Alston Chase, “Harvard and the Making of the Unabomber”; Joel Rogers and Ruy Teixeira, “America's Forgotten Majority”; Larry Levinger, “The Prophet Faulkner”; Thomas Mallon, “A New Social Type Is Born”; and much more.
A series of purposely brutalizing psychological experiments may have confirmed Theodore Kaczynski’s still-forming belief in the evil of science while he was in college.
Forget the "soccer mom." The new white working class is the key to twenty-first-century politics, but neither party has found a way to mobilize it effectively
At the end of his first week his feelings of guilt and ambivalence were being replaced by a sense of good will and atonement, as if he and Vietnam were two bad people who had unexpectedly done something nice for each other
Impatient hunters seeking guaranteed trophy antlers -- and impatient Asians seeking aphrodisiacs -- have made elk farms a thriving business. We're just starting to assess the damage
The generation that grew up with Rebecca Black’s “Friday” isn’t just nostalgic for that novelty tune—it’s making music inspired by it.
Ten years ago, the most Googled name in the world belonged to a wide-smiling 13-year-old girl everyone seemed to be laughing at. She was Rebecca Black of “Friday,” the calendar-themed sing-along that reached megafame by being, in many people’s judgment, the worst song ever. Amid cheesy production by the ARK Music Factory—a now-defunct Southern California firm that Black’s mom had paid $4,000 to make the song—Black’s auto-tuned voice bleated about cereal, front seats, back seats, and “fun, fun, fun.” In the music video, which featured tweens riding around in a convertible, and on talk shows where hosts quizzed Black about why her song was so hated, she never seemed to drop her grin.
Of all the injuries we suffered, mine is the worst. My brain injury has shaken my confidence in my own personality, my own existence.
The worst things can happen on the most beautiful days. My family’s worst day was a perfect one in the summer of 2019. We picked my daughter up from camp and talked about where to go for lunch: the diner or the burger place. I don’t remember which we chose. What I do remember: being woken up, again and again, by doctors who insist on asking me the same questions—my name, where I am, what month it is—and telling me the same story, a story that I am sure is wrong.
“You were in a car accident,” they say. But this cannot be. We’re having lunch and then going on a hike. I had promised the think tank where I work that I’d call in to a 4 p.m. meeting.
“You are in Dartmouth-Hitchcock Hospital in New Hampshire.” Another ludicrous statement. I started the day in Vermont. Surely if I had crossed the river to New Hampshire I would know it.
The Apple TV+ series Physical is a reminder that making people hate their body is a thriving pillar of American commerce.
This is supposed to be the season of unleashed, exuberant exhibitionism. Many of us have swaddled our pale bodies in Lycra and terry cloth for more than a year; the theory of Hot Vax Summer is that we’re long overdue to expose them to the cruel light of other people’s eyes. In the music video for “Solar Power,” Lorde basks on the beach in a lemon-yellow crop top, the symmetry of her rib cage its own work of art. “Forget all of the tears that you’ve cried; it’s over,” she sings, shooing away our literal and metaphorical winter of COVID-19. (Predictably, the outfit she wears—$615 plus tax!—sold out immediately.) I watched most of Physical—Apple TV+’s new series about a 1980s aerobics queen-in-waiting—with this in mind, idly running my hand over and over my unsculpted midriff, fighting the impulse to throw on a leotard and sweat joyfully along to “Space Age Love Song.” This is the conflict at the center of American consumerist fitness spectacle: Even when it’s at its most transparently questionable, the promise is almost impossible to resist.
Leagues are seeing the downside of treating vaccines as simply a matter of personal choice.
When the NBA announced Wednesday that Phoenix Suns point guard Chris Paul was being sidelined indefinitely under the league’s coronavirus-safety protocols, the next question was obvious: Had Paul been vaccinated?
For COVID-19 concerns to interrupt Paul’s brilliant playoff run seemed particularly cruel—not only because the widespread availability of vaccines has made transmission of the virus largely preventable, but also because the Suns had just secured a spot in the Western Conference finals. Even though Paul is one of the best NBA point guards ever, this week’s development was another unfortunate entry in his long history of medical problems during the playoffs.
The television analysts Matt Barnes and Jalen Rose, both of whom are former NBA players, soon reported that Paul had indeed been vaccinated. But all the discussion of his status raised another important question: Do fans even have the right to know, and do journalists have the right to ask, if a player has been vaccinated against COVID-19?
A common ideology underlies the practices of many ultra-wealthy people: The government can’t be trusted with money.
When ProPublica published its report last week on the tax profiles of 25 of the richest Americans, jaws dropped across the United States. How was it possible that plutocrats such as Elon Musk, Jeff Bezos, and Warren Buffett could pay nothing in income taxes to the federal government? What sneaky sleights of pen, what subterfuge, what acts of turpitude could have led to this result?
The shock stems, in part, from a disturbing reality: Nowhere does ProPublica assert that these men cheated, lied, or did anything felonious to lower their tax burdens. The naked fact of the matter is that not a single one of the documented methods and practices that allowed these billionaires to so radically minimize their tax obligations was illegal.
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