Pardon clears Black’s legal woes, but his stain remains

The Infants Christ and St. John the Baptist Embracing (detail)
The Art Institute of Chicago

     I’m writing this column on an Apple iMac. Not the latest model — it’s from 2012. Quite old, actually — but a good size, 21.5 inch screen, and reliable.
     Fifty bucks and it’s yours.
     No? How about $25?
     Kidding. There are two problems with my selling this iMac. First, I need it to write the rest of today’s column. And second, the computer’s not mine: it belongs to the Chicago Sun-Times. So if I did sell it, contrary to the company’s best interests, the money wouldn’t belong to me, but to them.
     That, in a nutshell, if you puff away the bombast and legalese, not to mention the confusing miasma of conviction and acquittal, appeal and reversal, is the essence of the misdeeds of Conrad Black, former master of Hollinger International, a chain of newspapers that included this one. Crimes Lord Black was pardoned of on Wednesday by his friend and fellow fraud, President Donald Trump.
     Black and his underling David Radler sold off pieces of Hollinger as if they and not the stockholders owned the place. They sold publications and skimmed off cash for themselves, arguing this was OK because the embezzlement was cast in the form of “noncompete” clauses, promises not to undercut the business of the new owners.
     To return to our opening scenario, it’s as if I sold you this iMac for $50, passing $25 to the paper and keeping $25 for myself as payment for promising not to hurt your ability to profit from writing stuff on it.
     “We believe the verdict vindicates the serious public interest in making sure that when insiders in a corporation deal with money entrusted to the shareholders, that they’re not engaged in self-dealing,” Patrick Fitzgerald, U.S. attorney for the Northern District of Illinois at the time, said after the convictions.

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Wherever Rembrandt went, there he was

     The informational cards in museums—the preferred term is "wall labels"—are one of the few forms of writing even less respected than daily journalism. They are anonymous, typically. There are no awards, that I know of. Nobody collects them, and they have no life beyond the length of the exhibit they are prepared for, unless they linger, obscure and unread, in a book version of the show.
      So I want to pause, and highlight a particularly noteworthy label at the current Rembrandt Portraits show at The Art Institute, running now until June 3. 

      It accompanies a self-portrait of the great Dutch artist, and begins: "Rembrandt was his own favorite model—and he was always conveniently available for study." 
     Ignoring the "and"—superfluous—I want to focus on "conveniently." There is a modest parcel of whimsey packed into that word. A slight joke: He was always around. Wherever Rembrandt went, there he was.
     I thought of plunging into the Art Institute PR department and trying to find the identity of the writer. But Wednesday was such a nice day—I shouldn't have been in the museum at all, but just popped in to wait before lunch, spending only, oh, 45 minutes before exiting into Millennium Park to savor the advent—finally, finally, finally—of decent spring weather.
    The Rembrandt Portraits show, by the way, contributed to the brevity of my visit. It consists of the four portraits shown above, two from The Art Institute's collection, two visiting from California. That's it. I understand cultural institutions must do what they must do to draw in the groundlings. But really, giving this gathering a formal name and presenting itself as a cohesive exhibition, well, it strikes me as a minor species of fraud. Forgivable, perhaps, if it puts eyeballs on art. But something beneath a mighty enterprise such as The Art Institute. Or so is my opinion, but I am open to the possibility that I might be mistaken. 

Easterseals is not only still around — it's big, important and based in Chicago

Mikkel Brill, left, goes over a drill with teacher Libby Mengel at the Easterseals Academy. 

