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  Decades before Instagram or #packwalk, Jim Buck was trouping through the streets of New York with multiple leashes and multiple dogs in tow. In 1964, Gay Talese profiled Buck, pictured above, in The New York Times. “145-Pounder Walks 500 Pounds of Dogs,” ran the headline. That doesn’t sound exceptional now, but Buck was apparently the first professional dog walker. In the story, Talese noted that Buck was 32, married with two children and two big dogs of his own. He was making a decent income — in the low six figures, in today’s dollars — in electronic sales. But, Talese explained, Buck was bored. He loved animals and the outdoors, so, with “a little advertising and a little salesmanship,” he began a dog-walking business and not only earned a living but also became a fixture of the Upper East Side.

  As Talese reported it, Buck always drew a crowd. “Hook up a sled!” cried one doorman. “Opening race at Aqueduct!” was one policeman’s quip. When Buck died in 2013, his Times obituary said he “is widely described as the first person to professionalize dog walking in New York City and, by extension, in the United States. ... He walked in sun; he walked in rain. In wintertime, his charges might be clad in small sweaters bearing the logos of the European resorts where their masters skied.”

  When we began the process of digitizing the six million photos in the Times archive, it quickly became apparent that in photographing New York City over the course of the 20th century, this paper photographed a lot of the city’s dogs. One thing that stood out: while the people, the fashion and the cars changed, the dogs stayed very much the same.

  We also noticed that dog pictures popped up everywhere, from the style pages to the weather reports, from Metro to Sports. In much the same way that dogs of Instagram say a hundred delightful things without actually saying a word, these images speak to “urban love stories: how and why people fetch, sit and roll over for their pets,” as N.R. Kleinfield put it.

  To help us better understand this lasting obsession, we assembled a panel of dog experts: New York Times archivist Jeff Roth; photographer Landon Nordeman, whose photographs of the Westminster Dog Show established his career in portraiture, fashion and street photography; Andy Newman, a New York Times reporter who wrote the Pet City column about the lives of pets and their owners; artist and writer Maira Kalman, whose illustrations regularly appear on the cover of The New Yorker; Amanda Hess, a New York Times critic, who has written about how dogs and cats have been represented in culture; the artist and writer Jeff Hamada, who created the Instagram account @chillwildlife; Lydia DesRoche, who trains animals for Broadway and theater; and Sheila Bridges, an interior designer and animal lover.

  What follows is an edited and condensed transcript of that conversation.

  Jessie Wender: Why do you think we like looking at pictures of dogs?

  Jeff Hamada: Dogs are just really pure. There’s sort of an unconditional love that they give. It’s sort of depressing as an artist, you slave over a painting or a beautiful photo, and a dog photo will almost always get more likes or engage more than anything that you slave over. I try to think of this as something to embrace.

  Amanda Hess: Dogs also like looking at you. Like, this dog is gazing back at the camera.

  Lydia DesRoche: Or, maybe he’s just looking at the dog on the street going, “Sucker, you’re on a leash.”

  Andy Newman: A lot of dogs have that ability to just kind of channel their emotions and their thoughts or whatever is occupying them, it just shows immediately in their face. Cats are a little bit more opaque emotionally.

  Hess: I’ve never had a dog. I would love to have a dog. Right now the most important dog in my life is this dog that has no idea that it’s so important to me. Her name is Luna and she’s this big, white dog, with brown spots and alert ears and she’s blind. She just ambles around my neighborhood and whenever I see her, it gives me a lot of joy. Her owners are a little skeptical of me. Luna’s not mine, but she’s the most important dog to me right now.

  Sheila Bridges: On Monday, I put down my Australian shepherd, Wheeler. I’m a little emotional today, but I thought this would be kind of therapeutic.

  Maira Kalman: I was terrified of dogs and thought they would rip your head off if you turned your back on them, a legacy from my mother. When [my late husband] Tibor became ill, we somehow decided that it was good for the kids to have a dog. Pete quickly became my constant companion. He never left my side. He made everybody happy, but really made my life much better. Sara, my mother, who was the legacy of being terrified of dogs, ended up loving him and knitting him sweaters, and making him schnitzel and blintzes that we weren’t allowed to touch.

  Bridges: One of the hardest decisions you sometimes have to make as a pet owner is whether or not it’s time to let go of the life you share with your beloved pet. I believe that the loss is particularly amplified for those of us who do not have children. My animals — dogs, cats, horses — have always been my family on a spiritual level that I sometimes have difficulty explaining.

