Pitmen Painters Portrayed by Dramaworks

The life of a miner is like no other. Miners are born into a mining family. Their fathers did it before them and their fathers before. It was the lucky son who broke away, but most miners did not leave, could not leave, and they slogged through their days, and those who did not die because of mining accidents, could be expected to die at an early age because of black lung disease from coal dust, or live with emphysema or chronic bronchitis. As hostile as the environment was to the body, it also wrecked the soul.

The Pitmen Painters is a true story about English miners who in 1934, with the assistance of the "Workers Educational Association," engaged an academic art teacher, Robert Lyon, for an "art appreciation" class, but as these workers had never even seen a painting, and didn't have the vocabulary to discuss painting, Lyon turned it into a class of "doing" painting instead of teaching. Their first assignment was to paint something that relates to their work, which of course is the only thing they ever had known. From that point they went on the most unlikely artistic journey as a group, which is what the play is all about, unleashing their individual creative spirits. Although the painting miners embrace their new passion, they still go back to the mines to work each and every day.

The play is by Lee Hall, creator of the film and musical Billy Elliot. Hall grew up in Northumberland in northeast England, the home of the great mines that fueled the industrial revolution. By chance he came across a copy of The Pitmen Painters by William Feaver in the bin of a bookshop on the Strand near Covent Garden, a familiar a scene to me as our UK publishing distributor was at 3 Henrietta Street and I can imagine his thrill discovering the work nearby. The play was inspired by Feaver's history.

It is an interesting choice of properties by Bill Hayes, the Producing Artistic Director of Dramaworks which is in the middle of its first season at its new theatre on Clematis Street, also its most successful season, artistically and commercially. The basic staging is a simple barren brick meeting hall of the Ashington miners which serves perfectly for the many scene changes in conjunction with the overhead visual projections which illuminate the various paintings that scroll by during the evening.

And the play is brought to life by its director J. Barry Lewis, taking full advantage of Dramaworks' new larger stage and its new audio visual technical muscle, with the "help" of the Production Stage Manager, James Danford, who thinks of his role during rehearsals as "executive secretary" but on opening night is promoted to "Captain of the Ship." And, indeed he is Captain (although, as a disclaimer, we saw the first preview; opening night is not until tomorrow) as the play progresses through a fluid chorography of audio visual montages. In other words, the scenic design is an ever changing one, the timing of the changes critical to the movement of the play and the role of the actors. At a "lunch and learn" before last night's first preview, J. Barry Lewis noted that "the design of the play is a work of art itself." Indeed it is, and its intricate interactive nature will undoubtedly improve with the passing of repeated performances.

There are many themes that Hall deals with, class immobility, socialism, the drudgery of the mines juxtaposed to the ethereal nature of art, but the tension of the play comes from the rights or expectations of the individual vs. the group and Hall combines this with a shrewd sense of humor and timing. In fact most of the play's miners frequently have comic roles in contrast to the one who succeeds most as an artist, Oliver Kilbourn. I loved the exchange between Oliver, the "student" and Robert the "teacher" who, when sketching Oliver, is criticized by Oliver for not capturing his essence as a human being. The student becomes the teacher. Societal class becomes topsy-turvy.

As the art establishment eventually "finds" the Pitmen Painters -- and they had a number of exhibits which encompass much of the play -- their fame gives Oliver an opportunity to leave the group to become a professional artist when he is offered a stipend, more than he is paid in the mines, by a wealthy art benefactor, Helen Sutherland. This becomes the core dramatic element of the play, as Oliver agonizes about leaving the group and everything he knows -- after all, mining is his "family" -- and the group itself debates on whether that is proper and who "owns" the paintings, the individuals, or, as is argued by George Brown, who represents the Workers Educational Association, the Association itself. Ironically, Oliver meets a professional painter he has admired, Ben Nicholson, a member of the British educated class, and who is also the recipient of a stipend from Helen. But it is Nicolson who professes his admiration of Oliver as he is "free," unbounded by the shackles of being attached to a patron. So Oliver does not become dependent on Helen and remains the "miner-painter."

After WW II the group eagerly looks forward to the benefits of socialism, the National Health Service, and the continuing support of the Workers Educational Association. But change is underfoot and by 1984 the group is disbanded, but not without their realization of what art has meant to their lives, as a group and as individuals. In our own economic times, when government is so eager to undermine the support of the arts under the guise of economic prudence, there is much gleaned from this play.

I offer an observation which is not a criticism per se, but a characterization of the play. When towards the end Oliver again meets Helen at one of the exhibits of the Ashington miners, she is more critical of the group's work, saying it lacks a certain "sexuality" or passion. The play itself leaves something wanting in that area. It is a wonderful dramatized story, well worth the 2-1/2 hour running time, including intermission -- and never a dull moment -- but Pitmen Painters is not great drama per se. Nonetheless, Dramaworks makes it great theatre.

