C.J. Chivers (Rhymes With Shivers) Is One Helluva Writer

On a beautiful sun-dappled afternoon last May, I sat on a bench in Square Henri Galli, a Paris pocket park across the Seine from Île Saint Louis, and while des enfants frolicked about, read a New York Magazine article that had been sitting in my get-to pile for six months.

It was a piece by the redoubtable C.J. Chivers, a journalist I’ve mentioned numerous times as one of the few I would read anything by.

The Fighter

The Marine Corps taught Sam Siatta how to shoot. The war in Afghanistan taught him how to kill. Nobody taught him how to come home.

Sam Siatta was deep in a tequila haze, so staggeringly drunk that he would later say he retained no memory of the crime he was beginning to commit.

It was a few minutes after 2 a.m. on April 13, 2014. Siatta had just forced his way into a single-story home in Normal, Ill., a college town on the prairie about 130 miles southwest of Chicago. A Marine Corps veteran of the war in Afghanistan, he was a 24-year-old freshman studying on the G.I. Bill at the university nearby, Illinois State. He had a record of valor in infantry combat and no criminal past. He also had no clear reason to have entered someone else’s home, no motive that prosecutors would be able to point to at trial — no intention to rob, no indication that he knew or had even seen before any of the three young female teaching students who lived inside, or the boyfriends who were with two of them.

The piece goes on to narrate not only the gory details of that night, but also Sam Siatta’s compelling journey from a small town in Illinois to Afghanistan as a sharpshooter (whose diary entries are just heart wrenching) and eventually back to Normal (but nowhere near normal) – an arc that is inextricably entwined with the journey of Ashley Volk, the childhood sweetheart Sam would alternately cling to and flee from.

As Chivers chronicles, Sam is convicted, sentenced to prison, and almost miraculously granted early release (thanks mostly to Chivers poking around the way good journalists do), at which point Sam improbably decides to embark on a career as an amateur mixed-martial-arts fighter, despite lacking full control of his left arm, which was damaged in that fateful home invasion.

Chivers ends his story with this:

I asked him whether entering the ring with one good arm to exchange blows with a trained fighter carried more risks than he might want, especially considering the delicate platinum coils in his neck that could be dislodged. He seemed tired of the question. It was the type of discouragement he had heard since telling friends he was enlisting in the Marines. “If my dream was to be a lawyer or doctor, something that was socially acceptable, then everybody would be happy,” he said. “But when I tell people I want to be a fighter, they are like, ‘Ooh, you’re going to fuck yourself.’ ”

People warn him that he is going to get hurt, he said, and “I’m like, ‘Well, it is fighting, so that’s almost a definite.’ ” He hoped to earn enough money to pay the hospital bills. Hands throbbing, face blank, his left-side targeting system not quite right, Sam Siatta hit the bag.

It’s a staggering piece of writing that left me sitting there stunned in Square Henri Galli.

Then, three days ago Chivers and Sam and Ashley were back, this time on Page One of the  Sunday Styles section.

 

 

A word about Ashley:

Let it be known that Ashley Volk had loved Sam Siatta since elementary school, the age of True Love Always in sidewalk chalk. She loved him before he joined the Marines and went to war, before he descended into depression and alcoholism upon his return, before he was convicted on a felony charge for a crime he did not remember through a blackout fog.

And now that he was out, she carried him.

“He was in PTSD counseling, trying to regain his confidence and calm,” Chivers writes. “With a job tending bar three or four nights a week until 4 a.m. and Saturday until 5, she brought home her tips, amassing enough in small bills each month to keep a roof above their heads and food in the fridge.”

Until suddenly came Sam Siatta’s second miracle, in the form of Illinois Appellate Court Justice Terrence J. Lavin, who had 1) lost a nephew in the Afghan war and 2) read Chivers’ Times Magazine piece. The judge was sufficiently moved to contact Sam and ask him how he was.

Justice Lavin invited the couple to his chambers. When they sat to talk Mr. Siatta told him that he had been struggling to find work and his disability pension had stopped. He had almost no income and no good plan.

“I’m on a streak of bad luck,” he said.

“Well that’s about to change,” the judge said.

He asked Mr. Siatta what he needed.

