I first heard about Roderick Topping’s Instagram photos of New Haven during the COVID shutdown (you’ll find him at @robobtop) from an interview he did with Babz Rawls Ivy on WNHH-LP. Topping shot a series of gloomy, moody pictures showing mostly abandoned cityscapes in an attempt to capture a historical moment that we all experienced, and that we still haven’t put entirely behind us.
Thirty-six of Topping’s photos are now on display at the New Haven Museum in an exhibit titled “Strange Times.” I had a chance to visit recently, viewing COVID photographs under COVID protocols — visitors are required to register ahead of time and masks must be worn throughout the building.
In the introductory text, Topping explains what he’s up to:
For the past year and half I’ve been walking the streets documenting this new reality in New Haven. These photographs focus on the structures, outlines, and topography that serve as the background to our daily lives. Many of the photos here are black and white, much how I think I’ll remember these days: bleak, lonely, and surreal.
There are some evocative images here. I particularly like one from January of this year, just before vaccines became widely available. A man sits alone on a park bench, at night, on New Haven Green. His back is to the camera. Center Church is directly in front of him. The story told by that photo is that human interaction was missing even when we were able to get outside.
Yet there are some odd choices here as well. For instance, Topping shows us a man standing alone at a bus stop during the daytime on Chapel Street. In viewing it, you start telling yourself that the scene would normally be crowded with people. Then you look at the date: Feb. 14, 2020, a moment when COVID was still just a rumor. So what exactly is Topping trying to convey?
There are also some photos taken as the city was opening up again, such as a group of diners sitting outdoors at a restaurant on Crown Street during July of this year.
Overall, “Strange Times” provides an illuminating look at downtown New Haven. Even if not every image fits in perfectly with the pandemic theme, the exhibit is worth your attention if you happen to find yourself in the New Haven area. And save some time for the rest of the museum as well.
Over the past month I’ve been able to spend six days in New Haven, one of my favorite cities. I’ve hit the apizza places, which I’ve written about. I’ve hung out at Koffee?, a hipster coffee place that welcomes non-hipsters like me. I’ve caught up with the folks at the New Haven Independent. And two weeks ago I stayed at the Courtyard Marriott at Yale, a nice, not-too-fancy hotel where I have a history.
In April 2002, I was on the road reporting for my first book, “Little People,” a memoir about raising a daughter with dwarfism. We were in the midst of some of the hottest April days on record; as I was driving through Connecticut, NPR reported that the temperature had topped 90 degrees in Central Park. I was on my way to New Jersey to interview Anthony Soares, a little person who was the art director at a major advertising agency and the president of Hoboken’s city council.
I sat in on a city council meeting and then, the next evening, interviewed Soares over dinner. Even though it was nighttime and we were sitting outside, we were both sweltering. When we finished, I pointed my car in the direction of New Haven, where I had an interview scheduled the next morning.
Or at least I thought I had pointed my car in that direction. It wasn’t long before I got lost — and this was long before GPS. I pulled into a motel in Newark around midnight to get directions. It was instantly clear to me that I’d stumbled into a prostitution ring. But a guy with a thick Russian accent was very friendly and helpful, and soon I was back on the road. I’d made a reservation at the Courtyard Marriott, a place I knew nothing about, and arrived in the wee hours. The next morning I interviewed Martha Leo, a woman who had overcome much but who struggled with an unusual and medically complicated form of dwarfism. And then it was back to Boston.
From 2009-’12, I traveled to New Haven repeatedly as I was reporting for my second book, “The Wired City.” I stayed at the Courtyard Marriott a few times and always enjoyed it. I remember eating breakfast one spring morning and reading with pleasure about a thrashing the Red Sox had administered to the Yankees.
It’s likely to be a while before I have a reason to visit New Haven again. But I know where I’ll be staying.
Any reason The New York Times had to publish not one but two lengthy stories today on heartlanders who refuse to get vaccinated? One is from Ohio, the other from Oklahoma. If the Times has ever devoted a story of similar length and prominence to people who feel trapped in their homes because they’re surrounded by unvaxxed COVID carriers, well, I don’t remember it.
