november 1987

I first noticed that something weird was happening this past spring.

In April, the number of workers who quit their job in a single month broke an all-time U.S. record. Economists called it the “Great Resignation.” But America’s quittin’ spirit was just getting started. In July, even more people left their job. In August, quitters set yet another record. That Great Resignation? It just keeps getting greater.

“Quits,” as the Bureau of Labor Statistics calls them, are rising in almost every industry. For those in leisure and hospitality, especially, the workplace must feel like one giant revolving door. Nearly 7 percent of employees in the “accommodations and food services” sector left their job in August. That means one in 14 hotel clerks, restaurant servers, and barbacks said sayonara in a single month. Thanks to several pandemic-relief checks, a rent moratorium, and student-loan forgiveness, everybody, particularly if they are young and have a low income, has more freedom to quit jobs they hate and hop to something else.

The Tribune Tower rises above the streets of downtown Chicago in a majestic snarl of Gothic spires and flying buttresses that were designed to exude power and prestige. When plans for the building were announced in 1922, Colonel Robert R. McCormick, the longtime owner of the Chicago Tribune, said he wanted to erect “the world’s most beautiful office building” for his beloved newspaper. The best architects of the era were invited to submit designs; lofty quotes about the Fourth Estate were selected to adorn the lobby. Prior to the building’s completion, McCormick directed his foreign correspondents to collect “fragments” of various historical sites—a brick from the Great Wall of China, an emblem from St. Peter’s Basilica—and send them back to be embedded in the tower’s facade. The final product, completed in 1925, was an architectural spectacle unlike anything the city had seen before—“romance in stone and steel,” as one writer described it. A century later, the Tribune Tower has retained its grandeur. It has not, however, retained the Chicago Tribune.

It’s common now for Democrats to argue that the agenda they are struggling to implement on Capitol Hill represents the party’s most ambitious since the “Great Society” Congress convened in 1965. That’s a reasonable assessment—but one that the party today should consider as much a warning as an inspiration. Under the relentless prodding of President Lyndon B. Johnson, the Democratic-controlled House and Senate passed landmark legislation at a dizzying pace during that legendary 1965–66 legislative session.

Over those two years, the 89th Congress, finally completing a crusade started by Harry Truman almost two decades earlier, created the massive federal health-care programs of Medicare for the elderly and Medicaid for the poor. It put a capstone on the civil-rights revolution by approving the Voting Rights Act. It created the first large-scale system of federal aid to elementary and secondary schools and launched the Head Start program. It approved breakthrough legislation to combat pollution in the air and water. It created new Cabinet departments, a new agency to regulate automobile safety, and national endowments to fund the arts and humanities. It transformed the face of America with sweeping immigration legislation that finally undid the restrictive quotas that had virtually eliminated new arrivals since the early 1920s.

At the end of Dave Chappelle’s latest Netflix stand-up special—after 72 brutal, bruised, combative minutes that conclude with the story of a suicide—my other half turned to me and said: “That wasn’t very funny, was it?”

Was it even meant to be? The emotion that defines The Closer is not laughter, but anger. Chappelle once delivered his most offensive jokes with a goofy, quizzical, little-lost-boy smile, removing some of their sting, but here the humor feels sour and curdled. The stoner who never gave a shit seems genuinely frustrated and goaded on by social-media pile-ons. An alternative title for the special might be A Response to My Critics.

Artists tend to be annoyed when critics grade their work on its political content rather than its technical and creative choices, and yet responding to The Closer any other way is hard. The special draws its energy from one of the hottest debates in popular culture, about competing claims to victimhood. Its jokes about LGBTQ people have led to boycott threats, calls to remove the special from Netflix, and even the brief suspension of a transgender Netflix employee who protested the special. In GQ, the writer Saeed Jones declared, “I feel like a fool to have rooted for Dave Chappelle for so long.”

The Wildlife Photographer of the Year competition, founded in 1965, is an annual international showcase of the best nature photography. This year, the contest attracted more than 50,000 entries from 95 countries. Wildlife Photographer of the Year is developed and produced by the Natural History Museum, London. The owners and sponsors have once more been kind enough to share the following winning images from this year’s competition. The museum’s website has images from previous years and more information about the current contest and exhibition. Captions are provided by the photographers and WPY organizers, and are lightly edited for style.