A job, Mr. Siatta said.

Justice Lavin had worked in a steel mill as a young man. He had been elected to the bench with labor support. He knew some people in Chicago.

“How about we get you into a union?” he said.

And so he did.

And not long after, Justice Lavin married Sam and Ashley.

C.J. Chivers would likely deny this, but in many ways he made that happy ending happen.

A beautiful story, beautifully told.

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When a Nation Forgets Its Own Clichés (Horse’s Mouth Edition)

From our That’s Just Sad desk

From time to time the hardclipping staff chronicles the mangled phrases issued by the differently clichéd among us and, man, they just keep piling up. Here’s our latest collection, in reverse chronological order. (Boldface emphasis ours.)

• Department of Justice antitrust chief Makan Delrahim was asked at a USC speech last Friday about possible White House meddling in the proposed AT&T-Time Warner merger to make the latter dump CNN before the deal would be approved.

(Apprentice-in-Chief Donald Trump has a thing about CNN head Jeff Zucker, who was Trump’s wingman back in his reality show days but now treats President You’re Fired very unfairly by producing fake news about him.)

According to CNN Money, Delrahim responded to the question thusly:

Despite what some people may say who like to inject politics into our review of the merger — that’s their right — I don’t have the resources to fight those — I gotta keep my nose down and be a law enforcer…”

Not to get technical about it, Mr. Delrahim, you gotta keep your nose clean, or alternatively, keep your head down.

But, all due respect, the hardworking staff thinks your head is actually up something.

• Politico’s Nerdcast last week featured a discussion about the GOP’s fast-tracking of tax cut legislation, with one Nerdcaster noting that the hurry-up offense was designed to keep lobbyists from digging in their hands to influence the tax changes.

Actually, they’d be digging in their heels, except – again, not to get technical about it – it would be the Capitol Hill solons who would do that. Lobbyists would want to get their hands on the pending legislation.

Either way, we’re guessing the taxpaying staff will come out poorer for it.

• Last month Politico’s Morning Score ran this item in its daily briefing.

Tom Steyer, the liberal California billionaire donor who wants President Donald Trump impeached, took a broadside at U.S. Sen. Dianne Feinstein and may run against her, a close associate said Wednesday . . .

Sorry, Scoreniks – Steyer either fired a broadside or took a shot at Feinstein. Not that she gives a damn about Steyer and his little impeachshooter.

• From an administrative memo at a local university:

At this time, I think it’s best if the section does not propose a departmental name change. Why? First, changing the departmental name in a small way with only a section name correction – and not changing the entire name to something more succinct and summative . . . may rankle some feathers across the street.

All due respect to both sides of the street, you either ruffle some feathers or rankle some people when you attempt to change anything in academia. Which, of course, is just rubbing your face with a brick.

• Last August, Slate’s excellent Political Gabfest cited Chicago mayor Rahm Emmanuel’s pushback against the threat by Attorney General Jeff Sessions to cut off federal funds for so-called sanctuary cities as an example of big city mayors “turning their thumbs up at the Trump administration.”

No – they would either thumb their noses at the Trump administration, or turn their thumbs down.

David Plotz, John Dickerson and Emily Bazelon, please take note.

• Also last August, CNN’s Reliable Sources newsletter noted that Fox Newshound Eric Bolling had just signed a new contract before he was suspended for sending lewd texts to colleagues. “This is almost an ink-is-still-dry situation,” the newsletter said.

Rely on this: That was a situation where the ink was not yet dry. But it is now.

• One month earlier, the Boston Globe chronicled the dustup between Red Sox pitcher David Price and NESN analyst Dennis Eckersley, when “a group of teammates reportedly cheered on Price as he berated the Hall of Fame pitcher for his criticism of Eduardo Rodriguez.”

Among those cheering was Sox infielder Dustin Pedroia, who told the Globe:

We’re moving past this. This was a month ago. We all love each other, we’re in here together. There’s nothing that’s going to divide this team.

For whatever people say from the outside, ‘Oh, we don’t have a leader.’ I’m standing right here, been here for a long time. We’re in first place. So that’s it. Write what you guys want. Here I am. You don’t see anybody else standing up here do you? Nope. Fact. There’s your source — from the mouth.

