Writing Lessons
Lessons learned from writing, creating, traveling and playing soccer, lots of soccer.
Wednesday, July 29, 2015
Pre-Facebook faces of friendship: Lessons from the 'Greatest Generation'
I have often mused that Facebook came along at the right time for my peer group. We were well past college and decades past high school when the online socializing site hit its stride. Some of us had families with kids, others had divorced or moved onto new marriages. All of us had had plenty of time to take risks and make mistakes -- personally and professionally -- without needless pressure or temptation to post our laments online or confront an annual photo collage recapping all that had gone well or not in the previous 12 months.
Instead, those of us who came of age in the '80s (or earlier) went our myriad ways for a time. Then, at a mature stage in our lives, technology presented us with a simple way to seek out or be found by pals from childhood, adolescence and young adult days, the friends with whom we had once rebelled and rejoiced or simply now remembered fondly.
In short, Facebook has been a hoot.
Among the first long lost playmates to contact me after I signed on to the social media site was a grade school classmate I hadn't seen since her family moved away when we were in fourth grade. Her note seeking to reconnect asked if I was the girl whose mother had painted clouds on my bedroom ceiling and strung crystal rain drops from them? Yes, that was me. Many years post-graduation, a friend from my freshman year dorm confessed I'd been his first college crush. What! Really? Today, it gives me a handy way to bond with out-of-state cousins I rarely see, schedule reunions with soccer teammates from my teens and exchange words of encouragement with my partner's widowed mother.
The camaraderie can be stellar. But I am also grateful I didn't have to drag all these friends, family and acquaintances along with me throughout the roller coaster ride that was my 20s and 30s. The benefits of living la vida publica has its limits. One of a handful of friends who refuses to climb aboard the Facebook train takes a stance that amuses me greatly: "If I lost touch with you, there's probably a reason."
As the great ladies I interviewed for the story posted below can attest, face-to-face friendships trump the virtual kind whatever generation you belong to.
Friday, April 3, 2015
Wherever I go, there she is: The artist Yoko Ono
News of the April 1, 2015, passing of Cynthia Lennon, John Lennon’s first wife, prompted thoughts for me of his second wife, a woman I can't seem to shake.
I've bumped into her or her work on both coasts and overseas, so for someone not her age, I know way more than your average Gen Xer need know about Yoko Ono.
I'm talking about Yoko Ono the artist, who I didn't understand was an artist the first time I encountered her in person.
I'm talking about Yoko Ono the artist, who I didn't understand was an artist the first time I encountered her in person.
![]() |
| YES Yoko Ono exhibition catalog cover |
My theatrically-inclined friend stretched her arms out in front of her, clasped her hands together, then dramatically jerked them up above her head as she voiced, “Yoko!” in a sing-song tone. It was the playful silliness of a coed. Neither of us actually believed the woman approaching us was the famous widow of John Lennon. Until we walked directly past her. Oops. Fortunately, Ms. Ono didn’t dignify my pal’s street performance with a response.
Nearly 20 years later, I was working as a newspaper arts reporter in the Bay Area when an exhibition of Yoko Ono’s work came to the San Francisco Museum of Modern Art. I couldn’t not cover the show. The conceptual, often interactive, art pieces -- and serious philosophies behind them -- proved unexpectedly fascinating. In one, a white telephone perched on a gallery wall would occasionally ring. Whatever museum-goer happened to answer would be treated to a series of queries from the artist herself.
As I learned more about Ono’s personal biography -- born into a wealthy Japanese banking family, she originally studied classical music and, later, philosophy -- I gained new respect for the woman behind the icon. The actual question I posed during the press conference eludes me, but I recall feeling tickled when I got to speak directly to this 20th-century pop culture legend.
