not the end, a love story
Amid the haunting tremors of this national moment, and the bone-chilling worry that something awful could erupt, the dreadful sense that we are teetering at the precipice of something precious being lost, I interrupt the breathlessness, the imploring for peace, mercy, justice and truth, to turn ever so briefly to one of the countless personal narratives that unfurls against this shadowed backdrop. Someone with whom I’ve carved a life is turning the page on one of his most consequential chapters, and, as the family historian and archivist, it must be duly marked.
This is a love story.
It begins long, long ago, inside a vaulted cacophonous chamber inside a gray stone Gothic tower, one that hugs a river’s edge as it courses toward one great lake, in the crosshairs of the American metropolis that rose defiantly from the endless prairie.
A tall bespectacled gentleman, cloaked in appropriately puddle-splashed and newsprint-stained London Fog trench coat and holey-bottomed penny loafers, strides with his signature mix of certainty + humility down the newsroom’s center aisle, past desk after factory-assembled desk, each one equipped with typewriter, ancient desktop computer, and, chances are, one of the big-city news hustlers straight out of central casting (half-drained whiskey bottles hide in file drawers, stashed behind the extra pair of brogans down where dustballs grow; ashtrays brim with stubbed-out cigarettes; expletives punctuate the rumble, a slurry mix of ringing phones, clackety-clacking teletype machines, and the endless bark of irascible editors and the copy kids who dart and dodge at every bark before it turns to bite).
Our protagonist, the bespectacled one, is noticed by a young Irish-American nurse-turned-scribe, one whose presence in that very newsroom is as unlikely as anything in her curiously-scripted life. She especially perks her ears when newsroom talk spreads word that this new fellow — this 6-foot-3 Ivy Leaguer who’s arrived by way of Des Moines, and is reputed to write “like nothing you’ve never seen” — boldly exits the newsroom on Friday evenings at six o’clock sharp (akin to walking out of surgery just before the scalpels dig deep into flesh, as Friday night is when the big bulging Sunday paper is “put to bed,” and all hands usually on deck). Word is that the reason for his unnewsroomly departure is to sprint to synagogue for Friday night service. This unorthodox (for a newsroom) orthodoxy is a.) impossible to miss, and b.) highly impressive to the religiously-intrigued Irish-Catholic ecumenical one.
(Turns out, don’t you know, he was dashing out to the door not only to bow his head and pray, but also to keep a sideways glance on any nice Jewish girl who might wander into the synagogue’s so-named Singles Shabbat, a mix-and-mingle for the 20-something minyan set. Our unreliable narrator here obviously mistook urge to mate — or at least to J-date — for religious fealty.)
It’s not long into this newsroom tale till she — our narrator — falls for him. It is longer, markedly longer, till he returns the favor. But this is not that love story.
This is her ode to his third-of-a-century dedication, devotion, middle-of-the-night perseverations to the journalistic craft, to his unswerving eye toward excellence, toward equity and justice for all in the urban grid, from the greenswards to the cloud-poking steel-and-glass arisings.
Back in the beginning of this Chicago story, he worked the city desk, just like the legions of fresh-faced cub reporters who started out eager and naive to the wily ways of Second City aldermen and crooks (sometimes one in the same), ears trained to the police scanner, ready to leap with hat, coat, and scribbler pad to the scene of the nearest atrocity, disaster, or ambulance chase.
First time the Irish-Catholic and the new-to-the-newsroom Shabbat devotee found themselves dispatched to the same breaking news was the night ol’ Eddie Vrdolyak, an aldermanic stalwart of Chicago’s famed Democratic Machine, broke loose and turned Republican, stunning his Southeast Side constituents who filed into the Serbian Orthodox church hall with their bundt cakes and their murmured words of world-is-upside-down consternation and congratulations. She soaked up color, ambiance, mood; he stuck with the facts. (A telling distinction, one that in some ways would never really fade.)
From there, the hard core of the city desk, the one who’d studied hard the intricacies of balustrades and board-and-batten, casement windows and Corinthian columns, who’d versed himself in architectural volumes from primitivism to Postmodernism, dutifully bid his time pounding Chicago pavement, but he never took his eye off that glittering ever-shifting skyline.
In the fall of 1992, a mere five years after slipping on his Chicago Tribune ID badge, he was crowned the title he had long, long yearned for: architecture critic of America’s First City of built masterpieces and no little plans. (Note: For all my wanting to, and with all my years cobbling sentences and spinning yarns, I cannot do justice to his 28 years “on the beat,” as newsroom parlance would put it. Oh, but I shall try.)