  Kalman: Pete died in a dog hospital. It was really the end after so many months of trying to keep him alive. Finally, we understood that it was not possible. They were so wonderful. They put us in a room with soft lighting and said, “Take your time.” I was with my son, Alex, and my boyfriend, Rick. When we said goodbye to him, you choose what you want to happen afterward. I said ashes would be great. I think it was New Year’s Day and it was snowing. It was so beautiful. We were talking about James Joyce and “The Dead,” and how it ends with such a beautiful, soft, gentle snow falling on the land. It was a beautiful, big, thick snow. Then we went and we had grilled cheese sandwiches somewhere. [She holds up a pink vintage-looking tin, which holds the ashes of her beloved dog.] This is Pete, the only dog I’ve ever had and probably will ever have, unless I share it with some other family member. He lives on very intensely, so here he is.

  Wender: Do you think people look like their dogs? Or that dogs look like their owners?

  Hess: I feel like it’s a trope that people look like their dogs. I don’t know if that’s because they start to look more like their dog or they find a dog that looks like them.

  DesRoche: Some people act like their dogs, or their dogs act like them.

  Newman: These dogs accessorized the people very well.

  Kalman: The dog in New York is the universal dinner party excuse. I’ve got to go home, the dog is waiting. People may be thinking, “How am I going to get out of here?” Maybe that’s also true in the country, but it certainly is in the city.

  DesRoche: You can’t leave your dog in the yard in New York, you have to interact with your dog in New York.

  Hess: Dogs mediate so many social interactions in New York, where often you meet someone, the first thing you see, you’re focused on their dog instead of them.

  Bridges: I don’t think I ever knew the name of the people walking their dogs, or that they even existed. They were only a vehicle for getting to know their dog and exclaiming how wonderful every dog was. It was more important to focus on the dog than on the person.

  DesRoche: No one recognizes me without an animal. Literally no one.

  Newman: The photo above is from the William Secord Gallery. I get an email from them every week. They send a Dog Painting of the Week. And you get one of these ridiculously over-the-top, 19th-century dog paintings with an explanation of who the dog was and who the artist was. They’re amazing paintings.

  Wender: What’s the difference between painting dogs and photographing dogs?

  Kalman: I think they’re basically the same. There are a number of photographs here that I would love to do paintings of, especially this one. It just seems like a perfect set to me. I think this is my favorite photo of all of them, with the dog sitting on the sofa, just a self-contained, beautiful world of fancy furniture, fancy dogs in fancy frames. I find it really funny, and just really enchanting. I take millions of photographs during the week of many dogs. The other day in the park I photographed a dog that was wearing a sweater with a hat and a pompom. I thought, “My day is made.” Then I could do a painting of that, and be equally happy.

  Bridges: Whenever magazines shoot interiors, they love to have you to put your dog or your cat, but particularly your dog, into the shot. I always trained my dogs that they were never allowed on furniture, but this dog looks like he’s used to being up there. I like interior photographs with dogs in them because there’s just something that makes the home feel like it’s lived in; it creates life.

  Roth: We did a story about a woman who took care of junkyard dogs a few years ago, Regina Massaro from Maspeth. As we wrote in the story, for 20 years she traveled through some of the city’s roughest neighborhoods and industrial areas caring for and neutering guard dogs that were chained up, and were often underfed or abandoned. I found my dog on Merrick Blvd. in Jamaica, Queens on a Sunday after clocking out of work. I put up lost dog signs and Regina contacted me. Before I found him, she had been taking care of him when he was at the junkyard. The dog's name was originally, 'Bobo," or stupid. I took him in and we kept him and renamed him Hobo.

  Landon Nordeman: To photograph dogs you need a lot of patience and I think sometimes the dogs have to trust you. I think that’s true when you’re photographing anyone. Once I was hired by the American Kennel Club to take pictures, and I’m meeting a brand-new dog every few minutes. I would always kind of get lower than the dog and try to offer a hand, something, just to let them smell me, touch me, realize that I was not a threat to them, and then try and get them to look in the camera.

  Nordeman: It’s a great honor to be selected to be the Best in Show judge for the Westminster Dog Show. The judge is kept in seclusion for the entire duration of the show and only is brought out to judge the final seven, so that they’re not hearing any rumors, they’re not seeing the dogs perform in the earlier rounds, they only see the very last round, like a sequestered jury.

  [Your favorite dog breed probably didn’t win Westminster. Here’s why.]

  DesRoche: Show dogs are show dogs. I trained a chow once. He always won best in breed, but he never won best in show at Westminster. He always got his butt kicked by a poodle. He was so difficult to train. He was not motivated by anything. He’d have a pound of beef in front of him, nothing. But one day, I was sitting in a sports bar and I see ESPN and there he was, flying through the air for the applause, just throwing his mane back. It was amazing. Then I realized that what I needed to do was cheer him on. That changed everything. I could train him then, but I had to be a cheerleader.

