Three Oregonians have a public, daily relationship with the New York Times (there may be others, but none as interesting as these).

Two-time Pulitzer winner and columnist Nick Kristof grew up on a cherry farm in Yamhill and returns to Oregon sporadically. He gave a speech at the U of Oregon last April, “Covering the First Genocide of the 21st Century: Reporting from Darfur,” and perhaps the most cogent comment on Oregon’s unique Death With Dignity law, Choosing Death.

Kristof is the most courageous journalist writing – he has skills, a pulpit, integrity beyond measure. Sundays and Thursdays, folks. Make it part of your data schedule.

Arthur Gregg Sulzberger (shown right) is son of New York Times Company Chairman Arthur Sulzberger Jr., who also holds the title of publisher. The Times is a family business, a somewhat private venture. “Little Arthur” as he’s been described by gray lady gadflys, is the grandson of Arthur Ochs Sulzberger (also publisher) and great-grandson of Arthur Hays Sulzberger (also publisher).

Because of the legacy, where he alights he becomes the news, such as at the Santa Rosa Press Democrat, the Providence Journal, and now the Oregonian. Currently he’s covering Multnomah County politics; in twenty years he’ll wax poetic about his salad days in the provinces. He’s getting beat regularly by equally young and cavalier Matt Davis of the Mercury. Nice to have a back up plan.

David Chelsea has produced elegant artwork for periodicals for over thirty years. I saw his sketches first in the Portland Scribe, a broadsheet far more radical in its day than anything produced locally now, which was gathered together in a rambling bungalow on Belmont. David’s mother brought him in, portfolio somewhat reluctantly in tow. Editor Michael Wells saw talent and original spot art, and bought it.

Thirty years later, Chelsea, author of David Chelsea in Love and Perspective, came back to Portland from the Big Apple to join his new family with his old family, with connections and savvy, which has parlayed into a weekly gig illustrating the Modern Love column in the New York Times Magazine.

His style is Winsor McKay struck with elegant, modern, urbane Harold Lloyd. More of Chelsea’s work and wit HERE.

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