He’s sized up the likes of Frank Gehry, Philip Johnson, Santiago Calatrava, Robert A.M. Stern, Jeanne Gang, and the iconoclastic-in-every-way Stanley Tigerman, among the many, many.
He’s marched into architectural battle with no less than Mayor Richie Daley (e.g., the infamous Meigs Field midnight raid, bulldozing Xs through the runway, among his many go-arounds with Da Mare), Mike McCaskey and the Chicago Bears (Soldier Field brouhaha, or in our critic’s inimitable description, “Starship Enterprise crash-landed on the Parthenon”), the Chicago Cubs (Wrigley Field, and specifically the Toyota sign planted in the bleachers, a “wart on the face of baseball’s grande dame”), Star Wars director and Hollywood legend George Lucas (a “cartoonish mountain” of a proposed lakefront museum the critic likened the “giant lump” to a “bloated Jabba”), and, of course, the Developer in Chief, Donald John Trump, who first courted then skewered our friend the critic.
Our critic’s story began long before the summer of 1987 when he loped into the Tribune Tower. He’d grown up in a newsroom, starting out at 13 on the night shift — writing obits by night, body surfing on the Jersey Shore by day — in his father’s newsroom, a classic PK, or publisher’s kid, in Red Bank, NJ. He’d interned in newsrooms in Newark, Pittsburgh, Miami, and Houston. And paused long enough for a masters in environmental design at Yale. This curious chemistry of take-no-guff news hound + aesthete and well-trained critic’s eye proved a formidable match for the rough-and-tumble of Chicago, where not even the arts are shielded from shenanigans and shysters.
This explosive combo, well, exploded. Often. In shouting matches with City Hall, delivered at full throttle and no words minced. The leitmotif (toned down for tender eyes or ears) went something like this: “Don’t give me that [baloney]! Tell me the truth!” It is reported that as these shouting matches unfurled for quarter-hour chunks of time, the heads of young reporters would pop up from behind their screens around the newsroom, “like gophers from their gopher holes,” to ogle the sight and sound of a scribe at top bellow.
Truth, most often, won out. Which might explain how, along the way, the critic’s sharp eye and voluminous and tireless reporting on the inequities of the city’s bejeweled lakefront — well-appointed and abundant on the North Side, decrepit and inaccessible from poor Black neighborhoods on the South Side — would in time reshape the city map. Bulldozers literally shoved parkland to where before there had been none. And millions once unjustly cut off from the great Lake Michigan shoreline now romp on beach and trail, “forever open, clear and free,” in accord with the 1909 edict of the Illinois Supreme Court that has become the rallying cry for decades of lakefront protection. Hands down, the opening up of the entire swath of lakefront is the critic’s proudest moment. That redrawing of the lakefront came in the wake of his 1998 series, “Reinventing the Lakefront,” six parts in all, that won him what a young friend of ours once and indelibly declared, “the Polish Surprise” (sound it out swiftly, and you’ll know what I mean, especially to the tender ears of a 5-year-old child).
Together, after all those decades in the same newsroom, the Irish scribe and the tireless critic (one of the rare perpetual newsroom bondings, wed in 1991) paired their names on only three double-bylines. One, named Will (now 27, and a brand-new lawyer — just yesterday sworn in virtually to the Illinois Bar from a Portland, OR, courthouse), and another, Teddy (19, and trudging through college). And yet a third: The mother of those double-bylines was asked by the critic to tag along when the new Prentice Women’s Hospital was opened and ready for architectural critique, since after all, the critic pointed out, she was the one who’d pushed out the double-bylined babies in the original hallowed Prentice hospital.
And now, for some undetermined chunk of time, the indefatigable and as-yet-unnamed-here critic (long ago, I made a vow that I would not write of him or our marriage, except for occasional sidekick insertions, as he was something of a public figure who deserved full control over his private life), is hanging up his London Fog, and kicking off those holey loafers. He announced his leave-taking on Twitter the other night (see tweets down below). And with lump in my throat, and tears not only in my eyes but running down my cheeks, I partake of the great newsroom tradition of clapping him out as he exits the building and the beat.