  Hess: Do you think dogs know they look alike?

  Bridges: Do dogs recognize their own breed?

  Wender: Or that they’re wearing the same outfit?

  Kalman: Multiples of dogs are always so enchanting. There’s a man who walks five Yorkies, and they all wear matching coats and hoods and pompoms. There’s an excessive bit of that, but whenever you have more than two dogs together, it’s a circus of fun. You just can’t stop looking at them.

  Nordeman: I always love photographing in what’s called the benching area, where people are preparing their dogs for the show ring. It’s where all this primping, combing and fussing happens. It’s amazing kind of how much goes into it before they’re ready.

  Hamada: People often use images of animals, on social media, to communicate with one another. In the comments section, they'll tag an image of a dog and say, "This is totally me,” to their best friend or whomever it is. It's an interesting window into relationships, the way people use an image of an animal to talk to another human.

  Jessie Wender is a photo editor of Past Tense, an archival storytelling initiative devoted to publishing articles based on photographs recently rediscovered as The Times digitizes millions of images from its archives. @jmwender



  二肖输尽光资料大全…… 【李】【思】【颜】【一】【从】【段】【靖】【野】【办】【公】【室】【出】【来】,【就】【回】【了】【秘】【书】【室】,【在】【秘】【书】【室】【工】【作】【了】【五】【分】【钟】,【她】【又】【起】【身】,【去】【了】【洗】【手】【间】。 【见】【洗】【手】【间】【没】【有】【人】,【她】【迟】【疑】【了】【一】【下】,【还】【是】【拨】【通】【了】【白】【亦】【情】【的】【电】【话】【号】【码】。 【尽】【管】【她】【改】【了】【手】【机】【号】【码】,【但】【白】【亦】【情】【他】【们】【的】【号】【码】【她】【其】【实】【都】【还】【保】【存】【着】。 【而】【她】【手】【机】【里】【苏】【亦】【诺】【的】【号】【码】,【早】【被】【凤】【天】【给】【消】【除】【了】。 【但】【其】【实】,

“【左】【医】【生】,【咱】【们】【一】【起】【去】【机】【场】【接】【机】?”【薄】【院】【长】【找】【到】【左】【慈】【典】,【笑】【眯】【眯】【的】【输】【出】【着】【诚】【意】。 【杜】【家】【人】【已】【经】【把】【各】【种】【手】【术】【单】【子】【都】【签】【了】,【作】【为】【中】【介】,【他】【的】【活】【计】【就】【算】【是】【完】【美】【达】【成】【了】,【不】【过】,【为】【了】【与】【前】【途】【光】【明】【的】【云】【医】【和】【凌】【然】【拉】【上】【关】【系】,【薄】【院】【长】【并】【不】【想】【收】【了】【钱】【就】【走】。 【做】【医】【院】【生】【意】【的】【商】【人】【都】【是】【非】【常】【讲】【究】【人】【情】【味】【的】,【许】【多】【时】【候】,【或】【者】【说】,【大】【部】【分】

【作】【为】【二】【村】【巡】【逻】【队】【之】【一】【的】【犬】【冢】【牙】,【那】【玩】【忽】【职】【守】【的】【发】【言】【其】【实】【完】【全】【是】【无】【稽】【之】【谈】。 【犬】【冢】【家】【的】【追】【踪】【能】【力】【是】【靠】【嗅】【觉】【的】,【这】【次】【的】【行】【动】【目】【标】【对】【于】【木】【叶】【下】【忍】(【某】【人】【中】【忍】)【的】【小】【队】【而】【言】【却】【只】【有】【一】【个】【疑】【似】【对】【象】【而】【已】,【靠】【闻】【气】【味】【估】【计】【是】【没】【戏】【的】。 【顺】【带】【一】【提】,【紫】【月】【的】【身】【上】【根】【本】【没】【有】【所】【谓】【的】【少】【女】【芬】【芳】【这】【种】【说】【法】。【只】【有】【泥】【土】【混】【合】【着】【血】【液】【的】【气】【味】,【反】

