“Galveston” is another in a line of lush, cinematic songs by songwriter Jimmy Webb. The original, iconic version by Glen Campbell was released during the Vietnam War, but the last few years make lines like “I clean my gun and dream of Galveston” as topical as you can get. Here’s the original version [above], as well as a cover by David Nail and Lee Ann Womack (the female harmony adds depth to the longing and fear of a young man at war).
Yesterday we had Georgia on our mind, and in today’s track, from Otis Redding, he “left my home in Georgia, headed for the Frisco Bay.” Here’s a reader in San Francisco, Doug:
For me, “Sittin’ on the Dock of the Bay” captures so much of the San Francisco experience (or at least the SF experience I’ve idealized): carefree, sitting overlooking the water, relaxing and listening to some amazing music. But as you can see from this playlist I made when I was moving back to California a few years ago, songs about California are kind of a dime a dozen (and I barely scratched the surface) …
If you have any reflections on a song about a specific place in California (real places—no Hotel Californias), drop us a note. Update from a reader in Oregon, Brian:
As a former San Franciscan, I’d like to point out that “Dock of the Bay” is not a San Francisco song but a Sausalito song—another city on the “Frisco” Bay. Although neither city name is mentioned, just the Bay. (And the City and County of San Francisco is named after the Bay, not the other way around.)
(Track of the Day archive here. Pre-Notes archive here.)
To get our new series going—songs about a particular place—here’s a classic pick and a wonderful memory from Jackie in Leonard, Maryland:
Georgia is my home state, and nobody, but nobody, could sing “Georgia on My Mind” as Ray Charles could. Charles was born in Macon, and I heard him sing the song live in Columbus, Georgia, in June 1962, right after I graduated from Baker High School. My date and I were the only white people there; Georgia was a segregated state then. But everyone there was cool with it, especially when they saw that we knew the words to all the songs and could dance well. The whole joint was rocking. It was a memorable night; I still have the program.
(Submit a song via hello@. Track of the Day archive here. Pre-Notes archive here.)
Both songs are unabashed, upbeat, and unironic love songs to these iconic American cities. In a time when we are constantly bombarded by messaging that signals that somehow this country is something less than it once was, it is nice to be reminded that we are, in fact, the sum of all of our parts—and that the parts are actually (as Fallows points out) pretty great.
P.S. I only recently noticed the timing of the daily song release ;)
Great picks, though “I Love L.A.” was already featured in TotD (in our series of songs about complicated patriotism) and “City of Immigrants” doesn’t seem to be about a particular city. So I asked the discussion group of Atlantic readers known as TAD for further picks. But first, one of them begs to differ with Adam:
As a proud Angelino, Randy Newman’s “I Love L.A.” is a sort of theme song and also the soundtrack of all of our many sporting achievements, but I’d hardly call it an “unabashed, upbeat, and unironic love song.” It’s very much a satirical take on the city. It includes lines like, “Look at that bum over there, man, he’s down on his knees.” Newman has said in interviews that he does in fact love L.A., but that song has deeper layers than it what it first appears to be.
Let’s go with “Twin Falls” for the first song in the new series, recommended by a reader in TAD:
I didn’t grow up in Twin Falls, Idaho, but I know it, and I grew up in a town just like it. Built To Spill’s nostalgic song about nostalgia gets it good.
Listen and reminisce for yourself:
If you have a favorite song about a specific place, please send it along with a short description of why you love it so much—and perhaps the place as well: email@example.com. Update from Adam:
I re-listened to “City of Immigrants” and it is true that Steve Earle never actually mentions a specific place, but it is about NYC; it was on Earle’s album Washington Square Serenade, which is (mostly) an extended love letter to the Big Apple.
Regarding “I Love L.A.,” I always took the line about the bum to be a warts-and-all kind of reference. As a teenager stuck in the heartland, that song represented the Los Angeles that I knew from the movies and pop culture. Maybe to the locals it was a theme song, but for this Iowa boy, it was aspirational.
(Track of the Day archive here. Pre-Notes archive here.)
The president’s campaign is behind in polls and fundraising, but could still pull out a victory.
It was late in the evening at Hillary Clinton’s victory party in 2016, and by that point, the guests understood there would be neither a victory nor a party. As Donald Trump’s upset sank in among the hordes at the Javits Center in Manhattan, I asked one Clinton supporter how he was feeling. “Like I want to kill myself,” he said.
