Inspired by our March 2016 cover story by James Fallows, “How America Is Putting Itself Back Together,” readers share their best aerial photos from across the U.S. Submit your own via firstname.lastname@example.org. (Please provide the location, the story behind the photo, and the largest file size you have. Horizontal photos with a bit of the plane visible—a wing, the edge of a window—are ideal. Terms and Conditions here.)
I took this photo of Oahu flying from Honolulu to Washington Dulles just a couple of weeks ago. You can see downtown Honolulu, Waikiki beach, Diamond Head State Monument, as well as the Ko’olau Range in the background. A clearer day would have resulted in a better shot of the mountains, but I think the water was captured nicely. I had been scuba diving a little over 24 hours before I took this photo in the Maunalua Bay (which you can make out a tiny part of on the right side of the photo, just east of Diamond Head) and the water really is as clear and blue as it looks here.
We started “America by Air” as a month-long series of aerial photos from readers that accompanied Jim’s March cover story, “How America Is Putting Itself Back Together,” which he reported with his wife Deb over three years across the U.S. via their single-engine plane. Readers not only keep sending more and more submissions, but the quality of the photos and anecdotes are getting better and better. So we’ve now turned “America by Air” into a standard feature of Notes, posting one a day, more or less, for the indefinite future, joining the ranks of Orbital View and Track of the Day. So please keep ‘em coming. Submission guidelines here.
The latest aerial view is a real beauty, coming from reader John Zimmerman:
Every year I like to fly to the big Oshkosh air show low and slow, enjoying the view at 90 knots—after all, getting to the big fly-in really is half the fun. One of the highlights of the trip every year from my home base in Cincinnati to Wisconsin is the Chicago area. If the weather is good, there’s no better flight than the one that follows the lakefront. The route takes you past famous landmarks like Navy Pier, Wrigley Field, and Willis Tower (you can look up at some office workers and wave). The only downer is the flight over abandoned Meigs airport, which sits barren and undeveloped, a lasting reminder of political misconduct.
As is true so many places in the U.S., no special clearances or equipment is required—just keep your head on a swivel and enjoy the view. It’s one of those “only in America” moments that knocks off the cynicism just a bit.
Seattle looms large in all things aviation-related, due mainly to the presence of Boeing. It looms large in my own aviation-related life, since I got my instrument rating while living there in 1999, training with instructor Chris Baker of Wings Aloft at Boeing Field in downtown Seattle; and then in 2000 did seaplane training with instructor Chris Jacob of Kenmore Air, which flies floatplanes out of the local lakes, bays, and inlets.
It also looms large in recent photos in this series. Here is another one via Stu Smith, a colleague of Chris Jacob’s at Kenmore:
This photo was taken by a passenger (I don’t recall the name) in a Beaver [JF note: a very popular floatplane] looking to the southeast. If not for the clouds, Washington State’s iconic Mt. Rainier would be visible on the distant horizon.
When the wind dictates a south departure from Lake Union (as it did in this flight), the climbout takes us past the Space Needle. It’s a pretty spectacular departure, which I’ve yet to tire of after 12 seasons. When the wind shifts to the north, the arrival and landing direction is reversed, taking us past the Space Needle in a descent. I think that tourists looking out from the Space Needle enjoy watching our departures and arrivals as much as the passengers on the plane enjoy watching them watching us!
I got to fly this route sometimes when doing training. It’s reason enough to do pilot training, or at least to take a sightseeing flight.
Matthew Amend of Seattle, with whom I have corresponded about piloting issues for years, sends this photo. Here’s his explanation:
I just found your series. It’s great! As an 18-year paraglider pilot, I may be biased, but I firmly maintain that the best, most unobstructed way to view America by air is by dangling beneath a big kite!
Here’s my submission (of me, not taken by me—taken by Matty Senior). I’m taking a friend for a ride in my two seat (“tandem”) paraglider above Tiger mountain in Issaquah, WA. January 2015. Perfectly backed by a rainbow and low cumulus clouds with lake Sammammish in the distance. No Photoshop; that’s straight from the camera.
I wanted to share some of the images I’ve been taking of elusive plane shadows from window seats. I make sure I alway sit on the shaded side of the plane to try and capture these.
