Here's what we learned from John H. White:
That although great photography is the result of skill and circumstance, strength of character plays a part, too. "When I was nine years old, a teacher told us what we would probably grow up to be," John H. White says, "and because I was slow in math, she said I'd end up working on a garbage truck. All the other kids laughed. I went home crying, and my dad asked me what was wrong. When I told him, he got all six of us kids together and said, 'I'll never tell you what to be in life, but I will tell you to be your best and look for the best in others.' Then he said to me, 'And Johnny, if you work on a garbage truck, fine...just be sure you're the one driving the truck.' I may have been very young, but it was a turning point."
That he's been a photojournalist for over 30 years, and is currently a staff photographer at the Chicago Sun-Times , the paper he joined in 1978. In 1982, he received the Pulitzer Prize for feature photography and has won three first place National Headliner Awards. He was the first photographer inducted into the Chicago Journalism Hall of Fame and has been the Chicago Press Photographer Association's Photographer of the Year a record five times. In 1999, he received the city's highest honor, the Chicago Medal of Merit.
That after all his years as a photojournalist, he still strives to have "the rookie's spirit and the pro's eye." The spirit comes naturally: "I believe in embracing each gift we get, and I get one each day." The eye is guided by a sense of responsibility: "The camera is this great tool, this wonderful passport, that allows me to go out there and be the eyes for others."
That he got his first camera at 13 and his first assignment at fourteen. "Our church had burned down," John has said, "and my father had me take pictures after that and during the whole construction stage. Maybe that's why I do picture stories now, because I started that way."
That for the entire year of 2001, John pursued a long dreamed-of self-assignment: to take one photo each day of a moment that meant something special to him. For the project, he used the Lite-Touch camera he always carries with him. "I'm never without that little camera. It's been my third eye. I use it as a visual notebook, and I've always wanted to do that every day for a year—to take out that notebook and record a special moment."
That the project was challenging, but not really difficult. Challenging because "my favorite thing to do is stories, I love stories, and to capture only one moment each day was a challenge. Yet it was simple because it was a moment that captured me." He ended up with 365 slices of life; one year and all those precious memories captured in a total of less than five seconds. Some were images of things he saw on the job, but most were taken during private and personal moments. (The last four photos you see here are from the self-assignment.)
That the project, which John calls "Glimpses of My Journey," was inspired by and dedicated to his mother, Ruby Mae Leverett White, and it was made all the more poignant by her death in March of 2001. "For one month, in October of 2000, I practiced for the assignment, and the very first frame, on October 1st, was of my mother, and it was taken at her birthplace. When I showed her the proof sheet from that month of practice, she saw a photo of a tree I'd made, which to me just showed off some fall color, but she said that it was a picture of how nature represents aging. Then she saw a picture of children at Halloween, and she talked about what that picture would mean to the children years from now and what it would mean to generations to come."
That practicing for a month was a good idea. "I made a couple of mistakes that I couldn't make on the project. One of the mistakes was on the third or fourth day of the month's practice. I was on the 50th floor of a high rise in Chicago taking photographs on a balcony, and a tiny bird landed on the balcony. I took pictures of the people there and then I realized I couldn't do that. I'd taken two frames of them, trying to make them feel good, using the camera devoted to the project. Making that mistake was good for me because I learned that if you're limited to one frame a day, you've got to have discipline."
That his assignments for the newspaper range from sports to spot news. "I cover everything," John says. "As in life: birth to death and all the things in between. And I like that. I don't want to be limited to doing just one thing."
That he's not without ambition. "When I'm out shooting and people ask me where the pictures are going to be, I say, ’I shoot for page one.' "
That he lives by three words: faith, focus, flight. "I'm faithful to my purpose, my mission, my assignment, my work, my dreams. I stay focused on what I'm doing and what's important. And I keep in flight—I spread my wings and do it."
And that when John says good-bye to you, his parting words are "Keep in flight."
For John's news photography the camera is the D1. For his projects away from the paper it's an F5, F100 or his treasured F4. And, of course, his constant companion and visual notebook is a Lite-Touch point and shoot.
"The lens I use every day is the 35-70mm Zoom-Nikkor," John says. His 70-210mm zoom, the 105mm and the 300mm also get a share of the work, but if he were to be limited to one lens it would be a 35mm—"it's the one most comfortable to my eye."
John H. White (born 1945 in Lexington, North Carolina) is an American photojournalist, recipient of a Pulitzer Prize in 1982. Contents 1 Early life 2 Photo career 3 Notes 4 External links Early life When John H. White was nine years old, a teacher told him that he would grow up to work on a garbage truck because he was slow in math. At home, his father told him to grow up to be his best, to look for the best in others, and if he were to work on a garbage truck, fine—just be sure he's the driver. White has said that this was a turning point in his life.[2] Photo career White's father also played a pivotal role in his photography. At age 14, White's church burned down and his father asked him to take photos of the destruction and reconstruction. White now credits this first assignment with his focus on photo stories. After working for the Chicago Daily News, White joined the staff of the Chicago Sun Times in 1978 and worked there until May 2013.[3] White also teaches photojournalism at Columbia College Chicago, and formerly taught at Northwestern University. In 1973 and 1974 White worked for the Environmental Protection Agency's DOCUMERICA project photographing Chicago and its African American community. White's photographs show the difficulties facing residents as well as their spirit and pride. Street scene on 47th Street White was awarded the Pulitzer Prize for Photojournalism in 1982 for his "consistently excellent work on a variety of subjects." He was selected as a photographer for the 1990 project Songs of My People.[4] White has also won three National Headliner Awards, was the first photographer inducted into the Chicago Journalism Hall of Fame, was awarded the Chicago Press Photographer Association's Photographer of the Year award five times, and, in 1999, received the Chicago Medal of Merit. Hal Buell, the former head of the Associated Press Photography Service, noted that White is one of the best photographers at capturing the everyday vignette.[5] White has published a book about Cardinal Bernardin, but he has yet to publish a book of his work outside the religious realm. White has said that he lives by three words: faith, focus, flight. "I'm faithful to my purpose, my mission, my assignment, my work, my dreams. I stay focused on what I'm doing and what's important. And I keep in flight—I spread my wings and do it."[6] The Pulitzer Prize for Feature Photography is one of the American Pulitzer Prizes annually awarded for journalism. It recognizes a distinguished example of feature photography in black and white or color, which may consist of a photograph or photographs, a sequence or an album. The Feature Photography prize was inaugurated in 1968 when the single Pulitzer Prize for Photography was replaced by the Feature prize and "Pulitzer Prize for Spot News Photography", renamed for "Pulitzer Prize for Breaking News Photography" in 2000. Winners and citations One Feature Photography Pulitzer has been awarded annually from 1968 without exception.[1] 1968: Toshio Sakai, United Press International, "for his Vietnam War combat photograph, 'Dreams of Better Times'." 1969: Moneta Sleet Jr. of Ebony, "for his photograph of Martin Luther King Jr.'s widow and child, taken at Dr. King's funeral." 1970: Dallas Kinney, Palm Beach Post (Florida), "for his portfolio of pictures of Florida migrant workers, 'Migration to Misery'." 1971: Jack Dykinga, Chicago Sun-Times, "for his dramatic and sensitive photographs at the Lincoln and Dixon State Schools for the Retarded in Illinois." 1972: David Hume Kennerly, United Press International, "for his dramatic photographs of the Vietnam War in 1971." 1973: Brian Lanker, Topeka Capital-Journal, "for his sequence on child birth, as exemplified by his photograph, 'Moment of Life'." 1974: Slava Veder, Associated Press, "for his picture Burst of Joy, which illustrated the return of an American prisoner of war from captivity in North Vietnam." 1975: Matthew Lewis, Washington Post, "for his photographs in color and black and white." 1976: Photographic staff of the Louisville Courier-Journal and Times, "for a comprehensive pictorial report on busing in Louisville's schools." 1977: Robin Hood, Chattanooga News-Free Press, "for his photograph of a disabled veteran and his child at an Armed Forces Day parade." 1978: J. Ross Baughman, Associated Press, "for three photographs from guerrilla areas in Rhodesia." 1979: Staff photographers of the Boston Herald American, "for photographic coverage of the blizzard of 1978." 1980: Erwin H. Hagler, Dallas Times Herald, "for a series on the Western cowboy." 1981: Taro Yamasaki, Detroit Free Press, "for his photographs of Jackson State Prison, Michigan." 1982: John H. White, Chicago Sun-Times, "for consistently excellent work on a variety of subjects." 1983: James B. Dickman, Dallas Times Herald, "for his telling photographs of life and death in El Salvador." 1984: Anthony Suau, The Denver Post, "for a series of photographs which depict the tragic effects of starvation in Ethiopia and for a single photograph of a woman at her husband's gravesite on Memorial Day." 1985: Stan Grossfeld, Boston Globe, "for his series of photographs of the famine in Ethiopia and for his pictures of illegal aliens on the U.S.-Mexico border." 1986: Tom Gralish, The Philadelphia Inquirer, "for his series of photographs of Philadelphia's homeless." 1987: David C. Peterson, Des Moines Register, "for his photographs depicting the shattered dreams of American farmers." 1988: Michel du Cille, Miami Herald, "for photographs portraying the decay and subsequent rehabilitation of a housing project overrun by the drug crack." 1989: Manny Crisostomo, Detroit Free Press, "for his series of photographs depicting student life at Southwestern High School in Detroit." 1990: David C. Turnley, Detroit Free Press, "for photographs of the political uprisings in China and Eastern Europe." 1991: William Snyder, The Dallas Morning News, "for his photographs of ill and orphaned children living in subhuman conditions in Romania." 1992: John Kaplan, Block Newspapers, Toledo, Ohio, "for his photographs depicting the diverse lifestyles of seven 21-year-olds across the United States." 1993: Staff of Associated Press, "for its portfolio of images drawn from the 1992 presidential campaign." 1994: Kevin Carter, a free-lance photographer, "for a picture first published in The New York Times of a starving Sudanese girl who collapsed on her way to a feeding center while a vulture waited nearby." 1995: Staff of Associated Press, "for its portfolio of photographs chronicling the horror and devastation in Rwanda."[2] 1996: Stephanie Welsh, "a free-lancer, for her shocking sequence of photos, published by Newhouse News Service, of a female genital cutting rite in Kenya."[3] 1997: Alexander Zemlianichenko, Associated Press, "for his photograph of Russian President Boris Yeltsin dancing at a rock concert during his campaign for re-election. This was originally nominated in the Spot News Photography section, but was moved by the board to Feature Photography."[4] 1998: Clarence Williams, Los Angeles Times, "for his powerful images documenting the plight of young children with parents addicted to alcohol and drugs."[5] 1999: Staff of Associated Press, "for its striking collection of photographs of the key players and events stemming from President Clinton's affair with Monica Lewinsky and the ensuing impeachment hearings."[6] 2000: Carol Guzy, Michael Williamson and Lucian Perkins, Washington Post, "for their intimate and poignant images depicting the plight of the Kosovo refugees."