You may have read in The Boston Globe that the city has concocted an insane plan to cut down more than 100 mature shade trees along Melnea Cass Boulevard in Roxbury in order to pave (see what I did there?) the way for a road improvement project.
Now The New York Times reports that redlining across the country has resulted in communities of color being shortchanged of trees and other green space — resulting in temperatures that can be as much as 5 to 20 degrees hotter.
The revelations are highly entertaining, but think about it: Mary Trump secretly recorded her aunt, Maryanne Barry, and gave the audio to The Washington Post. What kind of a person does that? There is nothing in the story to suggest that Mary has a beef with Maryanne, or that she considers her part of the plot to deprive her of her inheritance. There’s no such thing as a good Trump.
I’m not exactly sure when I first heard “Lyle Lovett and His Large Band,” Lovett’s third album, but it was surely within a year or so of its 1989 release. For a long time I thought his fourth album, “Joshua Judges Ruth” (1992), was his best. But I relistened to both before writing this post, and though I love both albums, “Large Band” is the one that sticks with me.
It’s also the album that remains the backbone of his live shows. The Large Band is an old-style Texas swing band. Their musicianship is impeccable. If you think Lovett’s albums tend to be overproduced, you really need to go to a concert. These musicians are every bit as good and precise in person as they are on record. And they swing.
As for the album itself, it’s divided into two halves, as albums sometimes were before CDs and streaming. Side A is with the full band, and if I have a complaint, it’s that it doesn’t sound much like Texas swing; it’s more like the big-band music your grandparents listened to. That said, the songs are terrific. “Here I Am” (“If it’s not too late, make it a cheeseburger”) and “What Do You Do/The Glory of Love” (a duet with Large Band stalwart Francine Reed) are staples of his concerts.
Side B is all country, including his cover of “Stand By Your Man” (included in the movie “The Crying Game”) and songs that have become Lovett standards, like “I Married Her Just Because She Looks Like You,” “If You Were to Wake Up” and “Nobody Knows Me.” Lovett’s range consists of about three notes — but he knows how to make the best of his limitions, sounding sly or heartbroken depending on what the song calls for.
Starting with “Joshua Judges Ruth,” Lovett expanded into gospel, and the Large Band more explicitly embraced Texas swing. An especially good example of the latter is “That’s Right (You’re Not from Texas),” which is on “The Road from Ensenada” (1996).
Lovett is one of those rare talents who drove me to get all of his albums. I’ve heard almost every one of them, and each has something to offer. My wife and I have seen him three times, all in outdoor venues — the last in August 2017 at a winery near Rockport, Maine. The highlight of that show came near the end, when he brought on a gospel choir he’d bused in from Boston and performed a lengthy gospel set.
Lovett always comes across as humble and grateful for the opportunity to make a living from music. His songwriting may have faded, but he remains a vibrant, relevant performer. We’d go see him every summer if we could.
Boston Globe editor Brian McGrory today announced two promotions. In a memo to the staff, McGrory said that Ideas section editor Anica Butler has been named the deputy managing editor for local news, replacing Felice Belman, who recently departed for The New York Times. City editor Nestor Ramos will receive a new title — senior assistant managing editor for local news.
Both Butler’s and Ramos’ names will appear on the masthead, which represents a step forward for a paper seeking to become more diverse. Butler is the first Black woman and Ramos the first Latino to ascend to news-side* masthead positions. Years ago, Greg Moore, who’s African American, was the Globe’s managing editor (the No. 3 position in the newsroom at that time), but he left for The Denver Post in 2002.
A trusted source provided me with McGrory’s memo a little while ago. The full text follows.
Personnel
I’m beyond delighted to share a pair of key personnel announcements.
First, Anica Butler will take over as the Globe’s new deputy managing editor for local news, better known as the metro editor, among the most pivotal roles in any newsroom. She’s been preparing for this job for many years, and preparing extraordinarily well. Her nearly nine years at the Globe have been marked by seismic stories, and Anica always seems to be in the throes of them. She managed, morning to night, our coverage of the Aaron Hernandez, Tsarnaev, and Whitey Bulger trials, three epic events in this city’s history. She brought to all of them a digital, in-the-moment mindset that in many ways laid the groundwork for how we’ve approached big, unfolding stories ever since. In a somewhat gaudy display of her broad range, she then went on to edit a key installment in our 2017 series on the state’s woefully inadequate mental health system, a project that was a finalist for the Pulitzer Prize in local reporting.
Anica served a relatively short stint as Felice Belman’s main deputy on the metro desk, and as such, was a key bridge between metro and the digital world, organizing the day in the early morning, dispatching reporters, keying in on the most important journalism that we would focus on that cycle. She was pulled away by the siren song of the Nieman fellowship at Harvard University. When she returned, Anica took over the Ideas section, making it ever more compelling as it took on newsier subjects and brought far greater diversity in voices.