Fact: The straight scoop used to come from the horse’s mouth. Pedroia, however, is talking out of somewhere farther back.

• In June, Axios AM postmaster Mike Allen listed the fallout from Donald Trump’s “impulsive decision” to fire FBI director James Comey.

4. Stalled Trump: He was hardly cooking with grease on the legislative front pre-Comey. Now, White House officials think they will be lucky to end 2017 with any substantial bills signed into law.

Memo to Mikey: You cook with gas. You grease the lawmakers. Big difference.

Pass it on to the Doofus-in-Chief.

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We’re Shocked – Shocked! – at ‘Casablanca’ Exhibit Reviews

The Natick-based International Museum of World War II has mounted a new exhibit, The Real and Reel Casablanca (November 10 through February 3), which features “75 artifacts drawn from the Museum’s extensive collection that provide unmatched insights into the decisions surrounding the invasion at Casablanca, Morocco, and the atmosphere in the U.S.”

Among the exhibition highlights:

General Dwight Eisenhower’s decoded message to enter the war: PLAY BALL – On November 8, 1942, General Dwight Eisenhower, Supreme Commander, Allied Expeditionary Force, and commander of Operation Torch sent a message to Major General George S. Patton, Commander of the Western Task Force, who was on a command ship off the coast of Casablanca awaiting the coded message to attack. When the decoded message from Eisenhower, “PLAY BALL,” arrived, the American Army entered World War II.

Patton’s invasion map of Casablanca – The map is heavily annotated and marked up by General Patton who commanded the Western Task Force at Casablanca.

Casablanca, the movie artifacts – Coincidentally, the movie Casablanca, starring Humphrey Bogart and Ingrid Bergman, came out at the same time as the American invasion. It was instantly popular because the real Casablanca was in the news every day. Movie goers thought they were getting an idea of what was going on. Visitors to the Museum can see posters for the movie, a chair from Rick’s Café, and Bogart’s handwritten chess moves for the movie chess game.

Looks good, yes?

It certainly did to the Boston Globe’s Leslie Anderson, who liked the exhibit real well.

[Y]es, there are memorabilia from the film starring Humphrey Bogart and Ingrid Bergman. Original movie posters. A chair from Rick’s cafe. Bogie’s hand-written chess moves for the game he plays on screen. Round up the usual suspects!

But the “real” artifacts are pretty fascinating, too.

Ditto for the Wall Street Journal’s Mark Yost, who writes “[t]here will be many retrospectives marking the 75th anniversary of ‘Casablanca,’ the November 1942 motion picture of World War II intrigue starring Humphrey Bogart and Ingrid Bergman. But none will integrate the actual battle of Casablanca, Nov. 8-16, 1942, quite like ‘The Real and Reel Casablanca.'”

Quite true.

Also true: Neither review credits the founder of the museum, Kenneth Rendell, who has collected more than 7500 documents, letters, and artifacts (including six Enigma machines) from World War II.

(Full disclosure: The hardworking staff was an acquaintance of Rendell three decades ago, which is the last time we saw him.)

Regardless . . .

The reviewers give thumbs up to the exhibit but the middle finger to the exhibitor?

Not exactly the start of a beautiful friendship, eh?

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Cornel West Wants Paul Ryan To Be President

It has come to the attention of the hardworking staff that today is Refuse Fascism Day!

Who knew?

Well, not to get technical about it, anyone who read Wednesday’s New York Times, which featured this full-page ad.

 

 

That is not, however, the first ad the Trumpian Refuseniks have run in the Times. There’s also this ad that ran back in January.

 

 

That ad helpfully named some of the folks behind the modern-day Refusenik movement, which is at least partially funded by billionaire investor George Soros, who represents the ATM wing of the Democratic Party.

Liberal luminaries putting on the pom-poms include Bill Ayers, Debra Messing, Alice Walker, and – wait for it – the ubiquitous Cornel West.

So let’s think this through.

Say the Refuseniks improbably do end the Trump/Pence Regime.

That makes House Speaker Paul Ryan president of the United States.

The same Paul Ryan who’s been Donald Trump’s toady through thick (head) and thin (skin).