During the 9/11 attacks, I lived just a few blocks away from the WTC on Duane Street, and I heard the first plane go overhead and crash into the tower. It took a while before I wasn’t spooked by the doppler effect of a plane passing by. Taking these photos has been a cathartic process for me, even though I still find the sight of shadows of the planes over buildings fairly sinister.
Here’s the photo gallery. All but #6 and #11 were taken over the U.S., mostly on approach to LGA or ORD, a trip I take a lot.
Above is a screenshot I took of Matt’s gallery. If you have any similar shots of plane silhouettes, please send them our way: email@example.com.
This picture is looking down at the former Savanna Army Depot just South of Hanover, Illinois, this weekend. The Mississippi River is in the background. Large sections are now being used for temporary storage of rail cars, but you can see the remains of roads that were once lined by ammunition bunkers.
The U.S. Army began work there in 1917 with military weapons testing and the grounds boomed to life. During World War II it was the largest Army depot in the county. Over the years it was also used to store, manufacture and recycle munitions.
Later, it was listed for BRAC closure and the depot officially shut its doors in 2000. Today, much of the property is out-of-bounds due to environmental contaminants. The areas that are off-limits to the public today are surrounded by tall fences and posted with signs that say restricted. However, you can still get pretty close enough to see many of the old buildings.
Especially if you’re in a small plane. But the area isn’t entirely abandoned:
“It might look like a ghost town, but that’s because you can’t see the activity,” said Alan Anderson, a Wildlife Refuge Operation Specialist with the U.S. Fish and Wildlife Service. There is some work happening with the railroad and efforts to redevelop the area, but Anderson works there for a different reason. “The U.S. Fish and Wildlife Service has been developing a National Wildlife Refuge here for actually 20 years,” he said.
The Army has transferred over about 10,000 acres that’s now called the Lost Mound Unit. Only part of it is open to visitors. “The work the military did disturbed some of the habitat that’s out here but it also preserved some of the habitat that’s out here,” added Anderson.
Yesterday Stu Smith, who flies as a seasonal pilot for Kenmore Air in the Seattle area, shared a wonderful photo of a circular rainbow.
I’m very familiar with and fond of Kenmore Air, and not simply because my wife Deb and I took some of their seaplane flights for travel around the Puget Sound area when we lived in Seattle in 1999 and 2000. It’s also because I took seaplane-flying lessons there from Smith’s Kenmore colleague, Chris Jacob.
Because they fly so low-and-slow, and because they often land on lakes, bays, and shorelines right near cities, seaplanes generally offer a particularly striking version of the aerial view. In his note, Stu explains what we are seeing above:
I’ve flown for Kenmore for a dozen seasons in DeHavil and Beavers and Turbine Otters, all on floats. All of our flying is single-pilot, and
the company is certified to carry passengers in the copilot’s seat. I
often receive photos taken by passengers who are kind enough to share, since I tend to be occupied at the controls. Most of our flying is
low-level, typically below 5,000 feet above the ground. This is an
ideal height to see detail on the ground as well as a distant, synoptic view.
The photo above was taken by a passenger (name lost to history) sitting in the copilot’s seat. We’re flying in a Beaver on a scenic flight, southbound over Seattle’s Lake Union. Lake Union is freshwater, and is our primary takeoff and landing site. The seaplane dock, where Kenmore’s passengers embark and disembark, is just to the right of photo center (at the moment unoccupied).
Downtown is out of sight to the photo’s left, about a mile or so off our nose. Beyond the Space Needle to the southwest is Elliot Bay and then Admiralty Inlet, which are saltwater and part of Puget Sound. The plane’s right front float is just visible in the lower-left portion of the image.
Stu Smith, a reader who works as a seasonal commercial seaplane pilot for Seattle’s Kenmore Air, passes along a real beauty:
This photo was taken from the copilot’s seat by my friend Marshall Collins, who is a flight instructor at Clover Park Technical College (where I received my training and was also a flight instructor). This was a scheduled flight in a Beaver from Seattle to Victoria, British Columbia. We were about a third of the way into the 70 mile-long, northwest-bound flight when the circular rainbow appeared below us. If Marshall had had a wider-angle lens, he would have caught the entire circle.
