ivan shaw

Yes I saw a dependence, an inherent weakness
within walls which hid sunlight and hindered all frankness
Wherever folks gather to imply a rule
they are each one a sinner, each one a fool

It turns out becoming a barfly is one of the better decisions I’ve made: I would go out on the weekends, sometimes, to hang around and have a nice time, and I’ve always loved the bar I go to, but it was only recently, after getting fired from my old night-shift job, and getting a new job that–for now–allows me to work my own hours, that I’ve been able to go out any night I want, for as long as I want. 

Initially, I started going to Ivan’s on Monday nights to play trivia, which, much to my surprise, wound up getting me roped into an entirely new social circle. This was not something I’d expected, as I am not an incredibly outgoing person, and I don’t ever make new friends without the aid of some other person dragging me along to meet new people, or some new person thrusting themselves on me. But it happened, however it happened, and I’m glad of it. 

Monday trivia at Ivan’s led to Tuesday trivia, at the bar just across the street, and Tuesday trivia lead to going back to Ivan’s for two-dollar wells, and that lead to Thursday night trivia at Bear’s, which lead to going back to Ivan’s for yet more cheap drinks, and sometimes I still wind up there on the weekends, and sometimes, if I’m feeling a little restless, I’ll even drop by on a Wednesday. I honestly don’t drink that much when I’m there: something has happened to me over the last few years–let’s call it Getting Old–and I don’t have as much of an appetite for booze as I once did.

But I don’t go for the drinking, really. I go for the hanging out, for the joking around, for the talk about music and sometimes politics and the occasional divergence into Serious and Weighty topics. I go because I’ve become one of those people who can run a tab, if I want, despite the sign over the bar saying tabs are forbidden; I go because I get to stay and drink after closing time and the doors are locked; I go because last night we all sat around while B performed Portia’s “Quality of Mercy” speech from The Merchant of Venice, and followed it up with Quint’s Indianapolis monologue from Jaws; I go to imagine a sharing of burdens.

Flickr Celebrates Exceptional Young Photographers with 20under20

By Bernardo Hernandez, Vice President, Flickr 

Photography has the power to fascinate, inspire, and even change the way we see and understand the world around us. At Flickr, we celebrate this along with our community of users. Today, we’re excited to introduce the first annual Flickr 20under20 - an initiative that celebrates 20 of the world’s most extraordinary young photographers on Flickr, who are under the age of 20. 

Millions of photographers share their inspiration with the world every day on Flickr, and we wanted to show our support by finding and promoting the future’s brightest young photography talent. The 20under20 were selected from Flickr’s young photography community by a panel of influential Flickr photographers – Lou Noble, Cuba Gallery, and Rosie Hardy – and myself, based on their creativity, technical talent, and overall strength of portfolio.

Collection of Photographs By the 20under20

We’ll be showcasing the work of these 20 inspirational photographers throughout the year on Yahoo and Flickr. Their work will also be exhibited at a gala event on October 1 at Milk Studios in New York City, curated by Vogue Photography Director, Ivan Shaw. As part of our 20under20 initiative, Shaw chose photographer Laurence Philomene to receive the 20under20 Curator’s Choice Award. Shaw felt her photography offered a unique and fresh perspective, a window into a world he hadn’t seen before. As part of the award, he will mentor Philomene for a year. 

Collection of Photographs by Laurence Philomene

Visit flickr.com/20under20 to learn more about  the 20 photographers who have been chosen for this honor. Also tweet to vote for the photographer you think should receive the Audience Choice Award. Using #Flickr20u20 and the photographer’s name, vote for the #mostcreative, #besttechnique, and #strongestportfolio. These winners will be announced at the gala on October 1. We’d also encourage you to submit nominations for next year’s Flickr 20under20 by emailing their Flickr name or URL to 20under20@yahoo-inc.com.

And for all you young photographers out there, keep inspiring us with your photos! 


As America plunged into World War II following the bombing of Pearl Harbor, members of the motion picture community rushed to assist in the war effort. Many of these highly-skilled film industry professionals lent their talents to the Army Pictorial Service (APS), a division of the U.S. Army Signal Corps. Established in 1942 by George C. Marshall, the APS counted among its most important tasks the visual documentation of the war.

In January 1943, director George Stevens joined the Army and was later selected to head the Special Motion Picture Coverage Unit (SPECOU) of the Allied Expeditionary Force. Working under the auspices of the Army Pictorial Service, the SPECOU group was responsible for capturing some of the war’s most enduring images. Stevens’ unit was involved in pivotal moments in the European Theater such as D-Day and the liberation of Paris, and was commended for its efforts by General Dwight D. Eisenhower. Stevens is depicted below at work in France with several members of his company, which included cinematographer Joseph Biroc, screenwriters Ivan Moffat and Irwin Shaw and dramatist William Saroyan.


In the spring of 1945, Stevens and his crew were among the first to arrive at the newly-liberated Dachau concentration camp. As shown here, each day they would create caption sheets to describe the footage they shot so that news stories could be transmitted around the globe. Their riveting images introduced the world to the atrocities that had taken place there and have served to educate subsequent generations about this dark moment in history.  The photographs and documents showing the extraordinary work of the Special Motion Picture Coverage Unit form part of the George Stevens papers, which are housed in Special Collections at the Academy’s Margaret Herrick Library.

Help us build the world’s premier motion picture museum.