Professionalism characterizes Dramaworks' productions and this is no more evident than their choice of actors, in this case all members of Actors' Equity, and many veterans of previous Dramaworks productions or other South Florida stages. Foremost, is Declan Mooney's heartrending portrayal of Oliver Kilbourne's journey from naiveté to knowledgeable artist. He is the dramatic center of the action. Two other Dramaworks veterans, Dennis Creaghan (George Brown) and Colin McPhillamy (Jimmy Floyd) demonstrate outstanding comic timing which is so important to the play, the perfect offset to the weighty themes of the production. John Leonard Thompson (Robert Lyon) plays his role as the London art instructor with intensity and sensitivity toward his unlikely students, a stark contrast to his role as "Teach" in American Buffalo, showing his range. Newcomer to Dramaworks (but highly experienced actor who acted once with my heart-throb, Ann-Margret) Rob Donohoe (Harry Wilson) is perfect as the impassioned Socialist who remains a member of the group even though he can no longer mine as he was gassed in WW I and has a breathing disorder, becoming, instead, the group's "dentist" providing still other comic opportunities. Joby Earle competently plays two roles, "the Young Lad" and Ben Nicholson, and last but not least, the two women in the play, Kim Cozort (Helen Sutherland) and Betsy Graver (Susan Parks), were professional in every way and incandescent against the stark stage in their costume designs by Erin Amico.

And kudos to the Dialect Coach, Ben Furey, who helped to make the Ashington accent believable but intelligible to the South Florida audience, and the actors who assimilated that difficult accent.

Yet another memorable night at Dramaworks, South Florida's finest theatre.

Operation Sail Bicentennial

It is a never ending cornucopia of photographic treasures I still continue to uncover decades after my father's death. I had thought I had seen them all, but found another box marked "pix from Dad's room" squirreled away in a remote part of a closet. Many are old family photographs but some are of the city he worked in all his life, New York, and, particularly, several 8 x 10's of the Operation Sail Bicentennial, all taken from the air. I have no idea whether he just knew a photographer who took these and my father only developed and printed them at his commercial studio or whether he himself did the photographing as well as the printing (they are definitely prints from his studio). A few are just too iconic not to publish in some way, so I've scanned them, including one of the twin towers majestically overlooking the Hudson River only a few years after they were completed.

World Trade Center, Bicentennial 1976

USCGC Eagle and the USS FORRESTAL, Operation Sail Bicentennial 1976

Statue of Liberty, Bicentennial 1976

The Christian Radich, Operation Sail Bicentennial 1976

Verrazano Bridge, Bicentennial 1976

Cruising and Reading

Put me on a boat (a ship in this case) and give me a book and I am a happy man. And that about describes last week's cruise to places we've been before, San Juan, St. Thomas, and St. Maarten, the ship, Celebrity's Solstice, being a destination onto itself. We planned this trip with our good friends, Art and Sydelle, a couple we met on our very first cruise out of Ft. Lauderdale in 2000 on the Century. They are retired NYC teachers. If it were not for meeting them, becoming good friends, it is unlikely we would have taken last week's trip.

Travelling with them is an endless feast of chance meetings of acquaintances from their childhood, or from their days as teachers. They both grew up in Brooklyn, became engaged while at Brooklyn College, and Brooklyn folks from those days are like a tribe. Many have now migrated to South Florida, the starting point of the cruise. It's like radar; they can look at another couple and identify them almost instantly and, then, chances are they either know them or someone in common. ("Hey, I went to New Utrecht HS in Bensonhurst. We beat your school, DeWitt Clinton for the 1953 Championship at Madison Square Garden in overtime!")

Contrast that with us. I like to say I'm from NYC, but I grew up in Queens which any true New Yorker will tell you was a place where people lived who aspired to move to Long Island. Ann grew up in Atlanta although she moved to Manhattan sooner than I did. We rarely encounter people from our past.

And, if it were not for the fact that we celebrated out 40th wedding anniversary on board the Solstice two years ago, which, for us, lived like a small ship as we were in their "Aqua Class" category and loved the experience, we also would not have gone on this cruise: the ship and category being the main reason.

I like to joke that the main benefit of "Aqua Class" is being able to swim alongside the ship (rimshot, please, ba-dum-TSH), but we normally like to travel on smaller ships, and although the Solstice is 122,000 tons, accommodating 2,850 passengers and a crew of 1,500, it "lives" like a smaller ship. One of the reasons is their "Blu" dining room, available only to Aqua Class (about 150 staterooms so designated). Therefore, Blu is less frenetic than the Main Dining Room which serves the remaining passengers - with the exception of several specialty restaurants which all have an extra charge. The food in Blu was uniformly excellent, geared to a more healthy life style, smaller portions but beautifully presented. The dining room itself becalms the occupants, large windows, with the sea rolling by, uniquely shaped plates, and the signature white rose sculpture on the wall. Breakfast is served there too with the same relaxing ambiance.