![]() |
| "Ceiling Painting" by Yoko Ono (Photo by Oded Löbl © Yoko Ono) |
My Yoko Ono encounters came back to me anew during a spring 2014 trip to Bilbao, Spain. The one thing I knew about Bilbao before visiting is that while in town one must go to the Guggenheim museum, as famous for the sinuous lines of its titanium-surfaced architecture as for the adventurous contemporary artwork on display. Ironically, when I arrived at the landmark European museum I’d looked forward to exploring for years, the featured artist was none other than the American artist Ms. Ono.
Several pieces on display were familiar, including "Ceiling Painting (Yes Painting)" -- the white ladder leading to a magnifying glass and the ultimate word of affirmation, “yes” -- that helped pique the young John Lennon’s ardour for her. I’d seen it and other works long before at SFMOMA. Yoko Ono’s playfully serious -- or is that seriously playful? -- artwork is too thought-provoking to keep to myself, so I’m sharing below the 2002 story I wrote about her SFMOMA 40-year retrospective, “Yes Yoko Ono.”
![]() |
| Yoko, Jullian, Sean and Cynthia Lennon (AP/Photo/John Bellissimmo) |
By the way, after an understandably rocky start to the relationship between the two former Mrs. Lennons -- John, after all, left Cynthia for Yoko -- I found it touching to learn that in later years the two women developed a close relationship. In a tribute to Cynthia in Rolling Stone magazine, Yoko says Cynthia “embodied love and peace.”
June 28, 2002 (Originally published in the Oakland Tribune/ANG Newspapers)
'Yes Yoko Ono' traces flow of artist's career
By Monique Beeler
STAFF WRITER
FORGET what you think you know about Yoko Ono. It's probably wrong.
Long maligned as a musical hack and an ear-wrenching singer, the public was
quick to dismiss her as uniformly untalented. Her experimental style and
high-pitched voice understandably won few fans among pop music consumers. But
it was unfair to reject her artwork out of hand.
As a leading figure in Fluxus, the Latin word for flowing, Ono created playful
performances and objects grounded in a philosophy that has influenced
cutting-edge artists for decades. Fluxus was an avant-garde 1960s art movement
that promoted living art and anti-art and opposed artistic tradition and
anything that smacked of professionalism in art.
As one critic observes, Ono and other Fluxus artists encourage viewers to
"contemplate the magic of the ordinary, as well as to comprehend the
During a news conference last week at the San Francisco Museum of Modern Art,
a member of the audience asked Ono about the difficulty of being accepted as a
woman artist in the 1960s.
Ono, sporting spiky blond hair and gold-tinted glasses, says she didn't let a
lack of mass acceptance discourage her personally or professionally.
"It's not the women artists who suffered, because we enjoyed creating and knew
it was connected to the universe," she says in a soft, no-ill-will-intended
tone. "But if you could not allow yourself to open up to it, that was your
loss."
If you missed out on the magic in the past, make up for past losses and
embrace the work of this philosopher-artist at "Yes Yoko Ono," a 40-year
retrospective on display through Sept. 8 at SFMOMA.
Born into a prominent Tokyo banking family in 1933, Ono's privileged
background included private schools and intensive training in classical and
traditional German and Italian music. When she enrolled at Gakushuin
University in 1952, she was the first female philosophy student. Ono later
left to join her family in New York, where she was drawn to the art scene in
lower Manhattan.
Not surprisingly, her interests in philosophy and art initially led her to
create idea-centered works. Early Fluxus artists experimented with making
event scores, a kind of concise script laying out a series of mental or
physical activities for the artist or viewer to perform. Ono called this type
of work "instructions."
![]() |
| "Four Spoons" by Yoko Ono |
In 1964, Ono self-published "Grapefruit," a set of 150 instructions in English
and Japanese, considered a landmark book in Conceptual art.
Several examples of Ono's instructions are included in "Yes Yoko Ono,"
including "Instructions for Paintings" (1962), a series of 22 framed pieces.
