Tag Archives: Carly Carioli

Naming names: Did the Globe make the right call?

redactedPreviously published at WGBH News.

We’re going to be hearing a lot about The Boston Globe’s decision to publish the names of the FBI agent and State Police troopers who were involved in the Florida shooting death of Ibragim Todashev, the Tamerlan Tsarnaev associate suspected of taking part in a triple murder in Waltham.

The story, by Globe reporter Maria Sacchetti, reveals that FBI agent Aaron McFarlane is a former Oakland police officer with a troubling past. The article raises serious questions about how law enforcement handled the investigation of perhaps the single most important figure connected to the Boston Marathon bombing suspects. Here is some background to keep in mind as the discussion unfolds.

This past January, David Boeri of WBUR Radio (90.9 FM) reported on the FBI-State Police interrogation that ended in Todashev’s death. Here’s what Boeri had to say about the names of the agent and the two troopers:

In the course of our investigation, WBUR has learned the names of the law enforcement officers involved in the shooting. We are not releasing the names at the request of both the FBI and the Massachusetts State Police, which cited specific concerns for their safety.

In today’s Globe article, we learn that the FBI agent’s name is Aaron McFarlane, and that he “has previously been publicly identified in a blog about the Boston Marathon case.”

That prompted Boston magazine editor-in-chief Carly Carioli to tweet:

(And by the way, in March Boston published its own long investigation into the shooting. The article, by Susan Zalkind, was also the subject of a one-hour segment on public radio’s “This American Life.”)

Carioli’s tweet leads to a site called “The Boston Marathon Bombings: What Happened?”, which on May 3 revealed the names of McFarlane and the two Massachusetts troopers, Joel Gagne and Curtis Cinelli. (As best as I can tell, that’s the first time any of the three officers was named.) According to the site, the names and uncensored crime-scene photos were obtained from PDFs of public records using techniques that sound similar to what the Globe did. The Globe offers this description:

The Globe obtained their names by removing improperly created redactions from an electronic copy of Florida prosecutor Jeffrey L. Ashton’s report — which in March found the shooting of Todashev justified — and then verifying their identities through interviews and multiple government records. Those records include voting, birth, and pension documents.

On May 5, the same “What Happened?” website revealed some of the problems McFarlane had as a member of the Oakland Police Department that are at the heart of today’s Globe story.

I should note that though the “What Happened?” site appears to have broken some important stories, it also traffics in rather, uh, unusual rhetoric. For instance, here is a photo of Dzhokhar Tsarnaev, bloody and injured as he surrendered in Watertown, beneath the headline “2013: THE YEAR AMERICA BEGAN HUNTING DOWN AND SHOOTINGS[sic] IT’S [sic] OWN TEENAGERS. WHY?”

By all indications the Globe has been careful to do its own reporting — which it would in any case, but which is especially important when dealing with material like this.

Which brings us to the question I imagine we’ll be debating in the days to come: Should the Globe have released the names of McFarlane, Gagne and Cinelli? I’d like to hear arguments on both sides. But keep these three things in mind:

  • The official investigation into Todashev’s death had not been completed when Boeri was doing his reporting for WBUR in January. Since then the three have been cleared by investigators, and the matter is no longer pending.
  • Police officers are doing the public’s business, and we have a right to know as much information as possible about serious matters such as the Todashev shooting. Consider a much more routine example, reported by the Salem News, in which the Essex County district attorney’s office named officers involved in a fatal shooting in the course of disclosing the results of their investigation.
  • Because of the “What Happened?” report, the three names were, in fact, already out there. Whatever calculation Globe editors might have made if this had occurred 20 years ago, it is simply a reality that a mainstream news organization can no longer act as a gatekeeper to prevent the public from learning information that it can find out elsewhere. This change doesn’t call for lower standards, but it does call for different standards.

I realize I’m putting my thumb on the disclosure side of the scale. But I think withholding the names would have been a respectable decision as well. As Sacchetti writes today, “Even Florida, which often identifies such officers, declined to do so in this case, citing concerns for the investigators’ safety.”

