Baker-Polito Administration Releases Massachusetts Clean Energy and Climate Plan for 2025 and 2030

 Baker-Polito Administration Releases Massachusetts Clean Energy and Climate Plan for 2025 and 2030

Administration Releases 2020 Emissions Benchmark Below 1990 Levels

 

BOSTON — The Baker-Polito Administration today released the Clean Energy and Climate Plan for 2025 and 2030 (2025/2030 CECP), which provides a comprehensive and wide ranging approach to achieve a 33 percent reduction in greenhouse gas emissions in 2025, a 50 percent reduction in 2030, and to maximize the Commonwealth’s ability to achieve Net Zero in 2050. The 2025/2030 CECP development was informed by the 2050 Decarbonization Roadmap that the Administration released in December 2020, along with updated analyses, and offers key strategies, policies, and actions that are outlined in the plan that will put the Commonwealth on a pathway to achieving Net Zero greenhouse gas emissions. The Administration also announced the Commonwealth achieved the 2020 greenhouse gas emissions limit of 25 percent below the 1990 level with estimated emissions of 31.4 percent below the 1990 level in 2020.

 

“The Clean Energy and Climate Plan is a comprehensive and balanced plan that will serve as a guide for Massachusetts as we work to achieve ambitious emissions goals and reach Net Zero in 2050 in an equitable and affordable manner,” said Governor Charlie Baker. “We were pleased to work together with key stakeholders and members of the public to create this approach as we move towards decarbonizing the state’s energy system though these policies and strategies.”

 

“Communities across the state will benefit from the Clean Energy and Climate Plan for 2025 and 2030 as we aim to reduce emissions and take meaningful action against climate change here in the Commonwealth,” said Lieutenant Governor Karyn Polito. “Massachusetts’ ambitious emissions goals presents us with a great opportunity to build a healthier, more resilient state that will directly benefit residents and businesses now and well into the future.”

 

The 2025/2030 CECP outlines the Commonwealth of Massachusetts’ comprehensive plan to achieve aggressive emissions reduction. The plan is rooted in the understanding that climate change poses a unique and potentially irreversible threat, and it underscores the Commonwealth’s collective action plan for a 2050 future in which the heat in homes, power in vehicles, and the electric grid can all operate with a minimum reliance on fossil fuels. Additionally, the plan highlights that natural and working lands need to be protected, better managed, and restored to enhance carbon sequestration. The plan also emphasizes the confidence that Massachusetts can lead in the clean energy transition, which will deliver more well-paying jobs, improved public health, reduced consumer costs, and provide better quality of life for all residents.

 

“Massachusetts continues to be a leader in taking climate action. While achieving our ambitious emissions goals and reaching Net Zero in 2050 will require hard work and collaboration across all sectors of the economy, we believe the Commonwealth is up to the challenge,” said Energy and Environmental Affairs Secretary Beth Card. “The Clean Energy and Climate Plan for 2025 and 2030 establishes an unprecedented strategy that will improve key sectors, such as transportation and buildings, while ensuring an equitable transition with a focus on environmental justice areas that will guide us into a sustainable future.”

 

The plan highlights that Massachusetts will achieve its emissions limits and sublimits through two overarching approaches: (1) electrify non-electric energy uses; and (2) decarbonize the electricity system. In that regard, the plan aims to increase transportation and energy systems’ efficiency to reduce energy costs and the costs of transition. These principles must be pursued in parallel to successfully reach the Commonwealth’s emissions limits and sublimits. Furthermore, the 2025/2030 CECP has goals, strategies, and policies that will achieve emissions reductions in the following areas:

• Transportation;
• Buildings;
• Electricity Supply;
• Industrial Processes, Natural Gas Distribution, and other Non-Energy Sources of Emissions; and,
• Natural and Working Lands.

 

A key element of the 2025/2030 CECP is an equitable and strategic transition towards Net Zero. The Executive Office of Energy and Environmental Affairs (EEA) worked with stakeholders across the Commonwealth on the plan to ensure an inclusive policy planning effort was undertaken. This included consulting with the Offices of Housing and Economic Development, the Massachusetts Department of Transportation, the Global Warming Solutions Act Implementation Advisory Committee, and the Commission on Clean Heat, hosting multiple public meetings and hearings, and reviewing over 1,200 public comments that were submitted since January 2021.

