I have scratched together a living, in one way or another, as a writer for more than 50 years now. I was a free-lance writer during the early stages of the Vietnam War. I was the Southwest Division Overnight News Editor for United Press International back when UPI was a legitimate news gathering organization. Following that, I went to the Dallas Morning News where I became the first person to write about rock 'n' roll on a daily basis for a Texas metropolitan newspaper. I later became the News' entertainment editor. Following some stints with a couple of prominent PR firms, I had the extraordinary good fortune to team with two communications legends, Ken Fairchild and Lisa LeMaster, as part of one kick-ass media consulting/crisis communications team. That was followed by short stays with the City of Dallas, as its public information officer; the Dallas Northeast Chamber of Commerce where I had the good fortune to meet and work alongside some of this city's business and political titans; and editorial director for QuestCorp Media until that company went out of business. Now officially retired, concentrating on this blog.
Despite last year's win for The Hurt Locker's director Kathryn Bigelow, there still exists in the motion picture world a definite anti-female bias. That came to light yesterday when the Producers Guild announced its list of 10 nominees for best picture. Only one of the 10, The Kids Are All Right, was directed by a woman. Winter's Bone, the second best picture of the year after The Social Network, and also directed by a woman, was criminally omitted. I hope I'm wrong, but I'm betting the Motion Picture Academy will follow suit and nominate only one of these two films, although I'm not ready to bet on which one it will be. Apparently there's room for only one woman in the all-male movie club.