Another desirable feature of the ship is the solarium, with pan flute music in the background, spa like cuisine offered for breakfast and lunch, dancing waters display, it's own pool and Jacuzzi, with very comfortable lounge chairs for relaxing or reading, and although this section is available to all, no children allowed! We're always amazed that more people do not seek out this section of the ship, but I suppose most booking a Caribbean cruise are seeking the sun and the tumult of the main outside pool. We're glad they do.

Another nice feature of Aqua Class is the availability of the heated tile beds, a perfect place to lie down and absorb the heat on tired muscles and listen to the soft, unobtrusive music. An easy place to fall asleep, as Ann did on several occasions. My own routine was to start the day at the gym as the sun rose, trying to get in at least a half hour on the treadmill at jogging speed, something to challenge my new unobstructed arteries and to neutralize the diet which, although "healthy" is far richer than I'm accustomed to.

So much of the days at sea, and even some of those in port, were spent in the solarium where I could dig into a good book. Reading preparation is a fun part of the trip for me as I can get a lot read on board, more so than I can at home. I was eagerly looking forward to making my main read Sondheim's second installment of his composing life, Look, I Made a Hat. I had read his Finishing the Hat, remarking that it was "one of the most remarkable documents of the theater that I've ever read."

However, when I picked up Look, I Made a Hat, its sheer heft of almost three pounds acted as a deterrent, not wanting to lug it around on such a trip. Also, it is a beautiful book and the thought of reading it in a wet bathing suit was abhorrent. If I haven't succumbed to a Kindle, I'm not going to desecrate an exquisite book as well.

If the Sondheim book was not to be my main read, I needed another from the stack of books I sequester for future reading. Or, to use a baseball analogy, I went to the bench and called up another heavy hitter, Jane Leavy's The Last Boy; Mickey Mantle and the End of America's Childhood. I had been introduced to Leavy's other biographical work on Sandy Koufax by our traveling companion, Artie. Leavy's biography of Koufax was excellent; The Last Boy is a work of great passion and meticulous scholarship.

How do you write an objective biography of a legend, one who you've worshiped as a kid? That was Leavy's challenge. But by telling the truth, Mantle with all his foibles, and there were many, she actually enhanced the legend.

Mantle's career in some ways is a real life version of Bernard Malamud's The Natural, published in 1952 only a year after Mantle's rookie season. Roy Hobbs is shot by a strange woman, while Mantle has his knee blown out by a drainage ditch in Yankee Stadium chasing a fly ball and trying to avoid running into the Yankee patrician, Joe DiMaggio, playing out his last year. Mantle and DiMaggio were never friends. Unlike Hobbs, Mantle did not have a "Wonderboy" bat, but his "Wonderboy" was a surfeit of guts. He played hurt when today's ballplayers would be seeking R&R. He played with a family history of illness and early death, and battled osteomyelitis throughout his career.

The book is as much a love affair as it is a scholarly biography, successful on both counts. And for me, it conjured up my own childhood, my own worship of Mantle, and my own indebtedness to baseball. As I was always one of the smaller kids in my neighborhood, I could not hit for power so I became a pitcher, and a crafty lefty has some advantages. At first I copied Eddie Lopat, one of the "Big Three" of the Yankees' pitching staff, which included Allie Reynolds and Vic Raschi in the early 50's. Lopat was known as "the Junkman." He was small for a pitcher and did not have much of a fastball, so specialized on the slow curve, thrown at different arm angles, and the screwball, and so did I. Another lefty, Bobby Shantz, became my hero in high school, after he was traded to the NY Yankees from KC. and like Lopat he used crafty off speed pitches to his advantage. In fact Shantz was one of the Yankees interviewed for Leavy's biography, one of about one hundred. Those names brought back memories of those glory days when the Yankees, the Giants, and the Dodgers all played in NY and we argued about who was the greatest centerfielder, Mantle, Mays, or Snider. I think Leavy answers that question (read the book to find out!).

Leavy's work is more biography than a recounting of the great baseball moments of the Mick's life, although it is that too. Mantle came from a dysfunctional family, the father controlling his life (before and after his father's early death). What "Mutt," the Mick's father thought or would think became pivotal to Mantle and one of the factors of Mantle's alcoholism. And Mick was a real "good ole' boy" a carouser who felt most comfortable with the guys in the locker room and not with his family. Even after hanging them up, he spent more time on the road, frequently with other women leaving his wife at home. He paid. His family paid. But one thing about Mantle in addition to his baseball ability, he was loyal to his friends, fiercely loyal, and generous as well. Overall, you have to admire him, and hats off to Jane Leavy for a brilliant biography, walking the line between adulation and scholarly criticism. And Leavy went one step farther in analyzing her subject, by bringing in experts on the mechanics and the physics of the sport.

As a poor hitter in my brief baseball career, I always wondered how in the world anyone could hit a fast ball being thrown only sixty feet away, and downhill from a mound as well. And how could anyone hit it like Mantle. To answer that question, Leavy interviews experts, concluding that Mantle hit "with felonious intent:"

In an effort to pin down how Mantle generated such power, I asked Preston Peavy, a techno-savvy hitting coach, to analyze Mantle's form, using the visual motion-analysis system he created for his students at Peavy Baseball in Atlanta. He converted film and video clips of Mantle into a set of kinematics, moving digital stick figures that show the path of each part of the body as it moves through space...(To view the kinematics, go to www.peavynet.com or www.janeleavy.com.)

