It didn’t work.
It didn’t work.
Granddaughter Claudia Wilson-Howard writes Good Morning Gloucester seeking any information, biographical “tidbits”, or recollections about fine artist Winslow Wilson who resided in Gloucester and had studios in Gloucester and Rockport ca. 1946-1972.She is working on an excellent project: a digital resource about her grandfather.
“I am the granddaughter of Winslow Wilson,” she writes, “an artist who spent most of his life on Cape Ann, painting under two names in two studios. One studio, in Gloucester, the second in Rockport, and a member of the Rockport Art Association from 1946-1972, he was an active member of the art community. I have developed a website (www.winslowwilson.com), which is a work in progress. I am attempting to develop as detailed a biography as possible, and was hoping …to reach out to the community to help gather any tidbit of information. Thank you very much!”
Arthur William “Winslow” “Tex” Wilson, also known as Pico Miran was an American artist–primarily a painter– born on July 20, 1892 in Brady, Texas. His family moved to Junction, TX, where he graduated from high school, also the address he used while attending Harvard. Wilson was a veteran of the First World War (National Guard, AEF) deployed to France 1918-1919. He died November 18, 1974 in Miami, FLA.
Wilson transferred from Texas A&M University to Harvard. Roy Follett his professor at Texas A&M described Wilson’s impact on him as “atomic”, possessed with a creative intellect that surpassed the teacher’s. And then the unthinkable…
For Wilson, life changed punishingly July 4, 1912 as he accidentally and horrifically killed his fellow undergrad, a friend and co-worker Merle DeWitt Britten on the job, driving the streetcar that crushed him. Wilson left Harvard, then came back. He skipped classes. At times he soared. He was a writer and editor of The Harvard Monthly literary magazine with an impressive group of multi talented peers and friends: ee cummings; John Dos Passos; critic Gilbert Seldes; poet (Pulitzer prize winner) Robert Hillyer; poet (later Director MA Historical Society) R. Stewart Mitchell; Scofield Thayer*; and James Sibley Watson*.
The Harvard Monthly was founded in 1885 and ceased publication in 1917, its aim “to publish the best (undergraduate) articles, fiction and verse by students in the University.” The words “and verse” were added after E.E. Cummings gave their class commencement speech in 1915 on “The New Art” extolling contemporary expressions in music, the visual arts, and literature. “What really brought down the house was Gertrude Stein’s Tender Buttons,” he’d later say about this bit in the speech:
“unquestionably a proof of great imagination on the part of the authoress, as anyone who tries to imitate her work will discover for himself. Here we see traces of realism, similar to those which made the “Nude Descending a Staircase” so baffling. As far as these “Tender Buttons” are concerned, the sum and substance of criticism is impossible. The unparalleled familiarity of the medium precludes its use for the purpose of aesthetic effect. And here, in their logical conclusion, impressionistic tendencies are reduced to absurdity. The question now arises, how much of all this is really Art? The answer is: we do not know. The great men of the future will most certainly profit by the experimentation of the present period. An insight into the unbroken chain of artistic development during the last half century disproves the theory that modernism is without foundation; rather we are concerned with a natural unfolding of sound tendencies. That the conclusion is, in a particular case, absurdity, does not in any way impair the value of the experiment, so long as we are dealing with sincere effort. The New Art, maligned though it may be by fakirs and fanatics, will appear in its essential spirit to the unprejudiced critic as a courageous and genuine exploration of untrodden ways…how much of all this is really Art? The answer is: we do not know. The great men of the future will most certainly profit by the experimentation of the present period.” – ee cummings 1915
*The Dial was founded by James Sibley Watson and Scofield Thayer. Emily Sibley Watson, Founder of Memorial Art Gallery in Rochester was friends with Marianne Moore
Wilson and e.e. cummings (1884-1962) were roommates at Harvard, friends who hit the town. (There’s one story with them caught at a prostitute’s apartment. Boys will be blech.) They remained friends enough to room together more and carouse Greenwich Village. Thanks to $1000 from Thayer, Cummings joined Wilson in New York at 21 East 15th Street in 1917.