At this early stage, I can be persuaded either way, and I’m curious to see and hear what others have to say.

Where are they now? (Boston Phoenix edition)

Jim Romenesko has posted an update on what happened to Boston Phoenix staff members who lost their jobs when the alt-weekly — a glossy magazine known simply as The Phoenix in its final incarnation — went out of business last March.

phoenixhedIt’s heartening to see how many of my former colleagues landed on their feet, although it would be good to see more of them find full-time media jobs. Among those who did: Carly Carioli, the editor of The Phoenix, and who’s now the executive editor (the number two position) at Boston magazine following a cup of coffee at Boston.com.

Also working full-time at BoMag is S.I. Rosenbaum; political reporter David Bernstein is a contributor there and to WGBH as well. Former editor Peter Kadzis is working part-time at WGBH, and was instrumental in bringing the Boston leg of the Muzzle Awards to WGBHNews.org earlier this summer.

Anyway, not to repeat Romenesko’s entire item. It’s well worth a look. Romenesko is also updating it as new information about ex-Phoenicians becomes available.

Carly Carioli is now tweeting for Boston.com

More good news from the land of the former Phoenicians: Carly Carioli, the last editor of the Boston Phoenix, has been hired by Boston.com, the Boston Globe’s free website. “I’m working on new projects aimed at attracting younger readers,” he tells me.

Carly is as smart as they come and did a great job of steering the Phoenix through its last couple of years — including its final incarnation as a glossy magazine. You can (and should) follow him on Twitter at @carlycarioli.

The Boston Phoenix comes to the end of the road

I’m not even going to try to write a real post about this today. I’m getting bombarded from all directions, and besides that, I’m devastated. But I did want to note quickly, in case you haven’t heard, that The Phoenix — the erstwhile Boston Phoenix, reinvented as a glossy magazine last fall — is closing down, as is its affiliated Internet radio station, WFNX.com.

The Providence and Portland Phoenixes will continue, as well as a few non-journalism businesses.

Here is Doug Most’s report for Boston.com. [5:07 p.m. update: That report now carries Joe Kahn's byline.]

The Phoenix gave me 14 great years, and it’s hard to believe that the end has come. There are way too many people to mention, so I’ll leave it at this: Peter Kadzis and Stephen Mindich were great bosses, smart, tough and loyal. Carly Carioli has done tremendous work on the reinvention, and it’s a tragedy that he ran out of time. I rely on David Bernstein for his deep reporting on politics and Chris Faraone for an alternative look at the news. Here is Mindich in a statement to the staff:

What I can and will say is I am extremely proud, as all of you should be, of the highest standards of journalism we have set and maintained throughout the decades in all of our areas of coverage and the important role we have played in driving political and socially progressive and responsible agendas; in covering the worlds of arts and entertainment, food and fashion – always with a critical view, while at the same time promoting their enormous importance in maintaining a healthy society; and in advocating for the recognition and acceptance of a wide range of lifestyles that are so valuable for a vibrant society….

We have had an extraordinary run.

And this is an incredibly sad day.

More: Unlike many who got their start at the Phoenix in their early 20s, I was 34 years old and thought my journalism career was over. In the late 1980s I had tried my hand at launching a regional lifestyle magazine in the suburbs northwest of Boston following some years at the Daily Times Chronicle of Woburn. The magazine failed, and I was doing what I could to survive.

I was picked up on waivers in 1991 from the Pilot — yes, the Catholic paper — where I had been doing layout and production. The Phoenix hired me as a copy editor, but I kept an eye out in case something better came along. Yes, I had grown up reading the Phoenix, Boston After Dark and the Real Paper, but any romantic notions I’d had of the alternative press had pretty much dissipated.

Gradually, though, I got sucked in. And when I inherited the media beat in late 1994 from Mark Jurkowitz, I became a made member of the Phoenix family. It was the most formative experience of my career. Without the Phoenix, I can’t imagine what I’d be doing today — PR for some politician? Ugh.