I certainly don’t have to tell anyone that Anica is a wonderful colleague. She’s also the brand new mother of a ten-week-old daughter. As has often been said, when you want to get something done, ask a busy person. Anica will start in this new role when her family leave ends on September 8.
Nestor Ramos, who has proven himself invaluable in his relatively new role as deputy metro editor, better known as the city editor, will take on the enhanced title of senior assistant managing editor for local news, a masthead position. This is a straight-up acknowledgement of his enormous impact on the room and our coverage. Given the coronavirus, given the economic collapse, remote work, social justice, racial injustice, he has been a pivotal leader in what has basically been a decade’s worth of news crammed into the first seven-plus months of 2020. Back in December, when Jen, Jason, and I convinced a reluctant columnist to become an editor, we knew we needed him at the figurative and literal center of our newsroom. We had no idea how much we needed him, or just how well Nestor would perform — with reporters, other editors, ideas, copy, hiring, you name it. On top of all this, Nestor was announced as a finalist for the Pulitzer Prize in feature writing this spring for his jaw-dropping story on how the climate crisis has ravaged Cape Cod. Nestor, too, is a hall-of-fame colleague in ways big and small, plus the father of two young daughters, ages 4 and 1. The promotion will take effect immediately, and Nestor will report to Anica, in what will be as formidable a duo as there is in this industry.
Please reach out and congratulate Anica and Nestor, and thank them for all they’re about to do.
Brian
*Correction: Added “news-side” to make it clear that there have been persons of color on the masthead from the opinion operation.
Correction No. 2: I’ve changed the headline to reflect the fact that Ramos does not identify as a person of color.
Joe Biden delivered a fantastic, powerful and uplifting speech. I’m blown away. It was perfectly suited to who he is. He may not be an orator on the level of Barack Obama, but Obama couldn’t have given a speech that was so personal and intimate.
Not only was it the best speech of Biden’s life, but I also thought it was the best speech of the week — outshining some truly terrific moments from both Obamas and from Kamala Harris. I don’t see how the Democrats could possibly have done any better than they did with their virtual convention.
A word we’ve heard a lot this week is “empathy.” I don’t think we’re going to hear it much next week. Or see it, for that matter. Can we finally bring the Trump nightmare to a close?
Among those of us who follow the business of local news, there is a tendency to lump the two most notorious corporate chain owners together. Gannett Co. and Alden Globe Capital, after all, are both notorious for slashing their newsrooms to the bone. Their newspapers and websites in too many instances fail to meet the information needs of the communities they purportedly serve.
Yet there is a difference. And I was reminded of that difference recently by Rick Edmonds, who analyzes the media business for the Poynter Institute.
After a decade’s worth of cuts, Gannett is planning to bolster its reporting corps in the near future, Gannett chief executive Mike Reed told Edmonds — although he didn’t provide any numbers. Currently, Gannett employs about 5,000 journalists at its properties, which include USA Today, about 260 regional dailies and many other weekly papers and websites, including dozens in Greater Boston.
“We need to get even better,” Reed was quoted as saying. Well, OK. I would replace “even” with “a lot.” Still, such talk would be unimaginable at Alden Global Capital, whose MediaNews Group chain of about 200 papers has sparked newsroom revolts as well as demands from 21 U.S. senators that the company stop its “reckless acquisition and destruction of newspapers,” according to a recent story by Sarah Ellison in The Washington Post.
The difference between how Gannett and MediaNews are perceived may have something to do with their ownership structures.
The current Gannett is the result of a merger late last year between Gannett and GateHouse Media. Despite keeping the Gannett name, it was clearly GateHouse that got the better of the deal: Reed was the chief executive at GateHouse before assuming the same position at Gannett. The new Gannett immediately embarked on an estimated $400 million in cuts in order to pay down the debt it had taken on in financing the merger, according to the media-business analyst (and newly minted entrepreneur) Ken Doctor at Nieman Lab.
Gannett is a publicly traded corporation, which means that Reed’s ultimate goal is long-term growth and sustainability — albeit with as little journalism as the company can get away with. Reed hopes to do that by leveraging Gannett’s media holdings with digital marketing subsidiaries the company owns as well as an events business, which is obviously on hold during the COVID pandemic.
If everything works out over time, it is possible to imagine Gannett’s local news outlets staffing up and providing better, more comprehensive coverage than they have in recent years. As good as what would be offered by independent newspapers and websites? Almost certainly not. But any improvements would be welcome.
Alden Global Capital, on the other hand, is a hedge fund. And as best as anyone can tell, the company has no strategy for MediaNews Group beyond extracting as much money as it can for as long as it can. Its Massachusetts papers, the Boston Herald, The Sun of Lowell and the Enterprise & Sentinel of Fitchburg, operate on a shoestring. The Fitchburg office was closed several years ago. The Herald’s office in Braintree was recently shut down as well, although it’s unclear whether that was a temporary, COVID-related move or something permanent.