[7] 2001: Matt Rainey, Star-Ledger (New Jersey), "for his emotional photographs that illustrate the care and recovery of two students critically burned in a dormitory fire at Seton Hall University."[8] 2002: The New York Times staff, "for its photographs chronicling the pain and the perseverance of people enduring protracted conflict in Afghanistan and Pakistan."[9] 2003: Don Bartletti, Los Angeles Times, "for his memorable portrayal of how undocumented Central American youths, often facing deadly danger, travel north to the United States."[10] 2004: Carolyn Cole, Los Angeles Times, "for her cohesive, behind-the-scenes look at the effects of civil war in Liberia, with special attention to innocent citizens caught in the conflict."[11] 2005: Deanne Fitzmaurice, San Francisco Chronicle, "for her sensitive photo essay on an Oakland hospital's effort to mend an Iraqi boy nearly killed by an explosion."[12] 2006: Todd Heisler of Rocky Mountain News, "for his haunting, behind-the-scenes look at funerals for Colorado Marines who return from Iraq in caskets."[13] 2007: Renée C. Byer of The Sacramento Bee, "for her intimate portrayal of a single mother and her young son as he loses his battle with cancer."[14] 2008: Preston Gannaway of the Concord Monitor, "for her intimate chronicle of a family coping with a parent's terminal illness."[15] 2009: Damon Winter of The New York Times, "for his memorable array of pictures deftly capturing multiple facets of Barack Obama’s presidential campaign."[16] 2010: Craig F. Walker of The Denver Post, "for his intimate portrait of a teenager who joins the Army at the height of insurgent violence in Iraq, poignantly searching for meaning and manhood."[17] 2011: Barbara Davidson of Los Angeles Times, "For her intimate story of innocent victims trapped in the city’s crossfire of deadly gang violence."[18][19][20] 2012: Craig F. Walker of The Denver Post "for his compassionate chronicle of an honorably discharged veteran, home from Iraq and struggling with a severe case of post-traumatic stress, images that enable viewers to better grasp a national issue".[21][22][23] 2013: Javier Manzano "for his extraordinary picture, distributed by Agence France-Presse, of two Syrian rebel soldiers tensely guarding their position as beams of light stream through bullet holes in a nearby metal wall".[24] 2014: Josh Haner of The New York Times, "for his stirring portraits of the painful rehabilitation of a man badly injured in the Boston Marathon bombings".[25][26] 2015: Daniel Berehulak, freelance photographer, The New York Times "for his gripping, courageous photographs of the Ebola epidemic in West Africa."[27][28][29] 2016: Jessica Rinaldi of The Boston Globe "for the raw and revealing photographic story of a boy who strives to find his footing after abuse by those he trusted."[30] 2017: E. Jason Wambsgans of Chicago Tribune "for a superb portrayal of a 10-year-old boy and his mother striving to put the boy’s life back together after he survived a shooting in Chicago."[31][32][33] 2018: Danish Siddiqui of Reuters "for shocking photographs that exposed the world to the violence Rohingya refugees faced in fleeing Myanmar."[34][35] 2019: Lorenzo Tugnoli of The Washington Post "for brilliant photo storytelling of the tragic famine in Yemen, shown through images in which beauty and composure are intertwined with devastation. (Moved by the jury from Breaking News Photography, where it was originally entered.)"[36] 2020: Associated Press photographers Dar Yasin, Mukhtar Khan and Channi Anand "for striking images captured during a communications blackout in Kashmir depicting life in the contested territory as India stripped it of its semi-autonomy."[37] The Pulitzer Prize (/ˈpʊlɪtsər/[1]) is an award for achievements in newspaper, magazine, online journalism, literature and musical composition within the United States. It was established in 1917 by provisions in the will of Joseph Pulitzer, who had made his fortune as a newspaper publisher and is administered by Columbia University.[2] Prizes are awarded yearly in twenty-one categories. In twenty of the categories, each winner receives a certificate and a US$15,000 cash award (raised from $10,000 in 2017).[3] The winner in the public service category is awarded a gold medal.[4][5] Contents 1 Entry and prize consideration 1.1 Difference between entrants and nominated finalists 2 History 3 Recipients 4 Categories 4.1 Changes to categories 5 Board 6 Controversies 7 Criticism and studies 8 See also 9 References 9.1 Citations 9.2 General sources 10 External links Entry and prize consideration The Pulitzer Prize does not automatically consider all applicable works in the media, but only those that have specifically been entered. (There is a $75 entry fee, for each desired entry category.) Entries must fit in at least one of the specific prize categories, and cannot simply gain entrance for being literary or musical. Works can also be entered only in a maximum of two categories, regardless of their properties.[6] Each year, 102 jurors are selected by the Pulitzer Prize Board to serve on 20 separate juries for the 21 award categories; one jury makes recommendations for both photography awards. Most juries consist of five members, except for those for Public Service, Investigative Reporting, Explanatory Reporting, Feature Writing and Commentary categories, which have seven members; however, all book juries have at least three members.[2] For each award category, a jury makes three nominations. The board selects the winner by majority vote from the nominations or bypasses the nominations and selects a different entry following a 75 percent majority vote. The board can also vote to issue no award. The board and journalism jurors are not paid for their work; however, the jurors in letters, music, and drama receive a $2,000 honorarium for the year, and each chair receives $2,500.[2] Difference between entrants and nominated finalists Anyone whose work has been submitted is called an entrant. The jury selects a group of nominated finalists and announces them, together with the winner for each category. However, some journalists and authors who were only submitted, but not nominated as finalists, still claim to be Pulitzer nominees in promotional material. The Pulitzer board has cautioned entrants against claiming to be nominees. The Pulitzer Prize website's Frequently Asked Questions section describes their policy as follows: "Nominated Finalists are selected by the Nominating Juries for each category as finalists in the competition. The Pulitzer Prize Board generally selects the Pulitzer Prize Winners from the three nominated finalists in each category. The names of nominated finalists have been announced only since 1980. Work that has been submitted for Prize consideration but not chosen as either a nominated finalist or a winner is termed an entry or submission. No information on entrants is provided. Since 1980, when we began to announce nominated finalists, we have used the term 'nominee' for entrants who became finalists. We discourage someone saying he or she was 'nominated' for a Pulitzer simply because an entry was sent to us."[7] Bill Dedman of NBC News, the recipient of the 1989 investigative reporting prize, pointed out in 2012 that financial journalist Betty Liu was described as "Pulitzer Prize–Nominated" in her Bloomberg Television advertising and the jacket of her book, while National Review writer Jonah Goldberg made similar claims of "Pulitzer nomination" to promote his books. Dedman wrote, "To call that submission a Pulitzer 'nomination' is like saying that Adam Sandler is an Oscar nominee if Columbia Pictures enters That's My Boy in the Academy Awards. Many readers realize that the Oscars don't work that way—the studios don't pick the nominees. It's just a way of slipping 'Academy Awards' into a bio. The Pulitzers also don't work that way, but fewer people know that."[8] Nominally, the Pulitzer Prize for Public Service is awarded only to news organizations, not individuals. In rare instances, contributors to the entry are singled out in the citation in a manner analogous to individual winners.[9][10] Journalism awards may be awarded to individuals or newspapers or newspaper staffs; infrequently, staff Prize citations also distinguish the work of prominent contributors.[11] History The Pulitzer Prize certificate of Mihajlo Pupin, which used a recycled Columbia diploma Newspaper publisher Joseph Pulitzer gave money in his will to Columbia University to launch a journalism school and establish the Pulitzer Prize. It allocated $250,000 to the prize and scholarships.[12] He specified "four awards in journalism, four in letters and drama, one in education, and four traveling scholarships."[2] After his death on October 29, 1911, the first Pulitzer Prizes were awarded June 4, 1917 (they are now announced in April). The Chicago Tribune under the control of Colonel Robert R. McCormick felt that the Pulitzer Prize was nothing more than a 'mutual admiration society' and not to be taken seriously; the paper refused to compete for the prize during McCormick's tenure up until 1961.[13][14] Until 1975, the prizes were overseen by the trustees of Columbia University. Recipients Main category: Pulitzer Prize winners Main article: List of multiple Pulitzer Prize winners Categories Pulitzer Prize Pulitzer Prizes (medal).png Joseph Pulitzer Columbia UniversityPulitzers by yearWinners Journalism Reporting Breaking NewsInvestigativeExplanatoryLocalNationalInternationalAudio Writing FeatureEditorial Photography Breaking NewsFeature Other CommentaryCriticismEditorial CartooningPublic Service Former Beat ReportingCorrespondencePhotographyReporting LettersDramaMusic Biography / AutobiographyFictionGeneral NonfictionHistoryPoetryDramaMusic Special Citations and Awards vte Awards are made in categories relating to journalism, arts, letters and fiction. Reports and photographs by United States–based newspapers, magazines and news organizations (including news websites) that "[publish] regularly"[15] are eligible for the journalism prize. Beginning in 2007, "an assortment of online elements will be permitted in all journalism categories except for the competition's two photography categories, which will continue to restrict entries to still images."[16] In December 2008, it was announced that for the first time content published in online-only news sources would be considered.[17] Although certain winners with magazine affiliations (most notably Moneta Sleet, Jr.) were allowed to enter the competition due to eligible partnerships or concurrent publication of their work in newspapers, the Pulitzer Prize Advisory Board and the Pulitzer Prize Board historically resisted the admission of magazines into the competition, resulting in the formation of the National Magazine Awards at the Columbia Journalism School in 1966. In 2015, magazines were allowed to enter for the first time in two categories (Investigative Reporting and Feature Writing). By 2016, this provision had expanded to three additional categories (International Reporting, Criticism and Editorial Cartooning).[18] That year, Kathryn Schulz (Feature Writing) and Emily Nussbaum (Criticism) of The New Yorker became the first magazine affiliates to receive the prize under the expanded eligibility criterion.[19] In October 2016, magazine eligibility was extended to all journalism categories.[20] Hitherto confined to the local reporting of breaking news, the Breaking News Reporting category was expanded to encompass all domestic breaking news events in 2017.[21] Definitions of Pulitzer Prize categories as presented in the December 2017 Plan of Award:[22] Public Service – for a distinguished example of meritorious public service by a newspaper, magazine or news site through the use of its journalistic resources, including the use of stories, editorials, cartoons, photographs, graphics, videos, databases, multimedia or interactive presentations or other visual material. Often thought of as the grand prize, and mentioned first in listings of the journalism prizes, the Public Service award is only given to the winning news organization. Alone among the Pulitzer Prizes, it is awarded in the form of a gold medal. Breaking News Reporting – for a distinguished example of local, state or national reporting of breaking news that, as quickly as possible, captures events accurately as they occur, and, as time passes, illuminates, provides context and expands upon the initial coverage. Investigative Reporting – for a distinguished example of investigative reporting, using any available journalistic tool. Explanatory Reporting – for a distinguished example of explanatory reporting that illuminates a significant and complex subject, demonstrating mastery of the subject, lucid writing and clear presentation, using any available journalistic tool. Local Reporting – for a distinguished example of reporting on significant issues of local concern, demonstrating originality and community expertise, using any available journalistic tool.