  【十】【小】【龙】【高】【亢】【唱】【吟】,【振】【奋】【的】【向】【更】【广】【阔】【的】【天】【地】,【腾】【云】【驾】【雾】【畅】【快】【遨】【游】。 【在】【十】【龙】【声】【震】【天】【地】【的】【龙】【啸】【声】【中】【大】【雨】【瞬】【间】【倾】【盆】【而】【下】。【在】【天】【空】【乌】【云】【向】【外】【散】【去】【时】,【在】【天】【似】【漏】【了】【的】【瓢】【泼】【大】【雨】【倾】【盆】【而】【下】【时】,【皇】【甫】【少】【极】【知】【道】【他】【的】【希】【望】【彻】【底】【落】【空】【了】。 【皇】【甫】【少】【极】【踉】【踉】【跄】【跄】【退】【坐】【在】【御】【书】【房】【的】【龙】【椅】【上】,【一】【时】【脸】【色】【发】【白】【万】【念】【俱】【灰】。 【他】【突】【然】【想】【到】【了】【国】【师】【对】二肖输尽光资料大全"【所】【以】【还】【有】6【天】【的】【时】【间】,【机】【械】【文】【明】【的】【主】【神】【诺】【亚】【就】【会】【入】【侵】【我】【们】【的】【现】【实】【世】【界】?"【法】【国】【黑】【骑】【士】【公】【会】【会】【长】【兰】【斯】【擦】【了】【擦】【额】【头】【上】【的】【汗】【水】【问】【道】,【毕】【竟】【一】【旦】【现】【实】【世】【界】【都】【被】【攻】【陷】,【他】【们】【就】【将】【彻】【底】【失】【去】【返】【回】【现】【实】【世】【界】【的】【机】【会】。 "【不】,【已】【经】【过】【去】【一】【天】【了】,【现】【在】【还】【剩】【下】5【天】,【在】【这】5【天】【的】【时】【间】【里】,【我】【们】【必】【须】【要】【拿】【下】【诺】【亚】,【不】【然】【就】【是】【全】【盘】【皆】【输】。【现】

  【王】【胖】【子】【声】【音】【微】【颤】【地】【说】【道】:“【确】【实】【是】【张】【麻】【子】【不】【假】,【他】【脸】【上】【戴】【着】【的】【面】【具】、【那】【些】【人】【的】【体】【型】【以】【及】【口】【气】【和】【祝】【老】【太】【爷】【下】【葬】【那】【天】【一】【模】【一】【样】。” 【祝】【家】【族】【长】【的】【手】【心】【已】【经】【沁】【出】【了】【一】【层】【冷】【汗】,【站】【在】【身】【旁】【的】【几】【位】【族】【人】【也】【眼】【露】【惊】【恐】。 【一】【名】【族】【人】【上】【前】【说】【道】:“【老】【爷】,【为】【今】【之】【计】【只】【能】【恳】【求】【县】【长】【大】【人】【速】【速】【剿】【匪】【了】,【每】【当】【匪】【患】【猖】【獗】【的】【时】【候】,【县】【长】【总】【是】【会】

  【发】【布】【会】【很】【快】【便】【结】【束】,【节】【目】【开】【始】【一】【期】【接】【着】【一】【期】【的】【录】【制】。 【在】【接】【下】【来】【的】【三】【个】【月】【里】,《【创】【造】110》【边】【录】【边】【播】【出】,【让】【广】【大】【群】【众】【认】【识】【到】【了】【平】【时】【根】【本】【没】【去】【注】【意】【的】【国】【内】【女】【团】。 【其】【中】【陈】【超】【越】,【王】【宣】【义】,【吴】【菊】【等】11【人】【的】【人】【气】,【是】【最】【为】【高】【涨】【的】。 【特】【别】【是】【陈】【超】【越】,【她】【表】【现】【出】【的】【可】【爱】【呆】【萌】【的】【气】【质】,【彻】【底】【征】【服】【了】【观】【众】。 【其】【中】【几】【名】【导】

  【唐】【沐】【瑾】【带】【着】**【穿】【进】【时】【间】【长】【河】,【两】【人】【什】【么】【也】【没】【说】,【这】【次】【没】【再】【出】【现】【什】【么】【差】【错】,【很】【安】【全】,【也】【很】【顺】【利】,【两】【人】【终】【于】【来】【到】【了】【政】【变】【的】【前】【三】【天】 【两】【人】【悄】【无】【声】【息】【的】【来】【到】【了】【武】【则】【天】【的】【寝】【殿】,【躲】【在】【屏】【风】【后】【面】,【而】【主】【角】——【武】【则】【天】,【早】【已】【病】【入】【膏】【肓】,【斜】【着】【倚】【靠】【在】【龙】【榻】【上】,【对】【一】【旁】【的】【高】【力】【士】【轻】【声】【道】:“【他】【怎】【么】【样】【了】,【可】【还】【好】?” “【回】【陛】【下】,【近】


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