logo
For Just One Day, a Mother and Child Reunite in Prison

For Just One Day, a Mother and Child Reunite in Prison

New York Times01-05-2025

An incarcerated woman spends a day with her child at an extended visitation house in Virginia.
An incarcerated woman spends a day with her child at an extended visitation house in Virginia.
Supported by
By Pete Quandt
Mr. Quandt is a documentary filmmaker.
Prison waiting rooms are not warm places. For young children especially, visiting an incarcerated parent is often as traumatic as it is therapeutic. It's an experience filled with long waits, intimidating security measures and tight restrictions on the visit's duration.
Having had a family member incarcerated for over a decade, I've seen the toll that prolonged separation has on women and their children. I've made many long drives to prisons and witnessed the limitations that traditional visitation offers. I know that even as visiting means maintaining an emotional bond, it can make you feel isolated and emotionally confused.
That's what makes the program featured in our film above so rare. Here, a reunification house in Goochland County allows women and their children to experience a full day together in a warmer environment than traditional visitation. Beginning in late 2022, the house has allowed a rotating cohort of women to spend time with their children over multiple visitations.
In this somewhat surreal setting, our short film 'Weekend Visits' aims to witness the emotional spectrum of excitement, tension, confusion and love between two people who care about each other deeply but who are learning what it means to be parent and child again.
Pete Quandt is a Queens-based director and cinematographer. He previously directed the Op-Docs film 'Tuesday Afternoon.'
The Times is committed to publishing a diversity of letters to the editor. We'd like to hear what you think about this or any of our articles. Here are some tips. And here's our email: letters@nytimes.com.
Op-Docs is a forum for short, opinionated documentaries by independent filmmakers. Learn more about Op-Docs and how to submit to the series.
Follow The New York Times Opinion section on Facebook, Instagram, TikTok, Bluesky, WhatsApp and Threads.

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Natalie Sue wins Leacock Medal for Humour for novel ‘I Hope This Finds You Well'
Natalie Sue wins Leacock Medal for Humour for novel ‘I Hope This Finds You Well'

Hamilton Spectator

timean hour ago

  • Hamilton Spectator

Natalie Sue wins Leacock Medal for Humour for novel ‘I Hope This Finds You Well'

Natalie Sue's debut novel 'I Hope This Finds You Well' has won this year's Stephen Leacock Memorial Medal for Humour. The $25,000 award is given to the best Canadian book of literary humour published in the previous year. The novel follows the story of an office worker in her early thirties who one day stumbles upon all of her colleagues' private emails and decides to use their gossip to help save her job. 'I Hope This Finds You Well' was published by HarperCollins Publishers Ltd. Sue is a Calgary-based author of Iranian and British descent who spent her early years living in western Canada. Runners-up, who received $5,000 each, were Greg Kearney for 'An Evening With Birdy O'Day,' about an aging hairstylist who lost connection with his childhood best friend when he left to pursue a pop music career, and Patricia J. Parsons for 'We Came From Away: That Summer on the Rock,' which follows one woman's attempt to reconnect her family with Newfoundland. This report by The Canadian Press was first published June 21, 2025.

Review: Giancarlo Guerrero steps into new Grant Park Music Fest role with a pair of genial and dynamic programs
Review: Giancarlo Guerrero steps into new Grant Park Music Fest role with a pair of genial and dynamic programs

Chicago Tribune

time10 hours ago

  • Chicago Tribune

Review: Giancarlo Guerrero steps into new Grant Park Music Fest role with a pair of genial and dynamic programs

