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@)
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:
His verbal stumbles have voters worried about his mental fitness. Maybe they’d be more understanding if they knew he’s still fighting a stutter.
His eyes fall to the floor when I ask him to describe it. We’ve been tiptoeing toward it for 45 minutes, and so far, every time he seems close, he backs away, or leads us in a new direction. There are competing theories in the press, but Joe Biden has kept mum on the subject. I want to hear him explain it. I ask him to walk me through the night he appeared to lose control of his words onstage.
“I—um—I don’t remember,” Biden says. His voice has that familiar shake, the creak and the croak. “I’d have to see it. I-I-I don’t remember.”
We’re in Biden’s mostly vacant Washington, D.C., campaign office on an overcast Tuesday at the end of the summer. Since entering the Democratic presidential-primary race in April, Biden has largely avoided in-depth interviews. When I first reached out, in late June, his press person was polite but noncommittal: Was an interview really necessary for the story?
The bedroom can seem to contain the heart of a marriage. In the 2012 Judd Apatow movie This Is 40, the epicenter of marital tension is the bedroom of the onscreen couple, played by Paul Rudd and Leslie Mann. Pete and Debbie are as comely as their Los Angeles home, but the couple flirt with divorce fantasies more than with each other. Debbie mourns a loss of mystery; Pete craves independence. Of a kind, anyway. He’ll shed his boxers so that Debbie can weigh in on the progress of a hemorrhoid, but he also has a habit of sneaking off to hang with his buddies, an act his wife likens to infidelity. A scene in bed captures the riddle at the heart of this marriage—a parry, essentially, between forms of intimacy. Wander too far in search of privacy, and you nullify romance; get too close, and the same occurs. The couple lie under the sheets, Debbie on her laptop and Pete passing gas. “This is why we never have sex,” she says with desperation in her voice, as he grins. “You’re gross.”
A study has turned up a side effect of human spaceflight that no one had observed before.
Astronauts are more than cosmic travelers. They’re also research subjects in the careful study of what exactly outer space does to the human body. On the ground, researchers measure vitals, draw blood, swab cheeks, and more. In orbit around the Earth, the astronauts do the work themselves.
That’s how they found the blood clot.
An astronaut was carrying out an ultrasound on their own body as part of a new study, guided in real time by a specialist on the ground. A similar test before the astronaut launched to space had come back normal. But now the scan showed a clump of blood.
“We were not expecting this,” says Karina Marshall-Goebel, a senior scientist at NASA and the author of the study, published earlier this month. “This has never been reported before.”
The president’s offense is abusing his power to stay in office, not disputing Ukraine policy.
Over the past two weeks, a parade of sober and coldly furious civil servants has come forward to testify before Congress about President Donald Trump’s decision to withhold congressionally approved aid to Ukraine.
Acting U.S. Ambassador to Ukraine Bill Taylor emphasized that “the security assistance we provide is crucial to Ukraine’s defense,” invoking the sacrifice of Ukrainian soldiers fighting Russia. Kurt Volker, the former special envoy to Ukraine, testified that “the stakes for the United States in a successful Ukraine could not be higher.” The former National Security Council aide Tim Morrison emphasized that “Ukraine is on the front lines of a strategic competition between the West and Vladimir Putin’s revanchist Russia.” Former U.S. Ambassador to Ukraine Marie Yovanovitch testified that a “secure, democratic, and free Ukraine serves not just the Ukrainian people, but the American people as well.”
I interviewed dozens of black mothers about how they help their kids navigate schools where they might be perceived as threats or made to feel unwelcome.
Jessica Black is a Pittsburg, California, mother of two black teenagers, both of whom have been disciplined multiple times at their middle and high schools. Her daughter has been suspended more than once, and teachers often deem her son’s behavior out of line, reprimanding him for not taking off his hoodie in class and for raising his voice.
In observing her own family and others, Black has noticed a pattern: Behaviors that many black parents might consider annoying but developmentally appropriate, such as an ill-timed joke or talking back to an adult, are treated by school staff as cause for suspension. From there, students are pushed out of classrooms, lose learning time, and can end up in the school-to-prison pipeline. “It’s a totally different environment, a totally different culture,” Black said when we spoke in July 2018.
They see the process as good for American democracy—and for their party’s chances in 2020.
The first sound that greeted me, rounding the corner outside the hearing room in the Longworth House Office Building, was the eerie echo of Representative Adam Schiff’s voice emanating from the several dozen cellphones blasting live-stream footage of the testimony going on inside.
With the public phase of the impeachment inquiry starting last week and continuing into this one, throngs of people—young and old, mostly Democrats—have waited outside the room every day to try to get a seat to see the hearings in person. Many of them had traveled very long distances to watch the California Democrat and other lawmakers on the House Intelligence Committee question a number of witnesses. Why were they there? Almost all of them used the phrase “democracy in action.”
A company once driven by engineers became driven by finance.
The flight that put the Boeing Company on course for disaster lifted off a few hours after sunrise. It was good flying weather—temperatures in the mid-40s with a slight breeze out of the southeast—but oddly, no one knew where the 737 jetliner was headed. The crew had prepared three flight plans: one to Denver. One to Dallas. And one to Chicago.
In the plane’s trailing vortices was greater Seattle, where the company’s famed engineering culture had taken root; where the bulk of its 40,000-plus engineers lived and worked; indeed, where the jet itself had been assembled. But it was May 2001. And Boeing’s leaders, CEO Phil Condit and President Harry Stonecipher, had decided it was time to put some distance between themselves and the people actually making the company’s planes. How much distance? This flight—a PR stunt to end the two-month contest for Boeing’s new headquarters—would reveal the answer. Once the plane was airborne, Boeing announced it would be landing at Chicago’s Midway International Airport.
Donald Trump’s narcissism makes it impossible for him to carry out the duties of the presidency in the way the Constitution requires.
On a third-down play last season, the Washington Redskins quarterback Alex Smith stood in shotgun formation, five yards behind the line of scrimmage. As he called his signals, a Houston Texans cornerback, Kareem Jackson, suddenly sprinted forward from a position four yards behind the defensive line.
On the selective accountabilities of the Trump hearings
To watch the public impeachment hearings of Donald Trump is to experience a very particular form of whiplash. The House inquiry has featured a series of collisions, between Democrats and Republicans, yes, but also between accountability and its opposite. Here is a proceeding led in part by lawmakers who have, when it comes to the president, repeatedly prioritized fealty over facts. And here is the key question at hand—did Donald Trump extort a U.S. ally for his own political gain?—chafing against the other questionable matters not being addressed in the hearing: the reported frauds, the well-documented lies, the atmospheric fact of Trump’s bigotries. The precision guiding the House inquiry—bribery, high crimes and misdemeanors—is constitutionally mandated; it is a proportional response. Watching it play out, however, is a little like watching Hannibal Lecter getting tried for tax evasion.
Depicting a lawyer’s fight to uncover a decades-long pattern of poisoning, Dark Waters delivers both justice and a crushing sense of dread.
The pensive legal movie was once a Hollywood standby, reliably delivering courtroom tension, grandstanding performances, and a satisfying assurance of justice that was only enhanced when the story behind the script turned out to be true. Todd Haynes’s new film, Dark Waters,fits that bill: It chronicles the Cincinnati attorney Robert Bilott’s ongoing efforts, beginning in the ’90s, to expose how the company DuPont continued to use toxic chemicals for decades after learning that they caused fatal diseases. As a piece of pure exposition, Dark Waters is interesting enough. But around the hard work and do-goodery, Haynes also provides a sense of crushing dread—the kind of unsolvable paranoia these procedure-bound movies usually work to counter.