I’m a spinning instructor and an electronic music aficionado, so I’ve given a fair bit of thought to which throbbing songs will best fit with my classes while still being somewhat interesting. Dubstep works well for spin, i.e. trying to time hard efforts to “the drop.” A couple really fun and motivational songs I always turn to on my playlists:
The most under-appreciated running song is Saul Williams’s version of “Sunday Bloody Sunday.” It’s the same great, recognizable drum as the U2 version, but with a much harder, more aggressive edge. (Also, “List of Demands” by Saul Williams might be the best running/workout song of all time.)
Cannot believe I’m admitting this, much less inflicting it on anyone else, but my race-day running playlist has one epic, utterly ridiculous track: MmmmBOP. I put it late in the mix, because after all the great, rhythmic stuff that gets me through 12 or 13 miles, there is nothing better than the track that just cracks you up. Pure joy.
A long-time reader in San Francisco contributes to our ongoing series of “weirdest, greatest” running songs:
I submit Florida by Starfucker. It’s fun electro-pop with a solid beat. The weird part is that it features a recording of the late philosopher Alan Watts discussing the wigglyness of the natural world. Somehow it works really well.
Erm, the two songs on my running list that stand out the most as simultaneously weird and motivating are Rage Against the Machine’s “Killing in the Name” and Mika’s “Big Girl (You Are Beautiful).” That last one always makes me smile and do odd “jazz hands” type movements if it comes on at the right point in my run. I know ...
For our running playlist series, a reader submits a song from the inimitable Trey Parker and DVDA, his band that contributed all kinds of music to South Park, Team America, and the movie this song was featured in, Orgazmo.
I’m not one for making hard-and-fast New Year’s resolutions. But I do tend to start the year with an idea of how I’d like it to go, who I’d like to be—sort of a rosy view of the months ahead.
I fell out of running last year thanks to a gnarly overuse injury (finishing a half-marathon and an overnight relay in the same month might’ve been a tad ambitious). But after some physical therapy and developing an intimate relationship with my foam roller, I’m ready to pick up where I left off as the new year gets under way. In 2016, I’d like to be a runner again.
So far, that’s meant rediscovering just how many excuses I can make to avoid doing something that doesn’t feel quite so breezy anymore. Thank God for playlists.
Last month, Adrienne put out a call for the underappreciated gems on your running playlists—the weirdest, greatest songs that maybe no one else would understand but get you amped to pound through the next mile.
Unless you’re in the later stages of marathon training (or a maniacal ultramarathoner), you probably don’t need a five-hour-long running playlist. This is meant for you to skip through and find songs that unexpectedly get you vibin’. I tried to include close to all the suggestions we got (Chris’s picks are published here as daily tracks), though some weren’t on Spotify or were too vague to decipher.
After putting Adrienne’s “Boléro” up top for this weirdo playlist, I grouped your submitted jams according to a general run’s flow: easing in at the beginning, building up with some heart-pounders, peaks and valleys throughout to keep your pace interesting (my greatest DJ triumph will surely be Sigur Rós leading into “Baby Got Back”), and some definitively laid-back tracks toward the end for your cool-down.
Have fun with this; try working out to something you never would’ve considered before. How, for example, had it not occurred to me to try sprinting to “In the Hall of the Mountain King”?
I’m a creature of habit in workout jams. And because I’m a weirdly emotional runner, I’ve managed to create some deeply entrenched, nostalgic connections with my playlist mainstays over the years. Kanye West’s “Monster”—specifically Nicki Minaj’s verse—still sounds like the two-mile climb up to Hurricane Point on the Big Sur marathon course, and the elated, rubber-limbed gallop down the other side. Queens of the Stone Age’s “Song for the Dead”—from about 4:40 till the end of the track—sounds like winter sprints, during a post-grad limbo in my hometown of Indianapolis, on what I had euphemistically deemed “the shredmill.” Spank Rock’s “Bump” sounds like jogging down the block near my Spanish Harlem sublet the summer in college I lived in New York, when I hated the city because I didn’t know how to function—but knew I was pretty decent at putting one foot in front of the other.
Most of the songs that readers sent had never appeared on one of my workout playlists, and a few of the artists here I hadn’t even heard before. But for each of the songs I picked in this shorter list, I imagined it playing at just the right moment of a future, deceptively profound run.
A reader submitted this Trina song for our groupthink playlist of greatest, weirdest running songs—which may come as a surprise to any fans of mainstream rap circa the late ‘90s and early aughts. To be fair, our reader did designate it for our “best running tracks” list—surely a more fitting home for Da Baddest Bitch. I suppose we broadened the scope of our main playlist with our latest update, and honestly, who am I to turn away Trina on the grounds of mere semantics?
But the weirdest song—I can’t even remember where I first heard it—is Plaisir de France’s “Le Responsable Revisite.” I can’t even buy this anywhere! So I have to have it queued up on YouTube to work it in, but that’s how good it is.