There are striking parallels, comparisons, and secrets in the lives they led. Both men were artists and writers that had tragic and shattering life experiences, and estranged and scandalous family stories.
According to Virginia Spencer Carr‘s 1984 biography of John Dos Passos, Dos Passos envied these two: “Wilson was already signing his paintings (when he signed them at all) “Winslow Wilson” and Dos Passos surmised (when?) that he would be recognized eventually for his stunning portraits and seascapes. He was convinced that Cummings was too assured a reputation as a painter and saw Dudley Poore as the best poet of the lot from Harvard who aspired to a career in letters.”
All three enlisted in WW1. Cummings signed up for the volunteer ambulance corp along with Harvard chums Hillyer and Dos Passos. Cummings ended up a POW and wrote a novel about the experience, The Enormous Room. Cummings said he was a self-taught painter, helped along by friends from Harvard. Did he sign up for classes in New York? Where did Wilson study art in New York before WW1?
(Incidentally, Gertrude Stein was also a volunteer camion; it seems like a ‘who wasn’t?’ roster. The majority of the 3500+ drivers came from ivy league schools, especially Harvard. The American Field Service (AFS) ambulance unit grew to be the largest and was founded by Gloucester’s own A. Piatt Andrew in 1915, after helping out the year before.)
After the War, Wilson was in New York and abroad in Paris, and London (infamously). There was a blink of a marriage and divorce from Elizabeth Brice, and a daughter Caroline, a dancer, that he never saw again. At 34, Wilson and his 19 year old girlfriend Winifred Brown abandoned a baby. It was an international scandal. Wilson’s family stepped up and his brother Ernest raised the boy as his own. It was four decades before the baby learned about his biological parents. I know these wincing details because that boy, H Robert Wilson, is a good writer and did the research.
Arthur Wilson signed his paintings as “Winslow” Wilson, which fits as a wink at Homer. Seascapes as a subject. Private solitary life. It also works as a visual swapping out of “Tex” for East Coast “Winslow”. The initials become double letters (like e.e. cummings), and nearly a double name, minus one letter and there’s an anagram of Wilson. It’s even a way to differentiate his name ‘Arthur Wilson’ from other artists and writers with the same name(s), initials (AW or the comic Aww), and friends. Winslow Wilson is decidedly not Edmund Wilson (though like many writers he credits “nearly everything” about his sources of style as a painter to him), artist Edward Arthur Wilson, artist Arthur Wilson (UK), artist Arthur Wilson (LA), artist Edward Adrian Wilson, to name a few.
Mostly, Wilson using “Winslow” seems a deliberate break from his traumatic past: living with the death of his friend, letting his family down, fighting in WW1, divorce, scandal, family secrets, and that difficult ee cummings portrait poem about him.
E.E. Cummings poem “Three Portraits” (I. Pianist II. Caritas III. Arthur Wilson) is published in the modernist magazine the Broom: An International Magazine of the Arts, Volume 2, Number 4, July 1922. Founded and backed not nearly enough by Harold Loeb and Alfred Kreymborg, the Broom publication was a short lived (1921-24) modernist monthly featuring “unknown, path-breaking” writers and artists (reproductions, original designs, translations). The cummings poem ‘Arthur Wilson’ was illustrated with woodcuts by Ladislaw Medgyes. The issue’s cover design was by Fernard Leger;
Picasso, Modigliani and William Gropper drawings were reproduced inside.
The text for III. Arthur Wilson follows (refer to the image for the visual spatial break in cummings prose).
III. Arthur Wilson
as usual i did not find him in cafes, the more dissolute atmosphere
of a street superimposing a numbing imperfectness upon such peri-
grinations as twilight spontaneously by inevitable tiredness of flang-
ing shop-girls impersonally affords furnished a soft first clue to
his innumerable whereabouts violet logic of annihilation demon-
strating from woolworthian pinnacle a capable millenium of faces
meshing with my curiously instant appreciation exposed his hiber-
aimable immensity impeccably extending the courtesy of five o’clock
became the omen of his prescience it was spring by the way
in the soiled canary-cage of largest existence.