At the time of the photo we were over the small village of Port Gamble, Washington, which had a long history as a timber and sawmill town. We’re looking to the northeast, with Point Julia in the foreground, the Kitsap Peninsula in the middle distance and Admiralty Inlet in the far distance. Marshall was riding along as my guest, since there was an unsold seat on this flight and he was available to join me.
Love this series so far and thought I’d throw in one of mine. This shot was taken along the central California coast in the Big Sur area after taking off from Monterey en route to Montgomery Field in San Diego in a Diamond DA-40. In contrast to all of the great shots so far on (mostly) clear days, this photo was captured under instrument flight rules. [CB note: That’s defined as “rules and regulations established by the FAA to govern flight under conditions in which flight by outside visual reference is not safe”—in contrast to visual flight rules.]
The right side of the picture shows an interesting pattern that tends to show up in cell phone pictures taken from propeller aircraft. The best explanation I have found is here.
Here’s a photo of Lake Bryan I took flying over beautiful Bryan, Texas. I love shooting photographs over the cowling of my Cessna 152 because of the effect that the moving propeller creates in the lens, like drifting horizontal tildes [ ~ ] cutting into the frame. Of course, you can’t see this effect with the naked eye, but it always shows up on a digital photo. As a Mexican-American pilot, I like to think of the tildes as benevolent latinate characters greeting me in the sky. Think Super Mario and those friendly clouds.
It’s overcast today in Seattle, where my wife Deb and I have come for the annual Citizens University conference — an inspiring gathering of civic-engagement activists from around the country. But two days ago skies were clear along the West Coast. That is when reader (and son) Tom Fallows of San Francisco took pictures as he left Seattle, above, and came into San Francisco, below.
No comment needed, beyond remarking that this is a beautiful part of a beautiful country (and world).
After the jump, a reaction from another reader, involving the theme of fathers and sons and the view from above.
A reader in Southern California reacts to a post from a former flight instructor who said how much he loved the low-altitude view. Emphasis added — I have flown through this same area and can picture the scene he describes:
Similar memories of flying in the Riverside, CA and surrounding areas a long time ago.
Loved flying at lower altitudes; had the feeling of flying through a valley, rather than over it. Especially in the morning air, when it was smooth - magical, indescribable feeling. Following the Santa Ana River to the beach, south along the coast, and back over the hills to RAL [Riverside Municipal] was also a favorite. [JF note: I have flown this same route, from the airports in Redlands and San Bernardino toward those on the coast. It is magical, though usually with enough other airborne traffic that you can spend too much time just taking in the view.]
Would absolutely love to get back into it again, but my wife is fearful. I'm scheming tho'. We have a boy on the way… That boy is going to experience small aircraft flight early in his life (I'll take him while mommy is at work). He'll be addicted and it will be two against one!
A lasting effect of this pandemic will be a revolution in worker expectations.
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.
Does everyone have a right to know their biological parents?
Damian Adams grew up knowing that his parents had used an anonymous sperm donor to conceive him, and as a teen, he was even proud of this identity. He considered donating to help other families have children. Becoming a father himself, however, changed everything. When his daughter was born 18 years ago, he cradled her in his arms, and he instantly saw himself in her and her in himself. He felt a biological connection so powerful that it made him reconsider his entire life up until then. “What I’d had there with my daughter,” he says, “was one thing I had been missing in my life.” He felt the need to know where he came from.
Adams, a biologist in Australia, would spend years searching for his biological father, running into one dead end after another. Meanwhile, he also began campaigning to end donor anonymity for others like him. In 2016, he and fellow activists pushed the state of Victoria to retroactively abolish anonymity for all sperm donors. (A previous law had already banned it from 1998 onward.) Donor-conceived people in the United Kingdom have also successfully campaigned to ban anonymous sperm donation. In the United States, where anonymous donation is still technically offered, some donor-conceived people are asserting a right to know their genetic origins and even to contact their biological parents, who may or may not welcome the surprise.
Female doctors have always dealt with appearance-related confusion and disrespect. That only got worse during the pandemic.
In the spring of 2020, as Boston’s first COVID-19 wave raged, I was the gastroenterologist on call responding to a patient hospitalized with a stomach ulcer. Wearing a layer of yellow personal protective equipment over a pair of baggy scrubs, I spent 30 minutes explaining to him that he needed an endoscopic procedure. We built a rapport, and by the end of our conversation about the pros and cons, he seemed to agree with my recommendation. I told him we would be ready to perform his endoscopy within half an hour.