Merry Christmas, everyone! Unlike 2020, when we were all stuck at home, last night we had a masked, socially distanced Christmas Eve service. Given the spread of Omicron, though, I’m wondering if that might be it for a while.
Boston Globe Media Partners produces more fourth-quarter memos than I realized. I’ve posted most of them as they waft in from trusted sources.
This one strikes me as interesting because it outlines BGMP’s plans “to develop projects for television, film, podcasts and radio, and other media: we seek to amplify the remarkable stories found across all of BGMP’s newsrooms [The Boston Globe, Stat and Boston.com] by giving them new lives in these media formats beyond the print and digital word.”
The memo, written by Dan Krockmalnic, executive vice president for new media and general counsel, points to a few examples — most significantly “Gladiator,” the Spotlight series on Aaron Hernandez that was simultaneously released as a podcast and is now being developed as a television series.
“Not every New Media project can or will have the phenomenal reach of ‘Gladiator,’” Krockmalnic writes, “but success for us is getting our journalism out in new forms that reach new audiences where they are.”
I realize some of these memos are very inside, but that’s part of what Media Nation is for. So here is the full text of Krockmalnic’s message:
New Media Department Update — Q4 2021
Dear Colleagues,
Thanks for reading my Legal Department update a few weeks ago. Today I’m excited to share with you highlights from the work of the New Media Department over our first year as a standalone group within the company.
What is the New Media Department, and why start one?
As others have noted, BGMP has been expanding from a newspaper into a modern multimedia company. Many of the stories told in the journalism the Globe has produced — and those stories from STAT and boston.com, too — are well-suited to be told in other mediums — be they about a larger-than-life personality, a you-can’t-believe-it’s-true crime story, or a world-leading medical breakthrough. Spotlight was a remarkable film that did wonders to establish our name and our brand in this space. That was a film about us; we wanted to lean into the business of regularly making projects that are by us.
And so now, the New Media team leads our efforts to develop projects for television, film, podcasts and radio, and other media: we seek to amplify the remarkable stories found across all of BGMP’s newsrooms by giving them new lives in these media formats beyond the print and digital word. Done right, this increases our exposure and appreciation by reaching new viewers and listeners with our journalism. It also adds separate revenue streams as we seek to diversify our business.
This ground has been trod by others: I look admiringly at the New York Times’ achievements in this space that include many groundbreaking and award-winning documentaries, The New York Times Presents show, the 1619 Project-related media, the scripted Modern Love series, The Fourth Estate documentary series, and their growing podcasting and audio empire.
Who is the New Media Department?
I started off alone on the business side, with Scott Allen in the Globe’s newsroom as an essential partner right from the jump. Linda [Henry, the CEO of Boston Globe Media] had the immediate good sense that the vision required expert help, and so after a lengthy interview process, Ira Napoliello joined us this past March as Director of New Media. Ira was exactly what we needed, having spent the better part of two decades as a film producer in Los Angeles before moving to Boston to be close to his wife’s family.
How do you spend your time?
Our days are split between working with our colleagues at BGMP and dealing with our entertainment partners. They include our agents at UTA and Aevitas; Hollywood film and television studios and streamers; podcasting companies; the creative talent like writers, directors, actors and producers; and talent agents and managers.
Ira joins various newsroom staff meetings and stays in regular contact with editors and reporters to ensure that we are aware of upcoming stories and investigations. He also spends time scouring the Globe archives to try to find stories from the past that might be right for adaptation. As ideas begin to take shape, we schedule and lead an alarming number of internal and external meetings and calls to shepherd the projects from concept to reality.
We listen a lot and we read even more. We’re looking for the stories that make you want to share them with a note: “You need to read this one.” Sometimes they are so unbelievable as to sound… not believable. Think: the comedic tale from Neil Swidey about a 25-year war between two neighbors in Beverly, or Shelley Murphy’s sweeping Finding Lisa piece about a woman’s genealogical search for her family revealing that the man she thought was her father was actually a serial killer.