(when he would extemporise the innovation of muscularity upon the
most crimson assistance of my comforter a click of deciding glory
inflicted to the negative silence that primeval exposure whose elec-
tric solidity remembers some accurately profuse scratchings in a
recently discovered cave, the carouse of geometrical putrescence
whereto my invariably commendable room had been forever subject
his Earliest word wheeled out on the sunny dump of oblivion)
a tiny dust finely arising at the integration of my soul i coughed
Like The Harvard Monthly and The Dial, Broom contributors were or would become recognized luminaries: Sherwood Anderson, Guillaume Apollinaire, Hans Arp, Conrad Aiken, Kenneth Burke, Robert M Coates, Jean Cocteau, Malcolm Cowley, Hart Crane, Adolph Dehn, Andre Derain, Raoul Dufy, Paul Eldridge, T S Eliot, Wanda Gag, Robert Graves, Juan Gris, William Gropper, George Grosz, Rockwell Kent, Paul Klee, Fernand Leger, Lipchitz, El Lissitzky, Amy Lowell, Louis Lozowick, Marianne Moore, Henri Matisse, Amedeo Mondigliani, Laszlo Moholy-Nagy, Pablo Picasso, Man Ray, ‘Charles Sheeler, Gertrude Stein, Joseph Stella, Wallace Stevens, Paul Strand, Max Weber, William Carlos Williams, and Virginia Woolf among other artists and writers.
It was a small world and circle. The Broom contributors likely read that ee cummings poem about Wilson, and several knew both men. Names carried over from the Harvard-Dial network (Amy Lowell, Marianne Moore).
EE Cummings published Part III in later editions by the title “as usual I did not find him in cafes” omitting Arthur Wilson’s name.
to see writer, friend and editor R. Stewart Mitchell (1892-1957) who had a home here. Stewart Mitchell was another Harvard alumni (1915) and former Harvard Monthly editor. His face inspired the nickname “The Great Auk”. How nice being friends with artist-writers.
After serving in WW1, Mitchell was a managing editor and regular contributor for The Dial from 1919-21, then published poet. From 1928-1937 he was Managing Editor of the New England Quarterly journal, and from 1929- 57 an editor and Director of the Massachusetts Historical Society. On the Ma Historical Society seal : “It would hardly have done to compare the members of the Society to oxen, sheep, or birds … but bees had always had a good reputation for the sweetness and light of their honey and their wax. “– 1949 Stewart Mitchell
Did Cummings and Arthur W. Wilson come to Gloucester while attending Harvard or at other times in the 1920s to see Stewart? Was Cummings in Gloucester other years, decades? Did Wilson and Mitchell re-connect in Gloucester? John Sloan’s etching Frankie and Johnnie illustrates EE Cummings’ play HIM. Did Wilson interact with Stuart Davis in Gloucester or New York?
(Aside: In 1984 the play ViVa Cummings! opened in Gloucester under the direction of William Finlay and the New Stillington Players. Did they know Cummings had been here…)
Wilson fails to update his Harvard alumni association requests. Here’s the 1935 entry:
Wilson’s painting from the 1951 Contemporary American Artists exhibition at the Associated American Artists won the people’s choice award, and his solo exhibit in June was attended and written about by Eleanor Roosevelt in her nationally syndicated MY DAY column:
HYDE PARK, Sunday—At lunch last Friday I had a visit from Mr. Tatsukichiro Horikawa, who is over here from Japan on a trip studying the World Federation movement in different countries. He has visited Switzerland, Germany, France and England, as well as the United States, and he came to see me before in New York City; but he wishes particularly to come up to Hyde Park and place some flowers on my husband’s grave.
I was especially interested in talking to him because, like so many of the World Federalists, he felt that the United Nations was very inadequate. He felt one must bring about more unity—and particularly, if we were going to have any settlements in the Far East, there must be unity between Great Britain and the United States as well as the other nations in their policy.
I asked him if he did not think it was a good deal to expect to have a unified policy among 60 nations when the organization bringing them together had been in existence only six years. It seems to me it requires longer for people to understand how the other peoples think and feel. World federation might someday be possible, but not until people have had a greater length of time to find out about each other. One of the American World Federalist members had also written me saying that the federation must come first and then be followed by understanding. I think this begs the question of how you obtain the federation and how, having obtained it in name, you do anything practical with it.