Talk about a perfect storm. On Wednesday, Giancarlo Guerrero's much-fêted debut as principal conductor and artistic director of the Grant Park Music Festival was dampened by relentless rain. Audiences scrunched under the Jay Pritzker Pavilion fringe, only to play musical chairs dodging the structure's many (and ever-changing) leaky spots. When they weren't doing that, seat shuffles and squabbles competed with the evening's violin concerto. But if Guerrero appeared unflappable onstage, it's because he's been there before. He made his sophomore appearance with the orchestra in 2014 under nearly identical circumstances, down to the solo string showcase and contemporary American opener. Despite the lousy weather, that appearance impressed festival musicians enough to fast-track Guerrero to the top of their director wishlist a decade later. While last week's storm never erupted into thunder, musical lightning struck twice here with yet another exuberant, water-resistant stand by Guerrero on Wednesday, followed by a masterful account of Mahler's Symphony No. 1 on Friday. Wednesday's concert included two harbor works: 'An American Port of Call,' by Virginia-based composer Adolphus Hailstork, and Leonard Bernstein's 'On the Waterfront' suite. Conducting with his pointer fingers rather than a baton, and sporting a new goatee, Guerrero led a sparky, whistle-clean run of Hailstork's eight-minute curtain raiser. But when the music dissipated into quietude — recalling a boat drifting far off from shore, surrounded only by blue horizon — Guerrero guided the music with expansive ease. Bernstein's 'Waterfront' benefited from the same balance of gusto and intuitive pacing. Patrick Walle's horn solo up top sounded suspended in time, before an increasingly feral orchestra jerked us back to street level. Amid the ferocity, the Grant Parkers always sounded whetted and clean, moving through the works' shifting meters with fearsome precision. In the final windup to the end, electric energy gave way to ringing, Mussorgskyan grandeur. Between the Hailstork and Bernstein, Jeremy Black returned to the festival as both concertmaster and featured soloist, offering up the Mendelssohn Violin Concerto. Even the brunt of the evening's downpour couldn't wash away the strong impression left by this filigree, soulful performance. Black's sound in the opening theme and balladic second movement was sugared but never treacly. Meanwhile, the Allegro molto vivace coasted along serenely, Black's bel canto phrasing and pristine intonation never betraying its finger-flying briskness. Promisingly, Guerrero's orchestral accompaniment was every bit as tasteful. Negotiating solo string balance in the park is always just that — a negotiation — but Guerrero hit the sweet spot of clarity and restraint. The orchestra was able to be a bit more gutsy under Friday's soloist, Pacho Flores. The Venezuelan trumpeter has a sparkling sound, which he dispatched with doting attention to phrase and line in Arturo Márquez's lively, if unseasonal, 'Concierto de Otoño' ('Autumn Concerto'). The work was specifically composed for Flores in 2018, taking unabashed advantage of not just the trumpeter's lyricism but his gatling-gun articulation, unflappable stamina and chameleon flexibility. (He traded four different horns across the 20-minute piece: C and D trumpets in the outer movements, then a flugelhorn and soprano cornet in the middle.) Flores also knows how to work a crowd. Rather than shooting to the stratosphere in his third-movement cadenza, he crawled to the bottom of his range — an amusing subversion of trumpet tropes. He then turned his bell directly at Guerrero and playfully pppththhed at him through his horn, prompting a teasing 'what gives?' shrug from the conductor. That said, it's hard to endorse Márquez's concerto beyond a mere virtuoso vehicle. The orchestral backing is often trite, cycling through the same progressions for what feels like minutes at a time. If the concerto's many flavors of theme-and-variation were engrossing at all, it was entirely thanks to Friday's soloist and orchestra, both playing with tempera-rich color and joie d'vivre. For pops-adjacent music under a more skillful hand, look to Flores himself. He opened and closed his appearance with two self-penned numbers: 'Morocota' (named for a $20 Venezuelan coin) and 'Lábios Vermelhos' ('Red Lips'). Originally recording both with guitar accompaniment for a 2017 Deutsche Grammophon release, Flores sang through his horn with a suave melodiousness that would have done the Rat Pack proud, with just a shimmer of vibrato where it counted. His lush orchestral arrangements would have been right at home in that milieu, too. At one point in 'Lábios Vermelhos,' section trumpets got in on the fun, with a sneering little interjection. Yet another short, Latin-inspired curtain raiser opened the concert: 'Baião n' Blues,' by Chicago composer Clarice Assad. A staple of the Carlos Kalmar years, Assad's inclusion in Guerrero's opening week bodes well for the new festival chief's attention to local composers. Ultimately, though, this performance had some of the same early-season jitters as last week's opener, with a scraggly opening and subdivision disagreement among the violins. 'Baião n' Blues' already isn't Assad's most compellingly structured piece, but a more honed performance might have made a better case. While Mahler sought to depict the world's natural beauty and bizarre juxtapositions in his music, he perhaps didn't anticipate contending with throbbing helicopters, the squeal of a coach's whistle, and hot rods sputtering down Lake Shore Drive on Friday. The Grant Park corps rose above the usual downtown backing track with a fresh, focused Mahler 1. Guerrero cued the unearthly, whistling first bars with an ambiguous gesture that invited the orchestra to melt in freely. Offstage trumpets were piped through the crown of the pavilion stage, sounding mysteriously heaven-sent. When the theme arrived in the cellos, Guerrero maintained their levity and grace throughout the movement — and, in fact, throughout much of the piece, bringing an aerodynamic lightness even to the symphony's final cadence. Because Grant Park 'does things a little differently,' per Guerrero, Friday's performance reinserted Mahler's discarded 'Blumine' movement. Through a complex change of hands, the only surviving manuscript copy of 'Blumine' ended up in in New Haven, Connecticut, where it was rediscovered as part of the Mahler renaissance of the 1960s. If 'Blumine' is heard at all, it's usually as a standalone piece, for good reason: It's arresting but nearly always out-of-place amid the lustiness of the rest of the symphony. Friday's performance gave the same impression — gauzy and subtle, but stopping short of the richness and emotional abandon that would make a better case for its inclusion. Elsewhere, other idiosyncratic touches intrigued and often convinced: more perky staccatos by oboist Alex Liedtke, orchestral accents like bitter twists of a knife in the funeral march, and a slower reading of the klezmer-band interludes. In all, it endorsed Guerrero's warhorse chops as enthusiastically as his new-music acumen. Rain or shine, Grant Park is looking like a fair place to be under his baton.

