ORIGINAL PULITZER WINNER PHOTO DAVID TURNLEY DETROIT SCARCE RARE VINTAGE

Description: A FANTASTIC VINTAGE ORIGINAL PHOTOGRAPH MEASURING 8 X 10 INCHES BY DETROIT LEGENDARY PULITZER PRIZE WINNING PHOTOGRAPHER DAVID C TURNLEY. ONE OF THE GREATEST PHOTOJOURNALISTS ALIVE TODAY. 1981 AMY MCCOMBS GM WDIV CHANNEL 4 Turnley won the 1990 Pulitzer Prize for photography for images of the political uprisings in China and Eastern Europe, the World Press Photo Picture of the Year in 1988 for a photo taken in Leninakan after the devastating Spitak earthquake and again in 1991 for a picture of a U.S. Sergeant mourning the death of a fellow soldier during the Gulf War, as well as the Overseas Press Club Robert Capa Gold Medal. He has been a runner-up for the Pulitzer Prize in photography four times. David Carl Turnley (born June 22, 1955)[1][2] is an American photographer, winner of the Pulitzer Prize, two World Press Photos of the Year, and the Robert Capa Award for Courage. His twin brother Peter Turnley is also a photographer.[1] Life and careerDavid and Peter Turnley were born June 22, 1955, born to William Loyd Turnley and Elizabeth Ann Turnley (née Protsman) in Fort Wayne, Indiana.[2] David Turnley studied French literature at the University of Michigan, where he earned a B.A. in 1977. A fluent speaker of French and Spanish, he also has studied at the Sorbonne and Harvard University. Turnley won the 1990 Pulitzer Prize for photography for images of the political uprisings in China and Eastern Europe, the World Press Photo Picture of the Year in 1988 for a photo taken in Leninakan after the devastating Spitak earthquake and again in 1991 for a picture of a U.S. Sergeant mourning the death of a fellow soldier during the Gulf War, as well as the Overseas Press Club Robert Capa Gold Medal. He has been a runner-up for the Pulitzer Prize in photography four times. From 1985 to 1997, Turnley covered the struggle to end Apartheid, revolutions in Eastern Europe, the student uprising in China, the Bosnian War and the Gulf war, and the fall of the Soviet Union. In addition to publishing numerous books, he has directed an Emmy-nominated documentary for CNN on the Dalai Lama, and a feature-length documentary set in Cuban dance hall, La Tropical. He directed the documentary Shenandoah, released in 2012, about the 2008 murder and attempted cover up of an immigrant from Mexico by a group of local high school football stars from Shenandoah, Pennsylvania.[3][4] Turnley was one of the few photographers who were at the World Trade Center in New York City on September 11, 2001, and who went into the rubble with the very first firemen. Turnley is father of two children and lives with his wife Rachel in Paris, France. BooksJim Harbaugh, David Turnley: "Rise Again." Self-Published: Enthusiasm Productions LLC, 2017.Jim Harbaugh, David Turnley: "Enthusiasm Unknown to Mankind." Foster Park Publishing, 2016.David C. Turnley: Why Are They Weeping: South Africans Under Apartheid. Stewart, Tabori & Chang Inc, 1988, ISBN 978-1556700446David Turnley, Peter Turnley, Melinda Liu: Beijing Spring. Stewart, Tabori & Chang Inc, 1989, ISBN 978-1556701306David Turnley, Peter Turnley: Moments of Revolution: Eastern Europe. Stewart, Tabori & Chang Inc, 1990, ISBN 978-1556701689David C. Turnley, William Keller: The Russian Heart: Days of Crisis and Hope. Phaidon Press Ltd, 1992, ISBN 978-0714828411Howard Chapnick, David C. Turnley, Peter Turnley: In Times of War and Peace. Abbeville Press, 1997, ISBN 978-0789202994David Turnley: Baghdad Blues: A War Diary. Vendome Press, 2003, ISBN 978-0865652354John G. Morris, David Turnley, Peter Turnley: McClellan Street. Indiana Univ Press, 2007, ISBN 978-0253349675David Turnley: Mandela!: Struggle & Triumph: Struggle and Triumph. Harry N. Abrams, 2008, ISBN 978-0810970922 Winner of the Pulitzer Prize, two World Press Photos of the Year, and the Robert Capa Award for Courage, David Turnley has documented the human condition in more than 75 countries, and is considered to be one of the best Documentary Photographers working today. David has extensive experience navigating and leading documentary photographers and journalists in the most perilous war zones of our time amidst live battle and combat. Combining his strategic communication and negotiating skills he has advanced and gained access to the most restricted regions, bringing to light uncovered and unknown war crimes, cultures, and a breadth of human experience and tragedy that screams to have a voice and be known to the world. David’s work has always been rooted in a value system that emphasizes a world view of inclusion and “We The People”. David has covered the world events of the last 40 years including the struggle in South Africa and the election of Nelson Mandela as that country’s first democratically elected President. David has been a dear friend of the Mandela family and is honored to have photographed President Mandela over the course of 23 years following Mandela’s release from prison. David has documented and worked in Iraq and Afghanistan, and is known for what has been called, The Photograph of the War - during Desert Storm in 1991. He has covered the end of the Cold War and revolutions in Eastern Europe, Tiananmen Square Student Uprisings and Massacre in China, famine in Rwanda and Somalia, the disintegration of the Soviet Union, and he was almost killed in a full-scale shelling attack during the war in Chechnya. After returning to the United States to pursue a fellowship studying Filmmaking at Harvard, David moved to New York City, where he found himself once again in a war zone as he was one of the first photographers to arrive beneath the just-attacked World Trade Center towers and spent the day with the first firemen, photographing and trying to find anyone to save in the rubble. About the lives of David Turnley and his