A 90-mile-per-hour fastball doesn't leave much time for thought. Traveling at a rate of 132 feet per second, it makes the sixty-foot, six-inch journey from pitcher to batter in four-tenths of a second. The ball is a quarter of the way to home plate by the time a hitter becomes fully aware of it. Because there is a 100-millisecond delay between the time the image of the ball hits the batter's retina and when he becomes conscious of it, it is physiologically impossible to track the ball from the pitcher's hand to the catcher's glove. David Whitney, the director of the Vision and Action Lab at the University of California, Davis, explains: "A 100-millisecond delay doesn't seem very significant. But if a baseball is traveling at 90 mph, that translates to around fifteen feet. If we perceive the ball fifteen feet behind where it's actually located, the batter has to start his swing very early on in the baseball's trajectory."

Neurologically speaking, every batter is a guess-hitter. That's where implicit memory comes in. The ability to infer the type of pitch and where it's headed with accuracy and speed is inextricably linked with stored experience-the hitter has seen that pitch before, even if he can't see it all the way. Add the reflexes to respond to that memory and a visual motor system that allows the batter to react on the fly to a change in the trajectory of a flying object, the right DNA, and Mutt and Grandpa Charlie out by the shed throwing tennis balls, and you have Mickey Mantle.

Every at-bat is a dance of double pendulums. The pitcher leads, using his body as a kinetic chain to deliver energy from his legs through his trunk into his shoulder, arm, and, finally, the ball. The batter follows, reacting in kind. The converging and opposing forces may or may not be equal, but the goal is the same-to turn potential energy into kinetic energy as efficiently as human physiology allows.

The pitcher has the inherent advantage of foreknowledge-he knows •what he's going to throw-and he has the downward slope of the mound to generate momentum. With only flat ground and muscle power at his disposal, the hitter creates force by twisting his upper and lower body in opposite directions like a rubber band. When that human rubber band is stretched taut and is ready to snap, it uncoils, propelling the bat through the strike zone.

This deceptively simple act is an intricate biomechanical task requiring the coordinated mobilization of virtually every muscle in the body in than a second. "Everything but the chewing muscles," said Dr. Benjamin Shaffer, a specialist in orthopedic sports medicine and head physician for the Washington Capitals. "Unless you grit your teeth."

Nobody gritted more than Mantle. Lefty or righty, he swung with felonious intent.

I just could not get enough of The Last Boy, and even read the Acknowledgements, Appendices, and Bibliography in detail. I did not want it to end, but it did, as did the last boy's life, riddled by cancer, and not long after he had successfully ridded himself of alcoholism. Moose Skowron, Hank Bauer, Whitey Ford, Johnny Blanchard, and Bobby Richardson (who was then a minister) were with him near the end, but he was with his son, David, and his wife Merlyn at the very end, dying on Aug. 13, 1995.

Such a downer, so I turned to a novel, How To Be Good by Nick Hornby, an English writer. I had picked this up because Jonathan Tropper is touted as "the American Hornby" and as I admire Tropper, I had to see/read for myself.

And I can see why there is the comparison: like some of Tropper's work it almost reads like a screenplay with a similar sardonic sense of humor. And like Tropper it is a fast read, a story of midlife crisis and its effect on the nuclear family. As the main character says: "We are the ideal nuclear family. We eat together, we play improving board games instead of watching television, we smile a lot. I fear that at any moment I may kill somebody." Interestingly, it is written in the first person by the female protagonist. How Hornby can do that so effectively is a mark of a good writer, although at times I had the problem of thinking to myself, is this really how a man might think about how a woman thinks?

But it is the humor, or the truth in humor that is Hornby's strong point, such as his riff on organized religion, as expressed by our heroine, Katie, who in the midst of her crisis decides to go to a church, any church, with her daughter, Molly, although she has rarely gone to church and needs to pick one randomly. She describes her experience after arriving at a nearly empty service at a local Church of England ("C of A"):

I start to drift off. I have never been to an ordinary church service before. I have been to weddings, funerals, christenings, carol services, and even harvest festivals, but I have never been to a bog-standard, nobody-there Sunday service.

