Building the “Personal Brand” — On Internships

There is a tension between the “personal brand” and the brand of the larger entity one works for.

It is especially true for interns. The intern has essentially agreed to work for free to “pad their resume” or, in other words, build their personal brand.

For people of certain skill-sets, the “personal brand” is less important. If you’re an engineer, or a student of another applied science, you can present lab work and other concrete examples of work you have done or participated in, and be judged on that (often you already have been, if a study is published and peer-reviewed).

But those who fall into a more “artisinal” category (designers, journalists, artists), people whose work is both becoming excessively commodified (“oh anyone can write/throw a webpage together/et. al.”), need a portfolio that clearly displays their skills to acquire work. With these areas becoming increasingly free-lance, it is even more critical.

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The Tale of UMass, Day Drinking, and the Echo Chamber

I’ve delivered this rant, in some form, every time someone has asked me about what happened at UMass two weekends ago, on the day of the Blarney Blowout.

Usually, when someone makes this inquiry, they use the word “riot”. I want to make it unequivocally clear, I think the use of the word “riot” to describe the events that took place on Saturday March 8th are not only incorrect, but contribute to the continued misunderstanding of what took place, and the discrediting of the reputation of the University of Massachusetts, Amherst. Continue reading

Raising Hope; remembering that children need us, and we need them.

Last semester I raised my hand and class and said, “The thing about journalism is that even when you put it down, it’s still real. With fiction, if it becomes unpleasant or difficult, you can shut the book, put it down, and put it out of your mind. You can’t do that with journalism, it’s real. Even if you put it down, you still now that it’s happening out there, somewhere.”

Or something similar.

I just finished Gene Weingarten’s Fatal Distraction. He won the Pulitzer Prize for it. He made me go the bathroom of the Starbucks that I’m sitting in, and sit on the floor and cry.

The piece is about what happens when parents forget their kids in the car. Is it a mistake? Or is it a crime?

This past weekend I went to the 39th 24 Hour Boston Science Fiction Film Marathon. The second to last movie they played was Alfonso Cuarón’s The Children of Men. In an apocalyptic world, the movie imagines what happens when, 20 years after the human race has been rendered infertile, a woman becomes pregnant. I missed the beginning. But I walked into a world tinged with an acrid desperation, a world that has forgotten what innocence tastes like. In the climactic scene of the film, the cries of the infant create a ceasefire in a refugee camp that has descended into militarized chaos. The two protagonists carry the crying infant past awed refugees, who stop and stare, and get shot for a chance to see the child. People reach out, as if this miracle can bless them simply by witnessing it, soldiers put down their guns, fall to their knees, invoke the Lord, and cross themselves. The second they are past them, the fighting begins anew.

When I was in high school, I suffered from undiagnosed anxiety, that manifested depressive episodes. I remember moving through one long stretch that felt like a haze of meaninglessness. I went to bed, dreamt and woke up terrified of the inevitable apocalypse; the coming plague, the hurricanes and tidal waves that would raze all signs of civilization and crush me. Meanwhile, family friends had a child.

One morning we congregated at the local coffee shop and another family friend passed around her cellphone with pictures of the infant, who had moved with his parents to England. I remember looking at pictures of this tiny human and thinking that any world that would allow us to bring new life into the world like that could not be the nightmare that I saw every day. For the first time in months, I felt some measure of peace.

Though my memory has erased the timing and sequence, the memory recalls immediately another of the same child. I was pressed into staying with the child for an evening, to look after him while his parents went out. I had previously avoided being made responsible of any child that was not of an age at which they would be able to express their desires, fears, and frustrations to me, verbally.

The majority of the night is lost to my feeble recollection. But I remember how heavy and warm the child was in my arms as I sat in the rocking chair in the front room of the apartment. This tiny bundled up person weighed more than seemed reasonable for one so small. And he radiated such heat. Even now, I remember that feeling and wonder how parents ever put their children down. The feeling of him in my arms eclipses even my recollection of his features.