(Track of the Day archive here. Access it through Spotify here. Submit via hello@)
Here’s one that I’m sure hasn’t been mentioned: Ben Folds Five’s “One Angry Dwarf and 200 Solemn Faces.” It’s the best track to end on, especially when you need that extra kick. How many workout songs have that much piano in them?
“Army” from Ben Folds has been on my running playlist for years.
(Track of the Day archive here. Access it through Spotify here. Submit via hello@)
An epidemiologist joins five Atlantic parents to discuss just how long their pandemic trade-offs can hold.
Parents know that winter is the season of sickness. Your kid will have approximately infinite colds. You, too, will have approximately infinite colds. Last winter, COVID precautions kept sickness at bay. But this year, school is in session, day-care colds are spreading fast, and the only cohort of people in America not yet eligible for COVID vaccination is our youngest children.
Aside from promises of clinical-trial data by the end of the year, the timeline on which children younger than 5 might be vaccinated is still unclear. The parents of these kids are staring down months more of carefully weighing the risks of COVID against the benefits of indoor cheer. My own child, now 20 months old, was born in March 2020, so my entire experience of parenting has been pandemic-inflected. As the cold creeps down the East Coast, where I live, and nudges the people around me inside, I have been thinking about how the responsibility and anxiety of navigating around this one infectious disease might linger longer for the parents of small children than for most other Americans.
New revelations show the CNN anchor betrayed his obligation to his viewers.
Andrew Cuomo’s resignation as governor of New York might have been a godsend for CNN. The network faced a nearly intractable conflict of interest: The governor was a major national figure, but his brother, Chris, was also one of CNN’s prime-time stars. Instead, the fallout from Andrew Cuomo’s departure has made Chris Cuomo’s position untenable. He should resign; if he doesn’t, CNN should sack him.
On Monday, New York Attorney General Letitia James, whose investigation into sexual-harassment complaints against the Democratic governor precipitated his August resignation, released new documents that show how Chris mixed his roles as brother and broadcaster. The documents show that he was engaged in passing information to a top aide to the governor, Melissa DeRosa, as his brother’s team scrambled to respond to accusations. “I have a lead on the wedding girl,” he texted DeRosa, referring to a woman who complained that Andrew had made an unwanted advance at a wedding.
Midnight Mass is a morally urgent critique of how faith can fuel everyday cruelty and violence.
This story contains spoilers for the Netflix series Midnight Mass.
The Exorcist is a film I’ve long loved because it raised the bar not just for horror, but also for movies that explore questions of faith and doubt, good and evil, life and death. I know all of its beats by heart, but when I recently rewatched the 1973 classic, the ending hit differently. The movie concludes with an exorcism, naturally. Chris MacNeil has brought her daughter, Regan, to a host of medical professionals in a desperate attempt to save her from what turns out to be a demonic possession. But the only person who can save the girl, it seems, is a priest. The camera lingers on the mother’s exhausted face as two priests close the door to her daughter’s bedroom and go to work.
Every year thousands of Americans die on the roads. Individuals take the blame for systemic problems.
More than 20,000 people died on American roadways from January to June, the highest total for the first half of any year since 2006. U.S. road fatalities have risen by more than 10 percent over the past decade, even as they have fallen across most of the developed world. In the European Union, whose population is one-third larger than America’s, traffic deaths dropped by 36 percent between 2010 and 2020, to 18,800. That downward trend is no accident: European regulators have pushed carmakers to build vehicles that are safer for pedestrians and cyclists, and governments regularly adjust road designs after a crash to reduce the likelihood of recurrence.
But in the United States, the responsibility for road safety largely falls on the individual sitting behind the wheel, or riding a bike, or crossing the street. American transportation departments, law-enforcement agencies, and news outlets frequently maintain that most crashes—indeed, 94 percent of them, according to the most widely circulated statistic—are solely due to human error. Blaming the bad decisions of road users implies that nobody else could have prevented them. That enables car companies to deflect attention from their decisions to add heft and height to the SUVs and trucks that make up an ever-larger portion of vehicle sales, and it allows traffic engineers to escape scrutiny for dangerous street designs.
This was not always the case. In the early 1960s, civil-rights activists invoked freedom as the purpose of their struggle. Martin Luther King Jr. used the word equality once at the March on Washington, but he used the word freedom 20 times.
The conservative use of the idea of absolute freedom, of freedom as your personal property, to shift American politics to the right came shortly after King’s speech, and indeed was a direct reaction to his argument that one’s own freedom depended on everyone else’s. This wasn’t an organic response. Rather, conservative activists and business leaders designed an opposite idea of American freedom to protect their own interests. That effort can be seen in the role played by one of the most overlooked yet powerful forces in 20th-century America: the nation’s Realtors.
Vaccines are amazing, but people who become infected need effective treatments.