In New York City on Thursday afternoon I went to see an exhibition of paintings of the sea done by Winslow Wilson, at the Associated American Artists Galleries on Fifth Avenue. This exhibition was arranged under the auspices of Greenwich House, toward whose support a portion of the proceeds of any sale will go.
Mr. Wilson told me he did not paint actually from a scene he was looking at, but from memory. He said he particularly liked to use the sea because it was to him a symbol of the stress and strife we were all going through at present; and still it had a kind of discipline and control which was what most human beings were striving for today and finding difficult of achievement. I found some of his paintings quite beautiful, and reminiscent of many seacoasts I have known. In certain ones the light made one think of tropical climates; in others the shores of Maine seemed to stand out. More often the sky and the sea were stormy, but the light was nearly always breaking through. Let us hope that out of this turbulent period of history the light will break through for all human beings.
The other day I was sent a little pamphlet written by Eloise R. Griffith on the national anthems and their origin. I think this will be of interest to a great many people who want to know a little more than the mere words of the songs which we hear sung so often.” – Eleanor Roosevelt
I am thunderstruck reading a portion of sales would benefit Greenwich House. Talk about an undercurrent.
“A complete study of Cummings should take penetrating account of his painting and drawing. And no estimate of his literary work can begin without noting the important fact that Cummings is a painter.” That’s the opener for Syrinx., a critique of Cummings by Gorham B. Munson published in Secession July 1923. “His first stimulus comes from the emotional and perceptive materials of his experience…Cummings has jabbed his pen into life, but he has also twisted it in the wound, and it is this twist of the pen that makes literature.”
Knowing ee cummings facility with visual arts transforms how his poems read. He identifies both pursuits. The press announcement for Cummings appointment at Harvard in 1952 affirmed that he resided in New York City, writing and painting since the year 1920. It wasn’t that he sculpted marks–‘scratchings’- that could be seen as pictures in print,–it’s this charge when visual art and writing advance toward or basically obliterate media boundaries.
After reading Wilson’s 1951 Manifesto For Post-Modern Art published under his pseudonym Pico Miran, I felt a similar tug. For Wilson, when it comes to ideas and individuality, words and paint –and as many names and identities to match– matter. Some of Wilson’s paintings could be shown alongside pages from ee cummings The Enormous Room.
There are takeaways and points one can make about this manifesto and painting series of Wilson. I can think of art I’d like to show together with this work.
Yikes, the thoughts about women! Here’s Wilson writing as Pico Miran in his Manifesto, emphasis on man apparently:
“But while he proposes to save the personal symbol, he must emphatically reject the conception of its privacy–a conception which he is compelled to regard as an effeminate misery: he cannot help thinking an almost unmanly exaggeration of the one bit of feminine make-up in every artist, here flouncing in absurd esthetic millinery, with coy desire for secretiveness, mysterious subjectivity, and vain feelings of cryptic superiority to the vulgar mass.”
Wilson evidently maintained some contacts; note the supportive reviews by friends (Moore, Burke, Wheelock) later reprinted for his 1957 solo exhibit at Vose Galleries in Boston. Edward Alden Jewel, the New York Times critic, described Wilson as “living a hidden life of pure dedication and drudgery” in his 1951 NYC AAA review.
On Cape Ann, Wilson taught figurative painting through the Rockport Art Association, which he joined in 1946. Wilson is recollected as a dazzling teacher who could bring out the best in his students. One student’s 2015 recollection is a must read: “Bing McGilvray of the Cape Ann Museum was fortunate to communicate with a local artist familiar with Wilson, Betty Lou Schlemm.” Wilson sounds like the famous and captivating professors at Harvard. Another unforgettable piece about Wilson’s biography concerns a local exchange between Pico Miran and Peter Anastas following a 1954 review by the latter.
For local readers, the www.winslowwilson.com website helpfully provides some Gloucester addresses associated with Wilson.
21 Est 15th Street, 154 East 39th Street, Carnegie Hall, 3 Washington Square North in Greenwich Village, Woodstock, N.Y., and Lime Rock, CT.