In Ellison’s Washington Post article, Alden managing director Heath Freeman tried to portray himself as a savior of journalism. “I would love our team to be remembered as the team that saved the newspaper business,” he was quoted as saying. Ellison, though, ran through a list of MediaNews papers across the country that have been so gutted that they have virtually no one to cover the news.
“Don’t buy the idea that Alden is trying to save newspapers. I don’t think any idiot would buy that,” said Dean Singleton, the owner of an earlier iteration of MediaNews Group whose own reputation as a cost-cutter looks benign by today’s standards. Freeman’s retort: “We’ve saved the very newspapers that Dean Singleton ran into bankruptcy, so take his recriminations with a grain of salt.”
Stop me if you’ve heard me say this before, but quality local news can be a key to reviving civic engagement, which in turn could help us overcome the hyperpolarization that defines our culture nationally. According to a recent survey by Gallup and the Knight Foundation, 70% of Americans believe the news media play a “critical” (30%) or “very important” (42%) role “in making residents feel connected to their local community.”
“While national press was perceived by residents of all political backgrounds as distant, privileged, and dismissive of local culture,” she wrote, “it was not uncommon for residents to have first- or secondhand interactions with local reporters. So while participants could identify shortcomings, there was a base-level familiarity and trust.”
Those interactions are important — but they are becoming increasingly rare at the local news organizations being run by Gannett and MediaNews Group. At least there’s some reason to hope that the situation might improve at Gannett. As for MediaNews, a former reporter for the chain, Julie Reynolds, put it this way in The Nation several years ago: “Don’t just blame the Internet for journalism’s decline. Old-fashioned capitalist greed also strangles newspapers.”
I thought former President Obama and Sen. Kamala Harris offered an interesting juxtaposition tonight. Obama’s unsmiling speech was stark — appropriately so, given that we really are in danger of losing our democracy.
That gave Harris the chance to take a contrasting approach and end the night with a heavy dose of inspiration and uplift. And she delivered in the midst of an empty hall. You can only imagine what the reception would have been like if she’d been speaking in a packed convention center.
I also liked her reference to “the beloved community,” a phrase associated with the Rev. Martin Luther King Jr. that we hear in our church. It conjured images of a religious left, serving to remind viewers that the right doesn’t have a monopoly on faith.
We had a great time with friends Saturday on the rail trail in Salem, Windham and Derry, New Hampshire — 18 miles total. There was even a nice little outdoor lunch place along the way.
As with Tom Waits, Van Morrison and a few of the others on this list, I didn’t tune in to John Prine until his career was well under way. In 1991, songs from his remarkable album “The Missing Years” began popping up on the radio, and I liked them enough to buy the CD. It is a wonderful piece of work, warm, funny and wistful, showing off Prine at his best.
The title was in part a play on Prine’s five-year absence from recording — but it also echoes the last song on the album, “Jesus The Missing Years,” a hilarious meditation on what Jesus may have been up to during all those years between childhood and his public ministry. But that song is a trifle — the rest of the album consists of more substantial fare, alternating between solo acoustic songs and full-band workouts. The highlights are “All the Best,” “The Sins of Memphisto,” “Take a Look at My Heart,” “Everything Is Cool” … actually, everything on the album is pretty great.
“The Missing Years” was Prine’s first album since the death of his longtime friend and producer Steve Goodman. Howie Epstein, the bassist in Tom Petty and the Heartbreakers, lent Prine a crisper, more pop-oriented sound without sacrificing any of Prine’s rootsiness. Epstein also brought in a raft of guest singers, including Bruce Springsteen and Bonnie Raitt. Unfortunately, Epstein’s hack tendencies came to the fore on Prine’s 1995 follow-up, “Lost Dogs and Mixed Blessings,” which has some fine songs but is marred by a generic rock sound. (It does have the greatest album cover of all time.) Prine recorded only sporadically after that.
Prine was something of a legend from the beginning of his career in the 1970s, when he was hailed as a “new Dylan” — like so many others, including Springsteen. I had long been smitten with Bonnie Raitt’s version of his song “Angel from Montgomery.” “The Missing Years” sent me back into Prine’s catalog. But though he was a strong songwriter right from the start, I’d argue that “The Missing Years” is his best album. His singing, thin and unattractively smug when he was in his 20s, had mellowed into something deeper and more empathetic. And though the young Prine was justly celebrated for wise-beyond-his-years songs like “Hello in There,” he was also capable of cranking out a nasty piece of work like “Donald and Lydia,” which cruelly mocks two young losers for no discernible reason. By contrast, “The Missing Years” is the work of someone who sounds like you’d enjoy having a few beers with to discuss the meaning of life.
In poor health for many years, Prine died of COVID-19 back in April. We were fortunate enough to see him perform in Boston in 2018; he was in surprisingly fine voice and in even finer spirits. If you get a chance, check out his two albums of duets with female singers on classic country songs, “In Spite of Ourselves” (1999) and “For Better, or For Worse” (2016). Also worth a listen is his final album, “The Tree of Forgiveness” (2018), his last collection of original songs.