And the same Paul Ryan who said he’s been dreaming about cutting Medicaid since he was “drinking at a keg” in his frat boy days.

Just imagine what else he was dreaming of with a red plastic cup in his hand.

Cheers, Cornel West.

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Dead Blogging ‘The Revolutionists’ at Central Square Theater

Well the Missus and I trundled over to Cambridge on Saturday (which is a colossal pain in the ass on weekends through December 17th) to catch the Nora Theatre Company’s production of The Revolutionists (through November 12) at Central Square Theater and say, it was . . . swellish.

Lauren Gunderson’s play takes place during the French Revolution and – Tom Stoppardly – brings together historical characters in a fun-house-mirror period piece.

Paris, France, 1793: The Reign of Terror. Four badass women conspire, plot murder, and resist extremist insanity. Join playwright Olympe de Gouges, assassin Charlotte Corday, Haitian activist Marianne Angelle and former queen Marie Antoinette as they hang out before each of them loses their… heads.

Here’s director Courtney O’Connor’s elevator pitch:

 

 

The cast is excellent: Lee Mikeska Gardner as the scatterbrained Olympe, Eliza Rose Fichter as the single-minded Charlotte, Alexandria King as the smoldering Marianne, and best of all,  Celeste Oliva (who was transcendent in the Nora production of Grounded two years ago) as an antic Marie Antionette. She’s a total hoot – until the end, obviously.

And the end, unfortunately, is the problem with The Revolutionists.

The second act, after a lively and very funny Act One, is too long and way too preachy.

But you should see it anyway, just for the performances of these four accomplished actresses.

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Jemele Hill=John Garfield in ‘The Postman Always Rings Twice’

As you splendid readers undoubtedly know, ESPN lightning rod Jemele Hill has been handed a two-week suspension by the cable sports network for, yes, reckless tweeting.

Via CNN Money:

ESPN suspends Jemele Hill over NFL tweets

ESPN has suspended host Jemele Hill for two weeks due to “a second violation of our social media guidelines,” the network announced Monday afternoon.

Hill “previously acknowledged letting her colleagues and company down with an impulsive tweet,” ESPN said in a statement. “In the aftermath, all employees were reminded of how individual tweets may reflect negatively on ESPN and that such actions would have consequences. Hence this decision.”

Hill’s second-strike tweet referred to Dallas Cowboy owner Jerry Jones’s statement that any Cowboy player who “disrespects the flag” won’t be allowed to play for his team.

Hill subsequently tweeted that “Just so we’re clear: I’m not advocating a NFL boycott. But an unfair burden has been put on players in Dallas & Miami w/ anthem directives.”

No matter – the corn was off the cob by then.

But the hardworking staff believes that it was really her previous “impulsive tweet” that got Hill suspended, albeit in slow motion.

Once White House press secretary Sarah Sanders called that tweet a fireable offense, ESPN’s tepid response to it – Robert Iger, chairman of ESPN parent Disney Co. said he supported the right of ESPN on-air talent to speak out on social issues – upped the ante for the network.

And so Jemele Hill is just like John Garfield’s Frank in The Postman Always Rings Twice.

Frank: Then, then what’s gonna happen to me is not because I killed [Cora]?
Sackett: No, laddie. For killing Nick.
Frank: You know, there’s somethin’ about this that’s like, well, it’s like you’re expectin’ a letter that you’re just crazy to get. And you hang around the front door for fear you might not hear him ring. You never realize that he always rings twice.
Sackett: What’s that?
Frank: He rang twice for Cora. And now he’s ringing twice for me, isn’t he?
Sackett: That’s about it.
Frank: The truth is, you always hear him ring the second time, even if you’re way out in the back yard.

Jemele Hill is now officially way out in ESPN’s back yard.

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The Arts Seen in NYC (‘Modigliani Unmasked’ Edition)

Well the Missus and I trundled down to the Big Town last weekend to see what we could see and, say, it was swell.

We hit the city Friday afternoon and headed right over to the Fashion Institute of Technology for Expedition: Fashion from the Extreme (through January 6).

Travel to extreme environments is a relatively modern phenomenon. Expeditions to the North and South poles, the highest mountain peaks, the depths of the ocean, and outer space have been widely covered in the press for more than a century. But it was not until the 1960s that these endeavors began to influence fashion. Expedition: Fashion from the Extreme is the first major exhibition to examine this fascinating subject.

