Live music while waiting for your luggage at Logan? Pass the Advil, please.
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'Everyone enjoys live music, and if we can make the experience of waiting for your luggage a little better, that's a win,' Massport CEO Rich Davey said at a press conference announcing the new program.
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Let me add a quick disclaimer to Davey's statement. Not everyone enjoys live music, especially if they've just gotten off a flight and want to get their suitcase and hightail it out of Logan with minimal obstacles. For some folks, the noise of the passengers and the carousel announcements is too much already. I have the utmost respect for musicians, but that respect erodes when I'm trying to listen to a podcast or catch up on reading, and a subway busker is drumming like it's opening night at 'Stomp.' The worst audience to be a part of is a captive audience.
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I applaud the intention behind
The airport experience is already stressful, no matter which airport you're talking about. When passengers arrive, there's the stress of transport, check-in, security, and making it to the gate on time. Once they land, there are new obstacles, such as 'Will my suitcase be here?' and 'Which major highways are closed this weekend?' Now, we'll have 'I hope I packed my earplugs in case that Berklee jazz-fusion harpsichordist is playing at the baggage carousel.'
If I were a more glib and uncaring person, I would suggest that the musicians perform on the tarmac to inspire the luggage handlers to move faster. Perhaps the musicians could even help out the baggage handlers with some of the labor. Getting luggage faster rather than listening to music while waiting for it would truly enhance the passenger experience.
My advice for the powers that be at Logan is that instead of adding sounds — no matter what they are — to the airport, they should try to eliminate them. A campaign to get people to use headphones or take calls off speakerphones would certainly help enhance the passenger experience. If passengers are looking for music, let them pop in their earbuds and enjoy a song of their choosing.
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Christopher Muther can be reached at
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Boston Globe
2 days ago
- Boston Globe
Live music while waiting for your luggage at Logan? Pass the Advil, please.
Get Starting Point A guide through the most important stories of the morning, delivered Monday through Friday. Enter Email Sign Up 'Everyone enjoys live music, and if we can make the experience of waiting for your luggage a little better, that's a win,' Massport CEO Rich Davey said at a press conference announcing the new program. Advertisement Let me add a quick disclaimer to Davey's statement. Not everyone enjoys live music, especially if they've just gotten off a flight and want to get their suitcase and hightail it out of Logan with minimal obstacles. For some folks, the noise of the passengers and the carousel announcements is too much already. I have the utmost respect for musicians, but that respect erodes when I'm trying to listen to a podcast or catch up on reading, and a subway busker is drumming like it's opening night at 'Stomp.' The worst audience to be a part of is a captive audience. Advertisement I applaud the intention behind The airport experience is already stressful, no matter which airport you're talking about. When passengers arrive, there's the stress of transport, check-in, security, and making it to the gate on time. Once they land, there are new obstacles, such as 'Will my suitcase be here?' and 'Which major highways are closed this weekend?' Now, we'll have 'I hope I packed my earplugs in case that Berklee jazz-fusion harpsichordist is playing at the baggage carousel.' If I were a more glib and uncaring person, I would suggest that the musicians perform on the tarmac to inspire the luggage handlers to move faster. Perhaps the musicians could even help out the baggage handlers with some of the labor. Getting luggage faster rather than listening to music while waiting for it would truly enhance the passenger experience. My advice for the powers that be at Logan is that instead of adding sounds — no matter what they are — to the airport, they should try to eliminate them. A campaign to get people to use headphones or take calls off speakerphones would certainly help enhance the passenger experience. If passengers are looking for music, let them pop in their earbuds and enjoy a song of their choosing. Advertisement Christopher Muther can be reached at
CBS News
3 days ago
- CBS News
Logan Airport in Boston raises Uber, Lyft fees and parking rates
Logan Airport in Boston has raised its fees for taking an Uber or Lyft to catch a flight, as well as the cost of parking in a garage. The new prices went into effect Tuesday. It will now cost an extra $5.50 each way for Uber and Lyft passengers, up from the previous fee of $3.25. Earlier this year, Massport proposed hiking the fee to $7.50 before a compromise was reached. As part of the deal, passengers can now be dropped off right in front of the terminal doors, instead of at a designated spot in the garage. The deal also gives Uber and Lyft drivers more time to accept pickup requests after making an airport drop-off, calls for more shared ride opportunities and requires the companies to launch a shuttle service to Logan. Massport CEO Rich Davey said at the time that the compromise would allow for "new, cheaper ways to get to Boston Logan," while also addressing traffic issues. Logan Airport parking prices Garage parking is also more expensive at Logan now. The maximum price to park at the airport's main garage is now $46 daily, up from 41 a day. Parking in the economy garage is now $37 a day, up from $32. Getting to Logan Airport Travelers can take the MBTA's Blue Line to the airport, or take the free Silver Line from South Station. The Logan Express bus is available from Braintree, Danvers, Framingham and Woburn for $9 each way, with parking for $7 a day. There's also a Logan Express from Back Bay for $3 to the airport, with a free ride back.
