“During the early hours on Tuesday, darkness will slip across the face of the moon before it turns a deep blood red. No, it isn’t an Election Day omen — it’s one of the most eye-catching sights in the night sky.”
Not an omen. Ho ho ho, etc. As if. Fake news!
Then why was the moon a decadent orange during the early hours of this morning as it slipped behind a neighbor’s house?
And why were there Trumpkins scattered along my hiking route this afternoon? I saw at least three, among them the one leering at you from the top of this post.
And finally, why is KUNM bitch-slapping me with “Here Comes the Night?” right this minute? And not the good one, by Them, but some two-bit tosser’s take on the 1964 classic (featuring Van Morrison).
“Well, here it comes … here comes the night.”
So soon? I’m not ready for the night. What else you got, Ma?
How quintessentially capitalistic of you, Ma. Sell me the disease with one hand and the treatment with the other. A mindfulness methadone clinic for the hopeless news addict. This morning’s shaman is this afternoon’s snake-oil salesman.
Here comes the night? Got a news flash for ya, Ma. It’s already here.
Miss Mia Sopaipilla has rediscovered the joys of an old crinkle tube, some coarse wrapping paper, and a Wholeazon Amafoods shopping bag, all of which make fine sounds when run through, sprawled upon, or snuggled into.
Me, I likewise got back on the old hoss, metaphorically speaking, which is to say I started running again after giving my damaged toe a month of downtime.
Bikewise I hardly broke stride. Kept cranking out the 100-mile-plus weeks even with a pulverized piggie, and so far (knock on wood) I have avoided doing anything else inexplicably stupid to myself.
It’s nearly fall here in The Duck! City, but you’d hardly know it. Oh, the leaves are coming off the trees, but the weather widget says 87° in midafternoon and the hummers are still hitting the feeders like a cluster of knee-walking bog-trotters who just heard the barman call, “Time, gentlemen, time.”
Time, indeed.
A certain restlessness I ascribe to muscle memory. Come September Back In the Day® I would be in the early throes of cyclocross season, with a side of Interbike, and there would be much motoring and bicycling and running around to no particular purpose.
Your Humble Narrator at Dirt Demo circa 2005.
My Septembers are less hectic now. I did my last ’cross race in Bibleburg, way back in 2004, rocking a Steelman Eurocross but no spare bike, not even spare wheels. I rode to the course from the DogHaus, and when I flatted midrace, I simply replaced the tube and rode back home. It could be argued that I was not taking the whole thing seriously.
Thirteen years later I did my last Interbike. I lasted longer at that game because the finish-line payout was better and getting sockless drunk on the publisher’s dime was more or less a condition of employment.
But the publishers changed, and so did the game, and in January 2022 I retired, an event with all the significance of a mouse fart in a haboob.
I hadn’t expected to waltz offstage in the middle of a plague — which is over now, I understand, so, yay — but as the fella says, you go to retirement with the virology you have, not the virology you might want or wish to have at a later time.
Anyway, here it is September again and I still haven’t tapped my generous pension to buy a Peace Van and finally buckle down to the serious business of writing my great American road-trip story, “Travels with Snarly.”
Some days that Nobel Prize in Literature seems farther away than the finish line with a slow leak and no spare. At least I’m still riding and running.
She took what they were giving ’cause she was working for a living.
Barbara Ehrenreich, the journalist, activist, and author who never lost touch with her working-class roots, has clocked out. She was 81.
Her New York Times obit draws from the introduction to “Nickel and Dimed: On (Not) Getting By in America,” in which she recounts wondering with a magazine editor how the unskilled survive on the wages paid them and then blurting out something that she “had many opportunities to regret: ‘Someone ought to do the old-fashioned kind of journalism — you know, go out there and try it for themselves.'”
Which is exactly what Ehrenreich did, of course, working and living as a waitress, hotel maid, nursing-home aide, and Walmart “associate,” among other things. Then she came back and told us all about it.
And though she would be writing it up, she wasn’t phoning it in:
People knew me as a waitress, a cleaning person, a nursing home aide, or a retail clerk not because I acted like one but because that’s what I was, at least for the time I was with them. In every job, in every place I lived, the work absorbed all my energy and much of my intellect. I wasn’t kidding around. Even though I suspected from the start that the mathematics of wages and rents were working against me, I made a mighty effort to succeed.
She was not, and is not, alone. And in her Evaluation at the end of the book, Ehrenreich proposed that those of us who live in comfort while others barely scrape by should feel not just guilt, but shame.
When someone works for less pay than she can live on — when, for example, she goes hungry so that you can eat more cheaply and conveniently — then she has made a great sacrifice for you, she has made you a gift of some part of her abilities, her health, and her life.
What a gift was Ehrenreich’s life. Peace unto her, her family, friends, and readers.
Back in the late Seventies, when I was more yappy pup than Mad Dog, one of the editors at my second newspaper asked me why I was dead set on becoming an editorial cartoonist.
“I think you’re a better writer than you are a cartoonist,” he said.