In each, a few lines of neat Japanese calligraphy dominates the center of the
paper. An English translation of one work reads: "Look through a phone book
from the/beginning to end thoroughly./List all the combinations of figures/you
remember right after that. -- 1961 Winter."
Much of Ono's art encourages the participation of gallery visitors. The famous
"Ceiling Painting (Yes Painting)" (1966), which led to her first meeting with
John Lennon, is on display at SFMOMA. The age and frailty of the piece,
however, prevents museum patrons from climbing up the white ladder to grasp a
magnifying glass hanging from a framed sheet of paper to view the tiny printed
word, "yes."
Poignant allusions to Lennon surface in several pieces. In spring 1970, Ono
and Lennon held a joint show. In the window of the exhibition rested four
spoons on a four-slotted spoon rest. The work was titled "Three Spoons."
The current show includes "Four Spoons," consisting of three spoons displayed
in a spoon rest made for four, a subtle reference to the earlier piece and
John's loss.
In characteristic Ono style, what visitors get out of her show is up to them,
she says.
"I can't control what people think," she says. "I'm hoping some people get
encouraged and inspired from it. It's a world where you can get inspired by
the drop of an apple."
A self-described workaholic who has continued producing art throughout her
life, Ono claims she doesn't take her humor-infused work too seriously.
"In the world there are so many serious issues," she says. "It's nice to have
some fun together."
Hours at SFMOMA, 151 Third St. in San Francisco, are 11 a.m. to 6 p.m. daily,
except Wednesdays; and until 9 p.m. Thursdays. Admission is $6 to $10, free
for children younger than 13. Admission is free on the first Tuesday of the
month; half price from 6 to 9 p.m. Thursdays.
Call (415) 357-4000 or check www.sfmoma.org.
Saturday, January 10, 2015
Satire? It's no joke for a healthy democracy
In 2010, coincidentally on my birthday, I enjoyed the great privilege of spending the day behind the scenes, then, later on set during filming of The Daily Show with Jon Stewart in New York. I was there on assignment to profile a writer on the show for the university magazine for which I was editor. From hanging out in writers' offices to glimpsing the white board schedule of upcoming famous guests, clearly, it was a never-to-be-forgotten experience and provided plenty of material for the story once I got back to my office in California.
![]() |
| Jon Stewart, Daily Show satirist in chief |
Given the ridiculous Sony hack over the comedic film "The Interview" in November and this week's horrific murders of journalists working for Paris' satirical magazine, Charlie Hebdo, the time is right to celebrate satire.
Pointing a pointed finger at ourselves and laughing together out loud and in public may be the most patriotic act many of us commit in a given day.
As historian and writer Simon Schama put it this week: "Irreverence is the lifeblood of freedom."
And as a professor I interviewed back when I wrote the Daily Show profile explained, it's good for us.
Published in Cal State East Bay Magazine (fall 2010)
Daily dose of satire is good for U.S., expert says
By Monique Beeler
Assistant Professor Grant Kien, advisor for the communications graduate program, says The Daily
Show and host Jon Stewart are carrying on an enduring American tradition in political satire.
![]() |
| GRANT KIEN |
“Satire is a biting critical analysis in which the obvious flaw of any idea or philosophy is exposed,” Kien says. “Mark Twain is probably one of the most famous satirists in American history.”
Parodying politicians and policy, he says, is a sign of national political health.
“The ability to satire leadership in America is taken as an indication of our freedom as a people,” Kien says. “We should all be proud of the contributions of our institution to American political discourse.”
![]() |
| Writer J.R. Havlan clowns around on set with host Jon Stewart. (Photo: Jesse Cantley) |
Daily Showmanship: Tour “The Daily Show” with writer J.R. Havlan ’87 as he contemplates college, comedy, and where to keep all his Emmys
Thursday, January 8, 2015
Transitioning toward transgender tolerance
While cooking up pasta for dinner one December night, the kitchen radio, turned to a public radio station, poured out a story about a family affected by the challenges and choices of its father, who years after marriage and children transitioned to living as a transgender woman.