[16] National Reporting – for a distinguished example of reporting on national affairs, using any available journalistic tool. International Reporting – for a distinguished example of reporting on international affairs, using any available journalistic tool. Feature Writing – for distinguished feature writing giving prime consideration to quality of writing, originality and concision, using any available journalistic tool. Commentary – for distinguished commentary, using any available journalistic tool. Criticism – for distinguished criticism, using any available journalistic tool. Editorial Writing – for distinguished editorial writing, the test of excellence being clearness of style, moral purpose, sound reasoning, and power to influence public opinion in what the writer conceives to be the right direction, using any available journalistic tool. Editorial Cartooning – for a distinguished cartoon or portfolio of cartoons, characterized by originality, editorial effectiveness, quality of drawing and pictorial effect, published as a still drawing, animation or both. Breaking News Photography, previously called Spot News Photography – for a distinguished example of breaking news photography in black and white or color, which may consist of a photograph or photographs. Feature Photography – for a distinguished example of feature photography in black and white or color, which may consist of a photograph or photographs. There are six categories in letters and drama: Fiction – for distinguished fiction by an American author, preferably dealing with American life. Drama – for a distinguished play by an American playwright, preferably original in its source and dealing with American life. History – for a distinguished and appropriately documented book on the history of the United States. Biography or Autobiography – for a distinguished biography, autobiography or memoir by an American author. Poetry – for a distinguished volume of original verse by an American poet. General Non-Fiction – for a distinguished and appropriately documented book of non-fiction by an American author that is not eligible for consideration in any other category. In 2020, the Audio Reporting category was added. The first prize in this category was awarded to "The Out Crowd", an episode of the public radio program This American Life. In the second year, the Pulitzer was awarded for the NPR podcast No Compromise.[citation needed] There is one prize given for music: Pulitzer Prize for Music – for distinguished musical composition by an American that has had its first performance or recording in the United States during the year. There have been dozens of Special Citations and Awards: more than ten each in Arts, Journalism, and Letters, and five for Pulitzer Prize service, most recently to Joseph Pulitzer, Jr. in 1987. In addition to the prizes, Pulitzer Travelling Fellowships are awarded to four outstanding students of the Graduate School of Journalism as selected by the faculty. Changes to categories Over the years, awards have been discontinued either because the field of the award has been expanded to encompass other areas; the award has been renamed because the common terminology changed; or the award has become obsolete, such as the prizes for telegraphic reporting. An example of a writing field that has been expanded was the former Pulitzer Prize for the Novel (awarded 1918–1947), which has been changed to the Pulitzer Prize for Fiction, which also includes short stories, novellas, novelettes, and poetry, as well as novels. The Chicago Sun-Times is a daily newspaper published in Chicago, Illinois, United States. It is the flagship paper of the Sun-Times Media Group, and has the second largest circulation among Chicago newspapers, after the Chicago Tribune. The modern paper grew out of the 1948 merger of the Chicago Sun and the Chicago Daily Times. Journalists at the paper have received eight Pulitzer prizes, mostly in the 1970s; one recipient was film critic Roger Ebert (1975), who worked at the paper from 1967 until his death in 2013. Ownership of the paper has changed hands numerous times, including twice in the late 2010s. Contents 1 History 1.1 The 1940s, 1950s and 1960s 1.2 The 1970s 1.3 The 1980s 1.4 The 1990s 1.5 The 2000s 1.6 The 2010s 1.7 The 2020s 2 Awards and notable stories 3 Staff 4 Early Edition 5 Gallery 5.1 Logos 6 References 7 External links History The Chicago Sun-Times claims to be the oldest continuously published daily newspaper in the city. That claim is based on the 1844 founding of the Chicago Daily Journal,[4] which was also the first newspaper to publish the rumor, now believed false, that a cow owned by Catherine O'Leary was responsible for the Chicago fire.[5] The Evening Journal, whose West Side building at 17–19 S. Canal was undamaged, gave the Chicago Tribune a temporary home until it could rebuild.[6] Though the assets of the Journal were sold to the Chicago Daily News in 1929, its last owner Samuel Emory Thomason also immediately launched the tabloid Chicago Daily Illustrated Times.[4] The modern paper grew out of the 1948 merger of the Chicago Sun, founded by Marshall Field III on December 4, 1941, and the Chicago Daily Times (which had dropped the "Illustrated" from its title). The newspaper was owned by Field Enterprises, controlled by the Marshall Field family, which acquired the afternoon Chicago Daily News in 1959 and launched WFLD television in 1966. When the Daily News ended its run in 1978, much of its staff, including Pulitzer Prize-winning columnist Mike Royko, were moved to the Sun-Times. During the Field period, the newspaper had a populist, progressive character that leaned Democratic but was independent of the city's Democratic establishment. Although the graphic style was urban tabloid, the paper was well regarded for journalistic quality and did not rely on sensational front-page stories. It typically ran articles from The Washington Post/Los Angeles Times wire service. The 1940s, 1950s and 1960s This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (January 2021) (Learn how and when to remove this template message) Among the most prominent members of the newspaper's staff was cartoonist Jacob Burck, who was hired by the Chicago Times in 1938, won a Pulitzer Prize in 1941 and continued with the paper after it became the Sun-Times, drawing nearly 10,000 cartoons over a 44-year career. The advice column "Ask Ann Landers" debuted in 1943. Ann Landers was the pseudonym of staff writer Ruth Crowley, who answered readers' letters until 1955. Eppie Lederer, sister of "Dear Abby" columnist Abigail van Buren, assumed the role thereafter as Ann Landers. "Kup's Column", written by Irv Kupcinet, also made its first appearance in 1943. Jack Olsen joined the Sun-Times as editor-in-chief in 1954, before moving on to Time and Sports Illustrated magazines and authoring true-crime books. Hired as literary editor in 1955 was Hoke Norris, who also covered the civil-rights movement for the Sun-Times. Jerome Holtzman became a member of the Chicago Sun sports department after first being a copy boy for the Daily News in the 1940s. He and Edgar Munzel, another longtime sportswriter for the paper, both would end up honored by the Baseball Hall of Fame. Famed for his World War II exploits, two-time Pulitzer Prize-winning cartoonist Bill Mauldin made the Sun-Times his home base in 1962. The following year, Mauldin drew one of his most renowned illustrations, depicting a mourning statue of Abraham Lincoln after the November 1963 assassination of John F. Kennedy. Two years out of college, Roger Ebert became a staff writer in 1966, and a year later was named Sun-Times's film critic. He continued in this role for the remainder of his life. The 1970s In 1975, a new sports editor at the Sun-Times, Lewis Grizzard, spiked some columns written by sportswriter Lacy J. Banks and took away a column Banks had been writing, prompting Banks to tell a friend at the Chicago Defender that Grizzard was a racist.[7] After the friend wrote a story about it, Grizzard fired Banks. With that, the editorial employees union intervened, a federal arbitrator ruled for Banks, and 13 months later he got his job back.[7] A 25-part series on the Mirage Tavern, a saloon on Wells Street bought and operated by the Sun-Times in 1977, exposed a pattern of civic corruption and bribery, as city officials were investigated and photographed without their knowledge. The articles received considerable publicity and acclaim, but a nomination for the Pulitzer Prize met resistance from some who believed the Mirage series represented a form of entrapment.[citation needed] In March 1978, the venerable afternoon publication the Chicago Daily News, sister paper of the Sun-Times, went out of business. The two newspapers shared the same ownership and office building. James F. Hoge, Jr., editor and publisher of the Daily News, assumed the same positions at the Sun-Times, which also retained a number of the Daily News's editorial personnel.[citation needed] The 1980s In 1980, the Sun-Times hired syndicated TV columnist Gary Deeb away from the rival Chicago Tribune.[8] Deeb then left the Sun-Times in the spring of 1983 to try his hand at TV. He joined Chicago's WLS-TV in September 1983.[9] In July 1981, prominent Sun-Times investigative reporter Pam Zekman, who had been part of a Pulitzer Prize-winning team with the Chicago Tribune in 1976, announced she was leaving the Sun-Times to join WBBM-TV in Chicago in August 1981 as chief of its new investigative unit. "Salary wasn't a factor," she told the Tribune. "The station showed a commitment to investigative journalism. It was something I wanted to try."[10] Pete Souza left the Sun-Times in 1983 to become official White House photographer for President Ronald Reagan until his second term's end in 1989. Souza returned to that position to be the official photographer for President Barack Obama.[11][12] Baseball writer Jerome Holtzman defected from the Sun-Times to the Tribune in late 1981, while Mike Downey also left Sun-Times sports in September 1981 to be a columnist at the Detroit Free Press.[citation needed] In January 1984, noted Sun-Times business reporter James Warren quit to join the rival Chicago Tribune. He became the Tribune's Washington bureau chief and later its managing editor for features.[citation needed] In 1984, Field Enterprises co-owners, half-brothers Marshall Field V and Ted Field, sold the paper to Rupert Murdoch's News Corporation, and the paper's style changed abruptly to mirror that of its suitemate, the New York Post. Its front pages tended more to the sensational, while its political stance shifted markedly to the right. This was in the era that the Chicago Tribune had begun softening its traditionally staunchly Republican editorial line, blurring the city's clear division between the two newspapers' politics. This shift was made all but official when Mike Royko defected to the Tribune.[13] Roger Ebert later reflected on the incident with disdain, stating in his blog,[14] On the first day of Murdoch's ownership, he walked into the newsroom and we all gathered around and he recited the usual blather and rolled up his shirtsleeves and started to lay out a new front page. Well, he was a real newspaperman, give him that. He threw out every meticulous detail of the beautiful design, ordered up big, garish headlines, and gave big play to a story about a North Shore rabbi accused of holding a sex slave. The story turned out to be fatally flawed, but so what? It sold papers. Well, actually, it didn't sell papers. There were hundreds of cancellations. Soon our precious page 3 was defaced by a daily Wingo girl, a pinup in a bikini promoting a cash giveaway. The Sun-Times, which had been placing above the Tribune in lists of the 10 best U.S. newspapers, never took that great step it was poised for. Murdoch sold the paper in 1986 (to buy its former sister television station WFLD to launch the Fox network) for $145 million in cash in a leveraged buyout to an investor group led by the paper's publisher, Robert E. Page, and the New York investment firm Adler & Shaykin.[15] In 1984, Roger Simon, who had been a Sun-Times columnist for a decade, quit to join The Baltimore Sun, where he worked until 1995.[16][17] Simon quit the paper because of Murdoch's purchase of it.[17][18] Beginning in October 1984, Simon's columns from Baltimore began appearing in the rival Chicago Tribune.[19] In December 1986, the Sun-Times hired high-profile gossip columnist Michael Sneed away from the rival Chicago Tribune, where she had been co-authoring the Tribune's own "Inc." gossip column with Kathy O'Malley. On December 3, 1986, O'Malley led off the Tribune's "Inc." column with the heading "The Last to Know Dept." and writing, "Dontcha just hate it when you write a gossip column and people think you know all the news about what's going on and your partner gets a new job and your column still has her name on it on the very same day that her new employer announces that she's going to work for him? Yeah, INC. just hates it when that happens."