We don’t need to look far to point to what success looks like: Spotlight’s remarkable Gladiator series on the tragic life of Aaron Hernandez was a groundbreaking six-part series that was smartly coupled with the simultaneous release of a chart-topping podcast series created in partnership with Wondery. The podcast’s runaway success caught the eyes (ears?) of executives at the FX network. And so earlier this summer, FX announced that Gladiator will now have its third life as a scripted, limited-run series on its television and streaming channel as American Sports Story, part of Ryan Murphy’s American Crime Story franchise. The show is currently being written and will be filming next summer and is set to debut in 2023. Our Spotlight team is working now with the show’s creatives to ensure that the series remains truthful to the original reporting.
By the end of its run, Gladiator will have led to thousands of new Globe subscriptions, over 10 million podcast downloads, and its own season-run show. That means subscription, advertising, licensing, and production revenue — a perfect example of what we aspire to when we talk about a modern media company. And all founded on the truly exceptional journalism for which we’re known.
Not every New Media project can or will have the phenomenal reach of Gladiator, but success for us is getting our journalism out in new forms that reach new audiences where they are. We succeed when we make smart calls on projects: as Brian has put it, each such project is a bit of a lottery ticket, and we’re looking to tip the odds in our favor with decisions that allow us to de-risk our investment — just like the gang behind the Cash WinFall scheme did with the Massachusetts State Lottery in the remarkable 2011 story from Andres Estes and Scott Allen.
What have you accomplished so far?
We’ve had some early successes in our first year:
We are thrilled to be finalizing an agreement with one of the most prestigious streamers to produce two parallel projects — a multi-part documentary and a multi-episode podcast series — about a well-known Boston true-crime story. The documentary will be directed by an award-winning documentarian and the podcast will be the streamer’s first-ever foray into original investigative journalism. More to come on this soon.
We helped close a deal to license STAT’s first feature-length documentary, Augmented, to GBH’s Nova to distribute and air. Augmented tells the story of Hugh Herr’s new way of performing amputations that will allow bionic limbs to move and feel like the real thing, decades after his own legs were amputated in a mountain-climbing accident.
In the “older” media realm of book deals, we are working with Black Dog & Leventhal to publish a book on the history of the Boston Red Sox as told through the Boston Globe. (Here’s their analogous book with the New York Times and the Yankees; fortunately, it hasn’t needed much updating in the last 20 years…).
A few other stories we are actively working to develop include:
The murder of Tiffany Moore: 12-year-old Moore was a victim of a 1988 gang crossfire shooting. Her death became a symbol of the depravity of gang violence and led to the conviction of the wrong suspect thanks to overzealous, unethical law enforcement that wrongfully charged and prosecuted Sean Drumgold. Globe reporter Dick Lehr’s work led to his exoneration decades later. We are working with Dick to revisit the crime with an eye to something more: identifying the real killer and getting justice for Tiffany.
The Boy in the River: in April 1972, 13-year-old Danny Croteau was found dead in the Chicopee River. He was killed by blunt force trauma and left floating, face down, in the water. His murder was unsolved for almost 50 years. In May 2021, former Catholic priest Richard Lavigne confessed to the murder from his death bed. We will work with Novel, the award-winning and London-based podcasting company, to produce a documentary podcast featuring our own Kevin Cullen that explains how crucial institutions including the police, prosecutors and the Church failed Danny and allowed Lavigne literally to get away with murder.
Sparkies: the largest arson ring in U.S. history — including Boston police and firefighters — set over 160 fires in the early 1980s in the stunningly mistaken belief that these public dangers would somehow convince the city to restore cuts to police and fire services. One arsonist, a Boston Housing cop who called himself “Mr. Flare” to the media, threatened to keep setting fires “till all deactivated police and fire equipment is brought back.”
Camp Q: Inspired by Zoe Greenberg’s viral story from this summer, we are developing a character-driven scripted comedy about an eventful couple of days at a New England summer camp where seemingly everything went wrong.
