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@)
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?
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.
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.
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 ...
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.
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.
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.)
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:
“Exterminate, Annihilate, Destroy” by Rotersand is probably the weirdest song on my running playlist. It’s damn effective, because it has the pace of a march sped up for the purposes of being an EBM [electronic body music] track. It also samples Dr. Who for the duration. So it’s an EBM Dalek march, but it’s wonderful.
M83’s “Oblivion” is my weirdest, greatest pick for your running playlist. It’s from a science fiction movie of the same name that didn’t do very well critically or at the box office, but the track makes up for all of that. There’s M83 creating these immense walls of sound while Susanne Sundfør’s vocals crash against massive drums and a swelling orchestral accompaniment. As it ends, it suddenly vanishes into a tranquil piano outro.
Despite the easing of taboos and the rise of hookup apps, Americans are in the midst of a sex recession.
These should be boom times for sex.
The share of Americans who say sex between unmarried adults is “not wrong at all” is at an all-time high. New cases of HIV are at an all-time low. Most women can—at last—get birth control for free, and the morning-after pill without a prescription.
If hookups are your thing, Grindr and Tinder offer the prospect of casual sex within the hour. The phrase If something exists, there is porn of it used to be a clever internet meme; now it’s a truism. BDSM plays at the local multiplex—but why bother going? Sex is portrayed, often graphically and sometimes gorgeously, on prime-time cable. Sexting is, statistically speaking, normal.
The latest news about Facebook is a wake-up call that “leaning in” doesn’t mean doing right.
Back in 2013, many women of a certain ideological stripe and geographic location (D.C., New York, or basically any big city) wanted to be just like a woman most of us had only recently heard of: Sheryl Sandberg, the chief operating officer of Facebook.
With her blockbuster book, Lean In, she seemed to offer women a way—as long as we had nannies, an education, and smart biz-cazh attire—to finally get treated the way men do at the office.
The answer: It was on us. She had anodyne advice for being noticed: “Sit at the table,” literally. She had tips for tricking your boss into thinking you’re working harder than you are: “Holding my first and last meetings of the day in other buildings to make it less transparent when I was actually arriving and departing.”
A Democratic tsunami in the midterms engulfed the state Trump won most narrowly in 2016—and could keep the state blue in 2020.
DETROIT—Gretchen Whitmer had her red water bottle with the Wonder Woman logo. Debbie Stabenow was touching up her makeup. Dana Nessel was up front, sitting with her wife, right behind the stack of boxed salads that was the food for the day.
The top of the Democratic ticket in Michigan—candidates for governor, Senate, and attorney general—were rolling along to the 77th and final stop of a statewide bus tour, hours before polls closed on Election Day. When the dust settled on 2016, no one would have been counting on any of them to be in contention, let alone win.
But with the way things were going now, two years later, they felt like singing. “We need a Democratic fight song we can all agree on,” Whitmer said.
The backlash against the incoming congresswoman’s “very nice” outfit is both tedious and predictable.
Earlier this week, Alexandria Ocasio-Cortez posted a tweet: At congressional events, she shared (the representative-elect of New York’s 14th Congressional District is currently in Washington for a series of orientations on the workings of the House), she keeps being mistaken for an intern. Or sometimes for the spouse of the person who must be the true new member of Congress. Ocasio-Cortez, a young woman who is also a woman of color who is also a democratic socialist—a politician who won her election, earlier this month, with 78 percent of her district’s vote—keeps getting told that she doesn’t quite belong in Congress. Her tweet sharing that experience was punctuated by a face-palm emoji. It went viral.
In The Last Unicorn, there are no maps, invented languages, or epic battles. But the 1968 tale has a timely message about the importance of reality over magic.
I encountered the cover of Peter S. Beagle’s fantasy novel The Last Unicorn years before I read the book. On the front of the Ballantine paperback edition that once sat on my parents’ shelf, there’s a white unicorn running in a forest as a small red sun sets behind the mountains. Where was this majestic creature going? I wondered.