A smart take on the glossified (Boston) Phoenix

I continue to be surprised at the amount of attention The Phoenix has received for its switch from newsprint to glossy paper. The latest to weigh in is Boston magazine, with a smart piece by Peter Vigneron on the alt-weekly’s struggle to survive in a dramatically changed media environment. (Among the many people Vigneron interviews is yours truly.)

The best quote is from editor Carly Carioli, who tells Vigneron: “We have said for decades that we are a magazine in newsprint form. Now we’re a magazine in magazine form.” Truth. Nice plug, too, for David Bernstein, whom Vigneron calls “a fine political writer, perhaps the best in the state.”

I only have one quibble. At one point Vigneron asks, “But can you save a publication that for many years has been neither lucrative nor especially relevant?”

As Vigneron himself notes, circulation remains north of 100,000. Like all publications, The Phoenix is fighting for its life. But a newspaper/magazine that’s picked up by more than 100,000 people each week is not irrelevant.

On another front entirely, artist Karl Stevens announced in a public Facebook post Monday that The Phoenix has canceled his weekly cartoon, “Failure,” allegedly over his mocking of Bud Light, an advertiser. I hope the cancellation proves temporary, and I welcome clarification and further explanation in the comments.

Disclosure: I was on staff at The Phoenix from 1991 to 2005, and remain a contributor.

Thursday update: Phoenix editor Carly Carioli tells the Boston Globe that any suggestion “Failure” was discontinued over the Bud Light reference is “categorically false,” adding: “As the Phoenix’s editor in chief, it was my sole decision to discontinue ‘Failure.’ There were no sponsor objections — zero — to this strip or any other that I’m aware of.”

Thursday update II: A very classy statement from Stevens: “After thinking it over and talking with people in the know, I may have misunderstood the reasons for the cancellation of Failure in The Boston Phoenix. I want to apologize publicly for any misinformation that was spread, and would like to continue the otherwise wonderful relationship I have enjoyed with the publication on any future projects.”

The Phoenix gets ready for its close-up

Joe Kahn wrote a smart piece on the future of the Boston Phoenix — ahem, The Phoenix — in Tuesday’s Boston Globe.

As you may know, the current issue of the Phoenix, lowercase the, is the last as a newspaper. This week, The Phoenix will debut as a free weekly glossy magazine, combining news and arts coverage from the Phoenix with some lifestyle content from Stuff, a magazine that will cease to exist as a standalone. And if you’re worried about The Phoenix’s straying from its alternative roots, keep in mind that the Phoenix had lots of lifestyle content in the 1990s. I look at this as a recalibration more than a complete reinvention.

The unusual aspect to this story, and one we Bostonians take for granted, is that the founder, Stephen Mindich, is still at it, and in fact has taken charge of the new publication. In an era of corporate chain media, The Phoenix, at 46, is still proudly independent. Mindich recently talked about his long career with Emily Rooney of “Greater Boston.”

The story of the Boston Phoenix, as with other alternative weeklies, is that it was heavily dependent on classified ads — not just the personals, but everything from a band needing a bass player to a student looking for a roommate. Needless to say, nearly all of those ads have moved to Craigslist.

And at a time when many newspapers, including the Globe, are asking their readers to pick up an increasing share of the costs through home delivery and digital subscriptions, The Phoenix is free both in print and online.

It’s a tough model for the Internet age, but glossy should enable The Phoenix to attract some of the high-end advertising it needs in order to thrive. In that spirit, I think former Phoenix contributor Mark Leccese, now a journalism professor at Emerson College and a blogger for Boston.com, was too pessimistic in his own recent assessment.

I’ve got my collector’s item from last week, and I’m looking forward to grabbing a copy of the new magazine as soon as I can. As most of you know, I was the Boston Phoenix’s media columnist from 1994 to 2005, and I still contribute occasionally.

I wish all the best to Mindich, executive editor Peter Kadzis, editor Carly Carioli and all my friends who are still there. See you tonight.

