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Folk songs about climate change? Yup, people in Maine are listening. – The Boston Globe

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Folk songs about climate change? Yup, people in Maine are listening. – The Boston Globe


To be sure, singing about climate change can be a tough sell.

“It was scary at first,” Zak said. “When you write love songs or other popular music, there are set maps to follow. Trying to incorporate climate change into music isn’t something a lot of people do.”

The band GoldenOak sings about issues like flooding related to climate change. Hampton, N.H. was hit by floods on Pearl Street in January 2024. Jonathan Wiggs/Globe Staff

But it seems to be working. The band, GoldenOak, has around 20,000 monthly listeners on Spotify and counting, and their top song has more than 300,000 listens. A previous project from the band won EP of the year by the Portland Music Awards.

GoldenOak, made up of siblings Zak and Lena Kendall, bassist Mike Knowles, and drummer Jackson Cromwell, formed around 2016. As the band’s main lyricist, Zak draws on his background in ecology and his close attention to how climate change is reshaping daily life in Maine.

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At the College of the Atlantic, he studied human ecology, immersing himself in climate science and environmental issues while sneaking in song writing between classes. After graduating, he dove into climate activism as executive director of Maine Youth for Climate Justice.

Then he began to notice something: tropes of displacement, violent storms, and dying forests were bleeding into his lyrics. He saw a way to combine his passions of climate activism and folk music, and that convergence has defined his songwriting ever since.

Bands like AJR and Grammy-winning artist Jon Batiste have also sung about climate change. “As an artist, you have to make a statement,” Batiste said in an interview with Covering Climate Now. “You got to bring people together. People’s power is the way that you can change things in the world.”

Batiste called “Petrichor,” his recent song, “a warning set to a dance beat.” GoldenOak’s discography has taken it a step further, featuring multiple conceptual albums bringing climate urgency into the folk tradition.

Zak Kendall onstage at GoldenOak’s album release show.Ryan Flanagan

The band’s first climate-focused album, Room to Grow, is a ten-song invitation to climate action, laying out what’s at stake and why the natural world is worth protecting.

In “Ash,” for instance, Kendall frames the loss of ash trees as a kind of breakup song — a farewell to a species that once filled the forests where he grew up. This was the wood he carved into canoe paddles, and that Wabanaki basket makers relied on for generations, a tree species now disappearing under the spread of the emerald ash borer.

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Most of the album leans somber, with nine tracks moving between poetic depictions of ecological loss, frontline activist anthems, and moments of climate hopelessness. But its most popular song, “little light,” reaches in the opposite direction: a hopeful ode to renewable energy and indigenous knowledge.

“Music can be a powerful form of activism,” Zak said. “Over time I found a way to incorporate my lived experience, academic research and frontline stories to tell these stories.”

It’s a hard balance, Zak explains. Push the climate narrative too far and suddenly you’re just singing statistics; lean too much on personal experience and it becomes just another introspective track.

With All the Light in Autumn, released December 5, Zak keeps testing that balance. Ten birds on the album cover represent its ten songs. Some, like “The Flood” and “All the Birds,” return to themes of ecological loss, while others pull back to connect climate change to the political forces shaping it.

Written in the weeks after the presidential election, the song “Always Coming, Always Going” confronts the environmental protections dismantled under the Trump administration. Other tracks take aim at resource extraction under capitalism, environmental inequity, and the hollow myth of the American dream.

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“Before this album came out people kept asking me if this one would be about climate change too,” Zak said. “And I think the answer is always going to be yes because climate change touches every aspect of our lives.”

Folk music grappled with environmental themes long before the genre’s famed artists recognized them — ballads about coal country, songs about scarred landscapes. Now, the relentless cycle of climate impacts may push more artists to write about it, extending even into mainstream pop.

“Music can help people process their emotions about climate change,” said Fabian Holt, a former music sociologist at Roskilde University in Denmark who now studies climate and culture. “But it can also serve as a medium for mobilization.”

“Just writing these songs about climate change doesn’t always feel like enough,” Zak said. “We try to lean into our role as activists, creating spaces for people to gather and share their own stories.” GoldenOak uses its platform to promote voting initiatives, amplify protests, and sometimes even perform at them.