[20] In February 1987, the popular syndicated advice column "Ask Ann Landers" (commonly known as the "Ann Landers" column and written at that point by Eppie Lederer) left the Sun-Times after 31 years to jump to the rival Chicago Tribune, effective March 15, 1987.[21] The move sparked a nationwide hunt for a new advice columnist for the Sun-Times. After more than 12,000 responses from people aged 4 to 85, the paper ultimately hired two: Jeffrey Zaslow, then a 28-year-old Wall Street Journal reporter, and Diane Crowley, a 47-year-old lawyer, teacher and daughter of Ruth Crowley, who had been the original Ann Landers columnist from 1943 until 1955.[22] Crowley left to return to the practice of law in 1993 and the paper decided not to renew Zaslow's contract in 2001.[23] By the summer of 1988, Page and Adler & Shaykin managing partner Leonard P. Shaykin had developed a conflict, and in August 1988, Page resigned as publisher and president and sold his interest in the paper to his fellow investors.[24] The 1990s In mid-1991, veteran crime reporter Art Petacque, who had won a Pulitzer Prize in 1974, left the paper. Almost ten years later, Dennis Britton, who had been the paper's editor at the time of Petacque's retirement, told the Chicago Reader that Petacque's departure, which was described at the time as a retirement, was involuntary. "I had problems with some of the ways Art pursued his job," Britton told the Reader.[25] In September 1992, Bill Zwecker joined the Sun-Times as a gossip columnist from the troubled Lerner Newspapers suburban weekly newspaper chain, where he had written the "VIPeople" column.[26] In September 1992, Sun-Times sports clerk Peter Anding was arrested in the Sun-Times' newsroom and held without bond after confessing to using his position to set up sexual encounters for male high school athletes.[27] Anding was charged with aggravated criminal sexual assault and possession of child pornography. In September 1993, Anding pleaded guilty to arranging and videotaping sexual encounters with several teenage boys and fondling others. He was sentenced to 40 years in prison.[28] In 1993, the Sun-Times fired photographer Bob Black without severance for dozens of unauthorized uses of the company's Federal Express account and outside photo lab, going back more than three years and costing the company more than $1,400.[29] In February 1994, however, Black rejoined the paper's payroll after an arbitrator agreed with the paper's union that dismissal was too severe a penalty.[30] At the same time, the arbitrator declined to award Black back pay.[citation needed] In 1993, longtime Sun-Times reporter Larry Weintraub retired after 35 years at the paper.[31] Weintraub had been best known for his "Weintraub's World" column, in which he worked a job and wrote about the experience.[31] Weintraub died in 2001 at age 69.[31] In February 1994, the Adler & Shaykin investor group sold the Sun-Times to Hollinger Inc. for about $180 million.[32] Hollinger was controlled, indirectly, by Canadian-born businessman Conrad Black. After Black and his associate David Radler were indicted for skimming money from Hollinger International, through retaining noncompete payments from the sale of Hollinger newspapers, they were removed from the board, and Hollinger International was renamed the Sun-Times Media Group.[citation needed] In 1994, noted reporter M.W. Newman retired from the Sun-Times around the age of 77.[33] Newman, who died of lung cancer in 2001, had been with the Sun-Times since the Chicago Daily News closed in 1978 and had focused his efforts on urban reporting.[33] Among other things, Newman had been known for coining the term "Big John" to describe the John Hancock Center and the expression "Fortress Illini" for the concrete structures and plazas at the University of Illinois at Chicago.[33] On March 23, 1995, the Sun-Times announced that beginning April 2, 1995, veteran Sports Illustrated writer Rick Telander would join the paper and write four columns a week.[34][35] On March 24, 1995, the Sun-Times published an editorial by Mark Hornung, then the Sun-Times' editorial page editor, that plagiarized a Washington Post editorial that had appeared in that paper the day before.[36] Hornung attributed the plagiarism to writer's block, deadline pressures and the demands of other duties.[37] He resigned as editorial page editor, but remained with the paper, shifting to its business side and working first as director of distribution and then as vice president of circulation.[38] In 2002, Hornung became president and publisher of Midwest Suburban Publishing, which was a company owned by then-Sun Times parent company Hollinger International.[39] In June 2004, Hollinger International placed Hornung on administrative leave just two weeks after Hollinger revealed that the paper's sales figures had been inflated for several years.[40] Hornung resigned from the company four days later.[41] On May 17, 1995, the Sun-Times' food section published a bogus letter from a reader[42] named "Olga Fokyercelf" that Chicago Tribune columnist (and former Sun-Times columnist) Mike Royko called "an imaginative prank" in a column.[43] In that same column, Royko criticized the paper's food writer, who edited the readers' column at the time, Olivia Wu, for not following better quality control. The Wall Street Journal then criticized Royko with an article of its own, titled, "Has a Curmudgeon Turned Into a Bully? Some Now Think So...Picking on a Food Writer."[44] Although the Sun-Times began hiring a freelancer to edit the space and look for double entendres,[45] another one made it into the same column on July 26, 1995, when the section published a letter from a "Phil McCraken."[46] "This one was a little more subtle," a reporter outside the food department told the Chicago Reader.[45] Chuck Neubauer in the former Chicago Sun-Times newsroom, 1998 In 1998, the Sun-Times demoted longtime TV critic Lon Grahnke, shifting him to covering education.[47] Grahnke, who died in 2006 at age 56 of Alzheimer's disease, remained with the paper until 2001, when he retired following an extended medical leave.[48] The 2000s In 2000, the Sun-Times new editors, Michael Cooke and John Cruickshank, tapped longtime staff reporter Mark Brown, who had considered himself an investigative reporter, to write a column that would anchor page two of the paper.[49] In 2000, longtime investigative reporter Charles Nicodemus retired from the paper at age 69 and[50]died in 2008 at age 77.[51] In 2001, Sun-Times investigative reporter Chuck Neubauer quit the paper to join the Los Angeles Times' Washington bureau.[52] Neubauer and Brown had initiated the investigation into U.S. Rep. Dan Rostenkowski that uncovered a variety of misdeeds that ultimately had led to Rostenkowski's indictment, conviction and imprisonment.[53] In April 2001, Sun-Times architecture critic Lee Bey quit to join the administration of then-Chicago Mayor Richard M. Daley as Daley's deputy mayoral chief of staff, responsible for downtown planning, rewriting the city's zoning code and affordable housing issues.[54] In April 2001, longtime Sun-Times horse-racing writer Dave Feldman died at age 85 while still on the payroll.[55][56] In 2002, with Kuczmarski & Associates, the Chicago Sun-Times co-founded the Chicago Innovation Awards.[citation needed] In May 2002, Sun-Times editors Joycelyn Winnecke and Bill Adee, who were then husband and wife, both quit on the same day to join the rival Chicago Tribune. Winnecke had been the Sun-Times managing editor, and she left for a new post, associate managing editor for national news, while Adee, who had been the Sun-Times sports editor for nine years, became the Tribune's sports editor/news.[57] In October 2003, famed Sun-Times gossip columnist Irv Kupcinet began including the name of his longtime assistant of nearly 34 years, Stella Foster, as the coauthor of his column. After Kupcinet died the following month at age 91, the Sun-Times kept Foster on and gave her the sole byline on the column, which became known as "Stella's Column." Foster retired from the newspaper in 2012.[citation needed] In 2004, the Sun-Times was censured by the Audit Bureau of Circulations for misrepresenting its circulation figures.[58] In February 2004, longtime Sun-Times political columnist Steve Neal died at his home in Hinsdale, Illinois, at age 54, of an apparent suicide.[59][60][61] In August 2004, longtime Chicago broadcast journalist Carol Marin began writing regular columns in the Sun-Times, mostly on political issues.[62] In March 2005, the Chicago Tribune hired away television critic Phil Rosenthal to become its media columnist.[63] He eventually was replaced as TV critic by Doug Elfman.[citation needed] On September 28, 2005, Sun-Times columnist and editorial board member Neil Steinberg was arrested in his home in Northbrook, Illinois and charged with domestic battery and with interfering with the reporting of domestic battery.[64] With that, Steinberg, who had been at the Sun-Times since 1987, entered a treatment facility for alcohol abuse.[64] On November 23, 2005, Cook County prosecutors dropped the charges against Steinberg after his wife said she no longer feared for her safety.[65] On November 28, 2005, Steinberg returned to the Sun-Times' pages after going through a 28-day rehabilitation program at a nearby hospital, and he gave readers his version of the events that led to his arrest: "I got drunk and slapped my wife during an argument."[66] Steinberg also reported that he and his wife were "on the mend," and that he was working toward sobriety.[66] In the spring of 2006, a variety of longtime Sun-Times writers and columnists took buyouts, including sports columnist Ron Rapoport, sports reporter Joe Goddard, society and gardening columnist Mary Cameron Frey, book editor Henry Kisor, page designer Roy Moody and photographer Bob Black.[67] Classical music critic Wynne Delacoma also took a buyout, and left the paper later.[67] In August 2006, the Sun-Times fired longtime Chicago Cubs beat writer Mike Kiley.[68] Then-Sun-Times sports editor Stu Courtney told the Tribune that the dismissal of Kiley, who had joined the Sun-Times from the Tribune in 1996, was a "personnel matter I can't comment on." The Tribune's Teddy Greenstein called Kiley "a fierce competitor."[68] In February 2007, noted Sun-Times columnist Debra Pickett quit upon returning from maternity leave.[69] The reasons for her departure were differences with her editors over where her column appeared and the sorts of assignments being handed to her.[70] On July 10, 2007, newly appointed Editorial Page Editor Cheryl Reed announced: "We [the Chicago Sun-Times editorial page] are returning to our liberal, working-class roots, a position that pits us squarely opposite the Chicago Tribune—that Republican, George Bush—touting paper over on moneyed Michigan Avenue."[71] In January 2008, the Sun-Times underwent two rounds of layoffs. In its first round, the Sun-Times fired editorial board members Michael Gillis, Michelle Stevens and Lloyd Sachs, along with Sunday editor Marcia Frellick and assistant managing editor Avis Weathersbee.[72] On February 4, 2008, Editorial Page Editor Cheryl Reed resigned saying in a front-page Chicago Tribune story that she was "deeply troubled" that the paper's presidential primary endorsements of Barack Obama and John McCain were subjected to "wholesale rewrites" by editorial board outsiders.[73] Cyrus Freidheim Jr., in his role as Sun-Times publisher, issued a statement reassuring staff that the endorsements didn't change and that the rewrites only "deepened and strengthened the messages."[73] Later that month, the Sun-Times underwent more staff reductions, laying off columnist Esther Cepeda, religion reporter Susan Hogan/Albach, TV critic Doug Elfman, real estate editor Sally Duros,[74] and onetime editor Garry Steckles, while giving buyouts to assistant city editors Robert C. Herguth and Nancy Moffett, environmental reporter Jim Ritter, copy editors Chris Whitehead and Bob Mutter, editorial columnist Steve Huntley (who remained with the paper as a freelance columnist), and special Barack Obama correspondent Jennifer Hunter.[75] Also taking a buyout was longtime health and technology reporter Howard Wolinsky.[76] Two other staffers, business editor Dan Miller and deputy metro editor Phyllis Gilchrist, resigned.[75] Reporter Kara Spak initially was reported to have been laid off, but she wound up staying with the paper.[citation needed] In August 2008, high-profile sports columnist Jay Mariotti resigned from the Sun-Times after concluding that the future of sports journalism was online.[77][78][79] In October 2008, the Sun-Times gave buyouts to noted TV/radio writer Robert Feder (a blogger with Time Out Chicago and then an independent writer on Chicago media) and longtime auto writer Dan Jedlicka.[80] The paper also laid off two members of its editorial board: Teresa Puente and Deborah Douglas.[80] In November 2008, the Sun-Times dropped its "Quick Takes" column, which Sun-Times columnist Zay N. Smith had written since 1995.