Jonathan Groves
@grovesprof.bsky.social
Prof/journalistic refugee in #sgf battling mis/disinformation. Believer in the power of music, photography and podcasting. Co-author with @Brizzyc of “Transforming Newsrooms.” Host of #FridayHappyHour.
Grabs you from the lede and doesn't let go.
November 12, 2025 at 1:01 PM
Grabs you from the lede and doesn't let go.
Maybe it's not about "brand," @usatoday.com. Perhaps it's the realization that rallying around hate doesn't pay the bills.
November 9, 2025 at 3:00 PM
Maybe it's not about "brand," @usatoday.com. Perhaps it's the realization that rallying around hate doesn't pay the bills.
Ah, how the anecdotal rises above the scientific in the search rankings.
November 4, 2025 at 7:08 PM
Ah, how the anecdotal rises above the scientific in the search rankings.
So much for not politicizing our government agencies.
October 31, 2025 at 12:39 PM
So much for not politicizing our government agencies.
They apparently furloughed the data, too.
October 1, 2025 at 3:55 PM
They apparently furloughed the data, too.
Wow, that ruling profoundly disrupted Google.
September 3, 2025 at 9:50 PM
Wow, that ruling profoundly disrupted Google.
Party like it’s 1999
July 6, 2025 at 1:04 PM
Party like it’s 1999
Hopped on Twitter for the first time in a while and was surprised at the number of people still posting there.
This post from Frank Luntz elicited a mostly ridiculous, ignorant batch of responses from people who don't understand how endowments work.
This post from Frank Luntz elicited a mostly ridiculous, ignorant batch of responses from people who don't understand how endowments work.
June 4, 2025 at 8:04 PM
Hopped on Twitter for the first time in a while and was surprised at the number of people still posting there.
This post from Frank Luntz elicited a mostly ridiculous, ignorant batch of responses from people who don't understand how endowments work.
This post from Frank Luntz elicited a mostly ridiculous, ignorant batch of responses from people who don't understand how endowments work.
Wow — love this thank-you card!
April 24, 2025 at 7:28 PM
Wow — love this thank-you card!
17. Osibisa, S/T (1971). World grooves in a Santana vein — multiple perspectives blended into a timeless jam of horns, woodwinds, percussion and organ. #MWE
March 1, 2025 at 5:32 PM
17. Osibisa, S/T (1971). World grooves in a Santana vein — multiple perspectives blended into a timeless jam of horns, woodwinds, percussion and organ. #MWE
16. Nine Inch Nails, “Add Violence” (2017). The second part of Reznor’s late 2010s EP trilogy. His blend of melody and chaos here, continuing the edge-of-cliff sanity of “Hesitation Marks,” is the perfect soundtrack for these times. #MWE
March 1, 2025 at 5:11 PM
16. Nine Inch Nails, “Add Violence” (2017). The second part of Reznor’s late 2010s EP trilogy. His blend of melody and chaos here, continuing the edge-of-cliff sanity of “Hesitation Marks,” is the perfect soundtrack for these times. #MWE
15. Montell Jordan, “This Is How We Do It” (1995). Sexy ‘90s hip-hop with addictive New Jack sensibility in the groove. Some lyrics have not aged well, but overall, a joyous ride sonically. #MWE
March 1, 2025 at 5:01 PM
15. Montell Jordan, “This Is How We Do It” (1995). Sexy ‘90s hip-hop with addictive New Jack sensibility in the groove. Some lyrics have not aged well, but overall, a joyous ride sonically. #MWE
14. Bon Iver, “For Emma, Forever Ago” (2007). Gentle layered vocals provide the embrace of a campfire. You’re outside the cabin with him, singing along in the circle, forgetting the rest of the world. #MWE
March 1, 2025 at 4:53 PM
14. Bon Iver, “For Emma, Forever Ago” (2007). Gentle layered vocals provide the embrace of a campfire. You’re outside the cabin with him, singing along in the circle, forgetting the rest of the world. #MWE
13. Fontaines D.C., “Romance” (2024). Channeling the best of ‘90s alternative, this music offers intimacy and majesty. A satisfying place somewhere between Smashing Pumpkins and Stone Roses. #MWE
March 1, 2025 at 4:46 PM
13. Fontaines D.C., “Romance” (2024). Channeling the best of ‘90s alternative, this music offers intimacy and majesty. A satisfying place somewhere between Smashing Pumpkins and Stone Roses. #MWE
12. Halsey, If I Can’t Have Love, I Want Power (2021). Halsey shows off her range and power on this impressive departure from her usual chart fare. Producers Reznor and Ross add an edge and experimentation vibe, which opens her to spaces of industrial-tinged pop darkness. #MWE
February 25, 2025 at 7:10 PM
12. Halsey, If I Can’t Have Love, I Want Power (2021). Halsey shows off her range and power on this impressive departure from her usual chart fare. Producers Reznor and Ross add an edge and experimentation vibe, which opens her to spaces of industrial-tinged pop darkness. #MWE
11. The Church, “Starfish” (1988). Deceptively accessible, this album remains true to its college alternative/indie roots with subtle fills and asides at unexpected moments. The real gems here are the smooth guitar lines, which venture into varied realms without losing the listener. #MWE
February 25, 2025 at 6:27 PM
11. The Church, “Starfish” (1988). Deceptively accessible, this album remains true to its college alternative/indie roots with subtle fills and asides at unexpected moments. The real gems here are the smooth guitar lines, which venture into varied realms without losing the listener. #MWE
10. Fiona Apple, “Fetch the Bolt Cutters” (2020). The sparse instrumentation and lightly processed vocals are disturbingly bare, and by the end, the ferocious poetry leaves you breathless, exhausted, spent. One of the best albums of the decade so far. #MWE
February 25, 2025 at 6:11 PM
10. Fiona Apple, “Fetch the Bolt Cutters” (2020). The sparse instrumentation and lightly processed vocals are disturbingly bare, and by the end, the ferocious poetry leaves you breathless, exhausted, spent. One of the best albums of the decade so far. #MWE
Watch for this “On Being” episode when it comes out. Such an incredible conversation between Krista Tippett and Justin Vernon about truth and meaning.