As he wrote in his own last column in the Tribune, which ran practically hidden in the inside pages of the Business section on Thursday:
When I became the Tribune’s architecture critic in the fall of 1992, there was no Millennium Park, no Museum Campus, no downtown Riverwalk, no Trump International Hotel & Tower Chicago and no St. Regis Chicago. There were no planter boxes in the middle of Michigan Avenue and few bike paths other than those on the lakefront trail.
Hulking public housing high-rises still stood at Cabrini-Green, the Robert Taylor Homes and Stateway Gardens. State Street was an ugly transit mall. Little planes still landed at Meigs Field. Sears Tower was still Sears Tower and the tallest building in the world.
I am chest-burstingly proud of the brilliant work he’s written under his byline, of the countless midnights when he slunk out of bed to fix a sentence or deepen some particular thought. His devotion must rank among the rarest in the business. His love for his city and his readers kept him writing long after counterforce made quitting the easier option. We’ve seen him trailed by TSA agents at O’Hare who wanted to keep up some architectural conversation, straight to the boarding gate; stood by as he was tapped on the shoulder as far away as London or DC by a reader who recognized him and didn’t want to miss a chance to say thank you, ask an architectural question. It’s that devotion — and infinite unsung kindnesses extended to readers and would-be someday critics — that is perhaps his shiningest prize, the one that comes with no crystal paperweight, and no plaque to hang in a back corner of his book-lined office.
He’s our beloved Blair Kamin, of whom we are soo soo proud. And who has left an indelible and breathtaking mark on the city he loved, the newspaper for which he wrote for 33 rollercoaster years, and who has written his best and most lasting lines in the narrative that is our blessed little double-bylined family.
But that’s the not end of this love story. Only this latest chapter.
Here’s how he broke the news on Twitter last Friday night:
After 33 years at Chicago Tribune, 28 as architecture critic, I’m taking a buyout + leaving the newspaper. It’s been an honor to cover + critique designs in the first city of American architecture + to continue the tradition begun by Paul Gapp, my Pulitzer-winning predecessor.
During these 28 years, I have chronicled an astonishing time of change, both in Chicago and around the world. From the horrors of 9/11 to the joy of Millennium Park, and from Frank Gehry to Jeanne Gang, I have never lacked for gripping subject matter.
Whether or not you agreed with what I wrote was never the point. My aim was to open your eyes to, and raise your expectations for, the inescapable art of architecture, which does more than any other art to shape how we live.
So I treated buildings not simply as architectural objects or technological marvels, but also as vessels of human possibility. Above all, my role was to serve as a watchdog, unafraid to bark and, if necessary, bite, before developers and architects wreaked havoc on the city.
I am deeply grateful to my newspaper, which has never asked me to pull punches. I have been incredibly fortunate to work with talented editors, reporters, photographers and graphic designers. They have been a huge help. Journalism, like architecture, is a team enterprise.
What will I do next? I have no idea. After decades of stressful deadlines and rewriting paragraphs in my head at midnight, I’m ready for an extended break — and many long bike rides along Chicago’s lakefront.
It’s essential that a new critic, with a fresh set of ideas, take up where Paul Gapp and I left off. Imagine Chicago without a full-time architecture critic. Schlock developers and hack architects would welcome the lack of scrutiny. -30-
you’ll note i put aside for this one time my disinclination to hit the shift key and write with capital letters (writing here in lower case is for me something akin to kicking off my shoes and shuffling around in slippers), but for the upstanding critic, i decided to pull out my big-girl keys and give him ups and downs on the keyboard scale. i’ll return to slippers, no doubt, though i do note it makes for easier reading when you can spy the peaks and valleys in each and any sentence.
in the tweets above, you might notice mention of Jon Stewart, the late-night genius, who once saw fit to enter the Chicago architectural fray, a little back-and-forth, you might say, between our hero here, the critic, and the comb-over developer who would go on to rule the Oval Office…watch here the clip of Signfeud, from the Daily Show…
i have now overflowed this space with a kitchen sink of Kamin esoterica and folderol. it is with all the love in the world, and bursting giant heart, that i thank the Chicago Tribune (where, combined, we toiled for 63 years) for bringing me the other half of our double byline. it’s been some rocket ride, and i’ll hold on tight for wherever this takes us next.
much love, BK. i am — in the great Tribune tradition of “clapping out” your final exit from the newsroom — standing and applauding. xoxox
and here’s a final twist for this week’s chair: how bout this, you ask the question this week, and i will try to answer….the annals of the newsroom are now open for the curious…..