[81] Smith wrote the column from home, and the Sun-Times discontinued the column and informed Smith that it needed him back in the newsroom as a general assignment reporter.[81] The paper's union complained, noting that Smith had permanent physical disabilities that made it difficult for him to be mobile.[81] Smith later left the paper.[citation needed] In March 2009, sports columnist Greg Couch left the Sun-Times after 12 years to join AOL Sports.[82] On March 31, 2009, the newspaper filed for bankruptcy protection.[83] On October 9, 2009 the Sun Times unions agreed to concessions paving the way for Jim Tyree to buy the newspaper and its 50 suburban newspapers. Of the $25 million purchase price, $5 million was in cash, with the other $20 million to help pay off past debts.[84] In November 2009, Sun-Times sports editor Stu Courtney quit to join the rival Chicago Tribune's Chicago Breaking Sports website.[85] In December 2009, the Sun-Times hired sports columnist Rick Morrissey away from the rival Chicago Tribune.[86] The 2010s In April 2010, longtime Sun-Times pop music critic Jim DeRogatis resigned from the paper to join the faculty of Columbia College Chicago and to begin blogging at Vocalo.org.[87] In June 2010, the Sun-Times laid off a group of editorial employees, including longtime sports media columnist Jim O'Donnell and features writer Delia O'Hara.[88] In October 2010, the Sun-Times laid off longtime sports columnist Carol Slezak, who by that point had shifted to feature reporting.[89] At the end of June 2010, longtime Sun-Times sportswriter Len Ziehm, who covered many sports but largely focused on golf, retired after 41 years at the paper.[90][91] Sun-Times Media group chairman James C. Tyree died under sudden circumstances in March 2011. Jeremy Halbreich, chief executive, said that Tyree's will be greatly missed and that his death will make no changes in the media company's strategy.[92] Also in March 2011, the Sun-Times laid off six editorial reporters and writers: high school sports reporter Steve Tucker, reporter Misha Davenport, general assignment reporter Cheryl Jackson, media and marketing columnist Lewis Lazare, feature writer Celeste Busk and sportswriter John Jackson.[93][94] In May 2011, the Sun-Times laid off real estate writer Bill Cunniff, features reporter Jeff Johnson and gaming writer John Grochowski, along with graphic designer Char Searl.[95] In June 2011, the Sun-Times fired longtime TV critic Paige Wiser after she admitted to fabricating portions of a review of a Glee Live! In Concert! performance.[96] She admitted to attending much of the concert but leaving early to tend to her children. The paper eventually tapped longtime travel writer Lori Rackl to replace Wiser as TV critic.[97] The Sun-Times announced in July 2011 that it would close its printing plant on Ashland Avenue in Chicago—eliminating 400 printing jobs—and would outsource the printing of the newspaper to the rival Chicago Tribune.[98] The move was estimated to save $10 million a year. The Sun-Times already had been distributed by the Tribune since 2007.[98] In August 2011, the Sun-Times laid off three more reporters and writers: sportswriter Mike Mulligan, "Quick Hits" sports columnist Elliott Harris and photographer Keith Hale.[99] In September 2011, the Sun-Times fired longtime restaurant reviewer (and freelancer) Pat Bruno.[100][101] In October 2011, the Sun-Times discontinued the longtime comic strip Drabble (syndicated by Newspaper Enterprise Association), which the paper had run since the strip's inception in 1979. The comic strip was the victim of a reduced page size.[102] At the end of May 2013, the publication's photography department was dissolved as part of a restructuring that involves the use of freelance photographers and non-photographer journalists to provide visual content.[103] Under the terms of a settlement with the paper's union, the Sun-Times reinstated four of those photographers as multimedia journalists in March 2014: Rich Chapman, Brian Jackson, Al Podgorski and Michael Schmidt.[104] In March 2014, pop culture reporter Dave Hoekstra left the Sun-Times in a buyout after 29 years with the paper.[104] Concurrent with Hoekstra's departure, the company also laid off two Sun-Times editorial assistants, two editors at the SouthtownStar, a community editor at the Post-Tribune of Northwest Indiana and a weekend editor/designer at the company's west suburban newspaper group.[citation needed] In March 2016, Shia Kapos signed on to bring her Taking Names column to the Sun-Times. She had been writing the gossip column since 2007 for Crain's Business.[105] On July 13, 2017, it was reported that a consortium consisting of private investors and the Chicago Federation of Labor led by businessman and former Chicago alderman Edwin Eisendrath through his company ST Acquisition Holdings, had acquired the paper and its parent company, Sun-Times Media Group, from then-owner Wrapports, beating out Chicago-based publishing company Tronc (formerly Tribune Publishing Company) for ownership.[106][107] In March 2019, a new ownership group took over and took control of the Sun-Times from the previous union ownership. The group, Sun-Times Investment Holdings LLC, is backed by prominent Chicago investors Michael Sacks and Rocky Wirtz.[1] The 2020s In September 2021, the Sun-Times and Chicago Public Media, owners of the city's NPR affiliate WBEZ, announced that they had signed a non-binding agreement to allow Chicago Public Media to acquire the paper.[108] Awards and notable stories Journalists at the Sun-Times have won eight Pulitzer Prizes. 1970: Tom Fitzpatrick, General Reporting[109] 1971: Jack Dykinga, Feature Photography[110] 1973: Ron Powers, Criticism[111] 1974: Art Petacque, Hugh Hough, General Reporting[112] 1975: Roger Ebert, Criticism[113] 1982: John H. White, Feature Photography[114] 1989: Jack Higgins, Editorial Cartooning[115] 2011: Frank Main, Mark Konkol and John J. Kim, Local Reporting[116] Doug Moench was nominated for a Chicago Newspaper Guild Award in 1972 for his stream-of-consciousness story on violence in the Chicago subway system. In 1978, the newspaper conducted the Mirage Tavern investigation, in which undercover reporters operated a bar and caught city officials taking bribes on camera.[117] In January 2004, after a six-month investigation written by Tim Novak and Steve Warmbir, the paper broke the story of the Hired Truck Program scandal. After a Sun-Times article by Michael Sneed erroneously identified the perpetrator of the April 16, 2007 Virginia Tech massacre as an unnamed Chinese national, the People's Republic of China criticized the Chicago Sun-Times for publishing what it called "irresponsible reports."[118] The newspaper later silently withdrew the story without making any apologies or excuses.[citation needed] Staff The Sun-Times' best-known writer was film critic Roger Ebert, who died in April, 2013.[119] Chicago columnist Mike Royko, previously of the defunct Chicago Daily News, came to the paper in 1978 but left for the Chicago Tribune in 1984 when the Sun-Times was purchased by Rupert Murdoch's News Corp. Irv Kupcinet's daily column was a fixture from 1943 until his death in 2003. It was also the home base of famed cartoonist Bill Mauldin from 1962–91, as well as advice columnist Ann Landers and the Washington veteran Robert Novak for many years. Lisa Myers, the Senior Investigative Correspondent for NBC News, was the publication's Washington correspondent from 1977 to 1979.[120] Author Charles Dickinson worked as a copy editor for the publication from 1983-1989.[citation needed] The newspaper gave a start in journalism to columnist Bob Greene, while other notable writers such as Mary Mitchell, Richard Roeper, Gary Houston, Michael Sneed, Mark Brown, Neil Steinberg, sportswriters Rick Telander and Rick Morrissey, theater critic Hedy Weiss, Carol Marin, Pulitzer Prize-winning reporters Frank Main and Mark Konkol, and technology expert Andy Ihnatko have written for the Sun-Times. As of October 2013, Lynn Sweet is the Washington Bureau Chief and Pulitzer Prize-winner Jack Higgins is the publication's editorial cartoonist.[121][122][123] John Cruickshank became the publisher in 2003 after David Radler, and on September 19, 2007, announced he was resigning to head the Canadian Broadcasting Corporation's news division.[124][125] On May 30, 2013, the Sun-Times laid off the vast majority of its photography staff as part of a change in its structure, opting instead to use photos and video shot by reporters, as well as content from freelancers, instead. Two staff photographers remained after the restructure: Rich Hein was named Photo Editor and Jessica Koscielniak, who was hired in January 2013, became the newspapers' only multimedia reporter.[citation needed] Among those photographers who were laid off was Pulitzer Prize winning photographer John White.[126] In an official statement, the newspaper explained: "The Sun-Times business is changing rapidly and our audiences are consistently seeking more video content with their news. We have made great progress in meeting this demand and are focused on bolstering our reporting capabilities with video and other multimedia elements."[103] Early Edition The paper was featured in the CBS show Early Edition, where the lead character mysteriously receives each Chicago Sun-Times newspaper the day before it is actually published.[citation needed] Gallery Former Chicago Sun-Times headquarters, located in the River North Point building at 350 North Orleans Street Former Chicago Sun-Times headquarters, demolished in 2004 to make way for the Trump Tower Former Chicago Sun-Times headquarters with Wrigley Building and Tribune Tower Former Sun Times and Daily News headquarters Viewed from Michigan Avenue Bridge with 330 North Wabash Logos 2003 2007 2011 2015 2016–2018 2019 The Chicago Daily News was an afternoon daily newspaper in the midwestern United States, published between 1875 and 1978 in Chicago, Illinois.[1] Contents 1 History 1.1 Independent newspaper 1.2 Knight Newspapers and Field Enterprises 2 Pulitzer Prizes 3 References 4 Further reading 5 External links History Daily News Building The Daily News was founded by Melville E. Stone, Percy Meggy, and William Dougherty in 1875 and began publishing on December 23. Byron Andrews, fresh out of Hobart College, was one of the first reporters. The paper aimed for a mass readership in contrast to its primary competitor, the Chicago Tribune, which appealed to the city's elites. The Daily News was Chicago's first penny paper, and the city's most widely read newspaper in the late nineteenth century.[2] Victor Lawson bought the Chicago Daily News in 1876 and became its business manager. Stone remained involved as an editor and later bought back an ownership stake, but Lawson took over full ownership again in 1888.[3] Independent newspaper During his long tenure at the Daily News, Victor Lawson pioneered many areas of reporting, opening one of the first foreign bureaus among U.S. newspapers in 1898. In 1912, the Daily News became one of a cooperative of four newspapers, including the New York Globe, The Boston Globe, and the Philadelphia Bulletin, to form the Associated Newspapers syndicate. In 1922, Lawson started one of the first columns devoted to radio. He also introduced many innovations to business operations including advances in newspaper promotion, classified advertising, and syndication of news stories, serials, and comics.[4] Editor A. B. Blair 1915 Victor Lawson died in August 1925, leaving no instructions in his will regarding the disposition of the Daily News. Walter A. Strong, who was Lawson's business manager, spent the rest of the year raising the capital he needed to buy the Daily News. The Chicago Daily News Corporation, of which Strong was the major stockholder, bought the newspaper for $13.5 million – the highest price paid for a newspaper up to that time.[5] Strong was the president and publisher of the Chicago Daily News Corporation from December 1925 until his death in May 1931. As Lawson's business manager, Strong partnered with the Fair Department Store to create a new radio station. Strong asked Judith C. Waller to run the new station. When Waller protested that she didn't know anything about running a station. Strong replied "neither do I, but come down and we'll find out."[6] Waller was hired in February 1922 and went on to have a long and distinguished career in broadcasting. What would become WMAQ had its inaugural broadcast April 12, 1922. That same year, the rival Chicago Tribune began to experiment with radio news at Westinghouse-owned KYW. In 1924 the Tribune briefly took over station WJAZ, changing its call letters to WGN, then purchased station WDAP outright and permanently transferred the WGN call letters to this second station.[7] The Daily News would eventually take full ownership of the station and absorb shared band rival WQJ, which was jointly owned by the Calumet Baking Powder Company and the Rainbo Gardens ballroom.