     How are a rectangle and a square similar? How are they different? What about a chair and a table? How are they the same? How are they different? What about a truck and a bus? A pencil and a pen? A tomato and an apple?
     Not the easiest questions, particularly if you are 12 years old and have functional difficulties, such as Mikkel Brill, who parsed these distinctions on Monday, leaning forward in concentration, legs churning with effort, guided by teacher Libby Mengel in room 140 of Easterseals Academy, formerly the Easter Seals Therapeutic Day School, on Chicago's Near West Side.
     The windows behind them are high, designed to admit natural light but not offer views that might compete for the attention of easily-distracted students. The $24 million building opened in 2008 and has a number of other special features, such as extra insulation.
     "Kids with autism get easily stimulated by outside sound," said interim principal Kelly Sansone.
     The academy serves 110 students from age 3 to 22 — the day before their 22nd birthday, actually, when public funding cuts out. Students are referred here from public schools; they cannot apply directly.
     "We had an adult program that closed last January, due to the state funding crisis," said Sansone.
     Easterseals is one of those important organizations flying under the radar of the public, though it really shouldn't, particularly in Chicago, because its headquarters is here — on the 14th floor of the Board of Trade Building. Easterseals celebrated its centennial last month and it is huge: 34,000 employees in 5,000 locations worldwide, the largest non-profit health care organization in the United States. It serves 1.5 million people, focusing on veterans and children with cognitive problems, such as autism.
     "We have a lower profile, but it's steady, said Angela F. Williams, an Air Force vet and judge advocate general lawyer who last year became Easterseals' president and CEO. "Easterseals is that hidden diamond, and everybody needs to know who we are and what we're doing. We're the leading service provider for children with autism."

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Chicago Hardy Figs

    I plant tomatoes because I like tomatoes, and what better way to eat tomatoes than fresh off the vine? 
    Not that the past few seasons nature has yielded that many tomatoes, at least not to me. But that's another matter. 
    I've been doing better with lettuce. Butter lettuce. It grows and grows, tastes delicious, and has probably saved me hundreds of dollars eating better, cheaper lettuce than I could buy at a store. 
     But figs? I'll be honest: pure chauvinism. Civic pride. I saw the listing of "Chicago Hardy Fig" in the Baker Creek Heirloom Seeds catalogue and felt obligated to give them a try. Because they're Chicago figs. And they're hardy—I suppose if they were "Chicago Fragile Figs" I would have passed. But "hardy" seems a word designed to both describe and appeal to Chicagoans. A hardy lot, in our own estimation. At least something to strive for.
     Besides. Who doesn't love figs? Particularly we kids raised on the venerable Fig Newton (named for the town in Massachusetts, not the inventor of the calculus). I think of them as part of the triumvirate of classic cookies—the Oreo, the Lorna Donne, the Fig Newton. Not as successful as the Oreo, which is everywhere, with its odd and compelling flavors. Not as obscure as the Lorna Doone, who never amounted to much and now lurks in her attic room. The middle, semi-successful child. 
    This pair of plantings arrived over the weekend in good shape, and took to their new potted homes with none of the fallen leaves the instructions warned might come with the shock of transplant. Hardy indeed. We were also advised to plant them in a location safe from "harsh winter winds"—they're supposed to be good in Chicago, right? Is there anywhere safe? Even the winds of May have been pretty flippin' harsh. You've got to be hardy.

  

Dear Boeing: Repeat after me: 'It's our fault. We screwed up. We're sorry.'

     It's become a Facebook trope: airplane passengers posting photos of their 737 Max 8 safety cards, snatched from seat-back pockets.
     "This does not bode well," wrote Larry Lubell, a Chicago insurance executive on his way to Austin.
     A bit dramatic, given that 737 Maxes are grounded while Boeing tries to fix the software glitches that sent two of them crashing into the ground, killing 346 passengers and crew.
     But also a reminder that even after the technical challenges are overcome, there will be the public relations stain, one that will take much longer to scrub out.
     "Boeing's Tough Sell: Trust Us" headlined a story in The New York Times last Thursday, a tale that does not portray a company nimbly cleaning up its mess.
     "Boeing is facing credibility problems," the story noted. That happens when you not only screw up, but then compound your error by doing a tap dance around the problem.
     Go to the Boeing website. The second item — already a subtle wink that business goes on — promises "737 MAX UPDATES."
     Click on that. Up comes a video of Dennis Muilenburg, chairman, president and CEO of Boeing, his blue eyes harmonizing nicely with his blue shirt; tieless, to show they are in crisis mode.
     "We at Boeing are sorry for the lives lost in the recent 737 Max accidents," he begins.
     A start. Then again, I am also sorry about any lives lost. Maybe you are, too. That doesn't mean we caused them.
     "These tragedies continue to weigh heavily on our hearts and minds," Muilenburg continues, "tragedies" slyly implying we're talking about acts of God, instead of corporate corner-cutting, though hazily suggesting Boeing might have a closer association with these crashes than you or I do. "And we extend our sympathies to the loved ones of the passengers and crew onboard Lion Air Flight 610 and Ethiopian Airlines Flight 302."