As the narrator explained, the children took the news in stride at the time, but later their parents’ marriage disintegrated. The story included interviews with the couple’s now-adult youngest daughter, in training to become a marriage and family therapist. She loved her father without question. But her parents’ divorce, she said, complicated her feelings about her father’s transition, something she blamed at the time for the destruction of her family.
As I half-listened while preparing marinara, I reflected on how often of late I’ve heard the voices of transgender people in news report, literature and film, something I don’t recall hearing much five, ten years or more ago. Today, even Angelina Jolie and Brad Pitt talk openly about their 8-year-old daughter's preference for dressing as a boy and going by the name John.
![]() |
| Kids in the Jolie-Pitt family all wore suits to a recent movie premiere. |
While in the past, these individuals might have been the subject of ridicule or a harrowing tale that ended badly, today their stories and perspectives increasingly are taken seriously and woven into the flow of human experiences reflected in news, popular culture and the arts.
For instance, in September, when social media behemoth Facebook began enforcing a policy requiring members to use their “real” names, protests erupted from entertainers, drag queens and transgender people. They and supporters of the lesbian, gay, bisexual and transgender community argued that forcing them to reveal their legal names online could subject them to safety and privacy risks, such as violent acts, stalking and prejudice in their work lives. Ultimately, the trans community’s representatives secured a meeting with Facebook to reach a compromise.
![]() |
| Sister Roma, center, was among challengers to Facebook's short-lived "real" names policy. |
This advancement in civic acceptance -- at least in some spheres -- is something that was predicted by at least one historian I interviewed in 2002 for a story I penned about the role of transgender people through history. Sadly, the story -- part of a five-part package -- was prompted by a brutal murder of a transgender teenager in Fremont, California.
I feel a certain pride in having helped shine a light on a group of people, little understood at the time, who have long lived in the shadows but have, nonetheless, always belonged to the human family.
Published Nov. 17, 2002 in the Oakland Tribune/ANG Newspapers
Historical record reveals rich past of transgender people
By Monique Beeler
There's nothing novel about men dressing as women and women passing as men.
As far back as ancient Greece and Babylonia, transgender people fulfilled
central roles in certain temple ceremonies.
Hippocrates tells of Scythian nomads, ferocious warriors who rode horseback
across the steppes but otherwise lived as transvestites. Wearing women's
clothing, he writes, they ``do women's work, live like women and converse
accordingly.''
``Many societies accepted people in the cross-gender role,'' says history and
sexology professor Vern Bullough, author of ``Cross Dressing, Sex and
Culture.'' ``It's hard to say how many there were. There were probably
hundreds of them.''
Through the ages, some cultures proved more accepting than others of people
who preferred living as the opposite sex. Historically, roles available to
transgender individuals have proved as diverse as the human personality,
ranging from artisan weavers to powerful shamans.
Several societies around the world cultivated groups of emasculated men who
performed specific tasks, whether the eunuchs in China who guarded the
emperor's wives and concubines or the castrati of Italian opera who gave up
their genitalia to maintain boyishly high voices for life. Less coerced were
transgender American Indians, who were generally free to follow their own
inner promptings, says Diane Pearson, professor of American Indian Studies at
University of California, Berkeley.
``They could be medicine people, they could be healers, transgender men could
be hunters,'' Pearson says. ``It was how people wanted to develop.''
Some limits applied to women living as men, who likely would have been banned
from joining a war party. In most tribes, a woman with her ability to
menstruate, give and renew life would have been considered too powerful.
``Warrior societies having women ride out with them probably was not the ideal
thing to do, because (menstruating women) override men's power,'' she says.
Practices and attitudes varied among the approximately 600 North American
cultures.