[8][9] WMAQ would pioneer many firsts in radio—one of them the first complete Chicago Cubs season broadcast on radio in 1925, hosted by sportswriter-turned-sportscaster Hal Totten.[10] In April 1930, WMAQ was organized as a subsidiary corporation with Walter Strong as its chairman of the board, and Judith Waller as vice president and station manager.[11] On August 2, 1929, it was announced that the Chicago Daily Journal was consolidating with the Daily News, and the Journal published its final issue on August 21.[12] By the late 1920s, it was apparent to Walter Strong that his newspaper and broadcast operations needed more space. He acquired the air rights over the railroad tracks that ran along the west side of the Chicago River. He commissioned architects Holabird & Root to design a modern building over the tracks that would have newspaper production facilities and radio studios. The 26-floor Chicago Daily News Building opened in 1929. It featured a large plaza with a fountain dedicated to Strong's mentor, Victor Lawson, and a mural by John W. Norton depicting the newspaper production process.[13] The Art Deco structure became a Chicago landmark, and stands today under the name Riverside Plaza. In 1930, the radio station obtained a license for an experimental television station, W9XAP, but had already begun transmitting from it just prior to its being granted.[14][15] Working with Sears Roebuck stores by providing them with the receivers, those present at the stores were able to see Bill Hay, (the announcer for Amos 'n' Andy), present a variety show from the Daily News Building, on August 27, 1930.[16][17] Ulises Armand Sanabria was the television pioneer behind this and other early Chicago television experiments. In 1931 The Daily News sold WMAQ to NBC.[18] In its heyday as an independent newspaper from the 1930s to 1950s the Daily News was widely syndicated and boasted a first-class foreign news service.[19] It became known for its distinctive, aggressive writing style which 1920s editor Henry Justin Smith likened to a daily novel. This style became the hallmark of the newspaper: "For generations", as Wayne Klatt puts it in Chicago Journalism: A History, "newspeople had been encouraged to write on the order of Charles Dickens, but the Daily News was instructing its staff to present facts in cogent short paragraphs, which forced rivals to do the same."[20] In the 1950s, city editor Clement Quirk Lane (whose son John would become Walter Cronkite's executive producer) issued a memo to the staff that has become something of a memorial of the paper's house style, a copy of which can be found on Lane's entry. Knight Newspapers and Field Enterprises Sun-Times and Daily News headquarters After a long period of ownership by Knight Newspapers (later Knight Ridder), the paper was acquired in 1959 by Field Enterprises, owned by heirs of the former owner of the Marshall Field and Company department store chain. Field already owned the morning Chicago Sun-Times, and the Daily News moved into the Sun-Times' building on North Wabash Avenue. A few years later Mike Royko became the paper's lead columnist, and quickly rose to local and national prominence. However, the Field years were mostly a period of decline for the newspaper, partly due to management decisions but also due to demographic changes; the circulation of afternoon dailies generally declined with the rise of television, and downtown newspapers suffered as readers moved to the suburbs. In 1977 the Daily News was redesigned and added features intended to increase its appeal to younger readers, but the changes did not reverse the paper's continuing decline in circulation. The Chicago Daily News published its last edition on Saturday, March 4, 1978.[1] As reported in The Wall Street Journal, later in 1978, Lloyd H Weston, president, editor and publisher of Addison Leader Newspapers, Inc., a group of weekly tabloids in the west and northwest suburbs—obtained rights to the Chicago Daily News trademark. Under a new corporation, CDN Publishing Co., Inc., based in DuPage County, Weston published a number of special editions of the Chicago Daily News, including one celebrating the Chicago Auto Show. The following year, a Rosemont-based group headed by former Illinois governor Richard B. Ogilvie contracted to purchase CDN Publishing, with the expressed intention of publishing the Chicago Daily News as a weekend edition beginning that August. Weston hosted a party celebrating the signing of the contract with Ogilvie at the iconic Pump Room in the Ambassador Chicago Hotel. The gala was attended by hundreds of the city's well-known names in politics, publishing. broadcasting and advertising. The next day, Ogilvie reneged on the deal. The check he signed as payment to Weston bounced. And his corporation filed for federal bankruptcy protection. Weston's last edition of the Chicago Daily News featured extensive photo coverage of the October 4, 1979, visit to Chicago of Pope John Paul II. In 1984, Weston sold his rights to the Chicago Daily News trademark to Rupert Murdoch, who, at the time, was owner and publisher of the Chicago Sun-Times. The headquarters of the Daily News and Sun-Times was located at 401 North Wabash before the building was demolished. It is now the site of Trump International Hotel and Tower. Pulitzer Prizes The Chicago Daily News was awarded the Pulitzer Prize thirteen times. 1925 Reporting 1929 Correspondence 1933 Correspondence 1938 Editorial Cartooning 1943 Reporting 1947 Editorial Cartooning 1950 Meritorious Public Service 1951 International Reporting 1957 Meritorious Public Service 1963 Meritorious Public Service 1969 Editorial Cartooning 1970 National Reporting 1972 Commentary The Chicago Sun-Times laid off its entire full-time photography staff Thursday, including a Pulitzer Prize winner, in a move that the newspaper's management said resulted from a need to shift toward more online video. The union representing many of the laid-off photographers plans to file a bad-faith bargaining charge with the National Labor Relations Board, a union leader said. The Sun-Times Media company didn't immediately comment on how many jobs were affected, but the national Newspaper Guild issued a statement saying 28 employees lost their jobs. The layoffs included photographers and editors at the Sun-Times' sister publications in the suburbs. "I'm still in shock. I'm not angry right now. Maybe I will be later," said Steve Buyansky, a laid-off photo editor for three of the group's suburban newspapers. Buyansky said about 30 photographers and photo editors were called to a mandatory meeting Thursday morning where Sun-Times editor Jim Kirk "talked for about 20 seconds" telling them the layoffs were a tough decision. Buyansky said Pulitzer Prize-winning Sun-Times photographer John H White was in the room and was among those who were laid off. "It's sad," said Buyansky, speaking from the Billy Goat tavern, a long-time watering hole for Chicago journalists, where about 10 laid-off photographers congregated after the meeting. "The Sun-Times had an amazing photo staff." White took a well-known photo of now-imprisoned governor Rod Blagojevich leaving his home through a back alley, one day after he was arrested on federal corruption charges. The photo caught Blagojevich as he passed a bright yellow sign warning about rats. "It captured everything that Rod Blagojevich and the state of Illinois exudes. It's a great photo because there's such great humor in it," said laid-off Sun-Times photo assignment editor Dom Najolia, who marked his 33rd year at the paper earlier this month. Chicago is one of few US cities to still have competing newspapers. The Sun-Times, a tabloid, competes with the Chicago Tribune. Chicago Newspaper Guild executive director Craig Rosenbaum said an unfair labor practice charge will be filed in reaction to the company's announcement. The union is negotiating a new contract and the company told the union at the bargaining table recently that no layoffs of photographers were planned, Rosenbaum said. Sun-Times Media released a statement Thursday to the Associated Press confirming the move: "Today, the Chicago Sun-Times has had to make the very difficult decision to eliminate the position of full-time photographer, as part of a multimedia staffing restructure." The statement noted that the "business is changing rapidly" and audiences are "seeking more video content with their news." Like most major newspapers, the Sun-Times has been hard hit by the technological shift that has cause more people to rely on their personal computers and mobile devices to stay informed. As more readers have embraced digital alternatives, so have advertisers in a move that has been steadily siphoning away newspaper publishers' biggest source of revenue. The Chicago Sun-Times ended September 2012 with a paid circulation of 263,292, according to the most recent statement filed with the Alliance for Audited Media. That contrasted with circulation of about 341,448 at the same time in 2006. Including satellite editions that operate under other names, the Sun-Times' circulation totaled 432,451 in September 2012. White, John H. (Chicago photographer). (b. Lexington, NC, 1945; active Chicago, IL, 2013) Bibliography and Exhibitions MONOGRAPHS AND SOLO EXHIBITIONS: Kennedy, Eugene and JOHN H. WHITE (photos). This Man Bernardin. Chicago: Loyola Press, 1996. xi, 180 pp., maps, portraits. Biography. 4to (29 cm.), cloth, d.j. WHITE, JOHN H. (Photos). The Final Journey of Joseph Cardinal Bernardin, 1928-1996. Chicago: Loyola Press, 1997. 74 pp. Text by White, Raymond E. Goedert, and other close colleagues. Newly published photographs that chronicle the last months of Joseph Cardinal Bernardin's life and ministry. Includes Monsignor Kenneth Velo's Funeral Mass homily. 4to (29 cm.). GENERAL BOOKS AND GROUP EXHIBITIONS: ATLANTA (GA). Atlanta College of Art Gallery. Songs of My People: African Americans: A Self-Portrait. June 26-August 9, 1991; Boston: Little, Brown and Co., 1992. xiii, 209 pp. exhibit. cat. of 150 works by over 50 African American photographers; intro. by Gordon Parks. Eric Easter, D. Michael Cheers, and Dudley M. Brooks, eds. This was a photographic project initiated by the editors, not the usual historical compilation. Included: Jules Allen, Howard Bingham, Bob Black, D. Michael Cheers, Michel DuCille, James V. Evers, Roland L. Freeman, Ronald L. Griemans, C.W. Griffin, Keith Hadley, Durell Hall, Jr., Chester Higgins, Jason Miccolo Johnson, David C. Lee, Matthew Lewis, Kirk McKoy, Jeanne Moutoussamy-Ashe, Ozier Muhammad, Marilyn Nance, Eli Reed, Morris Richardson II, Jeffery Allan Salter, Coreen Simpson Lester Sloan, D. Stevens, Bruce Talamon, Dixie D. Vereen, John H. White, Keith Williams, et al. [Traveled to Corcoran Gallery of Art, 1992; Afro-American Historical and Cultural Museum, Philadelphia, April-May 1992; California Afro-American Museum, May 1992 -- at which eight photographs by D Stevens and others related to the Los Angeles riots of 1992 were added. A second small tour of 60 photographs traveled to: Museum of the City of New York; the DuSable Museum, Chicago; the Uffizi, Florence, Italy, and other international venues.] [Reviews: Renee Lucas Wayne, "An African-American Self-Portrait in Photos," Philadelphia Daily News, April 17, 1992; Shauna Snow, "Redressing the Balance - Photography: 'Songs of My People' is Designed to Contribute Toward Understanding ... and Healing the City." Los Angeles Times, May 30, 1992; Charles Hagen. "Review/Photography: 'Songs of My People,' A Black Self-Portrait." NYT, October 9, 1992; "Unfinished Songs: Three Exhibitions at Philadelphia's Afro-American Museum" The Crisis, October, 1992; long description, but with many names of photographers misspelled.] Note: the photographs from the exhibition were donated to the Museum of Art and Archaeology, University of Missouri. 4to (30.5 x 25.4 cm.; 12 x 10.2 in.), black pictorial boards, pictorial dust jacket. First ed. Chicago (IL). Negro Digest. The Art Scene. Chicago: Johnson Publishing Co., Inc., 1970. Unattrib. article. In: Negro Digest Vol. 19, no. 3 (January 1970):80-82, cover illus. photo of sculpture by Ramon Price. In a rare burst of enthusiasm for the visual arts, this issue devoted over two pages to mention of the Studio Museum show "14 Black Artists from Boston" and mention of two exhibitions at he South Side Community Art Center: a solo show by Garrett Whyte and a group exhibition "Black Expressions 1969" with photos of two of the winners Ramon Price (sculpture), John H. White (photography), jurors Leroy Winbush, Lerone Bennett, Jr. and Harold Bradley, plus photos of others attending the opening Richard Hunt and Clarence Tolbert. CHICAGO (IL). South Side Community Art Center. Black Expressions 1969. 1969. Group exhibition and competition open to Chicago-area artists. Prizewinners included: Jeff Donaldson (painting), Ramon Price (sculpture), John White (photography), and Barbara Jones (printmaking). The award-winning works became the property of the South Side Center. [Mention with photos in: Negro Digest Vol. 19, no. 3 (April 1970):81-2.] CHICAGO (IL). South Side Community Art Center. Through the Eyes of Blackness. 