 

For more information regarding the 2025/2030 CECP, and the Commonwealth’s strong commitment to achieving Net Zero greenhouse gas emissions in 2050, please visit EEA’s Massachusetts Clean Energy and Climate Plan for 2025 and 2030 webpage.

MAYOR MICHELLE WU ANNOUNCES BOSTON TOGETHER AGAIN, A SUMMER & FALL DOWNTOWN EVENTS SERIES

MAYOR MICHELLE WU ANNOUNCES BOSTON TOGETHER AGAIN, A SUMMER & FALL DOWNTOWN EVENTS SERIES Boston-based, Black, and woman-owned events firm to host weekday programming from mid-July to mid-October

BOSTON - Thursday, June 30, 2022 - Building on her commitment to bring business and vibrancy back to Downtown Boston, Mayor Michelle Wu and the Mayor’s Office of Economic Opportunity and Inclusion today announced Boston Together Again, a series of weekday cultural, food, and wellness events in Downtown running from mid-July to mid-October. From yoga in Copley Square, to music and dancing on City Hall Plaza, and movie nights on the Rose Kennedy Greenway at Dewey Square, Boston Together Again will be designed to bring and keep Bostonians together in community while driving foot traffic - and customers - to the City’s Downtown business districts. The first event will be held on Tuesday, July 19. All events will be free and open to the public. In an effort to diversify and utilize local businesses in City contracting, the contract for Boston Together Again has been awarded to Rosemark Production, a Black- and woman-owned events firm based in Boston and led by Boston native Rose Staram. This selection was a result of the City’s sheltered market pilot program.  “As more people come back to work in person, we’ll have vibrant and exciting programming to ensure after-work fun and boost foot traffic to our small businesses,” said Mayor Michelle Wu. “Boston Together Again is an opportunity for us to reimagine what’s possible for how we use our Downtown public spaces through months of creative events. By using our sheltered market pilot program to plan this event series, we’re also ensuring that local businesses have a voice in City contracting and in making Downtown a welcoming destination.” Boston Together Again builds on the City’s efforts to activate and revitalize Downtown Boston as the City continues to emerge from the economic impacts of the pandemic. In April, the City hosted Boston Blooms, a one-day block party stretching from South Station to Downtown Crossing that welcomed employees, residents, and visitors back to Downtown.  “This effort is but one piece of our long term economic revitalization strategy to draw people from across the region back to our Downtown area,” said Segun Idowu, Chief of Economic Opportunity and Inclusion. “Thanks to the vision of Mayor Wu in launching the sheltered market pilot program, and with the support of our Supplier and Workforce Diversity team, this contract with Rosemark Production is another important step toward fulfilling our promise to foster a more inclusive economy and support our local BIPOC- and women-owned businesses.”  Starting in July of this year, Downtown Crossing, Copley Square, Dewey Square, City Hall Plaza, and Post Office Square will host diverse and dynamic community events nearly every weeknight through mid-October. Attendees can look forward to outdoor exercise classes from Equinox instructors, movies from the Coolidge Corner Theater, and more. A full calendar of events will be released here in the coming weeks. "We applaud Mayor Wu and her team for their dedicated focus on the need to revitalize Downtown," said Cheryl Cronin, CEO of the Boston Public Market. "We all love the vibrancy of Boston, and in order to sustain this, we must get visitors and office workers back downtown. We're here, open and excited to welcome you back!" The contract with Rosemark Production is part of Mayor Wu’s commitment to direct City resources to local, diverse businesses that are vital to expanding wealth-building opportunities and making City contracting more equitable.  "The Rosemark team could not be more proud to have received this contract from the City, and to be a part of Mayor Wu's vision to lift up our downtown,” said Rose Staram, Principal Owner of Rosemark Production. “As native Bostonians, we know how vital these districts are to the City. We also know the power of bringing our diverse and vibrant neighbors together, and that's exactly the power and the energy that Boston Together Again will capture." Rosemark Production is one of the top Black woman-owned event firms in the country, providing venue construction, site and event management, and press logistics to major events around the United States. Most recently Rosemark served as the General Production Manager for the Presidential Inaugural Committee of Joseph R. Biden. Part of revitalizing Downtown includes rethinking how the City can use public spaces for Boston’s residents and visitors alike. This includes the renovation of Boston City Hall Plaza, expected to be completed in August 2022. The renovation will create a more accessible and welcoming environment for more community events. The City of Boston also recently hosted Copley Connect, a 10-day pilot project that transformed Dartmouth Street in Copley Square into a plaza space, and the Mayor announced the upcoming Open Streets events. A full list of Boston Together Again events will be made available here