A preview:

 

Also at FIT is Force of Nature (through November 18), which “examines the complex relationship between fashion and the natural world. The exhibition reveals how nature has historically influenced fashion, and how fashion can serve as an indicator of society’s relationship with the natural world.”

Here’s a lively trailer:

 

Both exhibits are well worth seeing.

Saturday morning we moseyed over to the Society of Illustrators at 63rd & Lex to catch FASHION AND SATIRE: The Drawings Of Orson Byron Lowell And Charles Dana Gibson (through October 28).

The exhibit pairs a collection of satirical illustrations with Gilded Age fashion pieces and accessories. Focusing on the life of “high society” in New York City, the illustrations invite the viewer to understand fashion as a vehicle for representing and interpreting societal ideals in the Gilded Age.

Orson Byron Lowell and Charles Dana Gibson were two of the most influential illustrators of the late 19th and early 20th century, working from about 1890 to 1930. They created fashion-filled compositions that linked dress and witty social commentary. Their observations about people in society and their foibles were artfully represented in popular publications like The Saturday Evening Post, Ladies Home Journal, Vogue and the original Life magazine.

Representative samples:

Take our word for it: The whole exhibition is a hoot.

Then we shuffled up Madison Ave. to the Met Breuer to catch Ettore Sottsass: Design Radical (through October 8).

A seminal figure in 20th-century design, the Italian architect and designer Ettore Sottsass (1917–2007) created a vast body of work, the result of an exceptionally productive career that spanned more than six decades. This exhibition reevaluates Sottsass’s career in a presentation of key works in a range of media—including architectural drawings, interiors, furniture, machines, ceramics, glass, jewelry, textiles and pattern, painting, and photography.

His most key work was the Olivetti Valentine typewriter, of which he said “I worked sixty years of my life, and it seems the only thing I did is this fucking red machine.”

Actually, his other work is cool, too.

Then it was off to the Jewish Museum to revisit the tail end of Florine Stettheimer: Painting Poetry (sorry, it’s gone now).

A painting:

Some poetry:

“Art is spelled with a Capital A
And Capital also backs it—
Ignorance also makes it sway
The chief thing is to make it pay”

Florine Stettheimer was really something special. Check out Christopher Benfey’s excellent review, The Bruegel of Bendel’s, for further details.

Also at the Jewish Museum: Modigliani Unmasked (through February 4).

Modigliani Unmasked considers the celebrated artist Amedeo Modigliani (Italian, 1884-1920) shortly after he arrived in Paris in 1906, when the city was still roiling with anti-Semitism after the long-running tumult of the Dreyfus Affair and the influx of foreign emigres. Modigliani’s Italian-Sephardic background helped forge a complex cultural identity that rested in part on the ability of Italian Jews historically to assimilate and embrace diversity. The exhibition puts a spotlight on Modigliani’s drawings, and shows that his art cannot be fully understood without acknowledging the ways the artist responded to the social realities that he confronted in the unprecedented artistic melting pot of Paris.

Totally worth the trip.

After an early dinner at the estimable Red Flame Diner, we headed over to the American Airlines Theatre for Time and the Conways (through November 26), a Roundabout Theatre Company production starring Elizabeth McGovern in a splendid performance.

 

It’s that rare play that grows more and more interesting as it unfolds, with a satisfying, if unsettling, ending.

Sunday morning we drifted by The Metropolitan Museum of Art, where we poked around Sara Berman’s Closet (through November 26).

The meticulously organized, modest closet in which Sara Berman (1920–2004)—an immigrant who traveled from Belarus to Palestine to New York—kept her all-white apparel and accessories both contained her life and revealed it. Inspired by the beauty and meaning of Berman’s closet, the artists Maira and Alex Kalman (who are also Berman’s daughter and grandson) have recreated the closet and its contents as an art installation . . .