Some groups, including the Zuni, used a term called ``two-spirit,'' a concept
reflected in the black and white photos of a well-known transgender individual
named We'Wha, Pearson says. Famed Western photographer Edward S. Curtis
![]() |
| We'Wha, a two-spirit Zuni |
snapped the images in 1886.* Born a man in 1849, We'Wha lived daily life as a woman. In photos, her face with its broad cheekbones and chin and heavy brow clearly appears masculine. Her off-the shoulder dresses, upswept hair styles and accessories such as gold hoops indicate a feminine leaning.
``The anthropologist who worked with him thought he was a woman for years,'' Pearson says. ``Part of his role was as a protector of children.''
When she died in 1896, We'Wha's people buried her in a woman's dress with a pair of men's trousers underneath, signalling her role as a bridge between the roles of men and women, Pearson says.
Other known transgender American Indians include:
- Finds Them and Kills Them, or Osh-Tisch, of the Crow nations (1854-1929). Born male and earned warrior status by joining an attack against a Lakota group for one day only. Thereafter, she dressed and lived as a woman, becoming an accomplished artisan.
- Hastiin Klah, a Navajo medicine person and artist (1867-1937). Born male, he adopted a female role becoming influential in developing the Navajo weaving style.
- Woman Chief, a Crow warrior (early 1800s-1854). Tall and strong, he
became adept at the skills of warriors, hunting, wrestling and horsemanship,
despite being born a woman. Earned a position as a warrior after shooting and
killing several attacking enemies. The Crows sang songs of his prowess and war
powers.
Woman Chief counts as a rare figure in history. Accounts of female-to-male
transgender individuals are less common than those of male-to-female.
Experts say fewer accounts of transgender women exist because typically it has
been easier for women to pass as the opposite sex. Historians report, however,
many instances of women dressing as men to escape the confines of their
prescribed sexual roles. In 18th century Holland, for example, many women
dressed as men to immigrate as colonists to Indonesia.
``Most of them did so to get some of the advantages of the male role,'' says
Bullough, founding director of the Center for Sex Research at California State
University, Northridge. ``We have records of hundreds and hundreds of them.''
Additionally, women were known to have dressed as men to fight in the
Revolutionary War, in the Civil War and with troops on the Western frontier.
Some also dressed as men and worked as cowboys.
``As late as the first World War, a number of women fought as men in the
Russian front,'' Bullough says.
Some institutions proved more difficult for transgender people to infiltrate
or influence, particularly the church.
``There were stories of women dressing as men to enter monasteries,'' says
Bernard Schlager, program director for the Center for Lesbian and Gay Studies
at the Pacific School of Religion at Berkeley's Graduate Theological Union.
``The most famous example, of course, is Joan of Arc, dressing as a man and
leading the troops'' on a religious crusade.
Most Christian denominations in the past dealt with the transgender issue by
not talking about it, an approach that slowly has begun to shift in the past
10 to 20 years, Schlager says. Despite relatively greater openness, it took
one recent transgender graduate of PSR two years to find a position as an
ordained minister. Broader acknowledgement of the existence of transgender
people among church members and the population as a whole _ and their right to
full enfranchisement _ is still several years away, Schlager says.
But Bullough says he has seen great progress since the 1950s when transgender
people kept to themselves, meeting only in small, closed groups and avoided
public scrutiny.
Bolstered by the drive for human rights led by the feminist movement and the
gay and lesbian rights movement, the transgender community may be the next to
claim a more prominent civic voice.
``They're almost where homosexual people were in 1969,'' Bullough says. ``It's
changing. It will be interesting watching how much more public transgender
people become.''
* A 2014 Internet search turned up images of We'Wha, but none were
credited to Curtis.
Labels:
cross-gender,
Diane Pearson,
Hastiin Klah,
Jolie-Pitt,
Osh-Tisch,
Shiloh John,
Shiloh Jolie-Pitt,
transgender,
transgender history,
two-spirit,
Vern Bullough,
We'Wha,
Woman Chief
Subscribe to:
Posts (Atom)
















