Next Stop Go

The Blog Has Moved!
November 15, 2009, 6:22 pm
Filed under: News, Special | Tags:

Screen shot 2009-11-15 at 5.09.05 PM

Hey everyone,

I have created a new site for posting my latest stories, photos and clips. I will not be posting to Next Stop Go anymore. Check out the new site and my brand new portfolio page.

Thanks for the continued support,

Dean Stattmann


Where the Wild Things Came From

Wild Things Days kicked off in New York today with the unveiling of original drawings and manuscripts by the author of Where The Wild Things Are.

Wild Things Original Cover

By Dean Stattmann

When Maurice Sendak sat down in 1955 to put the final touches on his illustrated book, Where the Wild Horses Are, he completed but a framework for the story it would later become. Now, over a half-century later, with Sendak’s award-winning children’s book just days away from its international film debut, Where the Wild Things Are is about to enter the next stage of its evolution. To celebrate, The Morgan Library and Museum in New York City is hosting an exhibition of Sendak’s original illustrations and manuscripts to highlight the creative process that gave birth to the 1963 best-seller.

Beneath the lofty stained-glass and fresco-clad ceiling of The Morgan’s majestic East Room, surrounded by three-tiered antique bookshelves bearing historic titles by Charles Darwin and Mark Twain, art lovers and Wild Things fanatics alike converged this morning to browse early drafts and preliminary sketches from Maurice Sendak’s 1963 children’s book, Where the Wild Things Are in an exhibition entitled Where the Wild Things Are: Original Drawings by Maurice Sendak.

Where the Wild Things Are uses minimal prose and compelling illustrations to tell the story of Max, an imaginative young boy, who is sent to his bedroom without dinner and consequently creates a magical world filled with fantastic creatures, or Wild Things, by simply setting his imagination free.

Of the 15 artifacts put on display, three seemed to garner particular attention. The first, a drawing of Max sailing away from a ferocious sea monster, reveals Sendak’s process of developing his characters from early tracing paper sketches to the images found in the book today. Another piece, a pencil-drawn scene excluded from the final published version, shows Max, having discarded his utensils, tucking into a bowl of spaghetti, poised on all fours atop the dinner table. But perhaps the most insightful of all the items on display is a two-page excerpt from Sendak’s notebook, which reveals profound details about his artistic process.

“Not only do we see Sendak’s work, we see him giving instructions to himself,” says curator Christine Nelson. One page bears the ballpoint scribbles of a later Where The Wild Horses Are manuscript, with a note from the author, “Drop this story for time being – I’m forcing it and it won’t be forced.” On the adjacent page, after attempting the current title in verse form, Sendak simply writes, “ALL BAD.”

The exhibition, organized in cooperation with Philadelphia’s Rosenbach Museum and Library, the official home of Sendak’s artifacts, is part of Wild Things Days, a two-month-long, Philadelphia-based series of events, exhibitions and activities based around Sendak’s work. The exhibition at The Morgan is the only event to take place in New York and will remain open until the end of Wild Things Days on Nov. 1.

Image: Preliminary drawing of dust jacket for Where the Wild Things Are. Pen and ink, watercolor. Copyright Maurice Sendak, 1963. All rights reserved. Courtesy of The Morgan Library and Museum.

FBA Spring Fashion Show 09


On April 4, New York University’s Fashion Business Association threw its first show of 2009 at the university’s Kimmel Center on Washington Square South. I wanted something a little more engaging than just photos this time so I hope this works…

Graphic by Dean Stattmann

A Lot to Learn From Pete Hamill

By Dean Stattmann

In Esquire’s “Meaning of Life” issue, published in January of this year, the magazine invited one representative from each state to share pieces of what they had learned over the course of their lives. The feature was made up entirely of their responses and interviewees ranged from Clint Eastwood (78, California) to Evander Hollyfield (46, Georgia), making for a insightful and diverse collection. But with just Shepard Smith (44, Mississippi) and Esquire’s Chuck Klosterman (36, North Dakota) holding it down on the writers’ front, I thought that the feature could have used another word man (and anyone other than Paris Hilton to represent New York). So who better to have share his wisdom than famed author and newspaperman, Pete Hamill (73, New York).

Memory is crucial to the writing game.

My brain had been shaped by comic books, and with writing I was able to deal with sequence, with narrative. I was able to tell a story.

I love talking to musicians, because music to me is the highest art.

In my experience, generally if you try to do too much, you’re going to be ordinary at all of it. It’s about being honest with yourself about the thing you’re really good at. Give it every God damn thing you have.

When you’re first starting, you’re under the influence of the writers you admire the most.

I’d take a paragraph from Joseph Conrad about a storm at sea and I’d convert it to a winter storm on land. And I’d change it, sentence by sentence. You’re learning how to structure that paragraph.

You’re not a prisoner of where you were born. You’re not trapped in your childhood. You can make yourself in a city like this.

The Irish were trained by the Brits to eat food as a sort of punishment.

Every immigrant wave brings something new to the conversation – what I call the common language.

I went to Mexico City College, where they supported G.I.s. I went there wanting to be a painter.

I wanted to be a writer after nine months.

You have to make mistakes.

I was wandering around Brooklyn last summer and I didn’t see any kids playing in the streets. I worry that they’re having virtual childhoods instead of childhoods.