Lately the subject of children has been everywhere. In class we have read interviews with child molesters, in the news discussions of Woody Allen’s possible child abuse have flamed anew following An Open Letter from Dylan Farrow in the New York Times, I have grappled with my feelings regarding the identification of minors accused of crimes or undergoing trial (pick any school shooting or assault), in the media. And on all of these subjects my usual willingness to listen to the other side has made its absent noticeably apparent.

The willingness of the world to expose children to things that will hurt them, harm them, disturb and destroy them, often in the name of our own, adult, satisfaction has become an inexcusable crime. The wounds of childhood never fully heal.

It seems simplistic to express the desire for a world where every single child is protected and loved. We all want such things for whomever comprises the concept of “the children”.

Meanwhile, we are willfully blind to the ways in which we will not take action the manifestation of such a reality. We will not put in caveats for child safety into bills in Congress for fear of auto manufacture lobbyists. We can’t find ways to sell a device that will work to prevent children from being forgotten in cars by parents who wish them no harm.

The adult world is one of ego. When we exit the trappings of childhood (at whatever age that may strike) we learn that no one else can be fully trusted. The protective layers we carry with us to make it bearable to wake up every day in that world are what make up our pride, our will, and our sense of self-respect. That is what makes the world of Cuarón’s Children of Men so hostile.

And that is what we need to put aside, in the name of protecting those tiny beings who give us the hope, the drive, and the ability to be better than adulthood makes us.

The Cardinal Sin (Photography)

There is one rule of photography: don’t photograph your friends for their professional plans or endeavors as a favor.

There are reasons for this: if you’re doing professional work, you are a professional, and should be treated like one (paid). Work is really only professional if it is couched in professionalism, otherwise, it’s probably a hobby. If you don’t ask to be paid now, you won’t be asked how much it costs in the future.

There’s another reason why you shouldn’t do professional work for people in a non-professional capacity: your real life will come back like a howling demon, and your friend will be left hanging while you deal with stuff that actually pays the bills, or keeps you in coffee, or ensures you can buy peanut-butter cups at Trader Joe’s.

I visited a friend earlier this year who is starting up an online business, and was trying to figure out a way to get photos. I volunteered when I visited her, mostly because I was interested in trying my hand at some portraiture, a more creative endeavor than the grind of photojournalism. This was two days before I went back to school.
Now, she’s taken to hounding me via text message about her photos, while I’ve been trying to juggle my reading, organizing the anchoring schedule for the radio station (which has been a nightmare and a half on it’s own), building a routine, and running from meeting to meeting, before, after, and between my classes.

Last night, I went to bed early because I had my first migraine in two weeks, and it laid me out like a blow to the skull. This was after it smacked me across the face during a recruitment meeting, and scrambled my words until I was making a fool out of myself for every person who came over to talk to us.

The problem with unpaid work, on the consumer end, is that you aren’t getting a professional job. Because the “professional” part of the job, isn’t the act, it’s carrying it through. The professional part of any work is the deadline. And really, when someone offers to take your picture, it’s because it’s something they’re interested in doing and it’s much more likely that you’re doing them a favor. Not the other way around.

But I’ve got to get those pictures up on the internet, where she can get to them, now. There’s no point in proving that one is capable of being completely unprofessional. It might give people the wrong idea.

Graffiti, Photography, & Writing about Art.

Second in a series.

I still haven’t solved the problem of how to present graffiti. But I’m trying my hand at the first step: collecting all my data in one place.

At the moment, my formal organizational system is in the form of “sets” on Flickr. I made a collection that contains all the sets I’ve made of my ever-expanding collection of photos of graffiti. I still need to get some of the pictures I’ve taken on my phone around both Providence and Amherst/Boston, and marshal them into order. But for now, you have a curated collection of street art from Athens (Summer and Winter of ’09, then Summer ’12 and ’13), London, and a small one from Montreal.

But the predominant struggle here is one of How to Write About Art. Continue reading