It all feels a long way from God-no nearer than the bring-and-buy sale would be, and much farther away than I imagine Molly's friend Pauline is at this precise moment. It feels sad, exhausted, defeated; this may have been God's house once, you want to tell the handful of people here, but He's clearly moved, shut up shop, gone to a place where there's more of a demand for that sort of thing. And then you look around and wonder whether the sadness isn't part of the point: those who are able to drag themselves here once a week are clearly not social churchgoers, because there is nothing social happening here. This isn't a place to see and be seen, unless opera glasses are placed on the backs of the pews. You'd have to walk twenty yards to shake somebody's hand. No, these people are the hard-core, the last WASPs in Holloway, the beaten and the lonely and the bereaved, and if there is a place for them in the Kingdom of Heaven, they deserve it. I just hope that it's warmer there than here, and there is more hope, and youth, and there is no need for bring-and-buy sales, and the choir of angels isn't singing elsewhere that day, but you rather fear it might be; C of E heaven is in all probability a quarter-full of unhappy old ladies selling misshapen rock cakes and scratched Mantovani records. Every day of the week, for all eternity. And what about the nice lady reading the notices to us? Is she ever dispirited by her hobbling, careworn flock? I thought that I could detect a touch of weariness, maybe even despair, during the appeal for flower arrangers, but maybe this is because flower arranging is not her thing.

Despair in humor. You get the point. As to the rest of the novel, a worthwhile read, no sense going into more detail here as reviews are readily available on line. I'll read another Hornby book again.

I finished my trifecta of books during our seven day cruise by going from the satiric to downright despair, the path of Philip Roth's most recent, novella length works, and in this instance his The Humbling. In a sense it completes the circle, the sunshine of youth as Mantle emerges from the playing fields of Oklahoma into the big leagues, the midlife struggles of the modern family in London, to the "loss of magic," decline at the end of life of Simon Axler, a famous stage actor who suddenly loses his acting abilities, a metaphor for life, and tries to resurrect a life with a woman twenty five years his junior, the daughter of one-time friends. As Axler's agent reasons with him, trying to convince him to see an acting coach:

Look...everyone knows the feeling 'I can't do it,' everyone knows the feeling that they will be revealed to be false -- it's every actor's terror. 'They've found me out. I've been found out.' Let's face it, there's a panic that comes with age. I'm that much older than you, and I've been dealing with it for years. One, you get slower. In everything. Even in reading you get slower. If I go fast in reading now, too much goes away. My speech is slower, my memory is slower. All these things start to happen. In the process, you start to distrust yourself. You're not as quick as you used to be. And especially if you are an actor. You were a young actor and you memorized scripts one after the other after the other, and you never even thought about it. It was just easy to do. And then all of a sudden it's not as easy, and things don't happen so fast anymore....So you start to feel afraid, to feel soft, to feel that you don't have that raw live power anymore. It scares you. With the result...that you're not free anymore. There's nothing happening -- and that's terrifying.

So it is with aging and obviously a mordant fixation of Roth in his later works, something I understand. And I guess that is why I still appreciate Roth. I've "grown up" with him as I did with Updike. Roth fights desperately against the gravity of it all, Axler seeking respite in the arms of a younger woman, Pegeen, but as Roth beautifully and concisely writes: "A man's way is laid with a multitude of traps, and Pegeen had been the last. He'd stepped hungrily into it and then the bait like the most craven captive on earth." Roth remains one of the great living American writers.

I've said little about the ports we visited, as we've been to all before, but I will say that St. Thomas conjured up feelings of our visit there almost 23 years earlier to the day, when we did a bare boat charter with our friends, Ray and Sue, visiting many of the American and British Virgin Islands. So here we were again, that many years later on a cruise ship, on the one island that is better known as a shopping port. But our bare boat adventure is imprinted in my mind and remains one of my favorite trips, leaving me to wonder why we haven't done it again.

Life on a big cruise ship is highly regimented. There are lectures, discussions, games, shows, cooking demonstrations (even hot glass blowing demonstrations sponsored by Corning on this ship), etc. and that is probably why I prefer to hide out and read most of the time. One of the exceptions was the talk by the Captain, the most personable one we've met on any of our cruises, Captain Gerry Larsson-Fedde who, unlike most of Celebrity's skippers, is Norwegian, not Greek. He gave a PowerPoint presentation with a question and answer on navigation. The gorilla in the room of course was the Costa Concordia disaster,and the question was finally asked but, as expected, Capt. Larsson-Fedde deferred. The facts are still speculative.

I think after his talk, though, it is more understandable. Capt. Larsson-Fedde described the heavy reliance by large ships on Differential Global Positioning Systems which can triangulate a position within about 4 inches. Electronic charts are constantly being updated, but only for major shipping lanes. The more a ship strays from those lanes, the more likely it will have to depend on paper charts that might have been last sounded decades ago. I recall that the Captain of the Concordia said the rocks were not on his chart. That might be, but the ship had no business being where it was.

The first mate of the Solstice followed that with a talk about the construction of the ship, an outstanding engineering accomplishment. He was there during the entire construction in Germany at the Meyer Werft yards, one of the prime companies for building cruise vessels, some 22 miles from the sea up a relatively shallow river. But this was the largest vessel they've ever built. Amazingly, bridges had to be dismantled to deliver the huge vessel to the open water. There it tested its four Wartsila diesel engines that generate 92,000 horsepower, channeled into two 20.5 MW Azipods that swivel 360 degrees to act both for propulsion, rudders, and stern thrusters.

