouthpiece. "Now what do I do?" he wondered. Richardson looked at him wickedly. "Now tell her," he purred. Sutton looked at him. "You miserable son of a bitch!" he said. Richardson just smiled.


I wrote that Richardson was such an unholy combination of Attila the Hun and a literary light that another rewrite man, Hank Sutherland, once dubbed him Half-Oaf, Half-Elf.

We had sob sisters, we had sacred cows. But most of all, we had fun.

--Hat-tip to Jerry Clark, OFS
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Thursday, May 15, 2008

"Whaddya cryin' for?" Breslin goes.
"Shut up and write."

And so, the semester comes to an end. Grades have been submitted. One hopes that students have pocketed at least a few gold coins of knowledge with which they can pay their way into the future. It won't be easy. But you will find your way.

What's the next step? Why not this Summer class:
  • JOUR M03 -- Advanced Media Reporting and Writing, MTWTh, 8-11:20 a.m., May 19-June 12
Or this Fall class:
  • JOUR M10A -- News Media Staff, TTh, 11:30 a.m.-12:50 p.m., Aug. 18-Dec. 17

I leave you with this from the Boston Globe.

Jimmy Breslin

Whadda they know?

When I was a cub reporter at the late and much-lamented Transcript-Telegram, I got sent to cover a homicide in one of the less salubrious sections of Holyoke, which is so far west of Boston that some people in Beantown think it's in Montana.

There was a subdued crowd outside a tenement. A cop told me there was a party, and a gentleman by the name of Antonio Sierra had taken liberties with the host's wife. The host had responded by plunging a very large knife into Sierra's chest.

I raced back to the paper in my rust brown 1973 Buick LeSabre and typed these words:

"Chivalry is not dead, but Antonio Sierra is."

It never made the paper.

"We can't run this," an editor said.

Edna Buchanan won a Pulitzer writing stuff like that. But, to paraphrase Lloyd Bentsen, I knew Edna Buchanan, and I'm no Edna Buchanan. A more sober and straightforward account of Sierra's unfortunate demise was published instead.

I got to thinking about Sierra and the hit-or-miss exercise that is writing last week after I wrote about my old Catholic school. The school is 100 years old and I thought it would be fun to go back for a visit with my classmate Dommy D'Angelo.

The column had been put to bed when I got a call from Ellen Clegg, a very fine editor at The Boston Globe.

"About this 'me and Dommy' line," she said.

I told her that while "me and Dommy D'Angelo were standing outside the vacant convent" was grammatically incorrect, it was done for literary effect. I told her I wanted to evoke a time and place, a voice. I assured her we have a very literate readership, and surely they would recognize this as a literary device.

There was a long silence. Besides being a good editor, Clegg is a good person and I have no doubt she was thinking, "This guy's nuts."

To her eternal credit, and not for the last time, Clegg tried to save me from myself.

But I listen to editors about as often as I listened to the nuns. The column ran and the grammar police issued a warrant for my arrest. The charge was writing like a moron.

It's one thing to have some aggrieved pol yelling down the phone. It's quite another to have retired English teachers leave death threats, saying that if you're gonna kill the language, then you, too, must die.

I was feeling sorry for myself, so I called Jimmy Breslin.

Breslin is a very famous newspaperman from New York City. He is an iconoclastic writer, so I knew he'd be sympathetic.

"Whaddya cryin' for?" Breslin goes. "Shut up and write."

Breslin got famous when President Kennedy got assassinated. There were a million reporters covering the funeral, each one trying to outdo the other with big words to capture the tragedy of it all. Breslin found the guy who dug Kennedy's grave and it was the only story about Kennedy's funeral you needed to read.

Breslin's 15th book is called "The Good Rat," and if you haven't read it, that's your loss. It's about a gangster named Burton Kaplan and it's funny and it's sad and it tells you a lot about life.

Breslin writes as he speaks, the Queens English, which is the English spoken in Queens, N.Y. Breslin is approximately 150 years old but he writes every day, and if he ever stops writing he will die, and I don't want that to ever happen.

"The nuns told me never start a sentence with and, so, but, or because," Breslin is saying, actually yelling, down the phone. "And so I spent my whole life starting sentences with and, so, but, or because. They're nuns, not writers. Whadda they know?"

Whadda?

James, James, James. Such language. You'll never get anywhere speaking like a ruffian.

Kevin Cullen is a Globe columnist. He can be reached at cullen@globe.com

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More Media Miscellany...

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