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: firstname.lastname@example.org. 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.)
More people than ever are hospitalized with COVID-19. Health-care workers can’t go on like this.
On Saturday morning, Megan Ranney was about to put on her scrubs when she heard that Joe Biden had won the presidential election. That day, she treated people with COVID-19 while street parties erupted around the country. She was still in the ER in the late evening when Biden and Vice President–elect Kamala Harris made their victory speeches. These days, her shifts at Rhode Island Hospital are long, and they “are not going to change in the next 73 days,” before Biden becomes president, she told me on Monday. Every time Ranney returns to the hospital, there are more COVID-19 patients.
The president’s act of clemency was less about mercy than self-interest.
Here’s the first and most important thing to understand about the crime for which President Trump just pardoned former National Security Adviser Michael Flynn: Flynn did not lie to protect himself. He lied to protect Donald Trump.
At the end of December 2016, Flynn had a series of conversations with Russian Ambassador Sergey Kislyak. A month later, on January 24, 2017, Flynn was asked about those conversations by the FBI agent Peter Strzok.
In the first set of conversations, Flynn urged Kislyak to oppose a UN Security Council resolution condemning Israeli settlement activity. The second set occurred a week later, while Flynn was on holiday in the Dominican Republic. There, Flynn sought to convince Kislyak to persuade the Russian government not to retaliate against the United States, over a round of sanctions punishing Russia for intervening in the 2016 election to help Donald Trump.
This is why you can eat in a restaurant but can’t have Thanksgiving.
Two weeks ago, I staged a reluctant intervention via Instagram direct message. The subject was a longtime friend, Josh, who had been sharing photos of himself and his fiancé occasionally dining indoors at restaurants since New York City, where we both live, had reopened them in late September. At first, I hadn’t said anything. Preliminary research suggests that when people congregate indoors, an infected person is almost 20 times more likely to transmit the virus than if they were outside. But restaurants are open legally in New York, and I am not the COVID police. Josh and I had chatted several times in the early months of the pandemic about safety, and I felt sure that he was making an informed decision, even if it wasn’t the one I’d make.
The new Netflix film is a think-piece trap—shiny on the outside, hollow on the inside.
“Everyone in this world is one of three kinds,” declares Mamaw (played by Glenn Close), the wise grand-matriarch of Ron Howard’s new film, Hillbilly Elegy. “A good Terminator, a bad Terminator, and neutral.” I hate to correct Mamaw, who is trying to encourage her impressionable grandson, J. D. Vance (Gabriel Basso), to follow a righteous path by invoking Arnold Schwarzenegger’s beloved action franchise. But there is no such thing as a “neutral” Terminator; those cyborg heroes exist to either protect or destroy. I cannot imagine what a neutral Terminator would do, save sit in a chair and remain forever shiny and inactive.
Mamaw is entitled to her bad movie opinions, of course. But this monologue is the kind of speechifying that rings hollow throughout Hillbilly Elegy, an adaptation of Vance’s best-selling 2016 memoir that debuts on Netflix tomorrow. When it first arrived on bookshelves, Vance’s story was celebrated as a glimpse into an oft-ignored pocket of America: the white working class of Appalachia and the Rust Belt who swung to Donald Trump in the 2016 election. Hailed as an “anger translator” and cited by Oprah Winfrey and Hillary Clinton, Vance wrote about growing up poor, living with a heroin-addicted mother, and clawing his way into Yale Law School. The book arrived at a seemingly serendipitous moment, offering a bleak but candid view of communities gutted by drug abuse and poverty.
“We are on an absolutely catastrophic path,” said a COVID-19 doctor at America’s best-prepared hospital.
Perhaps no hospital in the United States was better prepared for a pandemic than the University of Nebraska Medical Center in Omaha.
After the SARS outbreak of 2003, its staff began specifically preparing for emerging infections. The center has the nation’s only federal quarantine facility and its largest biocontainment unit, which cared for airlifted Ebola patients in 2014. The people on staff had detailed pandemic plans. They ran drills. Ron Klain, who was President Barack Obama’s “Ebola czar” and will be Joe Biden’s chief of staff in the White House, once told me that UNMC is “arguably the best in the country” at handling dangerous and unusual diseases. There’s a reason many of the Americans who were airlifted from the Diamond Princess cruise ship in February were sent to UNMC.