“Well, before we do anything, I’m going to need to discuss it with the doctor.”
When I entered the room, I had introduced myself as the doctor. I had also just explained, in great detail, a highly specialized procedure.
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.
The Oscar winner and celebrity guest Rami Malek knew when to lean into his roles—and when to get out of the way.
When a Saturday Night Live host really commits to the job, even a sketch with a simple premise can feel surprising. Consider last night’s “Mattress Store,” in which Rami Malek, the show’s latest celebrity guest, and cast member Aidy Bryant play a couple searching for the right mattress by enacting every over-the-top scenario they might encounter in bed. Their skits escalate predictably, and Malek matches Bryant’s melodramatic line readings, leaning into the absurdity. When the two act out a lovers’ spat, the Oscar winner catches the audience off guard by miming masturbation under a blanket. When the pair pretend an intruder has entered their bedroom and shot Malek’s character, he flops across the mattress, clutching his heart in a pitch-perfect piece of physical comedy.
When Michaeleen Doucleff met parents from around the world, she encountered millennia-old methods of raising good kids that made American parenting seem bizarre and ineffective.
At one point in her new book, the NPR journalist Michaeleen Doucleff suggests that parents consider throwing out most of the toys they’ve bought for their kids. It’s an extreme piece of advice, but the way Doucleff frames it, it seems entirely sensible: “Kids spent two hundred thousand years without these items,” she writes.
Doucleff arrives at this conclusion while traveling, with her then-3-year-old daughter, to meet and learn from parents in a Maya village on the Yucatán Peninsula in Mexico; in an Inuit town in a northern Canadian territory; and in a community of hunter-gatherers in Tanzania. During her outings, she witnesses well-adjusted, drama-free kids share generously with their siblings and do chores without being asked.
The comedian’s latest special blurs the line between victim and bully.
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.”
Even the president’s closest allies are alarmed that he’s not making voting rights a front-and-center issue.
As a reporter forThe Philadelphia Inquirer in the early 2000s, I once received a call from a couple of Republican campaign operatives who said they had something to show me. We met at their office in Washington, D.C., a few days later. They presented printouts of recent election records and pointed to a few cases of what they suspected were people voting illegally. One after another, their examples of voter fraud turned out to be nothing. They had flagged, for instance, a voter named John Smith who might have cast ballots on the same day in two different precincts—discounting the possibility that more than one person named John Smith might be living in the region. Their motivation was obvious enough: They were attempting to plant stories that would delegitimize elections that the GOP risked losing. It didn’t work.
In its third season, HBO’s award-winning series Succession needs to remember the dramatic stakes that made it great.
Watching Succession’s second season, which to my mind is one of the most dexterous and enthralling seasons of television in recent history, was like an immersion in all the different ways tension can manifest on-screen: a loaded conversation between two people, a fraught family event, a hunting excursion during which executives literally scuffle to bring home the bacon. You perhaps remember less about the specifics of each scene than the visceral feeling of watching them. A four-minute conversation in the sixth episode, “Argestes,” between Shiv, one scion of the wealthy Roy family (played by Sarah Snook), and the fixer Rhea Jarrell (Holly Hunter) was almost incidental in terms of plot, and yet the palpable hostility between the two women conveyed infinitely more than was in the script. The setting of Succession is 21st-century Extreme Wealth Island, but the mood is ancient Greece. Brutality and fate and ritualistic violence are never far from the surface.
In 2014, the executives at a brand-new start-up called Andela made a decision whose consequences they would only understand much later. Andela’s model was to recruit and train promising African engineers, then place them at Western tech firms, which meant its employees and clients were scattered across time zones; it desperately needed a way for its distributed workforce to share information and make decisions easily and asynchronously, ideally without subjecting anyone to a deluge of emails. So the company started using Slack.
The maker of the chat software had recently become one of San Francisco’s trendiest new companies, based on a promise to make work communication more transparent and fluid. And at Andela, it did. As the company grew, Slack became its central nervous system, the place where business was conducted and where the company’s culture was formed.