Later, at a bar in Hell’s Kitchen, I stumbled upon a group of Clinton-campaign aides sitting together in tears. A tray of shots sat on the table before them. They shared a look of shock: How could this possibly have happened?
Trump trails Joe Biden by an average of eight points nationally, and is behind in every important battleground state. But his reelection still seems plausible, if only because 2016 seemed so implausible. “If I take my PTSD hat off, I can feel semi-comfortable about where things are,” Steve Schale, a Democratic strategist in Florida, told me. “But it’s impossible to take my PTSD hat off.”
Stephanie Winston Wolkoff’s tell-all book about the first lady is as sordid as it is fascinating.
Stephanie Winston Wolkoff is one of those patriotic Americans who went to work in the Trump White House, only to come soaring back over the gates, rejected by the host organism. Like many before her, she decided to write a book about her experiences, Melania and Me: The Rise and Fall of My Friendship With the First Lady, and she proffers it to us as an act of public service, although possibly also as a comprehensive case for the defense if this whole acid trip ends up at The Hague. She is another member of Plastic Camelot, the ever-changing group of personal friends, celebrities, and weirdos whom the Trumps bring close to them and then, in the manner of bored kings, dispatch to the tombs. Maybe they’re no more disturbing a collection of advisers and jesters than the men and women on whom other presidents have depended. Who’s to say that Omarosa is so much worse than Henry Kissinger? She certainly has a better record on human rights.
Democrats could win decisively next week. But that still wouldn’t neutralize minority Republican power.
If Joe Biden beats Donald Trump decisively next week, this election may be remembered as a hinge point in American history: the moment when a clear majority of voters acknowledged that there’s no turning back from America’s transformation into a nation of kaleidoscopic diversity, a future that doesn’t rely on a backward-facing promise to make America great again. But that doesn’t mean the voters who embody the nation’s future are guaranteed a lasting victory over those who feel threatened by it.
With Biden embracing America’s evolution and Trump appealing unrestrainedly to the white voters most fearful of it, the 2020 campaign marks a new peak in the most powerful trend shaping politics in this century. Over the past two decades, and especially since Barack Obama’s election in 2008, voters have re-sorted among the parties and thus reconfigured the central fault line between them. Today Republicans and Democrats are divided less by class or region than by attitudes toward the propulsive demographic, cultural, and economic shifts remaking 21st-century America. On one side, Republicans now mobilize what I’ve called a “coalition of restoration”; on the other, Democrats assemble a “coalition of transformation.”
It almost killed me. A story of criminal neglect and mass death in South Texas.
At half past one on the morning of July 1, my 60th birthday, I awoke shivering. Since summertime chills are rare in South Texas, I immediately grew concerned. As the director of public affairs for Hidalgo County, just one county removed from the bottom of the state, I had been spending my days urging people to be on the lookout for symptoms that might indicate a COVID-19 infection. Chief among them were chills and a fever. Looking at my sleeping wife, a committed germaphobe, I crawled out of bed to hunt down a thermometer.
Ninety-nine degrees; a low-grade fever. Crawling back into bed, I knew my life was about to change: Part of the public-health-education message I’d been hammering was Self-isolate if you begin showing symptoms. Over the next hour, my temperature continued to rise. I woke my wife and told her to leave the room. That was the last time we would share a bed for two months.
The longer we can prevent infections, the better prepared we will be to treat them.
During the first COVID-19 surge of the spring, the mantra was “Flatten to curve”—to buy time, using every tool available.
Seven months later, it’s possible to measure what that time has bought: The death rate for COVID-19 has fallen dramatically. Hospitals in most places are not overburdened, and treatments are improving in many small but cumulative ways. In one study of patients hospitalized in a New York City health system, the adjusted death rate fell from 25.6 percent in March, at the pandemic’s onset, to 7.6 percent in August.
This change cannot be explained by COVID-19 patients getting younger and healthier. The study’s authors adjusted the mortality rates for age and other risk factors. “People should take this as validation of all the hard work and sacrifices they have been making,” says Leora Horwitz, an internist and the study’s lead author. “It has made a difference.” Similar patterns hold throughout New York City and in the U.K., and they underscore the reason for flattening the curve. The longer we can prevent infections, the better prepared we will be to treat the people that might eventually get it.
