From a fledgling scientist’s $29,000 to an über-landlord’s $42 million (and maybe, if you’re lucky, a few of your coworkers’)—Boston paychecks, laid bare.
Eco chic is all the rage. But as these very different case studies show, the best way to stylishly protect the planet isn’t to build a new, energy-efficient palace—it’s to improve upon what you’ve already got.
By day, they’re some of our most talented painters, sculptors, and mixed-media virtuosos. By night (actually, one late afternoon on the Southie waterfront), Boston’s self-appointed Superheroes of Art turn themselves into masked warriors, out to avenge a New Yorker’s put-down and win the city’s creative scene the respect it deserves.
He made us proud with Good Will Hunting, and embarrassed us with pretty much everything he’s done since. Now, with his directorial debut, the Boston-set Gone Baby Gone, catching plenty of early buzz, it’s time to admit—maybe we’ve been too hard on the guy.
Out of power and finally out of the spotlight, Billy Bulger finds himself confronting the question of how he’ll be remembered by the state he once dominated. But it’s a tricky thing, repairing a legacy when you’re not supposed to care what people think.
Boston’s already got a glut of steakhouses, and now even cutting-edge chefs are going into the meat-and-potatoes business. What’s driving the beef bonanza, and what it means for our hard-won reputation as a great dining town.
To save his law firm, Jay Zimmerman bet big on a wild growth spurt that turned Bingham McCutchen into one of the world’s elite, and turned him into a new kind of Boston empire-builder.
With Boston in the midst of a park-building binge that has no end in sight, two questions arise: How much grass is enough? And can we pave over the Kennedy Greenway yet?