1973. Group photo exhibition by four Chicago photojournalists. Featured Howard Simmons, John H. White (Daily News), Ovie Carter (Chicago Tribune), and Bob Black (Sun-Times.) Organized by Howard Simmons. EASTER, ERIC, D. MICHAEL CHEERS and DUDLEY M. BROOKS, eds. Songs of My People: African Americans: A Self-Portrait. New York: Little, Brown & Co., 1992. 208 pp., 152 photographic illus. Introduction by Gordon Parks. Essays by Sylvester Monroe, Paula Giddings, Nelson George and Joyce Ladner. Includes photographs by Michelle Agins, Jules Allen, Anthony Barboza, Conrad Barclay, Howard Bingham, Bob Black, Geary G. Broadnax, Dudley Brooks, Ron Caesar, D. Michael Cheers, George Chinsee, Jacques Chinet, Roland L. Freeman, Vince Frye, Mark Gail, T. Ortega Gaines, C.W. Griffin, Keith Hadley, Durell Hall, Jr., Craig Herndon, Chester Higgins, Fred Hutcherson, Jason Miccolo Johnson, David Lee, Matthew Lewis, Roy Lewis, Kirk McKoy, Odell Mitchell, Jeanne Moutoussamy-Ashe, Ozier Muhammad, Marilyn Nance, Eli Reed, Jeffery Allan Salter, Coreen Simpson, Lester Sloan, D. Stevens, Bruce Talamon, Dixie D. Vereen, Kenneth Walker, Riccardo Watson, John H. White, Keith Williams, Pat West, and other leading Black photojournalists. [The exhibition traveled to 23 U.S. cities and 7 countries in Europe. 4to, cloth, d.j. First ed. GATES, HENRY LOUIS and EVELYN BROOKS HIGGINBOTHAM, eds. African American National Biography. 2009. Originally published in 8 volumes, the set has grown to 12 vollumes with the addition of 1000 new entries. Also available as online database of biographies, accessible only to paid subscribers (well-endowed institutions and research libraries.) As per update of February 2, 2009, the following artists were included in the 8-volume set, plus addenda. A very poor showing for such an important reference work. Hopefully there are many more artists in the new entries: Jesse Aaron, Julien Abele (architect), John H. Adams, Jr., Ron Adams, Salimah Ali, James Latimer Allen, Charles H. Alston, Amalia Amaki, Emma Amos, Benny Andrews, William E. Artis, Herman "Kofi" Bailey, Walter T. Bailey (architect), James Presley Ball, Edward M. Bannister, Anthony Barboza, Ernie Barnes, Richmond Barthé, Jean-Michel Basquiat, Cornelius Marion Battey, Romare Bearden, Phoebe Beasley, Arthur Bedou, Mary A. Bell, Cuesta Ray Benberry, John Biggers, Camille Billops, Howard Bingham, Alpha Blackburn, Robert H. Blackburn, Walter Scott Blackburn, Melvin R. Bolden, David Bustill Bowser, Wallace Branch, Barbara Brandon, Grafton Tyler Brown, Richard Lonsdale Brown, Barbara Bullock, Selma Hortense Burke, Calvin Burnett, Margaret Taylor Goss Burroughs, John Bush, Elmer Simms Campbell, Elizabeth Catlett, David C. Chandler, Jr., Raven Chanticleer, Ed Clark, Allen Eugene Cole, Robert H. Colescott, Eldzier Cortor, Ernest T. Crichlow, Michael Cummings, Dave the Potter [David Drake], Griffith J. Davis, Thomas Day, Beauford Delaney, Joseph Delaney, Thornton Dial, Sr., Joseph Eldridge Dodd, Jeff Donaldson, Aaron Douglas, Sam Doyle, David Clyde Driskell, Robert S. Duncanson, Ed Dwight (listed as military, not as artist); Mel Edwards, Minnie Jones Evans, William McNight Farrow, Elton Fax, Daniel Freeman, Meta Warrick Fuller, Reginald Gammon, King Daniel Ganaway, the Goodridge Brothers, Rex Goreleigh, Tyree Guyton, James Hampton, Della Brown Taylor (Hardman), Edwin Augustus Harleston, Charles "Teenie" Harris, Lyle Ashton Harris, Bessie Harvey, Isaac Scott Hathaway, Palmer Hayden, Nestor Hernandez, George Joseph Herriman, Varnette Honeywood, Walter Hood, Richard L. Hunster, Richard Hunt, Clementine Hunter, Bill Hutson, Joshua Johnson, Sargent Claude Johnson, William H. Johnson, Lois Mailou Jones, Ann Keesee, Gwendolyn Knight, Jacob Lawrence, Hughie Lee-Smith, Edmonia Lewis, Samella Lewis, Glenn Ligon, Jules Lion, Edward Love, Estella Conwill Majozo, Ellen Littlejohn, Kerry James Marshall, Lynn Marshall-Linnemeier, Richard Mayhew, Carolyn Mazloomi, Aaron Vincent McGruder, Robert H. McNeill, Scipio Moorhead, Archibald H. Motley, Jr., Jeanne Moutoussamy-Ashe, Mr. Imagination (Gregory Warmack), Lorraine O'Grady, Jackie Ormes, Joe Overstreet, Carl Owens, Gordon Parks, Sr., Gordon Parks, Jr., C. Edgar Patience, Howardena Pindell, Adrian Margaret Smith Piper, Rose Piper, Horace Pippin, William Sidney Pittman, Stephanie Pogue, Prentiss Herman Polk (as Prentice), James Amos Porter, Harriet Powers, Elizabeth Prophet, Martin Puryear, Patrick Henry Reason, Michael Richards, Arthur Rose, Alison Saar, Betye Saar, Raymond Saunders, Augusta Savage, Joyce J. Scott, Addison Scurlock, George Scurlock, Willie Brown Seals, Charles Sebree, Joe Selby, Lorna Simpson, Norma Merrick Sklarek, Clarissa Sligh, Albert Alexander Smith, Damballah Smith, Marvin and Morgan Smith, Maurice B. Sorrell, Simon Sparrow, Rozzell Sykes, Henry Ossawa Tanner, Alma Thomas, J.J. Thomas, Robert Louis (Bob) Thompson, Mildred Jean Thompson, Dox Thrash, William Tolliver, Bill Traylor, Leo F. Twiggs, James Augustus Joseph Vanderzee, Kara Walker, William Onikwa Wallace, Laura Wheeler Waring, Augustus Washington, James W. Washington, Jr., Carrie Mae Weems, James Lesesne Wells, Charles White, John H. White, Jack Whitten, Carla Williams, Daniel S. Williams, Paul Revere Williams (architect), Deborah Willis, Ed Wilson, Ellis Wilson, Fred Wilson, John Woodrow Wilson, Ernest C. Withers, Beulah Ecton Woodard, Hale Aspacio Woodruff. RUBIN, CYMA and ERIC NEWTON, eds. Capture the Moment: The Pulitzer Prize Photographs. Arlington, VA; Freedom Forum, 2000. 208 pp., 85 b&w and 37 color illus., brief biogs. of photographers. Includes: Moneta J. Sleet, Jr., Matthew Lewis, John H. White, Michel DuCille (1986 and 1988), Clarence J. Williams, III. Covers 1942-1999. [Reprinted by Norton with update thru 2001.] Also a traveling exhibition with same title. 4to (11.9 x 9 in.), wraps. First ed. WILLIS, DEBORAH, ed. Black Photographers: 1940-1988, An Illustrated Bio-Bibliography. New York: Garland, 1989. 483 pp., over 350 illus. The most comprehensive list of Black photographers to date, with brief biographical entries on many artists and a few bibliographical entries on approximately half of the hundreds of names. Photographers included in Willis's earlier book, Black Photographers 1840-1940, receive only a brief notation here. An indispensable reference work. Artists discussed include: Salimah Ali, Omobowale Ayorinde, J. Edward Bailey, III, Anthony Barboza, Donnamarie Barnes, Vanessa Barnes Hillian, Fay D. Bellamy, Lisa Bellamy, Dawoud Bey, Hart Leroy Bibbs, Bonnie Brisset, Barbara Brown, Lisa Brown, Millie Burns, Muriel Agatha Fortune Bush, Cynthia D. Cole, Juanita Cole, Cary Beth Cryor, Tere L. Cuesta, Fikisha Cumbo, Phyllis Cunningham, Pat Davis, Carmen DeJesus, Lydia Ann Douglas, Barbara Dumetz, Joan Eda, Sharon Farmer, Phoebe Farris, Valeria "Mikki" Ferrill, Collette V. Fournier, Roland L. Freeman, Rennie George, Bernadette F. B. Gibson, Anthony Gleaton, Dorothy Gloster, Lydia Hale-Hammond, Gail Adelle Hansberry, Inge Hardison, Teenie Harris, Madeleine Hill, Zebonia Hood, Vera Jackson, Louise Jefferson, Michelle M. Jeffries, Brent Jones, Brian V. Jones, Julia Jones, Kenneth G. Jones, Marvin T. Jones, Leah Jaynes Karp, Irene C. Kellogg, Lucius King, Romulo Lachatanere, Allie Sharon Larkin, George Larkins, Archy La Salle, Abe C. Lavalais, Joyce Lee, Sa'Longo J.R. Lee, Carl E. Lewis, Harvey James Lewis, Matthew Lewis, Roy Lewis, Fern Logan, Edie Lynch, Peter Magubane, Jimmie Mannas, Louise Martin, Mickey Mathis, Carroll T. Maynard, Rhashidah Elaine McNeill, Marlene Montoute, Michelle Morgan, Jeanne Moutoussamy-Ashe, Marilyn Nance, Yvonne Payne, Patricia Phipps, Ellen Queen, Phillda Ragland, Arkili-Casundria Ramsess, Odetta Rogers, Veronica Saddler, Lloyd Saunders, Cheryl Shackelton, Victoria Simmons, Coreen Simpson, Lorna Simpson, Clarissa T. Sligh, Ming Smith, Toni Smith, Charlynn Spencer Pyne, Jo Moore Stewart, Celeste P. Stokes, Elisabeth Sunday, Elaine Tomlin, Sandra Turner-Bond, Jacqueline La Vetta Van Sertima, Dixie Vereen, William Onikwa Wallace, Sharon Watson-Mauro, Carrie Mae Weems, Dolores West, Judith C. White, Elizabeth "Tex" Williams, Lucy Williams, Pat Ward Williams, Deborah Willis, Carol R. Wilson, Jonni Mae Wingard, Ernest Withers, and many, many others. Not all listed in this description, but all individual photographers are cross-listed. Large stout 4to, pictorial boards, no d.j. (as issued). First ed. Pablo Martínez Monsiváis is the son of a migrant laborer and the first of his siblings to be born in the United States. He grew up in Chicago’ Mexican-American community of Little Villages, where he was immersed in its particular immigrant experience. After graduating with a degree in photography from Columbia College, he began his career as a summer intern for his hometown newspaper, the Chicago Sun-Times. At the end of the 13-week internship, at the young age of 24, the paper hired him as a staff photojournalist. There he worked on many local stories and covered everything from parades to politics, from food to fashion, to fires, and sports. Since the fall of 1998, Pablo has been a staff photojournalist for the Associated Press’ Washington Bureau, where he primarily covers the office of the President and various administrations. In 1999 he won the Pulitzer Prize for Feature Photography for team coverage of the impeachment during the Clinton Administration. Pablo has received awards for World Press Photo, The White House News Photographers, and the National Association of Hispanic Journalists. Pablo Martínez Monsiváis Pablo Martinez Monsivais, Assistant Chief of Bureau for Photography in Washington. Pablo has been an integral part of the AP photo staff for more than two decades. He joined the AP in 1998 as a photographer in Washington, forging a career that has spanned four presidencies and taken him to all 50 states and over 70 countries. Following the Sept. 11 attacks, Pablo embedded with the 101st Airborne during deployment into Afghanistan, and in 2003, was part of President George W. Bush’s surprise Thanksgiving visit to Baghdad. He has covered major sporting events including the World Series, NBA Finals and NHL Stanley Cup in addition to World Cup Soccer, NCAA and MLS tournaments. With fellow AP photo staff, he won a Pulitzer Prize for Feature Photography for coverage of President Bill Clinton’s impeachment and has received awards from World Press Photo, the White House News Photographers Association and the National Association of Hispanic Journalists. He is a founding member of Iris Photo Collective, with whom he recently received a Knight Foundation grant for projects documenting Haitian and Cuban communities. Prior to the AP, Pablo worked as a staff photographer for the Chicago Sun-Times. He is a graduate of Columbia College Chicago and was honored as the Alumni of the Year in 2009. He lives in Washington with his wife Jessica and son Luca. I’m very happy to let you know that Pablo Martinez Monsivais is our new assistant chief of bureau for photography in Washington. This is a well-deserved promotion for Pablo and completes our cross-format leadership team in the bureau. Pmm1 AP Washington Assistant Chief of Bureau for Photography Pablo Martinez Monsivais. (AP Photo) Pablo has been an integral part of the AP photo staff for more than two decades. He joined the AP in 1998 as a photographer in Washington, forging a career that has spanned four presidencies and taken him to all 50 states and over 70 countries. Following the Sept. 11 attacks, Pablo embedded with the 101st Airborne during deployment into Afghanistan, and in 2003, was part of President George W. Bush’s surprise Thanksgiving visit to Baghdad. He has covered major sporting events including the World Series, NBA Finals and NHL Stanley Cup in addition to World Cup Soccer, NCAA and MLS tournaments. With fellow AP photo staff, he won a Pulitzer Prize for Feature Photography for coverage of President Bill Clinton’s impeachment and has received awards from World Press Photo, the White House News Photographers Association and the National Association of Hispanic Journalists. He is a founding member of Iris Photo Collective, with whom he recently received a Knight Foundation grant for projects documenting Haitian and Cuban communities. Prior to the AP, Pablo worked as a staff photographer for the Chicago Sun-Times. He is a graduate of Columbia College Chicago and was honored as the Alumni of the Year in 2009. He lives in Washington with his wife Jessica and son Luca. Pablo is a talented photographer, a smart and generous colleague and a natural leader who will make our coverage of the nation’s capital and national politics stronger. Please join me in congratulating Pablo on this new role. Double Exposure DEMO Feature Two Pulitzer Prize-winning photographers reflect on their careers and the craft of photojournalism. Audrey Michelle Mast '00 As photojournalists for The New York Times and The Associated Press, Pulitzer Prize-winning photographers Ozier Muhammad ’72 and Pablo Martínez Monsiváis ’94 