twin brother Peter, both acclaimed photojournalists, 60 Minutes made an episode titled “Double Exposure: Peter and David Turnley”. David, regarded for his entrepreneurial and leadership abilities, is an award-winning Director and Producer of both Documentary Films and TV Commercials. He has Directed and Produced three feature-length Documentaries: The Dalai Lama: At Home and in Exile, for CNN, La Tropical, called by Albert Maysles “the most sensual film ever shot in Cuba”; and his epic story of Shenandoah, located in the tough coal region of Pennsylvania. Shenandoah, which is available to view on Netflix, was named by The NewFilmmakers Los Angeles as “Best Documentary Film” and David was named “Best Director” for the year 2013. David has Directed TV Commercials for NIKE Brand Jordan, State Farm, and Ameriprise, to mention a few. David has collaborated with and documented Kid Rock, Jerry Seinfeld, David Beckham, President Obama, President Clinton, Laird Hamilton, and most recently has the honor to document The Michigan Football Team and Coach Jim Harbaugh and The Making of Champions. David has always been extraordinarily proud that, even for less than a month, he tried out as a Walk-On as wide receiver on The University of Michigan Football Team under Bo Schembechler. Coming from an athletic family, David was raised in Indiana and spent his childhood and early adult years playing every sport under the sun. It was the same tenacity, passion, and stamina that David acquired from an early life in sports that has been at the core of his success as a Documentary Photographer and Director. In 1973 one of The University of Michigan football coaches stopped a practice after seeing David make a tackle, and then exclaimed to the team, “If everyone hits like this young man just hit, we’ll have a hell of a team”. David is a successful Published Author of eight photographic books, including Mandela: In Times of Struggle and Triumph, from his extensive time over the last twenty five years photographing the evolution of South Africa, and Nelson Mandela and his family. David is the co-author, with Coach Jim Harbaugh, of Enthusiasm Unknown to Mankind, a book documenting the Michigan Football Team with a 16 page Treatise by Coach Jim Harbuagh. David is regularly booked throughout the world for his inspirational speaking skills, including Africa, India, Europe and across the United States. He was invited to participate in one of the first TED Talks in California in 1990. He was also invited as one of the Penny Stamps Distinguished Speakers Series at The University of Michigan before a full house at The Michigan Theater, and honored to receive a standing ovation. David is a Tenured Associate Professor at his alma mater, the University of Michigan School of Art and Design, and Residential College. He studied filmmaking at Harvard on a Nieman Fellowship and has Honorary Doctorates from the New School of Social Research in New York, and from the University of St. Francis in Indiana. He received a B.A. in French Literature from The University of Michigan and has also studied at the Sorbonne in Paris. He is fluent in French and Spanish. Here is the first part in an incredible story behind a photojournalist’s 30-year commitment to creating a timeless document of one of the most transformational events in recent world history.David C. Turnley is a Pulitzer Prize-winning photographer and filmmaker acclaimed for his incisive and unforgettable images of world events like the fall of the Berlin Wall and the Tiananmen Square uprising. A four-time runner-up for the Pulitzer, he is also a two-time winner of the World Press Picture of the Year and has won four Overseas Press Club Awards. In addition to covering many of the major news events over the past 30 years, his first film “The Dalai Lama: At Home in Exile” produced by CNN was awarded the 2001 CINE Golden Eagle and nominated for an Emmy, and his film “La Tropical” shot in Cuba was awarded Best Documentary at the Miami International Film Festival. David has also won the Robert Capa Gold Medal of Courage and published seven photographic monographs of his work. As a commercial director, he recently directed a Nike Air Jordan commercial with Wieden +Kennedy.Above all, David Turnley is a passionate and committed photographer who is dedicated to overcoming the fear and mistrust that separates and divides people. Here is the remarkable story behind his heartfelt and brilliant coverage of the South African struggle to overcome apartheid and its aftermath. Q: You obviously started this long-term project on Nelson Mandela and South Africa before you knew how it would end. Is that true, and how did it unfold?A: Absolutely. Thinking about that might be a good place to start our conversation.Q: You are an internationally acclaimed photojournalist and you’ve covered important world events before. What motivated you to start this project, especially not knowing what the outcome would be?A: I think it starts with my own childhood growing up in the Midwest in Fort Wayne, an industrial town in Indiana. I got very lucky in the parent department. My mother and father both were raised in Indiana. I was 13 years old in 1968 when Dr. King was assassinated and the era we were being raised in and especially in the case of my family who believed in his eloquent words, that we are all created equal. I must admit that growing up in Fort Wayne in the late ’50s and ’60s was a very segregated city in a de facto sort of way. It was effectively a black and mostly working class, poor inner city and everything else was white and middle to upper class. My high school wasn’t actually desegregated until my sophomore year.My father was an extraordinary athlete. His father was an extraordinary athlete. I am an identical twin. With those kinds of family members growing up in the Midwest you do