Well. Shit. Nobody else around the newsroom seemed to think I was a fledgling Woodward N. Bernstein. Especially me.
I didn’t love reporting, which precedes writing and can be a very heavy lift indeed. When bored witless at school-board meetings I often doodled in my reporter’s notebook. As a consequence coverage could be less than comprehensive. And now here was this authority figure telling me that words, not pictures, were my forte, my future. Bad news.
This wasn’t the first “Check Fiscal Engine” light on my career dashboard, either. An adviser at my first college had told me how many editorial cartoonists were earning a living in the United States (not many then; even fewer now). Might want to cast a wider net, the adviser advised. Instead I dropped out and fished blue-collar ponds for a while.
At my second college another adviser advised that I’d never find any kind of work at a newspaper, unless maybe it was with Ed Quillen, who even then had a reputation for blazing his own trail. As it turned out, this wizard’s palantír was off by seven newspapers, and I didn’t do a lick of work for Ed until I had quit No. 7 and gone rogue. Those who can’t do, etc.
But I digress. Back to Newspaper No 2.
Your Humble Narrator at Newspaper No. 3, circa 1980.
The writing was on the wall, as it were. Happily, I could read. And even write, a little, as long as it didn’t involve first walking up to strangers like some Monty Python constable: “’Ello, ’ello, ’ello … wot’s all this then?” I didn’t care for regular haircuts or wearing a tie, and I only liked meeting strangers over drinks in some dark bar.
But a few years earlier, at Newspaper No. 1, where I was a copy boy, I got to sit in at the copy desk now and then, and I really enjoyed the work. It was why I eventually quit and went to College No. 2, the managing editor having advised that I would pretty much top out as a copy boy without a degree of some sort.
So at Newspaper No. 2, after scanning the writing on the wall for typos, grammatical errors, and AP Style violations, I petitioned to relocate from reporting to the copy desk. And I spent the next decade moving from one copy desk to another, editing other people’s stories, writing headlines and cutlines, sizing photos, laying out pages, and occasionally slipping a cartoon past an editorial-page editor.
And rarely — very rarely — I wrote something under my own byline.
Almost exactly 10 years after I read that writing on the wall, I found myself inching toward the exit at Newspaper No. 7, where I had bounced from the copy desk to the sports desk to the arts magazine to the features desk. There were no chairs left unoccupied and the music was winding down. The idea of courting Newspaper No. 8 — and then Nos. 9, 10, 11, and so on, and so on, ad infinitum —felt like a long pull into a cold headwind.
And yes, I had taken up bicycle racing a couple of years earlier.
Your Humble Narrator post-newspapering, in his second act as a pro cartoonist.
So imagine my astonishment when I stumbled across an ad in Editor & Publisher, the industry’s trade mag. Something called VeloNews wanted a managing editor. I applied. Got an interview. Didn’t get the job.
But I did get hired as a cartoonist. Finally! Pro at last, pro at last, thank God Almighty, I’m pro at last!
Cartooning for VeloNews was my first gig outside newspapering, and cartooning for Bicycle Retailer and Industry News would be my last. The Alpha and Omega of my second act, as a freelancer.
In between I did a lot of other stuff, of course. Covered races and trade shows, wrote commentary, edited copy for print and online, dabbled in video and audio. But it was cartooning that brought me in, and cartooning that saw me out.
And you know what’s really funny? I retired six months ago and haven’t drawn a line since. But I just wrote 700-some-odd words, and for free, too, simply because I love doing it.
It was never a question of if, but of when. The Greater Outside+ Globe-Spanning Vertically Integrated Silo O’ Sports & Fitness, LLC, has begun excreting magazines and scribes, because that’s what vulture capitalists do: Gobble and shit, gobble and shit.
I knew my time was up last year when I saw the thousand-pound sack of boilerplate contract Outside’s drones expected me to sign if I cared to keep drawing funnies for Bicycle Retailer and Industry News.
After a quick semantic analysis boiled their bullshit down to its smoky essence — “All hope abandon, ye who enter here!” — I trimmed it to a few salient grafs that cut straight to the chase, sent them off, and never heard another peep.
Not long afterward, I retired.
Now, the folks who stuck around and did the work are getting the old heave and also the ho. Talented types like Ben Delaney and Nicole Formosa, to name just two. It’s basically v2.0 of Competitor Group Inc., which gave Charles Pelkey and John Wilcockson the bum’s rush Back in the Day®. Same old guillotine, just different heads and an Outside Gear Box instead of the usual basket.
I can’t speak to the quality of the publications that lost staffers or are going dark entirely. I don’t read them. My subscription dollars are spent elsewhere.
But if these pubs aren’t profitable, I’m guessing it’s probably not Ben’s fault, or Nicole’s. Might have something to do with an overabundance of supernumeraries who don’t write, edit, shoot, sketch, or sell.
If I were showing people the door in an effort to save money I might start with anyone who uses the bloodless words “product” and “content” to describe “stories” and “photographs.” There’s always work for people who think everything is a commodity, including their souls.
Mad Blog Media 