Last Monday Chris DeWolfe challenged the boys at the HomieCast taping to show up for a Saturday Morning Community Cross Fit class. James Eves and I took the challenge and Craig Kimberley was there to
bust our balls encourage us while taping the whole thing.
Here’s your update:
Update. It’s tough. For those that can’t appreciate that to make gains in health, stamina, weight loss and confidence you need to exert lots of energy and push themselves, then this isn’t for those people. The positive energy in that room was unbelievable. Am I sore this morning? You betcha. Love it. People in there were fit. There was so many different levels of positive experience to share about it I’m not sure where to begin. But when you’re working in a team with a goal and everyone there is encouraging you every step of the way it’s pretty fucking awesome. So if people want to go to the gym and lollygag around, this isn’t the place for them. But if they want to see real results in an unbelievably positive group environment it’s hard to beat.
I’ve worked out for good stretches for most of my life. I consider myself pretty well versed in what you need to do to get in shape. Having said that I’d bet that most people that train their bodies conventionally like I’ve done forever miss a good part of their body parts because they do specific exercises aimed at specific body parts. With cross fit, you’re doing movements that require energy to be expended using multiple body parts at the same time and that is a really efficient use of your training time and a way to burn a shit-ton of calories.
I’m sore. Yep. A good sore and I wouldn’t have it any other way.
Thanks Chris for suggesting it and Jon Conant at Cross Fit Cape Ann for hosting us.
Big props to the only other HomieCast member to show up- James Eves who powered his way through right to the very end!
Check out Cross Fit Cape Ann Online for more info- https://crossfitcapeann.com/
Jeff Cheering Good Morning Gloucester’s own Joey C. through the final 250M interval of a 6000M team effort on Saturday. Thanks to all who came out to make Saturday so fun and high energy.
Craig Kimberley photos-
VIP People Get VIP Plates. That’s how the world works.
Get yours at http://www.capeannchamber.com
Yes Kate, you are #1
Yesterday morning’s marsh view
You know, it’s insane how blessed we are to have places like The Franklin right in our downtown. Maria Seniti Figurido and staff have just been flat out executing a perfect balance of friendly staff, expertly prepared dishes and a gorgeous room and they’ve been doing it for years.
I don’t know how they manage to keep it fresh the way they do but every time we dine there we walk out and say, you know, we gotta go there more often. Thanks Maria, Joe and Stafano for a fantastic dinner. We’ll be seeing you again soon!
FRESH presents an evening of seed starting! At 7pm on March 2, local gardening expert Suzanne Gosselin will teach the ins and outs of starting seeds indoors. You’ll leave this workshop with new inspiration and knowledge for gardening and designing into the spring and summer! Sign up here!
Thu, March 2, 2017
7:00 PM – 8:00 PM EST
6 Wonson Street, Gloucester, MA
This workshop is part of FRESH, a six-week exhibition with accompanying workshops and presentations hosted by the Rocky Neck Art Colony (RNAC) and Backyard Growers.
In this exhibition, artists from all over New England will present works that reflect on the theme FRESH, exploring the ways in which food connects us to the earth, nourishes us, and ties us to warmth, family, friends, and memories. Join us in celebrating the new life that emerges as we leave the dark of winter for the optimism of spring! Contemporary, experimental…
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The Az One Duo will stir your soul and rock your boat with their contemporary Gospel style that is full of tenderness, vocal prowess and humor.
The Reverend Janet Parsons will address the challenges we face to become an authentic anti-racist voice in her homily: Confronting Our Whole History: Trying, Failing and Trying Again.
Child care is available during the service. All are invited to the community hall immediately following the service for refreshments and socializing.
Hello Joey C.
Thank you so much for effort you make sharing the Cape Ann experience with your followers in Good Morning Gloucester.
I did enjoy your write up. But I wanted to forward the real reason I made the decision to turn off scoring.
Attached below is a company wide memo I sent my staff a week ago. Also included is an article I reference to support my decision. Over the past month and a half, we have seen a rise in problems with parents…… not the players. The scores make the parents crazy….not the kids.