what they did. So by the time I was a little kid I was obsessed with sports and I was a pretty good football player, as was my twin brother. Our team at school was desegregated during my sophomore year. It was not only integrated but also became very good. Our black teammates would get on a bus after practice and be bussed back to the inner city not to be seen. I remember having an acute awareness from that time of my life that so much was going on across our country. There were race riots in Detroit, LA, and Newark, New Jersey. Again given my family, I was very aware of the civil rights movement.It was then when my brother Peter and I were 17 and playing football, that he tore up a knee in a football injury. When he was in the hospital my father gave him a camera and a couple of books. One was by the great French photographer Henri Cartier-Bresson. Another was a book by Bruce Davidson documenting a block in Harlem. In looking at those photographs Peter and I felt the same way. What was so powerful was the photographer, and what he had achieved. I didn’t know his race or much about him. All I knew about him came from looking at those photographs. And it was very clear that the photographer had earned access to the people in these images on their terms. In looking at those images, the notion that we are all created equal really started to make sense to me. What I would see in these photographs was that the people just sort jumped off the page; it was their inherent dignity in each case, and I got it. That was powerful having been raised in an environment that had been really divided. I know that for both Pete and I, that photography was not only an opportunity for us express a creative sensibility inside of ourselves that we hadn’t tapped into, but also a powerful voice to scream with.Photography allowed people to get past the walls that get constructed around us out of fear, to move beyond the comfortable caricatures that people seem to make about one another. This began a process for me that was so incredibly exhilarating that I haven’t stopped feeling ever since and measuring the lives of people that I like to call the “family of man” in all its diversity —ethnically, racially, sexually, geopolitically, and in terms of gender identity. By the time I finished at the University of Michigan I started to work at a small chain of newspapers for three years.I got ahead of myself and skipped over an important chapter … So we got this camera when we were 17 and still in high school. We spent the next two years with one camera and one lens and started photographing on an inner city street, McCullen Street in Fort Wayne. It wasn’t a particularly racially mixed street but it was a poor, mostly white working class street. The work we did on that street over those two years became a book called “McCullen Street” which was published just a few years ago, many, many years later. I’m very proud of it. It was received very well and has become almost a cult book of documentary photography. Q: You said something very interesting about photographing people like in Bruce Davidson’s book “East 100th Street,” that not only did he have access but he had empathy. He was photographing people on their own terms. There was a connection and that aspect is quite evident in your portfolio.A: That’s what I was trying to get to. I was working at the Free Press in Detroit from 1980-1985, and by that time Detroit was equally an incredibly segregated city. Ever since the race riots in 1967 there had been this massive white flight to the suburbs and Detroit went from being one of the most successfully integrated cities in the country because of the European immigrants and blacks from the south that came to work in the automobile factories as well as working class whites. But after the race riots in ‘67 it literally became a black city with white suburbs. Before I even got to Detroit, when I was in Ann Arbor, Michigan reading the Detroit Free Press, in the early ‘70s, you would have thought there were no black people living in the city. There were never any black people in the photographs unless they were being spoken about as criminals and it always affected me because the city was 99 percent black.The reality was that by the time I got to the newspaper and started working there it became evident to me that most of the journalists at the paper were white, probably lived in the suburbs and probably comfortable with that kind of storytelling. I spent five years in Detroit, at a time that Life Magazine had folded, essay photography had been picked up by newspapers, and the Free Press would run an essay every day on the back page of the paper. So I spent my five years trying to tell real stories about the people of Detroit on that back page.The first story I did I was really proud of. I went to a Coney Island hot dog restaurant at lunch and I was sitting next to an elderly black gentleman and we had a great conversation. We talked for about an hour and as he was getting up to go I asked him what his name was and he said, “Henry Ford is my name.” So my first essay was about the other Henry Ford for the Detroit Free Press. By the time I was in Detroit in 1985, South Africa was raging and on the brink of revolution. It had become the international pariah state and so many Americans were outraged that any society could basically exempt people from their basic human rights and citizenship simply by the color of their skin. I was able to get a visa and proposed to the paper to send me to South Africa.On the one hand, my motivation was to try to understand this system that was unimaginable to me. On the other, it was an opportunity to learn about racism and discrimination in our own country. In South Africa it was a system that allowed the white minority to dominate over the black majority. In some respects the actual