But the most surprising part of Capt. Larsson-Fedde's "work" on the ship is that he is an accomplished entertainer and hopefully this brief clip captures that aspect of his role:

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Evolutionary and Revolutionary

The digital world has transformed photography in a tsunami of creative destruction. Just ask the 131 year-old company Eastman Kodak which just filed for bankruptcy.

"A Science of Picture Taking" was the title of the brochure to the left, one featuring my father in 1940 -- two years before I was born, three years before he was shipped off to Europe, a Signal Corps photographer -- promoting the family business that was established in New York City in 1866. Although a commercial photographic business, mostly furniture pictured in the brochure, it was indeed a science, the right mix of chemistry, light, arrangement, the optics of the equipment, but, mostly, the skill and knowledge of the photographer. The brochure implores the reader to "look at the illustrations and note the accuracy of detail. Observe how clearly the textures of materials stand out, how wood grains, veneers, carved and decorative designs and construction high points are emphasized. Technical skill and years of experience are essential in the production of photographs of this quality."

How things have changed. The digital age has made everyone a photographer and just from the sheer volume of photographs (aka digital images) taken daily, some really professional quality photographs are taken by amateurs using equipment that is completely automatic.

As I was raised in a photographic family, I've had dozens of cameras in my lifetime, worked in my father's studio as a teenager, and adopted photography as an avocation, but not a profession to my father's chagrin. (Towards the end of one of my earliest blog entries Literature and Family is an essay on my father and why I did not go into the business.)

As a kid I had a Kodak Brownie Hawkeye with a flash attachment, but in high school my father gave me his Speed Graphic, a camera I treasured as it was the mainstay of newspaper photography and I felt like a professional when I used it. I became the photographer for our high school yearbook's candid shots -- not easy as everything relied on manual settings, inserting the film sheet, and cocking and releasing the shutter, and with flash photography, changing the bulbs. There was no time to frame photographs or to do bursts of takes. Digital photography is cheap; take thousands of photographs and keep a few of the good ones. The cost of film and development was prohibitive with the Speed Graphic. Better take the right shot once -- that's the only chance you'll get.

Although I chose a different career I still had the photographic itch and bought the famous Nikon F, probably the most significant SLR in photographic history (my F was bought used, but one in perfect condition, which oddly enough I managed to acquire from Ann's Japanese ex-boyfriend who worked at Nikon), eventually adding different lenses, including zooms, and a motor drive. I also set up a darkroom in our bathroom and began to do a lot of black and white photography, expectantly watching prints come to life in the developer. The Nikon was a logical step up from the Speed Graphic with mostly manual controls, but much more portability and flexibility, until, that camera, too, became too much to haul around. So several years later while in Japan on business I bought a new Nikon FM, more compact and it accepted the Nikon F bayonet mount lenses. Most of the photographs of my sons as they grew up were taken with that camera.

Although I was faithful to Nikon FM during the changeover to the digital photographic world, I could not resist experimenting with one of the early digital cameras, the Sony Digital Mavica which recorded onto a 3.5" floppy disk until I finally "graduated," and left my Nikon behind, to a Canon PowerShot A720 IS (I recall reluctantly deserting the Nikon brand as, at the time, the Canon was the best for the money and for the features -- also the digital SLRs were prohibitively expensive then, something I might have considered if I was a professional). Many of the photographs in this blog of our trips were taken with that Canon (although I also carried a HP point and shoot as a backup).

But I come to the point of this history -- the A720 is too bulky to put in my pocket and when we travel, I wanted the next evolutionary model, and not just a simple point and shoot -- the ones which are the most compact -- as I like to have some control over the camera. A process of elimination brought me to the Canon PowerShot 300 HS. It has most of what I was looking for, a 24mm ultra wide-angle lens and 5x optical zoom and 12.1 megapixels so what I can't zoom in on optically, I have a digital alternative, all of this in a package of about five ounces, less than 1 inch thick. Simply amazing. The big selling point for me was its low light capability. How often have you been someplace where flash photography is forbidden or it is simply intrusive? My one regret is it has no viewfinder, but its viewing screen is bright, even in daylight, so compromise was necessary.

Immediately after unwrapping the camera we went to the Art Palm Beach Exhibit at the West Palm Convention Center, and although I am just learning of its myriad features, I had the opportunity to try it out, including some videos. The photographs in this entry are from the Exhibit, except for the very first I took setting up the camera, a low-light experimentation shot as I sat in our family room (reflection of me in the right side of the photo) using only a 100 watt bulb to capture the family room and the kitchen beyond:

I wonder what my father would think of today's digital photographic world. The evolution is truly revolutionary.

Truncated videos of art videos at the exhibit for demonstration purposes only, all rights reserved by their respective galleries, as are all photographs from the exhibit in this entry...

The following document is from the 1950's, when Kodak was king.....