Please take the time to look at the article attached and please, please, please feel free to call me if you have any questions. If you have a problem pulling up the attached article…..google Thomas Junta.
Best regards and intentions,
Danvers Indoor Sports
And not every body gets a trophy at DIS ; )
Subject: Cabin Fever Season – Company wide Memo
Some of you are already aware that I reference the time from January one to March 31 as “Cabin Fever Season. The term can be humorous in nature but I take it very serious. It is not documented but this time line window is what i consider problematic. Over the years, I have seen a rise in emotional instability in all aspects of our business. Whether it is Players, Coaches and even worse parents, it is notable to project that situations can escalate where our customers are not using filters they usually have to contain the simplest rise in emotions.
I attached a news story that some of you may remember. It is a world we live in everyday. I ask you to read it thoroughly to understand how easy it could be that we, can find ourselves in this situation.
I depend on all of you to be the ground forces to see these situations and diffuse them accordingly. I am always close by either in person or phone to assist you. Josh is here for you as well. We have seen it and have dealt with these situations in the past and would be quick to assist you.
Starting today, any league games other than basketball, that we regulate will be scoreless for one week. I will be turning off the scoring features on the scoreboards from 2/17/17 through and including 2/24/17 as a reminder to everyone, that we are conscious of potential spikes in emotions.
If anyone asks, Your DIS response or something similar to this can be; “No, the clocks are not broken. We are recognizing that this is game and respectfully ask all of our patrons to understand that is only a game.” Believe me, this will not be sufficient for a good portion of those whom inquire. This decision will strike a cord with the people that may have lost sight of what they are doing here. You will even get negative discourse back. You will even hear grumblings of people upset with the fact that we shut off the scoring.
This is the intent. Bring out the elephant in the room and go after it.
The referees will still be able to keep time but discourage to not use the scores. Any referee, not adhereing to the week long process will be talked to. Referees are to report win and losses as normal, with actual scores.
Enjoy the attached read. It is a reminder of how bad things can turn worse.
From the New York Times-
By FOX BUTTERFIELDJAN. 26, 2002
Thomas Junta, who beat another father to death after an argument at a practice hockey game, was sentenced to 6 to 10 years in prison today, double the state’s guidelines for his crime, involuntary manslaughter.
Judge Charles Grabau of Middlesex County Superior Court accepted the prosecutor’s sentencing request, calling it ”lenient and most generous” given the circumstances of the killing. The judge said he had even ”contemplated exceeding the commonwealth’s recommendations.”
The reason for the longer sentence, Judge Grabau said, was that he found ”aggravating factors” in the killing. In particular, the judge said, the fatal beating took place at a youth hockey game and the sons of both Mr. Junta and the victim, Michael Costin, witnessed it.
But, presumably addressing the millions of Americans who watched the trial on Court TV and CNN, Judge Grabau said, ”My sentence is not meant to send a message to anyone in the outside world” about parental rage in youth sports.
Thomas Orlandi Jr., Mr. Junta’s lawyer, called the sentence extreme and said he had already filed an appeal. Mr. Orlandi had sought a suspended sentence with community service for Mr. Junta, 44. The lawyer insisted at the sentencing hearing, as he had throughout the trial, that Mr. Junta had acted in self-defense.
Mr. Junta maintained his composure while two of Mr. Costin’s sons, addressing the court as victims, described how much they missed their father, who cared for them as a single parent. But Mr. Junta dropped his head in his hands and began to weep when Mr. Orlandi read letters by his own son and daughter asking Judge Grabau to release him on probation so he could help care for them.
In his address, Brendan Costin, 14, the oldest of Mr. Costin’s four children, recalled the hockey game as ”just an average day at the skating rink,” he said, until a stranger began attacking his father, sending blood rushing down his face and causing him to lose consciousness.
”I realized I had just witnessed my dad literally being beaten to death,” Brendan said.
Mr. Costin’s sister, Mary Barbuzzi, said she considered the sentence fair. ”We believe justice has been served,” Ms. Barbuzzi said. ”Our prayers will be with the Junta family, and our family will try to move beyond this tragedy.”
