When I am writing my novel, I love listening to Max Richter—specifically “The Twins (Prague)” on repeat. It’s a short but beautiful piece that always seems to bring out dramatic scenes from within, and onto paper.
For a more directed recommendation, I’ve found modern cello to be particularly fruitful (even if not used in a video game), especially by Zoe Keating—e.g. “Sun Will Set” and “Tetrishead”—and in the same vein, Julia Kent’s “Barajas.” Those three are really beautiful cello pieces. Do check them out, even if you don’t spend days researching the epic mixes above.
(Submit a song via hello@. Track of the Day archive here. Pre-Notes archive here.)
Reader M.J. has a wonderful find for the new series:
As a PhD researcher, it’s difficult to find the right kind of music to work to. Music with lyrics distracts from reading and typing. Absolute silence is just as distracting as a complete din. I’ve sometimes used one of the white-noise or nature-sounds websites, but they get boring.
After some searching, I’ve found that the classical music used in video games is very helpful. Thanks to sites like Bandcamp, it’s easy to find and buy music from indie games (ones that often aren’t focussed on shooting as many people as possible). My latest find is the composer Austin Wintory, especially the soundtrack to Journey. Highly recommended.
Journey won several “game of the year” awards and received several other awards and nominations, including a Best Score Soundtrack for Visual Media nomination for the 2013 Grammy Awards. The music, composed by Austin Wintory, dynamically responds to the player’s actions, building a single theme to represent the game's emotional arc throughout the story. Reviewers of the game praised the visual and auditory art as well as the sense of companionship created by playing with a stranger, calling it a moving and emotional experience, and have since listed it as one of the greatest games of all time.
The full soundtrack is available on YouTube, and its most popular track, “Apotheosis,” is embedded above.
(Submit a song via hello@. Track of the Day archive here. Pre-Notes archive here.)
Yesterday—in attempt to get a new TotD series going, centered on songs that are great to listen to while working—a reader gave a shoutout to the post-rock band This Will Destroy You. I just checked out their eponymous 2008 album—which you can listen to in full on YouTube—and immediately recognized one of its tracks, “The Mighty Rio Grande,” but I wasn’t sure from where. A quick googling turned up the answer: the 2011 film Moneyball, based on Michael Lewis’s book of the same name chronicling the Oakland A’s efforts to revamp their struggling team based on sabermetrics. I’m listening to the moody atmospheric track as I type and it’s simultaneously soothing without slowing my productivity.
Do you have any recommendations for similar songs—ones with little or no lyrics that are great to have in the background while you’re typing away at work or trying to write something at home? Please drop us a note: firstname.lastname@example.org. Update from a reader, Jack, who mentions a movie that’s been high on my to-see list:
“The Mighty Rio Grande” was also featured in Room, which came out last year and was nominated for Best Picture. It’s in the pivotal scene of the movie and the music fits it perfectly. Such a great scene.
(Track of the Day archive here. Pre-Notes archive here.)
Personally I can’t listen to music with lyrics; they’re too distracting. But curiously that’s not the case when I lack control over the music, like when I’m working in a coffeeshop and the lyrics over the speakers are melding with the ambient noise. (That mixture of sounds is so comforting that I often work to Coffitivity, an awkwardly named site that provides a variety of ambient tracks from the cafe.)
So what’s your favorite piece of music to work to, either as an individual track or a whole album? Please send us your pick to email@example.com and describe a little why you like the track or album so much. Benjamin, one of the readers in the Writers groups, sounds off:
I usually write to Radiohead, Sigur Ros, or St. Vincent. Sometimes I throw a little Nick Cave in the mix, but he has a lot of words and an imposing voice so ... not always.
Love, love Explosions in the Sky. Their music is an experience and it's really inspirational. Check out the band This Will Destroy You if you’re into the post-rock ambient sound.
Ria gets vivid:
Closing my eyes, I listen to Gabriel Faure’s “Pavane” [embedded above] and imagine myself sitting inside an ancient, ruined cathedral, while it’s raining outside. I rest my back on the damp, mossy wall of the cathedral and watch the blurred view of the green valley. I have a blank notebook and a pen. The notebook lies open on my lap. My heart longs to write something. I open my eyes and start writing.
(Submit a song via hello@. Track of the Day archive here. Pre-Notes archive here.)
Police unions aren’t usually bashful about defending officers, but they’ve been conspicuously subdued in discussing the January 6 attacks.
On Tuesday, the National Fraternal Order of Police decided to “clear up confusion” about its position on the January 6 assault on the Capitol by enraged Donald Trump supporters. “Those who participated in the assaults, looting, and trespassing must be arrested and held to account,” it said in a statement. “We continue to offer our support, gratitude, and love to our brothers and sisters in law enforcement who successfully fought off the rioters, and we will be with them as they grieve and recover, however long that may take.”