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The Politics of Entitlement

Mitt Romney calls it the "politics of envy." "The rich are different than you and me" to quote F. Scott Fitzgerald, but, let me assure you, contrary to Hemingway's rejoinder, it isn't just because they have more money. There is a sense of entitlement, something one (they) can "talk about in quiet rooms" but never in public because the rabble might grumble. The full quote from Fitzgerald's, The Rich Boy, beautifully tells about this kind of wealth: Let me tell you about the very rich. They are different from you and me. They possess and enjoy early, and it does something to them, makes them soft, where we are hard, cynical where we are trustful, in a way that, unless you were born rich, it is very difficult to understand.

Oh, to be a fly on the wall of Romney's campaign headquarters, advisors pouring over his tax returns trying to determine if they should be released, and, if so, when, how many, in what detail, and what explanations (spin) should accompany them. Bring on the Madison Avenue types to brand and package his wealth as a sort of "Romney Success Cereal." I am "successful" (i.e. "rich"). Vote for me, and you can be like me with a nice looking Father-Knows-Best family thrown in for good measure!

His tax returns are probably hundreds of pages and there may be multiple returns depending on how he has set up Family Limited Partnerships, etc. They probably reflect some form of tithing as by "Commandment of God" Mormons are expected to pay 10% of their gross income to the church -- including income from trust funds and food stamps (no chance of the latter) to be a member of the church "in good standing" and therefore receive its "blessings."

While religion should not be an issue in this or any election, and I will vote for any candidate I think best suited for the job, no matter what the religion, even (gasp!) an atheist, undoubtedly this is an issue for the American electorate (which would never elect an atheist), and therefore what is revealed in Romney's tax return may have a bearing.

But, mostly, it will be about how his tax handlers may have manipulated the issue of earned vs. unearned income. And this cannot be determined by one year's return. When asked about his intentions to release multiple years' tax returns at a recent Republican "debate" he chortled with his patented disingenuous laugh, "maybe." In fact, every time his wealth comes up as an issue he looks like a deer in the headlights, trying to portray himself as having lived "real streets of America" and having come from modest means (father, president of American Motors, and later Governor of Michigan).

The greater the wealth the greater the opportunity to shift income between "earned" (taxed up to the maximum 35%) to "unearned" (income from investments and in private equity, "the carry" which is taxed at 15%) It was not long ago when those figures were approximately in equilibrium, but the Bush era changed all of that and Wall Street would like to keep it that way. Masters of the Universe, unite! A reasonable measure of economic equality has become a corpse of the American Dream.

This election year is conjuring up the most virulent politics in history, Super PACs having contributed to this, something that should be abolished. Here, in Florida, we are now being besieged by them on the airways, Romney having a presence in political advertising even weeks before. The Republicans would like us to believe that calling to roll back the Bush "temporary" tax cuts is the "politics of envy" and that "class warfare" is actually a tactic in an overarching strategy by Obama to make a "welfare class" dependent on the Federal government and therefore more likely to vote Democrat. Talk about conspiracy theories. Might as bring up the issue of his birth certificate again.

Ironically, if I had to hold my nose and vote for just one of the remaining Republicans, my default candidate would be Romney. But as much as I find wanting in President Obama, he has the right idea when he said "don't compare me to the Almighty; compare me to the alternative."


Jan. 24 Follow-Up: "The" Return was released -- as expected, hundreds of pages but everything legal and above board, an effective tax rate of 13.9 percent. Romney also contributed what would be expected to the Mormon Church, so, on both counts he is absolved of any wrong doing. But if there was ever a clarion call for a more sensible tax code, this is it. I've written repeatedly over the years about the issue of economic inequality and just clicking that label at the bottom of this entry will bring most of them up, so no sense going into great detail.

However, I will say the following fearing this point gets lost in all the rhetoric about what motivates people to work: the Republicans argue that lowering the tax rate for everyone (Gingrich proposes a zero tax rate for capital gains) will magically create jobs, economic growth, and therefore the necessary revenue for the Federal Government to do its job, albeit at a reduced level (with cuts in just about every area of social welfare as everyone would "then" be working). But if their theory is wrong, we will be right back onto the same economic precipice at the end of the Bush Presidency.

Romney says his success was due to "working hard." Did he do so because of an effective tax rate of 13.9 percent? At the end of the Reagan Presidency my effective rate was 33 percent. Did I work "less hard" as president of a publishing company than Romney did in private equity? My mistake was to work for a W-2 rather than for carried interest. This kind of tax code games the system so, indeed, the rich can only get richer while everyone else is mired in economic limbo at best.

Jobs do not "happen" because of the tax code alone. They come from education, a passion for working, jobs being valued by society no matter what they are, entrepreneurial vision, a host of other, more relevant, factors.

Costa Concordia Tragedy

Whether you are piloting a large ship or your own recreational vessel, most nautical disasters are the result of its Captain being overconfident, especially when it comes to the deadly mix of thinking he knows the waters well while having an opportunity to show off. Apparently, the Costa Concordia had "nautical flybys" the island of Giglio in the past, coming close to the island to bask in the approbation of tourists there and providing a close-up thrill for the passengers as well. Imagine, 114,000 gross tonnage lumbering along at some 15 knots hitting an immovable object.