Cynical public speech aimed at winning political power has consequences.
Three weeks after the conclusion of the 2020 presidential election, many Republican members of Congress find themselves boxed in. Some have privatelycongratulated Joe Biden and Kamala Harris for their historic win. But publicly, most Republicans have remained silent, while others have actively encouraged President Donald Trump’s baseless accusations of mass voter fraud.
The situation these Republicans face is one that many southern members of Congress would have recognized during the aftermath of the 1860 election. Southern congressmen had spent years stirring up anger and promoting fear of their opponents, and were so successful that by 1860 they had lost control of their message. Abraham Lincoln’s election caused a mass movement among white southerners to leave the Union. Even though they knew that the claims being embraced by their constituents were conspiratorial and overblown, many southern members of Congress felt they had to get on board or be left behind.
The question shouldn’t be whether the president can pardon himself but whether he can grant himself a pardon—and those are not the same thing.
As Donald Trump’s tenure in office comes in for its landing, a major question is whether the president—facing questions about liability for offenses including bank and tax fraud—can pardon himself.
This might seem like the right operational question, but it is imprecise as a constitutional one. Article II of the Constitution says that the president “shall have Power to grant Reprieves and Pardons for Offenses against the United States, except in Cases of Impeachment.” Did you catch that? The president has the power not to pardon people, but “to grant … Pardons” (emphasis added). So the question is not whether Trump can pardon himself. It’s whether he can grant himself a pardon.
The president’s abuse of his clemency power is an assault on one of the few truly humane aspects of the American legal system.
President Donald Trump's announcement that he has pardoned Michael Flynn, his former national security adviser who twice pleaded guilty to lying to the FBI, is infuriating—and not merely because of the gross favoritism on display. What Trump has done once again is corrupt something that ought to be beyond corruption: the mercy that the most powerful person in the world can bestow upon those who are in chains.
I know the beauty of this power. I've seen it at work myself.
On a bright August day in 2016, I received a call from a number at the Department of Justice. The official on the other end told me that three of my law-school clinic’s clients had been granted commutations that would free them from life sentences on cocaine offenses, after each had served 25 years or more in prison. I was to call each of them immediately, and tell them the news.
Anxious? Here are some of the best and most rewatch-friendly movies to soothe your mind.
Over the course of 2020, I’ve compiled several movie-recommendation lists for viewers who are at once in desperate need of distraction and yet never able to fully escape the year’s pressing realities. A global pandemic. Economic turmoil. An impending election showdown. Natural disasters. Police killings and unrelenting national protests. With movie theaters shut down around the world, I curated collections of films to watch at home—works that were unheralded upon release, took singular approaches to storytelling, or told stories about horror, government mistrust, and the end of the world.
But I think this fall season calls for lighter fare—movies that don’t make serious emotional or mental demands of you, that entice you to sink deeper into the couch and give yourself over to the screen. These films lend themselves best to multiple viewings (and eventual line-memorization). Everyone has their own personal list of “comfort movies,” but the films I rewatch the most have no particular theme or genre. Some of the movies that relax me the most are intense action epics, while others are quiet conversational comedies. Comfort movies don’t have to be low energy or low stakes to be soothing; they simply have to evoke a certain mood or atmosphere, or transport viewers to a world they’ll want to revisit. Below are 25 of my own favorite feel-good watches, films I cue up again and again whenever I need a brief break from the world.
At the dawn of the 1960s, a couple of New York admen named Arthur Rankin Jr. and Jules Bass created the Christmas special. Before that, the networks hadn’t been sure exactly how they should entertain children during the holiday season. They had largely come down on the side of edification, as seen in NBC’s 1951 commission of a children’s opera, Amahl and the Night Visitors, broadcast live on Christmas Eve, after which the show lived on in reruns, and—also on NBC—Babes in Toyland, a turn-of-the-last-century operetta based on the Mother Goose tales.
But American children of the 1960s weren’t going to put up with operas and nursery rhymes. We had grown strong on orange juice, casseroles, and chewable vitamins. We weren’t afraid of polio or tuberculosis—we had the Salk vaccine and the tine test. We had had one small step for mankind, 31 flavors, and 101 dalmatians. The previous decade had already established the whims of children as a legitimate market force; in two years, Wham-O had made $45 million on the Hula-Hoop. Rich guys in office buildings were taking us seriously. What did we want next?