Under state law, Mr. Junta must serve at least the minimum sentence, six, though he could receive a few months off for good behavior. Mr. Junta, a 270-pound truck driver who outweighed Mr. Costin by more than 100 pounds, will be sent to the state prison in Walpole.
After the judge rendered his sentence, Mr. Junta’s 11 brothers and sisters pushed their way out of the court; some cursed at reporters.
”I am shocked,” John Junta, a brother, said. ”I was hoping for probation. But I thought at least he would get state guidelines.”
Mr. Orlandi said a major ground for appeal would be that Judge Grabau refused to let him introduce evidence that Mr. Costin had psychiatric troubles and a lengthy record of convictions for petty crimes. Mr. Orlandi said that evidence would have shown that Mr. Costin, not Mr. Junta, had been the likely aggressor.
Mr. Orlandi tried again to introduce this evidence in the sentencing hearing by reading letters from Mr. Junta’s two children and a friend who alluded to Mr. Costin’s troubles. But Judge Grabau said he was ”disturbed by the disingenuous introduction of Mr. Costin’s character.”
”This is an attempt to shift the focus to the victim as culprit,” Judge Grabau said.
As a retort, Judge Grabau told the packed court room and the national television audience that the beating at the hockey rink on July 5, 2000, in Reading, north of Boston, was not the first time Mr. Junta had used his fists in front of his children. In 1991, Judge Grabau said, Mr. Junta had repeatedly struck his wife while their children watched, at a wedding. His wife took out a restraining order, but she never pressed charges and continued to live with him.
The fatal fight began when Mr. Junta said he saw a team of young players, including Mr. Costin’s three sons, using overly aggressive play against a team on which his son, Quinlan Junta, then 10, was playing. Mr. Junta argued with Mr. Costin about it, and later the two men scuffled just off the ice until Mr. Junta was told to leave the arena. But he soon came back, so enraged that he pushed aside the assistant rink manager, Nancy Blanchard, leaving a large bruise on her arm, Judge Grabau recalled today.
The two men soon encountered each other again, with Mr. Junta ending up atop Mr. Costin, punching him in the head and neck so hard that he severed an artery at the base of Mr. Costin’s brain.
Massachusetts sentencing guidelines recommend a sentence of 3 to 5 years for a first-time offender for involuntary manslaughter. In imposing the stiffer sentence, Judge Grabau came close to what the guidelines recommend for a first-time offender found guilty of voluntary manslaughter — 8 to 12 years.
In his victim’s address, another son of Mr. Costin, Michael, now 13, spoke of learning of his father’s death from a doctor.
”Right there, I knew my life would never be the same,” Michael said. ”My life hasn’t been the same. My dad isn’t there in the morning to wake me up. He isn’t there when we play sports.”
”Your honor,” Michael said, ”No matter how much of a sentence that you give Thomas Junta, my dad got more. My dad will never be back to me and my family.”
Anyone have any idea of what may have left these behind? The second set of tracks (seen in the second two photos) kind of looks like you can see a tail dragging.
The ABSOLUTE 100% highlight of my week is getting to watch my daughters play soccer. I LOVE the place where they play –Danvers Indoor Sports. It is clean, well run, and an awesome modern place where the kids can get their sporting activity on even in the dead of winter.
But I’m afraid that the place where my favorite thing in the world to do has now succumbed to the idiots that have brought us participation awards instead of tournaments where there are winners and losers.
A couple of weeks ago the scoreboards stopped keeping score. The timers worked just fine, but when a team scored a goal, it didn’t register. Among the parents we just assumed that the scoring system where the ref changes the scores was broken. But yesterday we found out that it was a conscious decision to stop displaying the scores because people were getting too charged up over the scores and because… feelings.
I can’t BELIEVE IT!
Are you kidding me??????
We’re just gonna stop keeping score now?????? I can’t, I really really really can’t believe that this is a thing. I’m so beyond disappointed that this is the direction people want to go with the youth of America. So soft. So beyond soft.
This is craaaazy.
Here are my new nerdy prescription eyeglasses. $100 delivered to my door.
No brainer. Now I know why John McElhenny and Kim Smith sing Warby Parker’s praises.