day-to-day indignities and humiliations that come with a master/servant relationship were not so unlike the dynamics I was witnessing in our own country. So it was a chance to contribute to the South Africa struggle, but also to show America and other countries photographs that in the most blatant way speak to this phenomenon that isn’t exclusive to South Africa … what it is that is that actually triggers fear and motivates discrimination.It was a perfect fit for me with my own background and motivations. It was a privilege to be there. One of the first weeks I was there an event unfolded down in Capetown where an activist named Alan Bousak meant to lead a march from a mixed race town called Athlone. The march was meant to walk to a local prison where they had moved Nelson Mandela onto the mainland after he had been on Robin Island for 16 years. That particular day I made a photograph of hundreds of South African police storming the crowd with horsewhips to break up the march. I made a photograph that was very dramatic and published around the world. That event kicked off a state of emergency. From that time on there were fires, and basically a revolution. That was what my stay was like. I thought this aspect of the struggle was important to show. But I also thought it was important to delve into the everyday lives of the people, kind of the rainbow spectrum of race in South Africa, and to witness the less dramatic brush strokes, the sort of the daily individual humiliation and indignation that people were experiencing. Q: When looking at some of these images, one may think “Oh my God, this guy must have been in danger for his life at certain points.” It required some degree of dedication and bravery to stand there and take these photographs, didn’t it?A: Back in 1978 I remember being at a National Press Association seminar in Youngstown, Ohio. A black South African photographer name Peter Magubane had been invited to show his work. He had been there back in 1976 when black students in high schools in Soweto, South Africa would no longer accept being forced to learn the language of the oppressors, so they left their high schools and took to the streets. Over the course of a week there were somewhere between 300 and 800 people who were injured or killed. Peter documented the Soweto uprising in 1976 and he showed these photographs. It was very clear that he had put his life on the line. He was so eloquent and so generous of spirit. He was really the first person who exposed me to what I call a Mandela-like spirit. He had endured prejudice in South Africa his whole life. But you didn’t feel that he had an axe to grind. It felt more that he was giving his life as a photographer and was only too willing to do so in order to find a resolution that would give people of all races in South Africa the opportunity to live with their heads high. He inspired me.When I got to South Africa in 1985 I was asked by Life Magazine to do an essay photographing Winnie Mandela and her two daughters. We immediately connected and we are still in touch to this day. People like them, who were willing to go to prison because of their beliefs, humbled me by the enormous sacrifices they were making. Q: If you take a look at the images, it seems to be that they uphold the journalistic ideal of truth without judgment. This is really what’s happening. It’s not that there are the good guys and the bad guys. Somehow there is something overarching that they are moving toward, something transformational. Like you said back at the beginning, “reconciliation, we are all one” and that is a fundamental truth of the human experience. We are all one on this tiny planet. We have to find ways of getting along and doing something positive, and transcending our prejudices and our narrow views. That’s really what comes through in this documentary.A: I couldn’t agree more with you. As tragic and unjust as apartheid was, I felt, interestingly, that there was a tremendous amount of hope and that, while the system was that much more Machiavellian, in some ways there was a sense of hope that I hadn’t felt in my own country. That if the society might be able to remove the shackles of this system, they might be able to get some things really right. And the truth was, the work was an opportunity to look at this, but it was also an opportunity to try to inspire hope in our own country. To me, the work they were doing in South Africa echoed to me about my own country.Thank you for your time, David! The Pulitzer Prize (/ˈpʊlɪtsər/[1]) is an award administered by Columbia University for achievements in newspaper, magazine, online journalism, literature, and musical composition within the United States. It was established in 1917 by provisions in the will of Joseph Pulitzer, who had made his fortune as a newspaper publisher.[2] Prizes are awarded annually in twenty-one categories. In twenty of the categories, each winner receives a certificate and a US$15,000 cash award (raised from $10,000 in 2017).[3] The winner in the public service category is awarded a gold medal.[4][5] Entry and prize consideration Columbia President Lee Bollinger presents the 2003 Pulitzer Prize for Fiction to Jeffrey Eugenides.The Pulitzer Prize does not automatically consider all applicable works in the media, but only those that have specifically been entered. (There is a $75 entry fee, for each desired entry category.) Entries must fit in at least one of the specific prize categories, and cannot simply gain entrance for being literary or musical. Works can also be entered only in a maximum of two categories, regardless of their properties.[6] Each year, more than 100 jurors are selected by the Pulitzer Prize Board to serve on 22 separate juries for the 23 award categories; one jury makes recommendations for both photography awards. Most juries consist of five members, except for those for Public Service, Investigative Reporting, Explanatory Reporting, Feature Writing, Commentary and Audio Reporting categories, which have seven members; however, all book juries have five members.