Updated at 9:45 p.m. ET on November 29, 2021
Although masks, distancing, ventilation, testing, and contact tracing have all helped forestall a collapse of the American health-care system under the weight of COVID-19, the pandemic will come under control in only two ways: Preventives—specifically vaccines—will harness people’s immune system to keep them from becoming infected, getting sick, and spreading the coronavirus, while targeted therapeutics will offer hope to those who have already developed symptoms. The emergence of Omicron, a worrisome new variant of the coronavirus, underscores the need to use multiple tools to fight the disease. In infectious diseases, control of a pathogen means reducing its impact even if it remains endemic in the world. Fortunately, the United States is poised to authorize two oral antivirals: molnupiravir and Paxlovid. The former is the generic name of a drug made by Merck and Ridgeback Biotherapeutics; the latter is the trade name of a drug combination made by Pfizer. Both come in pill form, and a five-day treatment course of each will provide certain patients with significant benefits.
Alex Masmej revered Steve Jobs—his favorite shirt was emblazoned with Apples that changed the world: Adam’s, Isaac’s, Steve’s. Masmej dreamed of moving to Silicon Valley to start his own company, but he just didn’t have the money. In April 2020, as the world reeled from the coronavirus pandemic, Masmej found himself stuck in his home city of Paris.
So Masmej did something few 23-year-olds would think to do: He tokenized himself. That is, he created a financial instrument known as a social token, a form of cryptocurrency whose value revolves around a person, to sell shares in himself. Holders of $ALEX would receive 15 percent of Masmej’s income for the next three years, capped at $100,000 overall, and would be able to exchange tokens for special privileges: 10,000 $ALEX bought a retweet from Masmej on Twitter; 20,000 $ALEX, a one-on-one conversation with him; 30,000 $ALEX, an introduction to someone in his network. In five days, Masmej raised $20,092, enough to send him across the Atlantic to San Francisco to launch his start-up.
“We can’t always neatly break things into ‘friends’ or ‘more than friends.’ There’s different kinds of love.”
Each installment of “The Friendship Files” features a conversation between The Atlantic’s Julie Beck and two or more friends, exploring the history and significance of their relationship.
This week she talks with two friends who used to be married. They discuss their amicable—really!—divorce, how they reconnected afterward, what it means to be happy for someone else even if their decision hurts you, and what friendship has given them that marriage did not.
Matt Long, 37, a teacher who lives in Denver, Colorado Julie Rattelmueller, 38, a massage therapist who lives in Denver, Colorado
This interview has been edited for length and clarity.
Julie Beck: Can you give me a brief history of your romantic relationship?
This is a good day, Samantha tells me: 10 on a scale of 10. We’re sitting in a conference room at the San Marcos Treatment Center, just south of Austin, Texas, a space that has witnessed countless difficult conversations between troubled children, their worried parents, and clinical therapists. But today promises unalloyed joy. Samantha’s mother is visiting from Idaho, as she does every six weeks, which means lunch off campus and an excursion to Target. The girl needs supplies: new jeans, yoga pants, nail polish.
At 11, Samantha is just over 5 feet tall and has wavy black hair and a steady gaze. She flashes a smile when I ask about her favorite subject (history), and grimaces when I ask about her least favorite (math). She seems poised and cheerful, a normal preteen. But when we steer into uncomfortable territory—the events that led her to this juvenile-treatment facility nearly 2,000 miles from her family—Samantha hesitates and looks down at her hands. “I wanted the whole world to myself,” she says. “So I made a whole entire book about how to hurt people.”
In Succession, the Roys have a lot to celebrate—but very little to feel happy about.
This article contains spoilers through the seventh episode of Succession Season 3.
Given how this season of Succession has gone so far, the Roy siblings should have reason to celebrate. They held on to control of the family’s company, Waystar Royco, after a Hail Mary negotiation. They helped choose the Republicans’ next presidential nominee from the comfort of their father’s hotel suite. And in tonight’s episode, they hear that the Department of Justice is considering dialing back its criminal investigation of the family conglomerate. Clearly, Kendall (played by Jeremy Strong) can’t choose a better time to throw himself the “fucking best birthday ever.”
Unsurprisingly, he turns out to be horribly wrong. The reason lies in Succession’s thesis: Money has bought these characters everything except an ounce of real joy. Even when the Roys have a party, they’re surrounded by yes-men, opportunists, and, worst of all, one another. The siblings have been taught that happiness comes only from attaining more power and wealth, so backstabbing and insulting others is second nature to them, even at festivities. From this setup—toxic people in a gilded cage—the HBO drama has repeatedly mined both laughs and schadenfreude, and at times the series has felt like it’s spinning its thematic wheels. Yet in examining the siblings’ maliciousness over the course of a single, cursed night, this latest episode captures in close-up the horror of the family’s perpetual cycle of pettiness and empty triumphs.