Boston Globe
26-06-2025
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Opening Jacob's Pillow's season, Dorrance Dance stays true to the beat
Advertisement The stern yet buoyant Tomoe 'Beasty' Carr rotates her forearms with speedy precision; Fritzlyn Hector circles her arms, offers the audience her palms; Zakhele 'Bboy Swazi' Grabowski's handstand is more stable than funding for the arts. With fast feet, bent knees, and heavy arms, each dancer in the ensemble moves through and around the rhythm of composer Donovan Dorrance's score and John Angeles's live percussion, making visible the syncopated, polyrhythmic interplay between motion and sound. (Angeles and Michelle Dorance share roots in the percussion sensation 'Stomp.') "The Center Will Not Hold" at Jacob's Pillow Dance Festival 2025. Christopher Duggan Photography A downcast square of light illuminates Dorrance and Asherie centerstage. They grasp hands but look away; they adjust their black cropped blazers rocking back on one leg; they look toward each other, but find no recognition in the other's eyes. Advertisement Behind them, three more pairs of dancers are revealed in similar dress. The swing of a knee, touch of a foot, and pulsing lift of the torso echoes quickly from one partner to the next with syncopated precision. Some of the best moments are when Angeles performs from inside and among the dancers onstage; he wears a snare drum holstered around his neck, which he beats insistently, twirling his drumsticks for a flourish. His punctilious and insistent rhythms are a worthy match for Dorrance's razor-precise taps that perch on the edge of control. Dorrance Dance has been blending tap with contemporary dance forms for years, but the meat has been percussive movement. This evening's vocabulary is just as much hip-hop as tap. If tap and hip-hop have something in common, it is a shared worship at the altar of 'The Beat.' Dorrance has been hinting at the intertwined histories of tap and hip-hop for years, but this piece, with one dance happening next to the other, reveals through proximity rather than fusion just how tangled the two are. 'The Center Will Not Hold' pairs tap with regional hip-hop styles from the East, West, and Midwest. With so many distinct hip-hop forms on one stage, the dancers are brought into conversation not by the saccharine promise of connection across difference (the dancers often look serious, keeping to themselves), but simply by performing near to each other. The roll of a torso echoes in the fluid locking of an arm; the dexterity of Memphis jookin is made audible by a tap shoe. Historically, tap and hip-hop are both Black American dance forms that originated as street dances — refined and expanded through improvisation and exchange outside the colonialist influence of the 'institution.' Advertisement Jacob's Pillow is nothing if not an institution, and for the festival to open its season with a tribute to the intertwining vernaculars of Black American dance traditions feels important, even if it arrived under the name of a white woman. But Dorrance has long understood this — hence the way she credits the work. The center will not hold, nor should it. THE CENTER WILL NOT HOLD At Jacob's Pillow's Ted Shawn Theatre, Becket, runs through June 29. Tickets start at $65. 413-243-0745; . Sarah Knight can be reached at sarahknightprojects@