Courage exercised only when the coast is clear is not courage; it is opportunism.
Shortly after the fall of the Soviet Union, the author John le Carré’s most famous creation, the fictional British spy George Smiley, reflected on a career spent fighting a now-vanquished enemy.
“There are some people,” Smiley said at a dinner among young recruits to the Secret Service, “who, when their past is threatened, get frightened of losing everything they thought they had, and perhaps everything they thought they were as well. Now I don’t feel that one bit. The purpose of my life was to end the time I lived in.”
With a bit more pensiveness, Smiley adds: “Or perhaps … our troubles are just beginning.”
I think of this passage often, not only because I spent the first part of my career fighting (in my own small and mostly insignificant way) the Cold War, but also because I have spent the most recent part of my career fighting the possible rise of authoritarianism in my own country. I was a founding member of the band of Republican defectors known as the Never Trumpers, and one way or another, “the times I have lived in”—the movement to protect American democracy from Donald Trump and to stop his reelection—will come to an end in November.
“I want to feel hopeful about Joe Biden’s chances this year, but I just can’t,” my neighbor confessed to me, as we stood in line outside a coffee shop. What had begun as pleasant conversation—dogs, the temperature, clouds—had been pulled, through the vortex known as Late October in an Election Year, into an airing of political anxieties. “I’m still so afraid that 2016 is going to happen again and Trump is going to win,” she said.
Based on the sample size of my life, every Democrat feels this way. Yes, they’ll preface, the polls look all right for Biden. But four years ago, they looked good for Hillary Clinton too. And so, they fear, the horror film of 2016 is about to get its sequel.
There is a small chance that their fears will come true. But for the past few weeks, I’ve been stockpiling all of the quantitative reasons why the 2020 election is really, truly different from 2016, from new polling methodologies to fewer undecided voters. As always, do not allow any level of optimism (or pessimism) to guide your decision to vote. Just vote.
When The Office originally aired, its resident fool made for easy comedy. Fifteen years later, it’s hard to watch Dwight without seeing tragedy.
These are boom times for the lolsob. Watching the news, I sometimes find myself staring at the screen, eyes wide, brain broken, not sure whether to laugh or cry. The farce and tragedy tangle so tightly that it can be hard to tell where one ends and the other begins. How do you make sense, for example, of a leader who, in the midst of a deadly pandemic, muses about the curative powers of bleach? How do you process a president’s attempt to edit a hurricane with a Sharpie? The words, after a while, stop working. The categories collapse. Many true things have been written about what living under this regime feels like; one of the truest I’ve encountered is a 2017 prediction from the writer Hayes Brown: “This is going to be the dumbest dystopia.”
The GOP is in danger of losing an entire system of political control.
I doubted that Mitch McConnell could do it, but he did. With only a week remaining before Election Day, McConnell crammed through the confirmation of a sixth conservative justice to the U.S. Supreme Court. The people who tally such things reckon that Amy Coney Barrett is the first justice since 1869 to receive not a single vote from the minority party in the Senate.
It was a move of raw power. But it was also motivated by raw desperation.
Polls suggest Republicans are facing defeat in the 2020 races, and probably by big margins. Joe Biden and Donald Trump are neck and neck in Georgia and Texas, nobody’s previous idea of swing states. Republican senators are at risk not only in Maine and Colorado, but also in Iowa and even Kansas.
More than 80 percent of Republicans think the president is doing a great job with the pandemic. Here’s why.
Kurtis, a young accountant in McKinney, Texas, likes the thing that many people hate about Donald Trump: that the president has left the pandemic response almost entirely up to local officials.
“He left it up to each state to make their own decision on how they wanted to proceed,” Kurtis told me recently. Most experts think the absence of a national strategy for tackling the coronavirus has been a disaster. But Kurtis argues that North Dakota, for example, shouldn’t have to follow the same rules as New York City. Kurtis voted for Trump in 2016, and he plans to do so again this year.
Some 82 percent of Republicans approve of Trump’s coronavirus response—a higher percentage than before the president was diagnosed with the virus. This is despite the fact that more than 220,000 Americans have died, and virtually every public-health expert, including those who have worked for Republican administrations, says the president has performed abysmally.