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Mother's Day, 2019

     You don't need to speak Spanish, or know anything at all about the life of Ofelia Barrientos Carcamo. That single word, on the coffee cup to the left, says it all: "Mama." We all know what that means, or should: children you love, who love you in return. A lifetime of joy and sacrifice. An unwillingness to let something so sweet and important go. 
     Which explains the personal items lovingly laid out and preserved, behind glass, at the Municipal Cemetery in Ushaia, Chile, the "End of the World"—that's its nickname—at the southernmost tip of South America. Ordinary things, precious only by association. A pair of spectacles. An oval portrait. 
 
    The cemetery is generally a ramshackle place, where crosses sag and graves crumble. A reminder that time does its work on the fiercest affections. 
     Many graves are still scrupulously maintained, like little rooms, and you can peek in and see personal effects, the coffins made like beds, with lace covers. As if their occupants are only sleeping, and might wake up, and need their glasses, a tradition that goes back to ancient Egypt, where the dead were buried with their personal effects close at hand, for use in the afterlife.
     Death only has meaning to the living. We love our mothers, not just because they gave us life, but they gave us the meaning that makes life bearable. A meaning that lingers long after they are gone. And long after we are gone, if we do it right, in the children we leave behind. Even at the cemetery, I couldn't help notice, that life continues, always pushing forward, with or without us. It always goes on, pushing out the dead, even as we cling to them.

Sonny and Cher

     I was blathering with a reader about birds when he mentioned something that froze my blood. He referred to a "life list," implying that I had one, since I liked to watch birds. I told him that I certainly do not have a life list and never will. One of the joys of animals in general and birds in particular is that they reflect the natural world, and what is more human than turning the observation of that world into some kind of contest, where you tally the various birds you've seen, keeping score, hoping to best your peers. Pass.
    As thrilling as it can be to spot an unfamiliar species, it also is a strain. You see something unfamiliar at the feeder. The binoculars are grabbed for. Attention is focused. Details are noted to facilitate the process of later trying to identify said bird, all the while under time pressure, because it might flit away at any moment and be gone.
    You know what's a lot less stressful? Ducks. Common as dirt mallard ducks, "the urban duck of the Chicago area" according to my "Birds of Chicago." Of course that is not a distinction particular to Chicago—mallards are among the most widespread birds in the world, and throughout history. I did a deep dive (sorry) into ducks here last spring.
     The boy duck—we've named him Sonny—has the distinctive iridescent green head of the male mallard, called drakes.  The female, whom we naturally dubbed Cher, will not only lay eggs, but later must teach her ducklings to swim: they'll drown otherwise.
    The duo have taken up residence over the past few weeks in our backyard, which floods.
     They're always there. A little shy, they can't manage the dexterity of flying up to my feeder, so they wait patiently below for the seeds that smaller birds jostle out (oh, okay, and for  the big scoopfuls of feed that I toss onto the ground for them, even though this is also a feast for squirrels). Ducks like grain, so much so that they've become agricultural pests. 
     "Mallard"—that's a curious word. The Oxford English Dictionary throws up its hands, a rare show of defeat: "of obscure origin." Though to the OED, that means they trace a first usage only back to 1330, and a paragraph of conjecture contains the priceless sentence, "The bird may under this name have figured as a personage in some lost example of the Germanic 'beast-epic.'" We'll have to save plunging into the beast-epic for another day.
     Cher is more timid—she retreats to the far margin of the yard when I show up. Sonny is almost accustomed to me to me, edging back to the food even before I've finished whatever chore took me to the backyard. There is also a third duck, another male, lurking nearby. We haven't named him yet, but probably should. "Gregg Allman" comes to mind. Too obvious? I suppose. But then, they're ducks. Obvious is kinda what they do.