Back onstage, Zak and Lena lean into the microphone to dedicate their most beloved song to climate activists and people living on the frontlines. Its lyrics insist on hope, even when climate progress falters. As the crowd joins in, humming, singing or whispering the words to themselves, it becomes clear how music can turn shared climate grief into collective resolve.

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This story is published in partnership with Inside Climate News, a nonprofit, independent news organization that covers climate, energy and the environment.





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Rangeley Heritage Trust creates Friends of Western Maine Dark Sky

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Rangeley Heritage Trust creates Friends of Western Maine Dark Sky


The ‘Friends of Western Maine Dark Sky’ group meets March 3 at the Rangeley Lakes Heritage Trust office in Rangeley. They discussed the formation of the group as well as the process for designating the town as a dark sky community. (Quentin Blais/Staff Writer)

Looking up at the night sky in northern and rural Maine, it is a sight to behold, almost unique in today’s lit-up world. The Rangeley region is one of the last areas in the Northeast largely untouched by light pollution.

It is also a draw for many tourists and stargazers who come to the region for the clear view of the night sky.

A new group called Friends of the Western Maine Dark Sky hopes that by limiting the amount of light pollution, those views will be preserved for generations to come.

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The group gathered at the Rangeley Lakes Heritage Trust on March 3 to talk about ways to educate the community on the importance of dark skies to the region.

One of their primary efforts is to try to designate Rangeley as an official Dark Sky community.

The designation will require a few steps. First, an application will be submitted to DarkSky International expressing an interest. Then, the town of Rangeley will need to adopt a new lighting ordinance at the June town meeting.

A new state law taking effect in October will require publicly funded outdoor lighting across the state to be dimmed at night to protect wildlife and dark skies. This includes using warm, yellow-toned bulbs, dimming or turning off nonessential lights and shielding lights so they don’t shine upward into the sky.

The town ordinance would create guidelines similar to the state laws on the kinds of lights used in town, as well as restrict some signs, such as LED message boards. Existing boards would be allowed to remain in place.

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“The fact that the existing signage is grandfathered in perhaps bodes well for getting an approval of the town meeting,” said Linda Dexter, Dark Sky community certification coordinator at the Rangeley Lakes Heritage Trust, who is leading the effort. “It’s going to impact businesses in the town … right out of the gate, folks will tend to not vote for it.”

Even if an ordinance passes, change would likely be slow. Most of the group’s efforts will be on community education, such as informing seasonal residents to turn off the lights at their camps while they are gone for the winter. Also, the application may not be approved for up to six months after it is submitted, Dexter said.



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This Classic New England-Style Cottage in Maine Has 200 Feet of Atlantic Ocean Frontage

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This Classic New England-Style Cottage in Maine Has 200 Feet of Atlantic Ocean Frontage


A waterfront home with open ocean views on the coast of Maine came to market Tuesday asking $4 million. 

Built in 1978, the three-bedroom cottage is at the southern point of Cape Elizabeth, less than 10 miles from downtown Portland. The 1.1-acre property on Sunny Bank Road features 200 feet of south-facing water frontage on the wide open Atlantic. 

It is bordered by a rocky sea wall that’s about 28 feet high, according to listing agent Sam Michaud Legacy Properties Sotheby’s International Realty

“The views are like a Monet painting,” he said via email. “The water sparkles and the waves are endless.”

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The 3,364-square-foot home was built in classic New England style, with shingle siding, a single sloped roofline and large windows—complemented by white-washed walls, exposed-beam ceilings and wide-plank flooring on the interiors. 

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The main common area features cathedral ceilings with a step-down between the living and dining room, and a partial wall divides the dining room from the kitchen. There is also a wood-paneled family room off the kitchen, a gym and a covered porch. 

The sellers purchased the property in 2010 for $1.562 million, according to property records accessed through PropertyShark. They could not immediately be reached for comment. 

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“I have received quite a few inquiries since hitting the market two days ago,” Michaud said. “Buyers understand that this is a golden opportunity to own over an acre with 200 feet of bold oceanfront in Cape Elizabeth.”