The FOP does not often have to clarify its position on matters of public concern; the organization is usually rather strident in expressing its views. For example, in 2016, the FOP demanded that Walmart cease selling Black Lives Matter T-shirts. It denounced Nike for its ad campaign involving Colin Kaepernick, who was purged from the NFL for protesting police misconduct. If you go to the FOP’s Twitter feed, you can find a steady stream of clips from conservative outlets such as Newsmax and Fox News showing FOP representatives attacking policies like bail reform, slamming Democratic elected officials, and blaming Black-rights activists for the recent rise in homicides. These posts are interspersed with tributes to homicide victims, attacking “rogue prosecutors,” “activist judges,” and “progressive policies” for their deaths.
The creative class was supposed to foster progressive values and economic growth. Instead we got resentment, alienation, and endless political dysfunction.
This article was published online on August 2, 2021.
The dispossessed set out early in the mornings. They were the outsiders, the scorned, the voiceless. But weekend after weekend—unbowed and undeterred—they rallied together. They didn’t have much going for them in their great battle against the privileged elite, but they did have one thing—their yachts.
During the summer and fall of 2020, a series of boat parades—Trumptillas—cruised American waters in support of Donald Trump. The participants gathered rowdily in great clusters. They festooned their boats with flags—American flags, but also message flags: Don’t Tread on Me, No More Bullshit, images of Trump as Rambo.
The women stood on the foredecks in their red, white, and blue bikinis, raising their Pabst Blue Ribbon tallboys to salute the patriots in nearby boats. The men stood on the control decks projecting the sort of manly toughness you associate with steelworkers, even though these men were more likely to be real-estate agents. They represent a new social phenomenon: the populist regatta. They are doing pretty well but see themselves as the common people, the regular Joes, the overlooked. They didn’t go to fancy colleges, and they detest the mainstream media. “It’s so encouraging to see so many people just coming together in a spontaneous parade of patriotism,” Bobi Kreumberg, who attended a Trumptilla in Palm Beach, Florida, told a reporter from WPTV.
Customers were this awful long before the pandemic.
In May, I stood in the rear galley of an airplane and watched as a line formed to berate the flight attendant next to me. We were at a gate at LaGuardia, our flight half an hour delayed, and the air inside the cabin was acrid with the aromas of anxiety sweat and bags of fast food procured at the gate. Impatient passengers squeezed past others hoisting carry-ons into overhead bins to jockey for position in the complaining queue, lodging grievances largely about things over which a flight attendant would have obviously little control: the airline’s decision to sell middle seats, the disruptive wait, the insolent tone of a different flight attendant.
I was tucked inside one of the tiny spaces usually reserved for the flight crew, because I had arrived at my assigned seat to find a man who had no intention of getting up. He gave nothing in the way of an explanation; instead, he stared up at me blankly, as though he had never before encountered the concept of assigned seating. The flight attendant had noticed our stalemate and offered to roust the man from my seat, but the situation felt too combustible to me, and 25C like too stupid a hill on which to die. The attendant said he’d find me another if I’d just wait in the back.
The vice president needs to win over the voters who approve of Biden, but not of her performance.
“I think it’s okay if we shake hands,” Kamala Harris told me last week. The vice president came out from behind her West Wing desk to greet me, her eyes smiling above her face mask. The last time I was in this particular office, the occupant was Mike Pence. And had it not been for a few state election officials who withstood the pressure to ignore the results, Harris’s desk would still belong to him.
Donald Trump’s most extreme supporters hold out hope that the election results will somehow be overturned, and that Trump will resume office this month. Three days before Harris and I met, police officers testified before Congress about their hellish clash with Trump supporters who swarmed the U.S. Capitol in an attempt to stop the certification of the election on January 6. One Black officer, Harry Dunn, spoke about repeatedly being called the N-word by rioters. What will the White House do to stop the insurrectionists from trying again? I asked Harris.
In the film, edgy shock value meets Hollywood sentimentality, resulting in a superhero movie unlike most others in the genre.
The Suicide Squad might seem like a typical superhero movie at first: Yet another group of powerful comic-book characters is thrown together to fight insurmountable odds on a mysterious, deadly mission. Audiences will recognize a few faces from the last (horrendous) Suicide Squad film, such as that of the chipper criminal Harley Quinn (played by Margot Robbie). But much of the fun comes from trying to puzzle out who the newcomers are, including a costumed hunk named T.D.K. (Nathan Fillion). When someone asks him what T.D.K. stands for, he replies, “It doesn’t stand for anything. It’s just my name. It stands for me.” “Your name is … letters?” “All names are letters,” another character shoots back.
Persistent hype around mRNA vaccine technology is now distracting us from other ways to end the pandemic.
At the end of January, reports that yet another COVID-19 vaccine had succeeded in its clinical trials—this one offering about 70 percent protection—were front-page news in the United States, and occasioned push alerts on millions of phones. But when the Maryland-based biotech firm Novavax announced its latest stunning trial results last week, and an efficacy rate of more than 90 percent even against coronavirus variants, the response from the same media outlets was muted in comparison. The difference, of course, was the timing: With three vaccines already authorized for emergency use by the U.S. Food and Drug Administration, the nation is “awash in other shots” already, as the The New York Times put it.