We work on each project to ensure that, whatever the medium the story is told in, it is worthy of having the Boston Globe Media name attached to it. As we’re always on the lookout for new stories, please drop us a line with any interesting ideas that you feel could make for a great project. We’re excited to make it happen.
Happy holidays,
Dan
Dan Krockmalnic
Executive Vice President, New Media & General Counsel
Boston Globe Media Partners, LLC
The iconic journalist Joan Didion has died at the age of 87. Earlier this year I wrote about a documentary about her life called “The Center Will Not Hold.” I’m republishing it here.
There is a moment in the Joan Didion documentary “The Center Will Not Hold” that says a lot about Didion, about writing and about journalism. The filmmaker, her nephew Griffin Dunne, asks her about a scene in her 1968 essay “Slouching Towards Bethlehem” (included in a collection of the same name) in which she describes a 5-year-old girl who’s tripping on LSD.
Didion thinks about it for a moment, her arms in motion from Parkinson’s disease, and then replies: “It was gold.” And so it was. Horrifying though the scene may have been, any journalist wants to be able to witness such things and tell the world about them. Didion’s account of 1967 Haight-Ashbury remains definitive, and it’s because of her eye for detail. Here’s the scene in question:
When I finally find Otto he says “I got something at my place that’ll blow your mind,” and when we get there I see a child on the living-room floor, wearing a reefer coat, reading a comic book. She keeps licking her lips in concentration and the only off thing about her is that she’s wearing white lipstick.
“Five years old,” Otto says. “On acid.”
The five-year-old’s name is Susan, and she tells me that she is in High Kindergarten. She lives with her mother and some other people, just got over the measles, wants a bicycle for Christmas, and particularly likes Coca-Cola, Marty in the Jefferson Airplane, Bob in the Grateful Dead, and the beach. She remembers going to the beach once a long time ago, and wishes she had taken a bucket. For a year now her mother has given her both acid and peyote. Susan describes it as getting stoned.
I start to ask if any of the other children in High Kindergarten get stoned, but I falter at the key words.
“She means do the other kids in your class turn on, get stoned,” says the friend of her mother’s who brought her to Otto’s.
“Only Sally and Anne,” Susan says.
“What about Lia?” her mother’s friend prompts.
“Lia,” Susan says, “is not in High Kindergarten.”
This is writing of the highest order. The documentary is on Netflix; I first watched it a couple of years ago and then again recently because I had assigned it to my opinion journalism class — along with her brilliant 1961 essay “On Self-Respect.” The documentary is flawed but riveting, mainly because Didion herself is riveting. She has been an icon for much of her career, and she still is. It is astonishing how many photos of her have been taken over the years.
In Googling around, I see that Rebecca Mead latched onto exactly the same scene when she reviewed the film for The New Yorker. How could she not? Since Mead was taking notes, here is Didion’s full quote: “Let me tell you, it was gold. You live for moments like that, if you’re doing a piece. Good or bad.”
Of course, there has been a lot more to Didion’s career than her description of Susan. She has a new collection out. She has written compellingly about the deaths of her husband and her daughter. She reported from El Salvador, which she says in the film was a terrifying experience, and on the Bush-Cheney White House. She was awarded the Medal of Freedom by President Barack Obama. Now 86 and frail, she is nevertheless still very much with us.
If you’re looking for something to watch on Netflix, you can do a whole lot worse than “The Center Will Not Hold.” Highly recommended.
Our latest “What Works” podcast features Damon Kiesow, a professor at the University of Missouri School of Journalism, where he holds the Knight Chair in Digital Editing and Producing. But Ellen Clegg and I first met him about 10 years ago when he was at The Boston Globe, developing mobile products for Boston.com and BostonGlobe.com.
At the time, the new Globe.com site had been launched with a paywall, and featured the Globe’s journalism. Although print revenue is still significant, the paywall strategy seems to be paying off now in terms of digital subscriptions. Kiesow and others were working on emerging technologies in mobile and social media. Kiesow focused on human-centered design: how readers interact with a print newspaper versus a digital side. Does some 150 years of experience reading print make a difference? Why is doom scrolling on digital platforms so exhausting? Tune in and find out.