Work will come first because it’s the engine of your life.

I was never happier than during those three or four years as a newspaperman.

It’s sometimes hard to separate the lifestyle from the work. I had a sort of discipline. I never drank when I was writing or reporting. I drank in celebration, when the day was over.

In my case I was able to always squeeze enough out of my talent.

The key is, if you go out for a good time and you don’t learn anything, don’t do it again.

One of the problems with alcohol is it’s a lot of fun.

I haven’t had a drink in 36 years.

I don’t know the Bronx very well because I hated the Yankees growing up as a child.

I liked the 50s. I was young in the 50s.

When you come to Manhattan from Brooklyn, you think you know everything. The truth is you don’t know a damn thing.

When I’m on the subway and there’s a 75-year-old lady, I try imagine her when she was 12. I look at her and try see what’s left of her childhood on her face.

You don’t know if you can write a novel until you write one.

I think that the New York of the last 10 years has been a great version of itself.

Don’t get married. wait until you’re 30, wait until you have 3,000 bylines, wait until you’ve covered a war.

You have to make sure you’re falling in love with the person, and not the notion of falling in love.

North River Check out Pete Hamill’s latest novel, North River.

“Hamill is at his best when he writes about his city. He knows New York present and past, and he is able to make us taste the early-20th-century time frame of North River.”

– The New York Times Sunday Book Review

Pete Hamill was interviewed on April 9, 2009

NY Press Editor Jerry Portwood Visits NYU Journalism Class, Discusses Freelancing and the Future of Print Media

A lone paper waits on a West Village doorstep

By Dean Stattmann

On Thursday March 26, New York Press editor-in-chief Jerry Portwood stopped by Betty Ming Liu’s beat reporting class at New York University to discuss the state of print journalism, the future of the neighborhood weekly and most importantly, what today’s journalism students can do to grab a thread in this business.

Portwood, a graduate of Oglethorpe University, came to the New York Press in February 2006. He has since served as managing editor and arts and entertainment editor at the Manhattan Media publication, and in 2008 he took over as editor-in-chief.

But today, with print journalism in its current state, it’s becoming more and more of a challenge to put out the weekly paper with a minimal staff and freelancers whose voices often don’t match that of the publication. “It’s a difficult time in journalism,” he says.

Portwood, who admits to only taking one five day vacation in the last three years, is one of just two staffers on the paper’s masthead, and relies on freelancers for 90 percent of the paper’s content. But when asked about the future of the publication, he’s confident that we’ll be seeing a lot more of the New York Press.

And better yet, he’s confident that journalism students can hold off on changing their majors for a little longer. It’s a demoralizing time for seniors, with papers and magazines falling around them like graduation confetti, but Portwood believes that the freelance gigs are still out there. Here are Jerry’s tips for bagging a byline:

– Have realistic expectations

– Be passionate about your work

– Don’t feel entitled

– Pitch stories via email (wait a week to follow up)

– Include your nut graf in the email. Make them want it.

The Direction

Dean StattmannFirst of all, I want to thank everyone who has kept this blog alive by checking back to see what’s new every day. I have been a lot better about posting recently and you can expect far more frequent posting as of now. I’ve received some great feedback and criticism and that is precisely what keeps me motivated and inspired so please keep it up. And leave comments!

While I am a photographer, and this blog was originally set up as a photography blog, I want to start posting written stories too (The response to And the Interns Shall Inherit the Earth was unbelievable). One thing I want people to understand is that these will not be your stereotypical “today I saw a plastic bag floating carelessly in the wind” blog posts. I am a journalist and I intend to put my skills to use right here, on Next Stop Go. That said, while you will see some newsy pieces, I am going to try take a more magazine-oriented approach from now on. That’s my focus and I will be posting a lot to get as much practice as possible.

However, photography will not depart from this blog in any way, shape or form and I intend to up the volume in that area as well. I take photos at least five days a week and there will be a constant stream of new material right here.

Also, blogs make it virtually impossible to customize stuff but there is always some room for improvement. So, if you ever have a thought or idea on how this blog could be better, please dont hesitate to let me know.

I currently have several projects in motion and they will all appear here on Next Stop Go over the next couple days so watch this space!

That is all.

Next stop go!

Dean Stattmann

Photos Published on Front Page of Washington Square News


After yesterday’s photojournalism class, I left NYU’s journalism department to find two firetrucks and an emergency Con Ed vehicle cluttered around a smoking manhole. Camera already in hand, I started snapping. Minutes later, a Washington Square News reporter is on the scene. “Are you with WSN?,” she asked. “Nope,” I replied. “Any idea who I could talk to around here?” “Yeah there are a couple NYPD guys the other side. They’d probably know what’s going on.”

As she turned to leave, I figured I may as well try get something out of my shots. “Hey, I mean, if you need any photos to go with your article, here’s my email adress…

Later that night, I got an email from WSN’s continuous news editor asking if he could see the frames. An hour later they were on flickr and I heard nothing more.

This morning I arrived at the journalism department at 9 a.m. once more for another reporting class. Eyes blurry, I rounded the corner past the camp of administrators and glanced down upon a fresh stack of papers and noticed two familiar photos. That was easy.