With its neatly arranged stacks of starched and precisely folded clothing, the closet is presented as a small period room in dialogue with The Met’s recently installed Worsham-Rockefeller Dressing Room from 1882, which features clothing from the 1880s of the type that Arabella Worsham, a wealthy art patroness, might have worn. Despite vast differences of scale and ornament, and the separation of 100 years, the two rooms show there were similarities between the life stories of Berman and Worsham (c. 1850–1924). Both began as women of limited means who, by their own ingenuity, created new lives for themselves in New York.

It’s really quite engaging.

So is Adrián Villar Rojas’s The Theater of Disappearance on the Met’s Roof Garden (through October 29).

Argentinian artist Adrián Villar Rojas has transformed the Cantor Roof with an intricate site-specific installation that uses the Museum itself as its raw material. Featuring detailed replicas of nearly 100 objects from The Met collection, The Theater of Disappearance encompasses thousands of years of artistic production over several continents and cultures, and fuses them with facsimiles of contemporary human figures as well as furniture, animals, cutlery, and food. Each object—whether a 1,000-year-old decorative plate or a human hand—is rendered in the same black or white material and coated in a thin layer of dust.

Seriously, it’s a total knockout.

 

And then it was home again home again, jiggedy-jig.

 

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Johnny Damon Is Now Fox & Friends’ Idiot

In today’s Morning Mediawire, Poynter Institute hall monitor James Warren examines ESPN’s failure to cover itself with, well, coverage.

The Undefeated is a terrific ESPN-created site on sports, race, culture and politics. If you’ve missed it, start checking it out. But don’t spend too much time looking for a story on ESPN show host Jemele Smith [he meant Hill] calling President Trump a racist and being reprimanded. And Sarah Huckabee Sanders attacking the network two days in a row.

Plenty of others are also taking ESPN to task, Warren notes, including some unexpected chinstrokers. “[The attacks] continued this morning on ‘Fox & Friends’ with Johnny Damon, a former baseball star of conservative bent, beckoned to affirm the show’s thumbs-down take on Hill.”

Yes, that Johnny Damon – former Red Sox center fielder/pennant race traitor. Here he is offering up his ruminations on the Hill rumpus (around 1:25).

 

 

Love that – after saying that things get “touchy” when politics intersects with sports, Damon compares ESPN to MTV: “It used to be a music channel. Now there’s no music on it.”

Not the sharpest spike on the baseball cleat, eh?

As you splendid readers well remember, Damon was the one who said of the Red Sox in 2004, “We are not the cowboys anymore — we are just the idiots this year … ”

In his case, of course, make that every year.

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Quote o’ the Day (Name That President Edition)

During our post-prandial reading last night, the hardworking staff came across this passage:

He put, aides noticed, more more concentration into watching the news than into almost anything else, you could watch with him but you could not talk. He felt that what went on these shows was terribly important. Perhaps it was not reality and perhaps it was not even good journalism, but it was what the country perceived as reality and thus in a way was closer to reality than reality itself.

Donald Trump, right?

Wrong.

That was David Halberstam’s description, in his 1979 magnum opus The Powers That Be, of Pres. John F. Kennedy, TV’s first political rock star and a man who 1) thoroughly understood the power of television in American society and 2) thoroughly stage-managed the coverage of his administration.

Plus ça change and etc., oui?

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NYT Still Can’t Find 50 People for Its $135K Worldwind Tour

As the hardworking staff noted several months ago, the New York Times Journeys travel agency has faced an uphill battle selling out its Around the World by Private Jet: Cultures in Transformation.

Full-page from yesterday’s Times.

 

 

The 26-day, $135,000 jaunt by private chartered jet for a select 50 travelers is described by the website thusly:

Fly around the world in a customized Boeing 757 jet for the ultimate in luxury travel. Spend 26 days visiting such places as Israel, Cuba, Colombia, Australia, Myanmar and Iceland. Four award-winning New York Times journalists will accompany you, each for several days as you visit areas where they have expertise.

Said journalists who will accompany the luck 50 (or so):

But . . .

The Washington Post’s Paul Farhi asks whether the Times is “effectively selling its journalists to private interests? Could, for example, corporate lobbyists or political operatives sign on and seek to influence the Times’s coverage?”

Other media hall monitors note that these schmooze cruises happen all the time – from The Weekly Standard to the PBS NewsHour.

Regardless, you gotta wonder when the Times can’t sell out its highest-profile sellout, no?

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