February 22, 2025 at 12:10 AM
Watch for this “On Being” episode when it comes out. Such an incredible conversation between Krista Tippett and Justin Vernon about truth and meaning.
9. Heartworms,”Glutton for Punishment” (2025). Impressive debut showcasing Jojo Orme’s energy and songwriting prowess. The edge and emotion that sparks Tori Amos or PJ Harvey comparisons: Strong artistic vision that pushes while pulling you in. #MWE
February 17, 2025 at 10:42 PM
9. Heartworms,”Glutton for Punishment” (2025). Impressive debut showcasing Jojo Orme’s energy and songwriting prowess. The edge and emotion that sparks Tori Amos or PJ Harvey comparisons: Strong artistic vision that pushes while pulling you in. #MWE
8. Debbie Harry, “KooKoo” (1981). Extends the Blondie Autoamerican universe into Chicworld. Bernard and Nile add polish but smooth out some of Debbie’s (and Chris Stein’s) ferocious edge in the process. Better than expected, and yeah, that’s an H.R. Giger painting on the cover. #MWE
February 16, 2025 at 3:55 PM
8. Debbie Harry, “KooKoo” (1981). Extends the Blondie Autoamerican universe into Chicworld. Bernard and Nile add polish but smooth out some of Debbie’s (and Chris Stein’s) ferocious edge in the process. Better than expected, and yeah, that’s an H.R. Giger painting on the cover. #MWE
7. Grace Jones, “Inside Story” (1986). Jones’ storytelling really shines here. Like many artists, she embraced the synths and drum machines of the era, but her authentic, underprocessed vocals combined with perfectly chosen guitar lines and world beats avoid falling into Jan Hammer irrelevance. #MWE
February 16, 2025 at 2:04 PM
7. Grace Jones, “Inside Story” (1986). Jones’ storytelling really shines here. Like many artists, she embraced the synths and drum machines of the era, but her authentic, underprocessed vocals combined with perfectly chosen guitar lines and world beats avoid falling into Jan Hammer irrelevance. #MWE
6. Kendrick Lamar, “GNX” (2024). Just like Kendrick’s incredible Super Bowl performance, this wide-ranging release has so many layers that it requires return visits. The bounce and lyricism have curb appeal as well as depth under the hood. #MWE
February 15, 2025 at 1:38 PM
6. Kendrick Lamar, “GNX” (2024). Just like Kendrick’s incredible Super Bowl performance, this wide-ranging release has so many layers that it requires return visits. The bounce and lyricism have curb appeal as well as depth under the hood. #MWE
5. World Party, “Egyptology” (1997). I slept on this band way too long. This album, with its gorgeous vocal harmonies and varied song structures, show there’s so much more to them than “Ship of Fools.” #MWE
February 15, 2025 at 1:27 PM
5. World Party, “Egyptology” (1997). I slept on this band way too long. This album, with its gorgeous vocal harmonies and varied song structures, show there’s so much more to them than “Ship of Fools.” #MWE
4. Boston, “Walk On” (1994). No Brad Delp vocals? Just know there is a four-song “suite” that includes two separate instrumental intros to tracks called “Walk On” and “Walk On (Some More)” (no, really). Laughably bad. #MWE
February 14, 2025 at 1:59 PM
4. Boston, “Walk On” (1994). No Brad Delp vocals? Just know there is a four-song “suite” that includes two separate instrumental intros to tracks called “Walk On” and “Walk On (Some More)” (no, really). Laughably bad. #MWE
3. The Chameleons, “Script of the Bridge” (1983). The post-punk, pre-goth structures in this stellar debut — reverb-drenched melodies and slight synth atmospheres — make you wonder why this band wasn’t as big as The Cure, especially since there is optimism and hope amid the exploratory angst. #MWE
February 13, 2025 at 3:52 PM
3. The Chameleons, “Script of the Bridge” (1983). The post-punk, pre-goth structures in this stellar debut — reverb-drenched melodies and slight synth atmospheres — make you wonder why this band wasn’t as big as The Cure, especially since there is optimism and hope amid the exploratory angst. #MWE