波士頓市消防局局長換人 Paul F. Burke 7/1 上任

MAYOR WU ANNOUNCES PAUL F. BURKE AS FIRE COMMISSIONER

Paul F. Burke

From Twitter BOSTON - Thursday, June 30, 2022- Today, Mayor Michelle Wu announced the appointment of longtime Boston firefighter Paul F. Burke as Commissioner of the Boston Fire Department. He will officially begin in his new role tomorrow.  “Paul is a trusted leader in this department and has served in many roles leading our fire response,” said Mayor Michelle Wu. “I’m proud to welcome this Roslindale native into leadership as a partner to build a healthy environment for our firefighters and a diverse, connected workforce serving our communities in moments of need.” "It is a tremendous honor to have the opportunity to lead our Fire Department," said Commissioner Paul F. Burke. "I want to thank Mayor Wu for the opportunity to serve the residents of Boston in this role. I look forward to working with all of our firefighters to deliver this critical service to our city." Commissioner Burke has been a member of the Boston Fire Department for 32 years, having served in multiple leadership capacities. Most recently he served as Deputy Chief, Fleet and Facilities where he was responsible for all Boston Fire Department vehicles and buildings, including budget, purchases, maintenance, safety, and renovations.  Previously, Commissioner Burke served as a Technical Rescue District Chief with responsibility for managing technical rescues and emergencies throughout Boston.  Commissioner Burke has a BA from University of Massachusetts and a MA in Homeland Security from the Naval Post Graduate School in Monterey, CA. He grew up in Roslindale and is a Boston Public Schools alum. He is married with 3 grown children.

Committee of 100 Publishes New Research on the Status of K-12 AAPI Curriculum Adoption Across the United States

 Committee of 100 Publishes New Research on the Status of K-12 AAPI Curriculum Adoption Across the United States

 

Research reveals that seven states have statutes that require AAPI studies, with 10 more states and the District of Columbia requiring areas of AAPI studies through other means – more than previously reported 
 

New York, New York (June 30, 2022) -- Committee of 100, a non-profit membership organization of prominent Chinese Americans, today unveiled a state-by-state analysis of the prevalence of existing and potential legislation requiring the teaching of Asian American and Pacific Islander (AAPI) history in K-12 social studies curriculum. The research revealed that 19 states have some form of AAPI studies in place, compared to the two or three states often highlighted in recent media stories. 

“AAPI and Ethnic Studies Requirements for K-12 Students in America’s Public Schools” can be downloaded from the Committee of 100 website here.

Committee of 100 researchers analyzed the laws, regulations, bills, and publicly available curriculum standards of the 50 states and the District of Columbia to determine which states have existing K-12 AAPI or ethnic studies curriculum requirements or legislative action that would enact such requirements. Committee of 100 cross-referenced state legislature websites, state statutes, keyword Google searches, and LegiScan to assess the existence and status of legislation and statutes, as well as state department of education websites and publicly available curriculum standards issued by state regulators and boards of education to determine the prevalence of AAPI and ethnic studies academic standards. The research took place from July 27, 2021, to March 1, 2022. 

“Public schools are critical in shaping citizens. In most states, schools do not require students to learn about the contributions of Americans of Asian descent, but Asian American history is American history. If they don’t learn this as children, how can students become citizens who will understand the challenges and struggles of all Americans?” said Zhengyu Huang, President of Committee of 100. “For nearly 200 years, the AAPI population has made impactful contributions to the U.S., but Asian Americans continue to fight against being seen as the perpetual foreigner.”

Educational curriculum and the standards set by states provide the framework by which students understand the world around them. Committee of 100’s research showcases that there are currently multiple active paths being pursued in various states, ensuring students gain access to learn about AAPI history and culture in the K-12 range. 

