February 21, 2010

Baltimore


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Hello, babies. Welcome to Earth. It's hot in the summer and cold in the winter. It's round and wet and crowded. At the outside, babies, you've got about a hundred years here. There's only one rule that I know of babies: God damn it, you've got to be kind.
- Kurt Vonnegut, Jr.

We carried 'HELLO' in the left and 'BABIES' in the right; learned a new lingo and laid the good word of Vonnegut in a type with bite.

Mary Mashburn and Steve St. Angelo of Typecast Press in Baltimore helped me create an 11 x 17 letterpressed poster Saturday -- a birthday gift (with a trip) from Chase.

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"I'm upish," went my text message to Chase at 7:15 Saturday morning. He responded, I readied, and by 8 we were rolling for Baltimore -- bound for type and blight as we left blue ridges behind.

Interstate 95 carried us to the harbor town, where smokestacks and stadiums made for our first impressions. We flowed through the heart of downtown -- my navigation of course leading us onto a street of sin (oddly(?) located on the well-traveled namesake street of the city: E. Baltimore Street).

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Residential streets meant row after row of rowhouses, differentiated across the city by brick and brightness, by broken windows and embellishments. Block after block, Chase squeezed us through streets piled high with snow. Dozens of chairs -- folding, rolling, plastic, and cracked -- saved shoveled parking spots.

We visited Atomic Books near the happenin' Hampden district (although we didn't know that 36th was the shit. Yet.)

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Our first big-ticket destination was an exotic salvage warehouse on the city's southwest side. To get there, we lived out our Wire fantasy by rolling along North Avenue and Monroe Street in the Western District, where tacked teddy bears marked murders and second-floor windows were mostly broken if not already boarded. Hundreds of homes later -- and we're talking dense rowhouses -- the blight had barely subsided. It shocked me. Detroit? Charming place, next to Baltimore.

The booty at the end of our rundown rainbow was Housewerks, which behind gleaming barbed wire, greeted us with one of the largest mirrors ... ever left outdoors in the winter. A teeter totter later, we were inside one of the most arrestingly cool stockup spots we've ever seen. Beside the pirate ship-sized rope was a 40-foot freakshow banner. Stained-glass windows hang from the rafters, old metal letters above a fireplace mantel. A million-pound (or so) money safe lolled its door open. We bought the smallest items possible: a blue "walk" sign from a traffic signal, and a slew of small woodcut images for ink pads.

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Serendipity pushed our wandering toward South Baltimore, where we found at least one location recognizable from The Wire, season two: the mill where the stevedores worry about condominium revitalization. We looped through Locust Point, ate crab at LP Steamers, and watched the unloading of a Domino sugar ship.

Book Thing of Baltimore yielded 12 terrific books that might go toward Katie's projects. The great thing about Book Thing is you can take up to 180,000 books out for free per trip.

I bought one random $1 record at Normal Records.

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The crescendo of our travels came at Typecast Press, where despite a spongy 'K' and an 'N' a bit nicked, our frolicking among printing methods from days gone by led to an exceptional broadsheet.

Five hours can fly by when surrounded by nearly a dozen printing presses and drawers teeming with type. We could have spent days just marveling at the studio space. Instead, we worked diligently to set type, one letter at a time, while Mary shared stories of old pressmen and unbridled geeklove for the language of letterpress.

I've long dealt in picas and kerning, but never knew how literal "leading" could be. Strips of lead are used to separate lines of text. More lead means more space between lines. "Uppercase" and "lowercase" make more sense now too -- the words indicate where your hands should roam to pluck particular letters out of the large "case" that holds them. And I knew it before, but felt it firsthand Saturday when I literally was out of "sorts" (the lowercase 't,' in particular).

We hit it off really well with Mary and Steve -- fellow journalists -- who got the vibe that we are "young journalists who are still into it." We are. And we're into their type thing. We really enjoyed hearing Mary talk about newspapers and letterpress as an art of words.

By 10 p.m. we'd learned about furniture and Scrabble-boosting terms like "quoine key," "reglet," and "tympan" that play into securing our blocks of text into a Vandercook press. We'd also corrected a few backward apostrophes en route to rolling out our limited-edition series of Vonnegut posters.

I think we kept it simple and sincere.