Copyright hypocrisy at the New York Times

Last Saturday the New York Times posted a PDF of a 1976 article by the legendary Boston sports journalist Clark Booth that appeared in the Real Paper, an alternative weekly that was published for several years in the 1970s. The article accompanied a column by Joe Nocera on football injuries, about which Booth wrote perceptively some 36 years ago.

I have to confess I didn’t think twice about copyright, figuring Booth, whom Nocera interviewed, had given him permission to reproduce his words. But now Boston Phoenix editor Carly Carioli has pointed out — rightly, in my view — that, in fact, the Times has violated the Real Paper’s copyright and that of the photographer(s) whose work was reproduced. And since the Phoenix acquired the Real Paper’s assets when the paper went out of business, the Times must answer to the Phoenix.

The Times’ reproduction clearly fails the fair-use test, most obviously on the grounds that it reposted the Real Paper article not for the purpose of commentary and criticism, but so that its readers could enjoy reading it. I imagine the Times could also get whacked for taking too much of the article (i.e., the whole thing). Even though it would be tough to argue that anyone lost any money as a result of the Times’ actions, another important fair-use test, I’d guess a judge would favor the Phoenix if it ever came to that.

But Carioli is not concerned with the negligible harm the Times has done to the Phoenix so much as he is with the behemoth’s rank hypocrisy. Former executive editor Bill Keller, now a Times columnist, has been obsessed with the nefarious forces whom he believes have been improperly profiting from Times content. And, Carioli notes, the Times reached out and killed a pretty cool iPad app called Pulse merely because it reproduced headlines without permission.

Writing that “copyright in this country is a goddamn mess,” Carioli continues: “We want an internet and an intellectual-property regime that rewards discovery and innovation. We won’t get it with copyright construed the way it is now.”

And we won’t get it with the Times saying one thing and doing another.

Addenda: (1) I had the privilege of copy-editing Clark Booth’s weekly sports column for a short time in 1990, when I was working at the Pilot, for whom he still writes; (2) you can also read Booth in the Dorchester Reporter.

Disclosure: I’m a contributor to the Phoenix, and was a staff member from 1991 to 2005. I have a standing disclosure here, but sometimes it doesn’t hurt to remind people.

At the Phoenix, new roles for Gantz, Garelick

The Boston Phoenix has announced more changes to the top of its masthead, as associate arts editor Jon Garelick has been named arts editor, and arts editor Jeffrey Gantz will become managing editor for arts.

The titles are more than semantic, according to an internal memo from new editor Carly Carioli. Jon will be in charge of the paper’s arts coverage, while Jeffrey’s role — a three-month assignment — will consist of easing the transition.

I had the privilege of working with both Jeffrey and Jon during my years at the Phoenix. In fact, Jeffrey was one of several people responsible for hiring me in 1991, as it was he who determined I had performed somewhat less miserably on the Phoenix’s notorious copy-editing test than other candidates.

In addition to being an admirably meticulous copy editor, Jeffrey was an expert on an eclectic variety of subjects that caught his interest — from soccer (I still remember my son, Tim, kicking a ball around with him at a company picnic on Georges Island), to espresso, to which varieties of cheese should be uppercased and which ones lowercased.

Jon, like Jeffrey, is a journalist with a daunting intellect. He has a deep background in music, especially jazz, and is highly regarded in the local arts community. He is also married to well-known local writer Clea Simon.

Jon is originally from Woonsocket, where I spent a couple of years as a student-reporter for the Woonsocket Call in the mid-1970s. Jon, a keen observer of his surroundings, once provided me with a hilarious example of the fractured syntax used by many old-time residents, who speak English that is heavily inflected with the French they learned growing up in Quebec: “Please throw me down the stairs my keys.”

Carly, in his memo, referred to Jeffrey as “a tireless editor, critic, protector of style, and keeper of institutional wisdom,” and to Jon as “a fantastic judge and incubator of raw writing talent.” Best of luck to both of them.