“Standalone bills – which have garnered headlines as of late – are not always feasible. Other minority groups like the African American, Jewish American, Latino American, and Native American communities have all faced the same challenge in which their respective histories have been dramatically underserved and underrepresented. Committee of 100 is working to bring critical pieces of data under one umbrella, to provide a better understanding of the various state of progress on advancing AAPI curriculum across the U.S.,” Huang continued.  

Committee of 100’s research brief organizes the data into eight categories:

• states with established statutes that require AAPI studies curriculum;
• states with academic standards that include AAPI studies;
• states with recently introduced bills that would require AAPI studies curriculum;
• states with established statutes that require ethnic studies curriculum;
• states with academic standards that include ethnic studies;
• states with recently introduced bills that would require ethnic studies curriculum;
• states with established statutes or recently introduced bills for optional AAPI or ethnic studies that do not require curriculum; and
• states with no statutes, academic standards, or bills for AAPI or ethnic studies.

Highlights from the research:

• Seven states have required AAPI curriculum statutes.
• 15 states have recently introduced bills to require AAPI studies curriculum. 
• 18 states have ethnic studies curriculum statutes that may or may not explicitly focus on AAPI populations.
• 23 more states and the District of Columbia have recently introduced such legislation.
• 12 states and the District of Columbia have AAPI studies academic standards.
• 27 states and the District of Columbia have ethnic studies standards.
• 24 states have either introduced or passed legislation related to AAPI or ethnic studies, but these policies do not require schools to teach AAPI or ethnic studies.
• Seven states [Alaska, Kansas, Kentucky, Montana, North Dakota, South Dakota, and Wyoming] are uniquely identified as having nothing on the books related to APPI or ethnic studies curriculum or standards; no such statutes are in place, no such bills have been introduced in the last two years, and no such policies are included in existing academic standards. 

This research from Committee of 100 will be updated approximately every six months, as laws and regulations change. Those interested in downloading the research and map can do so here:

波士頓抒情歌劇院 8/11, 13兩日露天演出羅密歐與茱麗葉

 AN ENGLISH-LANGUAGE ROMEO AND JULIET FREE ON THE

BOSTON COMMON LAUNCHES AN EXPANDED

BOSTON LYRIC OPERA SEASON AUGUST 11 and 13

  

Partnership with Commonwealth Shakespeare Company (CSC)

and the City of Boston yields a production accessible to everyone.

 

Charles Gounod’s operatic setting of the Shakespeare classic features

artists making company debuts, and Boston-trained singers. 

 

Ricardo Garcia and Vanessa Becerra play the young lovers; CSC’s Steven Maler directs.

 

Production marks 20 years since BLO’s last Common appearance, 2002’s “Carmen.” 

 

BOSTON, Mass. – June 29, 2022 – A free, public opera adaptation of

Romeo & Juliet on the historic Boston Common opens

Boston Lyric Opera’s 2022/23 Season with two performances August 11

and 13 at 8 PM. Based on Charles Gounod’s 1867 musical setting of the

classic drama with a libretto by Jules Barbier and Michel Carré, and an

English translation by Edmund Tracey, the production is co-presented

in partnership with Commonwealth Shakespeare Company (CSC) and the

City of Boston. Ricardo Garcia (l.) makes his BLO company debut as

Romeo; Boston Conservatory at Berklee alumna Vanessa Becerra

(r., photo by Coco Jourdana) is Juliet. CSC Artistic Director Steven Maler

will direct the production and BLO Music Director David Angus will lead

the BLO Orchestra and Chorus. The performance, sung in English with

surtitles, coincides with the 20-year anniversary of BLO’s last free

Boston Common show, “Carmen.” 

 

Considered alongside Giuseppi Verdi’s Otello and Falstaff, and more

recently Brett Dean’s Hamlet as among the most successful opera

adaptations of Shakespeare, Gounod’s Romeo & Juliet highlights the

story’s most operatic plot points: young lovers forbidden to be together and finding love against

the odds, only to perish at their own hands. The story inspired more than two dozen

opera treatments but Gounod’s lush music – in love duets like the one sung the morning after

the young lovers’ first night together, arias like Juliet’s well-known waltz and Romeo’s passionate

Act II declaration of love, and the scene-setting orchestral interludes and dramatic choral

moments – ensures his version a place of continued prominence.