Plus Ellen takes a quick look at a powerful newspaper collaboration in South Carolina that is rooting out scandal after scandal, and I offer an update on the vibrant digital archive of the late, great Boston Phoenix, housed at Northeastern University and now freely available online.
Hopes were running high when we all turned the calendar to 2021. Would the worst 12 months in anyone’s memory give way to the best year of our lives?
Not quite. Yes, it was better than 2020, but 2021 was hardly a return to paradise. The joy of vaccinations gave way to the reality that COVID-19 is likely to be with us for a long time. The economy recovered rapidly — accompanied by the highest rate of inflation in 40 years. Worst of all, the end of the Trump presidency morphed into a crisis of democracy that is starting to look as ominous as the run-up to the Civil War.
During the past year, I’ve been struggling to make sense of the highs, the lows and the in-betweens through the prism of the media. Below are 10 of my GBH News columns from 2021. They’re in chronological order, with updates on many of the pieces posted earlier this year. If there’s a unifying theme, it’s that we’re in real trouble — but that, together, we can get through this.
• The end of the Trump bump, Jan. 27. Even as he was denouncing journalists as “enemies of the people,” Donald Trump, both before and during his presidency, was very, very good for the media. Cable TV ratings soared. The New York Times and The Washington Post signed up subscribers by the bucketload. Several weeks after Trump departed from the White House, though, there were questions about what would happen once he was gone. We soon got an answer. Even though Trump never really left, news consumption shrank considerably. That may be good for our mental health. But for media executives trying to make next quarter’s numbers, it was an unpleasant new reality.
• Local news in crisis, Feb. 23. The plague of hedge funds undermining community journalism continued unabated in 2021. The worst newspaper owner of them all, Alden Global Capital, acquired Tribune Publishing and its eight major-market papers, which include the Chicago Tribune, New York’s Daily News and, closer to home, the Hartford Courant. When the bid was first announced, there was at least some hope that one of those papers, The Baltimore Sun, would be spun off. Unfortunately, an epic battle between Alden and Baltimore hotel mogul Stewart Bainum resulted in Alden grabbing all of them. Bainum, meanwhile, is planning to launch a nonprofit website to compete with the Sun that will be called The Baltimore Banner.
• The devolution of Tucker Carlson, April 15. How did a stylish magazine writer with a libertarian bent reinvent himself as a white-supremacist Fox News personality in thrall to Trump and catering to dangerous conspiracy theories ranging from vaccines (bad) to the Jan. 6 insurrection (good)? There are millions of possible explanations, and every one of them has a picture of George Washington on it. Carlson got in trouble last spring — or would have gotten in trouble if anyone at Fox cared — when he endorsed “replacement theory,” a toxic trope that liberal elites are deliberately encouraging immigration in order to dilute the power of white voters. A multitude of advertisers have bailed on Carlson, but it doesn’t matter — Fox today makes most of its money from cable fees. And Carlson continues to spew his hate.
• How Black Lives Matter exposed journalism, May 26. A teenager named Darnella Frazier exposed an important truth about how reporters cover the police. The video she recorded of Minneapolis police officer Derek Chauvin literally squeezing the life out of George Floyd as he lay on the pavement proved that the police lied in their official report of what led to Floyd’s death. For generations, journalists have relied on law enforcement as their principal — and often only — source for news involving the police. That’s no longer good enough; in fact, it was never good enough. Frazier won a Pulitzer Prize for her courageous truth-telling. And journalists everywhere were confronted with the reality that they need to change the way they do their jobs.