have watched history unfold right before their eyes. In his 30-plus year career, which included 22 years at the Times, Muhammad covered everything from the war in Iraq to the Obama campaign, the Haitian earthquake, and the state funeral of Nelson Mandela. In his 19 years at the AP, Martínez Monsiváis has trained his lens on four presidents and is still on the White House beat today. Here, DEMO talks with these two Columbia College Chicago grads about their prolific careers, changing (and often wrangling) technology, and an ever-shifting media landscape. DEMO: You’ve both been working at the highest levels of photojournalism for decades. But you each won the Pulitzer Prize relatively early in your careers. Ozier, your 1985 award was for work you did at Newsday. MUHAMMAD: It was about the famine in Africa, an international reporting prize. I shared it with Josh Friedman and Dennis Bell. The assignment from the foreign desk was to cover the 10th anniversary of the first big famine of 1974. We ended up in Ethiopia and we just happened to be there when the situation was at its worst. We dispatched stories from there for a couple of months. I had to ship [film] by DHL courier ... you know, it was prehistoric times. If you didn’t have an AP device... MARTÍNEZ MONSIVÁIS: A transmitter. Over the phone lines. MUHAMMAD: I didn’t have one, so I had to ship [the film] back. When the first dispatch was published, it seemed to stir a hornet’s nest with the rest of the media and also the U.S. and European governments. Because we were so early on that story—that’s why it won the prize. ozier muhammad - 2 Ozier Muhammad, Newsday, 1984—This photo from Ethiopia was part of the "Africa The Desperate Continent" series that won the Pulitzer Prize for International Reporting in 1985. DEMO: Pablo, your AP team won the 1999 Feature Photography prize for its coverage of President Clinton’s impeachment. What was that like? MARTÍNEZ MONSIVÁIS: Until that point, I hadn’t paid attention to how intense the impeachment was. It was madness. They threw me into a hornet’s nest, and I had literally no idea what was going on. I told people later: You cannot send people blindly into events like this anymore. It’s incredibly competitive here in D.C., for like, inches, for the same photo. But the photo that was entered [for the Pulitzer] was taken my second day on the job. DEMO: That’s the photo of U.S. Representative Bob Livingston and former Speaker of the House Newt Gingrich walking down the steps of the Capitol? MARTÍNEZ MONSIVÁIS: Yes. I was shadowing the chief photographer for the AP, and they sent me to the Hill to photograph this event. I brought the photo back and they were like, “Hey, this is a nice photo,” but I didn’t realize it was entered as part of the Pulitzer package. When I heard we won, I was at Jiffy Lube. They gave me a call, and I thought it was a joke, but they were like, “No, you’ve got to come back down to the office.” The whole time, I thought the impeachment was going to be the craziest thing I’d ever seen. No. It just keeps getting nuttier and more intense. But it turns out that I really like political coverage. And every now and then, they still send me to cover sports. DEMO: What have been some of the most memorable moments you’ve had on assignment? MARTÍNEZ MONSIVÁIS: The means by which we do everything now is speeding up. During the week of the [2016] election, we hear last minute that the president-elect is coming [to the White House] on Thursday to meet Obama. I needed to transmit electronically straight from the Oval Office, which I hadn’t done yet. I had not practiced this whole setup—also, there’s radio frequency blockers throughout the West Wing. I’m not 100 percent sure it’s going to work. I get to the Oval Office, take my spot in the middle, and literally, it’s the first time I’ve actually looked at Donald Trump. I hadn’t covered any of the election. I’m like, “Oh my God, it’s the guy from The Apprentice. I can’t believe this is happening.” You want the photo of them shaking hands. President Obama speaks, and then he offers his handshake, and I take the picture ... and my camera blinks with a green light. That means it’s transmitting. I’m like, “Yesss, it’s going, it’s going!” The whole thing was so surreal. pablo martinez monsivais - 1 Pablo Martínez Monsiváis, Associated Press, 2016—President Barack Obama and President-elect Donald Trump shake hands during their first meeting in the oval office. DEMO: Ozier, you must have a few “can’t-believe-that-happened” stories. MUHAMMAD: Oh yeah, there are a few. In 2013, during my waning days at the Times, Nelson Mandela was in the hospital and I was going back and forth between Johannesburg and Pretoria on what we called the “death watch,” to be quite frank. Mandela happened to hold on for several months, but I was there for only one—during his birthday celebration. I went to a Catholic school in Soweto where I photographed children singing songs in tribute. I went to the African National Congress [ANC] office and a few other places. We were nine hours ahead of New York. When I got back to the hotel, I transmitted everything. It was probably almost 1 a.m. when I got it all done. Just as I was about to hit the sack, I get a call from the Times’ foreign desk, asking me to fly to Cape Town immediately for a Saturday profile on Ahmed Kathrada, one of the ANC leaders who had been in prison with Mandela. I was dead tired. Plus you’re driving on the opposite side of the road, and the steering wheel is in the passenger seat, right? I thought, “Now how the hell am I going to get to Cape Town?” I had to transmit the pictures by 8 a.m. South Africa time so that they could make the Saturday paper. I managed to fly in and photograph Kathrada...Then I had to transmit the pictures. It was the first time I used a dongle—basically, a thumb drive with a transmitter in it. I gave it a try, but I just couldn’t connect. I drove a little distance away and I still couldn’t connect. Turns out, it was just that I was so whacked out with fatigue—it was some protocol I didn’t quite hit. I didn’t have my TCP/IP settings right, but I finally figured that out and it made the paper. But it was pretty dicey for sure. DEMO: There have been so many changes in technology, culture, and media platforms over the years you’ve both been working. How do you stay centered? MUHAMMAD: People are more prickly, even hostile, about being photographed in the public sphere. In recent years I’ve kept a copy of the Constitution in my back pocket. I pull it out whenever a cop tells me I’m infringing or that I have to pay someone for their photograph. I’ve said a number of times: When I photographed President Obama, do you think I slipped him a $20 every time? No, that’s not what happens. We do have certain rights. MARTÍNEZ MONSIVÁIS: If I learned anything from art school, it’s that you’ve got to evolve ... the tools are always changing. ozier muhammad - 1 Ozier Muhammad, The New York Times, 1994—Presidential candidate Nelson Mandela appears in the National Soccer Stadium as he campaigns for the presidency of South Africa in Soweto. DEMO: What worries you in this era of “fake news?” MARTÍNEZ MONSIVÁIS: When Ozier took his photos in Africa, he was [directly] showing us the work [through verified sources]. Now we’re seeing images from everyone [on social media]. What scares me is that somebody can falsify imagery and people take it for the God’s honest truth. People steal images and use them for their own agenda. They’re not with the AP or the Times. They’re Joe Schmo, but with access to the same ways of disseminating information. I’m no longer just competing with Reuters, I’m competing with a guy with a smartphone. It’s crazy. Accountability is gone. When a photo has the stamp of the AP, there’s a lot of weight to it. But some people don’t understand that. DEMO: Is smartphone culture contributing to public mistrust? MARTÍNEZ MONSIVÁIS: This past summer I went to Zimbabwe, which is very restrictive. The only way people know the news is by talking with each other via social apps. When the establishment is not letting anybody know what is in the best interest of the people, Snapchat, Facebook, and Instagram are fantastic. It’s a perfect example of when it works well. Here, we have the reverse. During the last election, people literally segmented what they wanted to hear. I don’t know if we can find an even ground. But it’s always been the case—like with newspaper barons. At the turn of the [20th] century, they pushed us into the Spanish-American War to push newspaper sales. I think you can argue both sides. Being aware, knowing the limitations of the tools and what they’re capable of doing, is the priority. MUHAMMAD: I think we’re living in a great period, for many of the same reasons that Pablo articulated. We have all kinds of means of gaining information through social media platforms. I don’t think we have to worry too much about propagandizing when it comes to the mainstream media, like the wire services, the Washington Post, or The New York Times. Their ethics are clear and their staffs are very mindful of abiding by the rules. But one of the things that concerns me is what [influential journalist] Walter Lippmann called “manufacturing consent” about a hundred years ago. This applies mostly to text, the stories that are written—false equivocations and things of that sort, which is where most of the [current] hostility comes from. It doesn’t have as much to do with the medium of photojournalism. pablo martinez monsivais - 2 Pablo Martínez Monsiváis, Associated Press, 2016—Barack and Michelle Obama watch the musical performances at the 2016 National Christmas Tree lighting ceremony near the White House. DEMO: What might surprise people about your work? MUHAMMAD: The drudgery ... long waits and early setups. No matter the weather, you must get in place for a highly secured outdoor event upwards of 12 hours beforehand. Also, there are seemingly interminable stakeouts that may not yield anything. I had to wait outside Bernie Madoff’s Upper East Side apartment starting at 6 a.m., until he was to appear for sentencing at a courthouse in lower Manhattan in the afternoon. I never saw him. Madoff might have stayed in a hotel the night before he was sentenced. MARTÍNEZ MONSIVÁIS: The White House beat is very competitive and D.C. is stacked with talented photojournalists. If you blink, you will get your clock cleaned. Add deadline and work pressures—but surprisingly, everyone is very professional. None of my competitors are spiteful or malicious. We all tend to look after each other and help each other out. People outside of D.C. frequently comment about how well we all get along and how unusual this is, given what we do and what is at stake. DEMO: Any advice for aspiring photojournalists? MARTÍNEZ MONSIVÁIS: As a photojournalist, you have content that you need to advertise, distribute, and invoice for. Don’t give anything away for free, especially to another entity that will profit from your hard work. Journalism is a business, and as a photojournalist you have to look at it as one. Also, be—and stay—humble, no matter what you do and how many awards you accumulate throughout your career. This is the only thing people will remember. One of our jobs as photojournalists is to be human. When you get assigned “tragic” events, such as hurricanes or earthquakes, you will be seeing people at the weakest point in their lives. Don’t abuse that. Don’t be an emotionless robot with a camera taking photographs of people because you want to win Picture of the Year. MUHAMMAD: Learn how to shoot, capture, and edit video and sound. Sharpen your writing and interviewing skills. Learn how to gather information. Staff jobs are disappearing— photojournalists of the future will be free agents. Be willing to relocate. Pablo Martínez Monsiváis Pablo Martinez Monsivais Pablo Martínez Monsiváis, Associated Press, 2016—The Air Force Thunderbirds fly overhead as graduating cadets celebrate at the U.S. Air Force Academy in Colorado Springs, Colorado. Pablo Martínez Monsiváis Pablo Martínez Monsiváis, Associated Press, 2017—President Donald Trump at his desk during his first flight on Air Force One. Pablo Martínez Monsiváis Pablo Martínez Monsiváis, Associated Press, 2009—President Barack Obama, center, salutes an Army carry team during a dignified transfer ceremony at Dover Air Force Base in Delaware. Ozier Muhammad Ozier Muhammad Ozier Muhammad, The New York Times, 1999–Supporters of Olu Falae, the candidate for president of Nigeria, outside of his home.Ozier Muhammad Ozier Muhammad, The New York Times, 2012—NATO members dined at the Art Institute of Chicago while an Occupy Wall Street protest took place outside on Michigan Avenue.Ozier Muhammad Ozier Muhammad, The New York Times, 2016—A marcher in the New York City Gay Pride Parade wears an ORL sticker to memorialize the deadly shooting at Orlando nightclub Pulse.Ozier Muhammad Ozier Muhammad, The New York Times, 2011—Occupy Wall Street protesters circle the New York Stock Exchange without incident.