 

THE PRODUCTION

The libretto compresses Shakespeare’s storyline and cuts the number of roles nearly in half. The result is a brisk tale that moves from the rivalry between the Capulets and Montagues to the masked ball where the title characters meet and fall in love, through the lovers’ surreptitious courting and marriage, the street fight that sheds both families’ blood, and the tragic finale in Juliet’s tomb.

 

BLO Acting Stanford Calderwood General and Artistic Director Bradley Vernatter says the production draws distinctively on the strengths of both artistic institutions, and results in a unique version that blends the talents and storytelling of each. This opera production, for example, adds two actors to the staging who perform spoken text from the original play and add some of Shakespeare’s sonnets for context and texture.

 

“This bold interpretation of the classic tale of star-crossed lovers, told under a starry New England sky, celebrates the rich legacy of this opera in a modern context,” Vernatter says. “In collaboration with our friends at CSC, we are creating something completely unique for our city, something neither company could make on its own.  These performances demonstrate the creative power of the performing arts in Boston and the importance of coming together as a community.” 

 

Stage Director Steven Maler says the production is inspired by busker culture – and comprises a gathering of street musicians, singers and actors whose desire to entertain in public makes for surprising and spontaneous moments of joy. Performers play on three stage levels, with the full 47-piece orchestra in view and a 20-plus-member chorus enhancing scenes like the masked ball, the town plaza and others.

 

“CSC’s vision has always been to bring performances to the people’s park, the Boston Common, this shared public space and the nation’s oldest park,” Maler says. “Democratizing art is central to our mission. Early opera, like Shakespeare’s work, was populist in its time…vital and vibrant parts of the culture. I am happy we can do artistic collaborations with partners like BLO, which continues to democratize their artform and make it more accessible.” 

 

CASTING AND ARTISTIC TEAM

The casting for Romeo & Juliet mixes company debuts with returning artists and artists whose musical training took place in Boston. Boston Conservatory at Berklee (BC@B) alumna and soprano Vanessa Becerra stars as Juliet, BC@B alum mezzo-soprano Mack Wolz (BLO’s 2022 operabox.tv film, “Svadba”) portrays Stéphano, tenor Ricardo Garcia is Romeo, BLO Emerging Artist alumnus and tenor Omar Najmi sings Tybalt, incoming Emerging Artist and tenor Fred C. VanNess Jr. portrays Paris, Rhode Island-born mezzo-soprano and BLO Chorus member Arielle Rogers-Wilkey sings Gertrude, and bass Joshua Conyers (seen recently in Odyssey Opera’s Malcolm X at the Strand Theater) is Lord Capulet. Emerging Artist Nicholas LaGesse (2022’s Champion) sings Mercutio, BLO Chorus member and incoming Emerging Artist baritone Junhan Choi is Gregorio, Berklee College of Music instructor and bass Philip Lima sings the role of Friar Laurence. Some singing roles have been changed or cut to accommodate a two-hour runtime. Additional casting will be announced later.

 

The Romeo & Juliet artistic and creative team includes conductor David Angus, stage director Steven Maler, dramaturg John Conklin, production and lighting designer Eric Southern, and costume designer Nancy Leary. Additional artistic team members will be announced later. 

 

SEATING AND ACCESS

Romeo & Juliet will be performed on the Commonwealth Shakespeare Company stage, located north of the Parkman Bandstand in the Boston Common. MBTA access is at the Green Line Boylston Street stop, and the Red Line Park Street stop. 

 

Audience members may bring blankets and chairs, or can rent chairs on site for $10.  Picnics are permitted at the show. The Romeo & Juliet runtime is 2 hours.

 

The Boston Common is accessible. For help with special seating or mobility and access needs, BLO Audience Services can be reached at 617.542.6772 or boxoffice@blo.org. 

 

Digital programs will be available in advance at blo.org. Weather alerts and other updates about Romeo & Juliet are available by signing up here.

 

A limited number of reserved seats are available in the Friends Section with a donation of $100 per seat to Boston Lyric Opera.  Visit blo.org for details.

 

SPONSORS 

Community events for this season, including this free presentation of Romeo and Juliet, are sponsored, in part, by the Cabot Family Charitable Trust. The 2022/23 Season is supported by the Mass Cultural Council, a state agency, and by the Boston Cultural Council/Reopen Creative Boston Fund administered by the Mayor’s Office of Arts and Culture. David Angus is sponsored this season by Linda Cabot Black.