• The 24th annual New England Muzzle Awards, July 1. For 24 years, the Muzzle Awards have singled out enemies of free speech. The Fourth of July feature made its debut in The Boston Phoenix in 1998 and has been hosted by GBH News since 2013, the year that the Phoenix shut down. This year’s lead item was about police brutality directed at Black Lives Matter protesters in Boston and Worcester the year before — actions that had escaped scrutiny at the time but that were exposed by bodycam video obtained by The Appeal, a nonprofit news organization. Other winners of this dubious distinction included former Boston Mayor Marty Walsh, retired Harvard Law School professor Alan Dershowitz and the aforementioned Tucker Carlson, who unleashed his mob to terrorize two freelance journalists in Maine.
• How to help save local news, July 28. Since 2004, some 2,100 newspapers have closed, leaving around 1,800 communities across the country bereft of coverage. It’s a disaster for democracy, and the situation is only growing worse. The Local Journalism Sustainability Act, a bipartisan proposal to provide indirect government assistance in the form of tax credits for subscribers, advertisers and publishers, could help. The bill is hardly perfect. Among other things, it would direct funds to corporate chains as well as to independent operators, thus rewarding owners who are hollowing out their papers. Nevertheless, the idea may well be worth trying. At year’s end, the legislation was in limbo, but it may be revived in early 2022.
• Democracy in crisis, Sept. 29. As summer turned to fall, the media began devoting some serious attention to a truly frightening development: the deterioration of the Republican Party into an authoritarian tool of Trump and Trumpism, ready to hand the presidency back to their leader in 2024 through a combination of antidemocratic tactics. These include the disenfranchisement of Black voters through partisan gerrymandering, the passage of new laws aimed at suppressing the vote and the handing of state electoral authority over to Trump loyalists. With polls showing that a majority of Republicans believe the 2020 election was stolen, it’s only going to get worse in the months ahead.
• Exposing Facebook’s depravity, Oct. 27. The social media giant’s role in subverting democracy in the United States and fomenting chaos and violence around the world is by now well understood, so it takes a lot to rise to the level of OMG news. Frances Haugen, though, created a sensation. The former Facebook executive leaked thousands of documents to the Securities and Exchange Commission and spoke out — at first anonymously, in The Wall Street Journal, and later on “60 Minutes” and before a congressional committee. Among other things, the documents showed that Facebook’s leaders were well aware of how much damage the service’s algorithmic amplification of conspiracy theories and hate speech was causing. By year’s end, lawyers for Rohingya refugees from Myanmar were using the documents to sue Facebook for $150 billion, claiming that Mark Zuckerberg and company had whipped up a campaign of rape and murder.
• COVID-19 and the new normal, Nov. 17. By late fall, the optimism of June and July had long since given way to the reality of delta. I wrote about my own experience of trying to live as normally as possible — volunteering at Northeastern University’s long-delayed 2020 commencement and taking the train for a reporting trip in New Haven. Now, of course, we are in the midst of omicron. The new variant may prove disastrous, or it may end up being mild enough that it’s just another blip on our seemingly endless pandemic journey. In any case, omicron was a reminder — as if we needed one — that boosters, masking and testing are not going away any time soon.
• How journalism is failing us, Dec. 7. Washington Post columnist Dana Milbank created a sensation when he reported the results of a content analysis he had commissioned. The numbers showed that coverage of President Joe Biden from August to November 2021 was just as negative, if not more so, than coverage of then-President Trump had been during the same four-month period a year earlier. Though some criticized the study’s methodology, it spoke to a very real problem: Too many elements of the media are continuing to cover Trump and the Republicans as legitimate political actors rather than as what they’ve become: malign forces attempting to subvert democracy. The challenge is to find ways to hold Biden to account while avoiding mindless “both sides” coverage and false equivalence.
A year ago at this time we may have felt a sense of optimism that proved to be at least partly unrealistic. Next year, we’ll have no excuses — we know that COVID-19, the economy and Trumpism will continue to present enormous challenges. I hope that, at the end of 2022, we can all say that we met those challenges successfully.
Finally, my thanks to GBH News for the privilege of having this platform and to you for reading. Best wishes to everyone for a great 2022.
I recently wrote about my visit to Sally’s Apizza in New Haven, the only one of the city’s three legendary pizza places I hadn’t been to. Well, last week I was back in New Haven — and I decided to revisit Frank Pepe’s and Modern Apizza so I could compare them without having to rely on years-old memories.