One remains in Baltimore. Ours are signed and framed. And the last is bound for a better place.


Photos:
- See more photos of the trip

Video:
- Water bottle rumbles on the trip to Baltimore
- Driving through the Western District
- 36th Street character
- A tour through Housewerks
- Tony selecting type
- Mary Mashburn demonstrating how to use the press
- Tony makes his poster

Direction:
- Map of our trip

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January 5, 2010

Link List (ahh!)


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I'm on day #5 of my own "Project 365," and I'm finding I really enjoy the task of taking at least one photo every single day.

It's kind of funny how something like that would help me uncover more about nighttime Waynesboro than some of my own reporting. You start to notice a few more details about the place you live...what's going on in windows, on porches, behind doors, etc. In the past two days alone I've poked around the industrial side of the city, the dodgy neighborhood, even a tattoo shop.

Posting a single photo to my blog at the end of each day helps me feel accomplished, creative, alive and curious. And lately I've paired my daily posts with an episode of This American Life...always a good time.

I have a link list to share:

Photobucket Illustrating This American Life (!)
Photobucket Top 25 documentaries of the decade
Photobucket At Year's End: How Other Cities Fared
Photobucket Robberies in New York
Photobucket Baltimore: First homicide of the year
Photobucket Digital Podge
Photobucket Reinventing Polaroid (!)

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March 30, 2009

Crime, grief and bank takeovers


On November 4, 1991, my little brother was born. I was at home though, sitting at my kitchen table, staring into the plastic wrap of a gift basket. At the same time, no more than 300 miles away Oscar Bills, Jr. was shot to death in his driveway. He was in his twenties, like I am today.

I always find it a little eerie when I discover something horrible happened during a time where I can match my exact whereabouts to the event. When you become aware, it's kind of like you momentarily draw a link with the victim or the victim's family. You become witness, at least in some strange way, to something terrible and your brain isn't quite sure how to react.

I found out about Oscar Bill's murder after listening to episode #342 of This American Life ("How to Rest in Peace"). It was easily the most disturbing episode I've ever listened to, but interesting nonetheless. In it they reference to this article in The Atlantic (1997) about the families of murder victims. It's long, so if you don't have some time to spare I'd wait till the weekend.

"She came out of the neighbor's house and asked, "Is she dead?" Al said, "Yes," and Harriett blacked out. Moments later she heard horrible screaming and wailing, like the sounds of a wounded animal way off in the distance, and then she suddenly realized that the sounds were coming from her, that she was screaming and wailing and pounding on Al's chest. In an instant she came to, and saw that Al was sobbing..."
The story talks a lot about grief, which was consequently a huge part of the theme in TAL #342. The article begins with a note on America:
"Americans are fascinated by murders and murderers but not by the families of the people who are killed -- an amazingly numerous group, whose members can turn only to one another for sympathy and understanding."
The story made me think more about a crime reporter's role in telling those types of stories. NPR actually hosted a roundtable of crime writers in July 2008. They spoke a lot about how race affects their jobs, but also a bit about their actual work routine. One of them said:
"My passion was to cover the communities where the crime happened, rather than the crime."
I like that statement. It's true, reporting like this should be more about how it affects the community you cover, not just the defendant, and certainly not just the crime. Maybe this is a common point, and I'm just new to thinking about it. But it's something I want to remember when I go into the business of journalism.

I am an avid fan of The Wire (Omar! Word). It's a television show about crime in Baltimore, Maryland - which superficially got me obsessed with following The Baltimore Sun. I recently ran across a Sun blog post entitled "A Reporter's Lament" (just one of the posts at the Sun's crime blog).

They post about a lot of things, including how they (the reporters) see themselves as part of the community, their dealings with police, what the murder numbers mean for individual communities, and even a few personal stories from the job. In one post they linked to this man, a retired police captain turned citizen-crime blogger (remind anyone of a particular character in The Wire?). He has a different perspective, and it's interesting to compare some of his notes with those authored by the newspapermen.

It's all fascinating. Hearing these people and looking at their crime maps (2006), it makes me super-curious and even more interested in covering these types of stories, at least for a bit.

ALSO CHECK THESE OUT
Photobucket NPR: Anatomy of a bank takeover
Photobucket NYT: New 1 in 8 Million profile

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