MORE: Iranian Strikes on Dubai Put the City’s Roaring Real Estate Market to the Test

There are currently just seven three-bedroom homes available for sale in Cape Elizabeth and fewer than five waterfront properties, according to Sotheby’s and Zillow data. It is also the most expensive listing in the town, with another waterfront property on a tiny lot just south of Portland coming in a close second, according to Zillow. 

Michaud sold the former Cape Elizabeth home of Bette Davis this past summer for $13.4 million, the priciest sale on the cape in at least a decade—and even those views can’t compare. They’re “just magical,” he said. 



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NECEC conservation plan will not protect Maine’s mature forests | Opinion

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NECEC conservation plan will not protect Maine’s mature forests | Opinion


Robert Bryan is a licensed forester from Harpswell and author or co-author of numerous publications on managing forests for wildlife. Paul Larrivee is a licensed forester from New Gloucester who manages both private and public lands, and a former Maine Forest Service forester.

In November 2025, the Department of Environmental Protection (DEP) approved a conservation plan and forest management plan as mitigation for impacts from the NECEC transmission corridor that runs from the Quebec border 53 miles to central Maine.

As professional foresters, we were astonished by the lack of scientific credibility in the definition of “mature forest habitat” that was approved by DEP, and the business-as-usual commercial forestry proposed for over 80% of the conservation area.

The DEP’s approval requires NECEC to establish and protect 50,000 acres to be managed for mature-forest wildlife species and wildlife travel corridors along riparian areas and between mature forest habitats. The conservation plan will establish an area adjacent to the new transmission corridor to be protected under a conservation easement held by the state. Under this plan, 50% of the area will be managed as mature forest habitat.

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Under the forest management plan, a typical even-aged stand will qualify as “mature forest habitat” once 50 feet tall, which is only about 50 years old. These stands will lack large trees that provide wildlife denning and nesting sites, multiple vegetation layers that mature-forest birds use for nesting and feeding habitats and large decaying trees and downed logs that provide habitat for insects, fungi and small mammals, which in turn benefit larger predators.

Another major concern is that contrary to the earlier DEP order, the final approval allows standard sustainable forestry operations on the 84% of the forest located outside the stream buffers and special habitats. These stands may be harvested as soon as they achieve the “mature forest habitat” definition, as long as 50% of the conserved land is maintained as “mature.”

After the mature forest goal is reached, clearcutting or other heavy harvesting could occur on thousands of acres every 10 years. Because the landowner — Weyerhaeuser — owns several hundred thousand acres in the vicinity, any reductions in harvesting within the conservation area can simply be offset by cutting more heavily nearby. As a result, the net
mature-forest benefit of the conservation area will be close to zero.

Third, because some mature stands will be cut before the 50% mature forest goal is reached, it will take 40 years — longer than necessary — to reach the goal.

In the near future the Board of Environmental Protection (BEP) will consider an appeal from environmental organizations of the plan approval. To ensure that ecologically mature forest develops in a manner that meets the intent of the DEP/BEP orders, several things need to change.

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First and most important, to ensure that characteristics of mature forest habitat have time to develop it is critical that the definition include clear requirements for the minimum number of large-diameter (hence more mature) trees, adjusted by forest type. At least half the stocking of an area of mature forest habitat should be in trees at least 10 inches in diameter, and at least 20% of stands beyond the riparian buffers should have half the stocking in trees greater than or equal to 16 inches in diameter.

Current research as well as guidelines for defining ecologically mature forests, such as those in Maine Audubon’s Forestry for Maine Birds, should be followed.

Second, limits should be placed on the size and distribution of clearcut or “shelterwood” harvest patches so that even-aged harvests are similar in size to those created by typical natural forest disturbance patterns. These changes will help ensure that the mature-forest block and connectivity requirements of the orders are met.

Third, because the forest impacts have already occurred, no cutting should be allowed in the few stands that meet or exceed the DEP-approved definition — which needs to be revised as described above — until the 50% or greater mature-forest goal is reached.

If allowed to stand, the definitions and management described in the forest management plan would set a terrible precedent for conserving mature forests in Maine. The BEP should uphold the appeal and establish standards for truly mature forest habitat.

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