Beyond limiting the coronavirus’s flow from hot spots to the rest of the country, allowing only vaccinated people on domestic flights will change minds, too.
When you go to the airport, you see two kinds of security rules. Some apply equally to everyone; no one can carry weapons through the TSA checkpoint. But other protocols divide passengers into categories according to how much of a threat the government thinks they pose. If you submit to heightened scrutiny in advance, TSA PreCheck lets you go through security without taking off your shoes; a no-fly list keeps certain people off the plane entirely. Not everyone poses an equal threat. Rifling through the bags of every business traveler and patting down every preschooler and octogenarian would waste the TSA’s time and needlessly burden many passengers.
The same principle applies to limiting the spread of the coronavirus. The number of COVID-19 cases keeps growing, even though remarkably safe, effective vaccines are widely available, at least to adults. Many public agencies are responding by reimposing masking rules on everyone. But at this stage of the pandemic, tougher universal restrictions are not the solution to continuing viral spread. While flying, vaccinated people should no longer carry the burden for unvaccinated people. The White House has rejected a nationwide vaccine mandate—a sweeping suggestion that the Biden administration could not easily enact if it wanted to—but a no-fly list for unvaccinated adults is an obvious step that the federal government should take. It will help limit the risk of transmission at destinations where unvaccinated people travel—and, by setting norms that restrict certain privileges to vaccinated people, will also help raise the stagnant vaccination rates that are keeping both the economy and society from fully recovering.
It feels like every company and organization I’ve ever transacted with sends me email every week. Some every day, even. Some multiple times a day. My mortgage broker emails on my birthday and holidays. So does my dentist. Certain retailers email much more often. The home-furnishings company Room & Board is one of them, hoping I’ll upgrade to a lounge-worthy sectional or entreating me to meet artisanal glassblowers from Minnesota. In the past week alone, the clothing retailer Bonobos messaged me nine times, hawking Riviera shorts, trending shirts, and even a chino they promise will “bring out your best self.”
It’s ridiculous. Technically, I asked for these emails. I wrote loans with my mortgage broker. I’ve bought furniture from Room & Board and pants from Bonobos. And, yes, I’m aware that I can unsubscribe or block them at any time. But why so many emails? How is it possible that customers would find this appealing?
Whether economic times are good or bad, the lament for the old days of factories and mills never changes.
“You’ll want to read this,” my wife said, handing me the Sunday Boston Globe. The cover story that week in late September 2020 was about a 62-year-old woman who had colon cancer that had metastasized. She died in a local hospital; her husband was also in poor health and could not take care of her at home. After she died, he moved into an area facility. Reading of someone so close to my own age succumbing to a highly preventable disease was a bit unsettling.
The dateline, however, was the reason my wife had given me the paper. The story was from my hometown in Massachusetts, and the facility where the husband now lived was down the street from my childhood home. When I was a boy, we joked, far too easily, about “putting” people there when they got old. In later years, the joking ended when my father had to stay there briefly as his health began to fail. My brother then passed through its doors on his way to the final stop in a VA hospital. The couple in the story had struggled for survival in the neighborhood where I grew up, and one of them, as the Globe put it, had experienced “the kind of death all too typical for people who work hard jobs for modest pay,” dying “too young … and too hard.”
Why targets of deliberate deception often hesitate to admit they’ve been deceived
Something very strange has been happening in Missouri: A hospital in the state, Ozarks Healthcare, had to create a “private setting” for patients afraid of being seen getting vaccinated against COVID-19. In a video produced by the hospital, the physician Priscilla Frase says, “Several people come in to get vaccinated who have tried to sort of disguise their appearance and even went so far as to say, ‘Please, please, please don’t let anybody know that I got this vaccine.’” Although they want to protect themselves from the coronavirus and its variants, these patients are desperate to ensure that their vaccine-skeptical friends and family never find out what they have done.
Missouri is suffering one of the worst COVID-19 surges in the country. Some hospitals are rapidly running out of ICU beds. To Americans who rushed to get vaccinated at the earliest opportunity, some Missourians’ desire for secrecy is difficult to understand. It’s also difficult to square with the common narrative that vaccine refusal, at least in conservative areas of the country, is driven by a lack of respect or empathy from liberals along the coasts. “Proponents of the vaccine are unwilling or unable to understand the thinking of vaccine skeptics—or even admit that skeptics may be thinking at all,” lamented a recent article in the conservative National Review. Writers across the political spectrum have urged deference and sympathy toward holdouts’ concerns about vaccine side effects and the botched CDC messaging about masking and airborne transmission early in the pandemic. But these takes can’t explain why holdouts who receive respect, empathy, and information directly from reliable sources remain unmoved—or why some people are afraid to tell their loved ones about being vaccinated.