It’s now been 50 years since the novel’s publication, and the unicorn’s journey still captures the minds and hearts of readers. This week marks the release of The Last Unicorn: The Lost Journey, a commemorative edition of Beagle’s first draft of the novel. The book’s early popularity was no doubt fueled by the Tolkien boom; J. R. R. Tolkien’s The Lord of the Rings found legions of fans in the United States after it appeared in a paperback edition in 1965. But The Last Unicorn has since come into its own. In 1982, the novel was made into an animated film, which has become something of a cult classic. A novelette sequel that Beagle published in 2005 won both the Nebula and the Hugo Awards—the fantasy genre’s two highest honors. After all these years, The Last Unicorn still feels relevant. It’s not an epic fantasy, but a softer tale at the boundaries of magic and reality, that place where one grapples with what it means to be human.
Despite vast increases in the time and money spent on research, progress is barely keeping pace with the past. What went wrong?
The writer Stewart Brand once wrote that “science is the only news.” While news headlines are dominated by politics, the economy, and gossip, it’s science and technology that underpin much of the advance of human welfare and the long-term progress of our civilization. This is reflected in an extraordinary growth in public investment in science. Today, there are more scientists, more funding for science, and more scientific papers published than ever before:
On the surface, this is encouraging. But for all this increase in effort, are we getting a proportional increase in our scientific understanding? Or are we investing vastly more merely to sustain (or even see a decline in) the rate of scientific progress?
Law and medicine still rely on the device. Maybe they shouldn’t. An Object Lesson.
Nicole Follmann arrived at the Brooklyn House of Detention last spring to post bail by fax. This is how it works: You can post someone’s bail from any jail or courthouse, but you have to send a fax to wherever the person is housed. Follmann is an attorney for the Brooklyn Community Bail Fund, so she’s used to the inflow and outflow of documents. That day, she was posting bail for someone housed in Rikers.
The process began as usual, according to Follmann. The person being detained had a bail that needed to be paid in two installments: $2,000 and $1. Correctional officers at Rikers received the $2,000 payment, but she didn’t get confirmation that they had received $1. It was getting late, so Follmann called to ask if there was a problem.
The industry’s fall from grace may feel unprecedented, but we have a model for what happens when a beloved industry fails us.
Think back a few years, before the Amazon HQ2 sweepstakes, before Susan Fowler’s viral blog post, before the #MeToo movement, before the 2016 election. Across the nation, Silicon Valley was the crown jewel of the economy. The companies were youthful and ambitious. The culture was loose and exciting. The capabilities they put into the world’s pockets were astonishing: talk to anyone, know everything, buy anything, all with a few little taps on glass. Yes, this had unleashed unprecedented surveillance possibilities, as Edward Snowden revealed, but these were still the most beloved companies in the country. Their founders were legends.
The past several weeks have been like the past two years in miniature. First, The New York Times released a blockbuster article about Google’s sexual-harassment problems that placed the blame both on the institution itself and on the co-founder and current CEO, Larry Page. Then, Amazon selected its new headquarters, releasing a torrent of criticism of the deals: Why were municipalities subsidizing the richest man in the world in their race to the bottom? And finally, yesterday, the Times put out a 50-source story about Facebook’s obliviousness to its own platform’s darker possibilities. (In a statement today, Facebook’s board of directors called the story “grossly unfair.”)
While the revelation of an apparent indictment against Julian Assange sets an ominous precedent for news organizations, it also serves as a reminder of his group’s stark transformation.
Before the WikiLeaks founder Julian Assange was an international fugitive, he was running a little-noticed experiment in radical transparency. In the early 2000s, his then-obscure site WikiLeaks was mainly concerned with posting small batches of previously private documents ranging from Swiss bank documents to Sarah Palin’s emails.
Then, in 2010, WikiLeaks posted a graphic video depicting the killing of perhaps a dozen Iraqis, including two Reuters journalists, at the hands of the U.S. military. The video brought the organization acclaim from civil libertarians and transparency advocates, and infamy within the U.S. military and elsewhere. Soon after its release, WikiLeaks posted its largest-ever cache of leaked material: a set of diplomatic cables and Army documents, many of which concerned the conduct of the wars in Iraq and Afghanistan. If WikiLeaks began as a mere internet curiosity when it was founded in 2006, within four years, national-security officials in the United States were publicly depicting it as a threat.