On my own "ship" of some 40 feet, I once took my knowledge of local waters for granted and raced another vessel out to our Crow Island anchorage using a "short cut" as the sun was setting on a Friday evening and, unfortunately for me, as the tide had already started to recede, only to find my vessel hard aground a sand bar with no means of kedging off the bar. It's a long story, one that thankfully ended well, with no injuries other than to my severely bruised ego, and I'll tell it sometime, but it could have turned out very differently.

Showing off and thinking one has complete control of one's vessel under all conditions is just a lethal combination. I'm guilty so I know. I might also comment that of the two dozen or so cruises we've been on, none were on ships the size of the Concordia. The new megaships seem to be out of proportion, their height too much for the beam, with evacuation procedures not up to the standards necessary for a full complement of passengers and crew. Unfortunately, lessons to be learned now in retrospect.

January 21 Follow-up, Videos

Blather into Matter

Or, as a friend of mine from my academic publishing days called it, feces into thesis.

The political circus is almost on full parade now but when it comes to the economy I can neither give Obama credit nor condemnation. The news media, the Republican candidates, and the administration are obsessed by citing statistics to justify their positions, and if you think you've heard it all, it is just the beginning of stream of consciousness blather. But the fact of the matter is the economy was in a swoon, a serious one, before Obama took office and continued on that route for a while before stabilizing and, even, growing.

Capitalism is a story of inherent cycles. The Federal Reserve was devised in part to mitigate the extremes of the cycles. Unfortunately, the Federal Reserve failed in that mission with the beginning of the 21st century, thanks to the hubris of Greenspan. At the bottom of the crisis in 2008 he confessed to Congress: “I made a mistake in presuming that the self-interests of organizations, specifically banks, were such as that they were best capable of protecting their own shareholders and their equity in the firms. Free markets did break down, and I think that, as I said, that shocked me. I still don't fully understand how it happened or why it happened.”

It is amusing to hear all the political rhetoric now that, for the time being, we seem to have been able to drag ourselves off the cliff of a depression. Harking back to those dark days of 2008/9 the CNBC cheerleaders looked stunned most of the time as the Dow was flushing like a broken toilet. Now the market is up about ninety percent from its low and jobs are slowly coming back (agreed, way too slowly, but this is a different kind of recession and a different kind of recovery) and everything is cheery at CNBC except for their opinion of Obama.

The Federal Reserve policy is just one component of the crisis and one can add to the mix the expense of overseas wars, the housing crisis, deregulation (yes, see what Greenspan admitted to above), private profit at public risk, governmental gridlock, all of this exacerbated by normal economic cycles. Oh, also add the multi-generational lack of an energy policy to this colossal conundrum.

The Republicans say that by now Obama "owns" the economy, as if a switch was thrown when he was inaugurated and a dial was set for about three years, the onset of the next Presidential election cycle. Unfortunately for him, he too misunderstood the magnitude of this unprecedented economic cycle, saying the following in an interview only days after he took office: "A year from now, I think people are going to see that we're starting to make some progress, but there's still going to be some pain out there.... If I don't have this done in three years, then there's going to be a one-term proposition." Romney et al have eagerly seized on this gaffe. Expect to hear it over and over again in the next ten months. Likewise, expect to hear Romney's (the presumptive Republican nominee) recent comment that he "likes being able to fire people" over and over again. Sound bite vs. sound bite reverberating on the airwaves thanks to the endless resources of Super PACs.

When it comes to job creation (or erosion) there are limits as to what a mere president can do in a relatively short period of time given economic cycles and the severity of the present crisis. That Romney created or uncreated jobs in the private equity arena is of no particular advantage unless he has the cooperation of Congress with smart policies. Likewise, Obama has little control over jobs without cooperation and policy agreement. It is preposterous to assume that Romney is any more qualified that Obama simply because he worked in private equity. I ran a publishing company for thirty years; that ought to make me more qualified to deal with the economy!

And those policies have to consider the vice grip closing in on this unique moment in US economic history: baby boomers are reaching retirement age at the rate of about seven each minute of each day for the next two decades, expecting the promises of Social Security and Medicare. We all know both sides of the equation have to change, how entitlements are doled out, and how revenue must be raised. This is not something that can be achieved by a Presidential Executive Order (although at times I think our dysfunctional Congress needs to be replaced by a benign dictatorship).

The Republicans do not talk about areas where Obama successfully functioned without having to negotiate with Congress, such as his role in planning Osama bin Laden's death. Remember when John McCain promised voters (in 2008) that he "knows how to capture and bring to justice Osama bin Laden"(although at the time that was a secret he was not going to share with anyone unless elected)? They didn't have the economy to blame on Obama then, so it was his foreign policy "inexperience." Bin Laden sharing the bottom of the North Arabian Sea with the fishes came with no help from Congress, thank you. In spite of his inexperience Obama had the wisdom to send in Navy Seals rather than taking out bin Laden with a drone strike to have proof it was indeed him.

So let the games begin. Blather into matter. Feces into thesis.