[2] For each award category, a jury makes three nominations. The board selects the winner by majority vote from the nominations, or bypasses the nominations and selects a different entry following a 75 percent majority vote. The board can also vote to issue no award. The board and journalism jurors are not paid for their work; however, the jurors in letters, music, and drama receive honoraria for the year.[2] Difference between entrants and nominated finalistsAnyone whose work has been submitted is called an entrant. The jury selects a group of nominated finalists and announces them, together with the winner for each category. However, some journalists and authors who were only submitted, but not nominated as finalists, still claim to be Pulitzer nominees in promotional material. The Pulitzer board has cautioned entrants against claiming to be nominees. The Pulitzer Prize website's Frequently Asked Questions section describes their policy as follows: "Nominated Finalists are selected by the Nominating Juries for each category as finalists in the competition. The Pulitzer Prize Board generally selects the Pulitzer Prize Winners from the three nominated finalists in each category. The names of nominated finalists have been announced only since 1980. Work that has been submitted for Prize consideration but not chosen as either a nominated finalist or a winner is termed an entry or submission. No information on entrants is provided. Since 1980, when we began to announce nominated finalists, we have used the term 'nominee' for entrants who became finalists. We discourage someone saying he or she was 'nominated' for a Pulitzer simply because an entry was sent to us."[7] Bill Dedman of NBC News, the recipient of the 1989 investigative reporting prize, pointed out in 2012 that financial journalist Betty Liu was described as "Pulitzer Prize–Nominated" in her Bloomberg Television advertising and the jacket of her book, while National Review writer Jonah Goldberg made similar claims of "Pulitzer nomination" to promote his books. Dedman wrote, "To call that submission a Pulitzer 'nomination' is like saying that Adam Sandler is an Oscar nominee if Columbia Pictures enters That's My Boy in the Academy Awards. Many readers realize that the Oscars don't work that way—the studios don't pick the nominees. It's just a way of slipping 'Academy Awards' into a bio. The Pulitzers also don't work that way, but fewer people know that."[8] Nominally, the Pulitzer Prize for Public Service is awarded only to news organizations, not individuals. In rare instances, contributors to the entry are singled out in the citation in a manner analogous to individual winners.[9][10] Journalism awards may be awarded to individuals or newspapers or newspaper staffs; infrequently, staff Prize citations also distinguish the work of prominent contributors.[11] History The Pulitzer Prize certificate of Mihajlo Pupin, which used a recycled Columbia diplomaNewspaper publisher Joseph Pulitzer gave money in his will to Columbia University to launch a journalism school and establish the Pulitzer Prize. It allocated $250,000 to the prize and scholarships.[12] He specified "four awards in journalism, four in letters and drama, one in education, and four traveling scholarships."[2] After his death on October 29, 1911, the first Pulitzer Prizes were awarded June 4, 1917 (they are now announced in April). The Chicago Tribune under the control of Colonel Robert R. McCormick felt that the Pulitzer Prize was nothing more than a 'mutual admiration society' and not to be taken seriously; the paper refused to compete for the prize during McCormick's tenure up until 1961.[13][14] Until 1975, the prizes were overseen by the trustees of Columbia University. RecipientsMain category: Pulitzer Prize winnersMain article: List of multiple Pulitzer Prize winnersCategoriesPulitzer PrizePulitzer Prizes (medal).pngJoseph PulitzerColumbia UniversityPulitzers by yearWinnersJournalismReportingBreaking NewsInvestigativeExplanatoryLocalNationalInternationalAudioWritingFeatureEditorialPhotographyBreaking NewsFeatureOtherCommentaryCriticismEditorial CartooningPublic ServiceFormerBeat ReportingCorrespondencePhotographyReportingLettersDramaMusicBiography / AutobiographyFictionGeneral NonfictionHistoryPoetryDramaMusicSpecial Citations and AwardsvteAwards are made in categories relating to journalism, arts, letters and fiction. Reports and photographs by United States–based newspapers, magazines and news organizations (including news websites) that "[publish] regularly"[15] are eligible for the journalism prize. Beginning in 2007, "an assortment of online elements will be permitted in all journalism categories except for the competition's two photography categories, which will continue to restrict entries to still images."[16] In December 2008, it was announced that for the first time content published in online-only news sources would be considered.[17] Although certain winners with magazine affiliations (most notably Moneta Sleet Jr.) were allowed to enter the competition due to eligible partnerships or concurrent publication of their work in newspapers, the Pulitzer Prize Advisory Board and the Pulitzer Prize Board historically resisted the admission of magazines into the competition, resulting in the formation of the National Magazine Awards at the Columbia Journalism School in 1966. In 2015, magazines were allowed to enter for the first time in two categories (Investigative Reporting and Feature Writing). By 2016, this provision had expanded to three additional categories (International Reporting, Criticism and Editorial Cartooning).