Pepe’s is the original. In my previous visits, I’d ordered what I usually order: a tomato-and-cheese pizza with sausage and mushrooms. It was good, but not as good as Modern’s. But my son convinced me that I was doing Pepe’s wrong, because the true Pepe’s experience is the white clam pizza. Well, I like clams and I like pizza, so even though I wasn’t crazy about the idea of putting the two together, it seemed like a reasonable proposition.
I started off with a Caesar salad that would have been quite good if it hadn’t been practically floating in dressing. There were two choices of red wine; I ordered the Chianti, which was more than serviceable, and waited for my pizza. I have to say that I was somewhat disappointed. The thin New Haven-style crust only had a little bit of cheese on it, which I’m guessing is the way it was supposed to be. It was as crispy as it was chewy. On top was a generous helping of minced clams and garlic.
I’m sure there are plenty of people who would have raved about it, but I was less than impressed. At least I can now say that I’ve had Pepe’s signature dish. But if I ever go back, I’ll order something else.
Just the very act of stepping into Modern Apizza was thrilling. I hadn’t been there in about seven years, and the anticipation was almost more than I could bear. Modern has a more expansive wine list than Pepe’s or Sally’s. I ordered a glass of Merlot. My waitress convinced me that the Caesar salad was enough for at least two people, so I ordered a garden salad that was drowning in Italian dressing. Not great.
But then the pizza arrived — a perfect combination of tomato sauce (not too much), a blend of cheeses, ground sausage and lots of mushrooms. It was pizza perfection, and it brought me back to my first visit about 10 years ago, when I sat outside on a hot July night. Recently I watched the documentary “Pizza, A Love Story,” and learned that non-natives tend to gravitate to Modern because they use more cheese than Pepe’s or Sally’s. That seems right to me.
That’s not the only way that Modern, which is close to the downtown, does things a little differently from its Wooster Square competitors. Pepe’s and Sally’s use coal-fired ovens; Modern uses oil. I don’t know that it makes any difference. All three make magnificent pizzas, thin, charred on the bottom, and unlike anything available elsewhere.
A lot of people will tell you that New Haven pizza is the best in the world. I don’t know about that. It is amazingly good. But we have wonderful pizza in Medford and environs as well; it’s just different. Sadly, I have no reason to go back to New Haven anytime soon. But when I do, I’ll head straight for Modern Apizza.
Thomas Friedman. Photo (cc) 2016 by the Brookings Institution.
It’s been at least a few months since there have been any ethical problems involving The New York Times’ opinion section. Now, though, the streak has been broken. Paul Fahri of The Washington Post reports that Times columnist Thomas Friedman has written repeatedly about Conservation International, an organization to which he and his family have donated millions of dollars.
“Those contributions,” writes Fahri, “raise a somewhat novel ethical question: Should a journalist — particularly one as distinguished and influential as Friedman — disclose his direct financial support of those he’s writing about?”
Actually, this isn’t a close call. No. Journalists, including opinion journalists like Friedman, should not belong to or give money to organizations that they report on and write about. And if they find themselves in a position where they just can’t avoid it, they have to disclose the conflict. This is not so they can be “objective” — if it was, then it wouldn’t matter what opinion journalists do. It’s so they can maintain their independence.
As a summary of “The Elements of Journalism,” by Bill Kovach and Tom Rosenstiel, puts it:
Journalistic independence … is not neutrality. While editorialists and commentators are not neutral, the source of their credibility is still their accuracy, intellectual fairness and ability to inform – not their devotion to a certain group or outcome.
I suppose Friedman deserves at least a little bit of credit for giving money rather than taking it. Earlier this year, you may recall, Times columnist David Brooks got in trouble when it was revealed that he had a paid position at the Aspen Institute and had written favorably about funders, including Facebook.
Brooks kept his job after the Times said that he had disclosed the arrangement to his superiors in 2018, although his current editors didn’t know about it.