New York residents shelled out $179.1 million on OnlyFans last year
New York residents shelled out $179.1 million on OnlyFans last year

New York Post

time11 hours ago

  • New York Post

New York residents shelled out $179.1 million on OnlyFans last year

New Yorkers shelled out roughly $179 million on OnlyFans in 2024, a new study found — far below the per-capita peak spending in the Mountain State. West Virginia, home to country roads and mountain mamas, was No. 1 in the U.S. in money spent on the sexy site per 10,000 residents — $116,313 annually, according to search engine OnlyFinder's 'The United States of Lonelyfans,' the first to delve into a state-level analysis of the London-based subscription site. Big Apple residents, by comparison, shelled out $88,646 annually, making it 35th in the country. Advertisement Nevada came in second, followed by Colorado, Illinois and Iowa. 3 Sophie Rain was the OnlyFans star most searched by New Yorkers. Sophie Rain/ Instagram The least interested state in the union was Mississippi, with a mere $54,728 spent annually. Louisiana, Arkansas, Alabama and Alaska also ranked in the bottom five. Advertisement In New York, 83% of OnlyFans users are men — registering approximately $148.7 million of the state's $179.1 million annual spending — while 17% are women, who account for $30.4 million. Married people make up 47% of OnlyFans subscribers in the Empire State. Meanwhile, 36% percent of users are in the 25-34 age range. 3 Nearly 50% of OnlyFans users in New York are married, according to the study. romaset – The study also revealed which OnlyFans stars get searched the most, and Sophie Rain — who revealed to The Post last week that she already made $23 million this year — takes the New York cake, with over 246,000 monthly searches. Advertisement 3 Buffalo spent more on OnlyFans per capita than the Big Apple, which finished fourth in the state, according to the study. AFP via Getty Images Rain's cousin Camilla Araujo grabbed the second most-searched spot, with more than 110,000. New Jersey ranked 33rd, with $90,724 spent annually per 10,000 residents, while Connecticut landed in 43rd, with $81,941.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store