[18] That year, Kathryn Schulz (Feature Writing) and Emily Nussbaum (Criticism) of The New Yorker became the first magazine affiliates to receive the prize under the expanded eligibility criterion.[19] In October 2016, magazine eligibility was extended to all journalism categories.[20] Hitherto confined to the local reporting of breaking news, the Breaking News Reporting category was expanded to encompass all domestic breaking news events in 2017.[21] Definitions of Pulitzer Prize categories as presented in the December 2017 Plan of Award:[22] Public Service – for a distinguished example of meritorious public service by a newspaper, magazine or news site through the use of its journalistic resources, including the use of stories, editorials, cartoons, photographs, graphics, videos, databases, multimedia or interactive presentations or other visual material. Often thought of as the grand prize, and mentioned first in listings of the journalism prizes, the Public Service award is only given to the winning news organization. Alone among the Pulitzer Prizes, it is awarded in the form of a gold medal.Breaking News Reporting – for a distinguished example of local, state or national reporting of breaking news that, as quickly as possible, captures events accurately as they occur, and, as time passes, illuminates, provides context and expands upon the initial coverage.Investigative Reporting – for a distinguished example of investigative reporting, using any available journalistic tool.Explanatory Reporting – for a distinguished example of explanatory reporting that illuminates a significant and complex subject, demonstrating mastery of the subject, lucid writing and clear presentation, using any available journalistic tool.Local Reporting – for a distinguished example of reporting on significant issues of local concern, demonstrating originality and community expertise, using any available journalistic tool.[16]National Reporting – for a distinguished example of reporting on national affairs, using any available journalistic tool.International Reporting – for a distinguished example of reporting on international affairs, using any available journalistic tool.Feature Writing – for distinguished feature writing giving prime consideration to quality of writing, originality and concision, using any available journalistic tool.Commentary – for distinguished commentary, using any available journalistic tool.Criticism – for distinguished criticism, using any available journalistic tool.Editorial Writing – for distinguished editorial writing, the test of excellence being clearness of style, moral purpose, sound reasoning, and power to influence public opinion in what the writer conceives to be the right direction, using any available journalistic tool.Editorial Cartooning – for a distinguished cartoon or portfolio of cartoons, characterized by originality, editorial effectiveness, quality of drawing and pictorial effect, published as a still drawing, animation or both.Breaking News Photography, previously called Spot News Photography – for a distinguished example of breaking news photography in black and white or color, which may consist of a photograph or photographs.Feature Photography – for a distinguished example of feature photography in black and white or color, which may consist of a photograph or photographs.There are six categories in letters and drama: Fiction – for distinguished fiction by an American author, preferably dealing with American life.Drama – for a distinguished play by an American playwright, preferably original in its source and dealing with American life.History – for a distinguished and appropriately documented book on the history of the United States.Biography or Autobiography – for a distinguished biography, autobiography or memoir by an American author.Poetry – for a distinguished volume of original verse by an American poet.General Nonfiction – for a distinguished and appropriately documented book of non-fiction by an American author that is not eligible for consideration in any other category.In 2020, the Audio Reporting category was added. The first prize in this category was awarded to "The Out Crowd", an episode of the public radio program This American Life. In the second year, the Pulitzer was awarded for the NPR podcast No Compromise.[23] There is one prize given for music: Pulitzer Prize for Music – for distinguished musical composition by an American that has had its first performance or recording in the United States during the year.There have been dozens of Special Citations and Awards: more than ten each in Arts, Journalism, and Letters, and five for Pulitzer Prize service, most recently to Joseph Pulitzer, Jr. in 1987. In addition to the prizes, Pulitzer Travelling Fellowships are awarded to four outstanding students of the Graduate School of Journalism as selected by the faculty. Changes to categoriesOver the years, awards have been discontinued either because the field of the award has been expanded to encompass other areas; the award has been renamed because the common terminology changed; or the award has become obsolete, such as the prizes for telegraphic reporting. An example of a writing field that has been expanded was the former Pulitzer Prize for the Novel (awarded 1918–1947), which has been changed to the Pulitzer Prize for Fiction, which also includes short stories, novellas, novelettes, and poetry, as well as novels. Chronology of Pulitzer Prize categories10s1920s1930s1940s1950s1960s1970s1980s1990s2000s2010s20sCurrent Categories7890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012Journalism7910251382Editorial Writing7987Reporting–7050Public Service8Newspaper History Award–2360530Editorial Cartooning2Illustrated Reporting and Commentary97Correspondence–27Telegraphic Reporting - International87International Reporting237Telegraphic Reporting - National81National Reporting27Photography–8Feature Photography89Spot News Photography0Breaking News Photography50Specialized Reporting16Beat Reporting–827Local Reporting33Local Reporting - Edition time44Local General or Spot News Reporting50General News Reporting17Spot News Reporting81Breaking News Reporting33Local Reporting - No Edition time44Local Investigative Specialized Reporting5Investigative Reporting0Commentary02Criticism944Feature Writing57Explanatory Journalism8Explanatory Reporting0Audio Reporting10s1920s1930s1940s1950s1960s1970s1980s1990s2000s2010s2020sLetters, drama, music72Biography or Autobiography7944History792471346824676Drama70167Novel84741472Fiction26Poetry33451Music2General Nonfiction10s1920s1930s1940s1950s1960s1970s1980s1990s2000s2010s2020sOthersSpecial Awards & Citations7890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012Current Categories awarded, category still exists (one small number marks the year since this category exists) awarded, category renamed (two small numbers marking the first and the last year this category existed under that name) awarded, category no longer exists (two small numbers marking the first and the last year this category existed) not awarded, although there were nominees and a category in this yearThe small single numbers mark the last digit of the year and are linked to the corresponding Pulitzer Prize article of that year.Board Pulitzer Hall on the Columbia campusThe 19-member Pulitzer Prize Board[24] convenes semi-annually, traditionally in the Joseph Pulitzer World Room at Columbia University's Pulitzer Hall. It comprises major editors, columnists and media executives in addition to six members drawn from academia and the arts, including the president of Columbia University, the dean of the Columbia University Graduate School of Journalism and the administrator of the prizes, who serves as the Board's secretary. The administrator and the dean (who served on the Board from its inception until 1954 and beginning again in 1976) participate in the deliberations as ex officio members, but cannot vote. Aside from the president and dean (who serve as permanent members for the duration of their respective appointments) and the administrator (who is re-elected annually), the Board elects its own members for a three-year term; members may serve a maximum of three terms. Members of the Board and the juries are selected with close attention "given to professional excellence and affiliation, as well as diversity in terms of gender, ethnic background, geographical distribution and size of news organization." Former Associated Press and Los Angeles Times editor Marjorie Miller was named administrator in April 2022.[25] She succeeded former New York Times senior editor Dana Canedy, who served in the role from 2017 to 2020. Canedy was the first woman and first person of color to hold the position.[26][27] Edward Kliment, the program's longtime deputy administrator, was appointed acting administrator in July 2020 when Canedy became senior vice president and publisher of Simon & Schuster's flagship eponymous imprint.[28] He chose not to contend for the position and returned to his previous role upon Miller's appointment.[29] In addition to Canedy, past administrators include John Hohenberg (the youngest person to hold the position to date; 1954–1976), fellow Graduate School of Journalism professor Richard T. Baker (1976–1981), former Newsweek executive editor Robert Christopher (1981–1992), former New York Times managing editor Seymour Topping (1993–2002), former Milwaukee Journal editor Sig Gissler (2002–2014) and former Concord Monitor editor Mike Pride (the only former board member to hold the position to date; 2014–2017). Prior to the installation of Hohenberg, the program was jointly administered by members of the Journalism School's faculty (most notably longtime dean Carl W. Ackerman) and officials in Columbia's central administration under the aegis of Frank D. Fackenthal. Following the retirement of Joseph Pulitzer Jr. (a grandson of the endower who served as permanent chair of the board for 31 years) in 1986, the chair has typically rotated to the most senior member (or members, in the case of concurrent elections) on an annual basis.[30] Since 1975, the Board has made all prize decisions; prior to this point, the Board's recommendations were ratified by a majority vote of the trustees of Columbia University.[2] Although the administrator's office and staff are housed alongside the Graduate School of Journalism at Columbia's Pulitzer Hall and several administrators have held concurrent full-time or adjunct faculty appointments at the Journalism School, the Board and administration have been operationally separate from the School since 1950.[31]: 121 Controversies1921 Fiction Prize: Columbia trustees overruled jury recommendation and awarded the prize to Edith Wharton for The Age of Innocence instead of the recommendation of Sinclair Lewis for Main Street.[32]Call for revocation of journalist Walter Duranty's 1932 Pulitzer Prize.Call for revocation of journalist William L. Laurence's 1946 Pulitzer Prize.1941 Novel Prize: The advisory board elected to overrule the jury and recommended For Whom the Bell Tolls by Ernest Hemingway. However, Columbia University president Nicholas Murray Butler implored the committee to reconsider, citing the potential association between the university and the novel's frank sexual content; instead, no award was given.[31]: 118 Twelve years later, Hemingway was awarded the 1953 Fiction Prize for The Old Man and the Sea.1957 Biography Prize: The purported writer of Profiles in Courage, U.S. Senator John F. Kennedy, was believed to have had most of the book for which he received the Pulitzer Prize in Biography ghostwritten for him.[33] Journalist Drew Pearson claimed on an episode of The Mike Wallace Interview which aired in December 1957[34] that "John F. Kennedy is the only man in history that I know who won a Pulitzer Prize for a book that was ghostwritten for him" and that his speechwriter Ted Sorensen was the book's actual author, though his claim later was retracted by the show's network, ABC, after Kennedy's father threatened to sue.[33] Herbert Parmet also determined that the book was in fact mostly ghostwritten, writing in his 1980 book Jack: The Struggles of John F. Kennedy that although Kennedy did oversee the production and provided for the direction and message of the book, it was in fact Sorensen who provided most of the work that went into the end product.[35] Sorenson himself would later admit in his 2008 autobiography, Counselor: A Life at the Edge of History, that he did in fact write "a first draft of most of the chapters" and "helped choose the words of many of its sentences".[36][37] In addition to the ghostwriting controversy, it was also determined two of the eight U.S. Senators profiled in the book, Edmund G. Ross and Lucius Lamar, did not actually match what the book glorified them as.[38][39]1960 Fiction Prize: the jury committee recommended that the award be given to Saul Bellow's Henderson the Rain King, but the advisory board overrode that recommendation and awarded it to Allen Drury’s Advise and Consent.[40][41][42][43]1962 Biography Prize: Citizen Hearst: A Biography of William Randolph Hearst by W. A. Swanberg was recommended by the jury and advisory board but overturned by the trustees of Columbia University (then charged with final ratification of the prizes) because its subject, Hearst, was not an "eminent example of the biographer's art as specified in the prize definition."[44]1974 Fiction Prize: Gravity's Rainbow by Thomas Pynchon was recommended by the three-member fiction jury, but the advisory board overturned that decision and no award was given by the trustees.[45]Shortly after receiving a Special Citation for Roots: The Saga of an American Family in the spring of 1977, Alex Haley was charged with plagiarism in separate lawsuits by Harold Courlander and Margaret Walker Alexander. Courlander, an anthropologist and novelist, charged that Roots was copied largely from his novel The African (1967). Walker claimed that Haley had plagiarized from her Civil War-era novel Jubilee (1966). Legal proceedings in each case were concluded late in 1978. Courlander's suit was settled out of court for $650,000 (equivalent to $2.7 million in 2021) and an acknowledgment from Haley that certain passages within Roots were copied from The African.[46] Walker's case was dismissed by the court, which, in comparing the content of Roots with that of Jubilee, found that "no actionable similarities exist between the works."[47][48]1981 Feature Writing Prize: Washington Post staff writer Janet Cooke returned the award after an investigation by the newspaper found she fabricated her prize-winning story "Jimmy's World," a profile of an eight-year-old heroin addict in Washington, D.C.1994 History Prize: Gerald Posner's Case Closed: Lee Harvey Oswald and the Assassination of JFK, Lawrence Friedman's Crime and Punishment in American History and Joel Williamson's William Faulkner and Southern History were nominated unanimously for the award; however, no award was given.[49] The decision not to give an award to one of the three books created a public controversy. One of the 19 members of the Pulitzer Board, John Dotson, said that all of the three nominated books were "flawed in some way." But another board member, Edward Seaton, editor of The Manhattan Mercury, disagreed, saying it was "unfortunate" that no award had been given.[50]2010 Drama Prize: The Tony-winning musical Next to Normal received the award[51] despite not having been among the jury-provided nominees.[52][53]2020 Feature Photography Prize: The citation to Channi Anand, Mukhtar Khan and Dar Yasin of the Associated Press caused controversy.[54][55][56] It was taken by some as questioning "India's legitimacy over Kashmir" as it had used the word "independence" in regard to revocation of Article 370.[57]2020 International Reporting Prize: Russian journalist Roman Badanin, editor-in-chief of independent Russian media outlet Proekt (Project), said that at least two New York Times articles in the entry repeated findings of Proekt's articles published a few months before.[58]Criticism and studiesSome critics of the Pulitzer Prize have accused the organization of favoring those who support liberal causes or oppose conservative causes. Syndicated columnist L. Brent Bozell Jr. said that the Pulitzer Prize has a "liberal legacy", particularly in its prize for commentary.[59] He pointed to a 31-year period in which only five conservatives won prizes for commentary. 2010 Pulitzer Prize winner for commentary Kathleen Parker wrote, "It's only because I'm a conservative basher that I'm now recognized."[60] Alexander Theroux describes the Pulitzer Prize as "an eminently silly award, [that] has often been handed out as a result of pull and political log-rolling, and that to some of the biggest frauds and fools alike."[61] A 2012 academic study by journalism professors Yong Volz of the University of Missouri and Francis Lee of the Chinese University of Hong Kong found "that only 27% of Pulitzer winners since 1991 were females, while newsrooms are about 33% female."[62] The researchers concluded female winners were more likely to have traditional academic experience, such as attendance at Ivy League schools, metropolitan upbringing, or employment with an elite publication such as The New York Times. The findings suggest a higher level of training and connectedness are required for a female applicant to be awarded the prize, compared to male counterparts.[63]

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