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.)
Of all the injuries we suffered, mine is the worst. My brain injury has shaken my confidence in my own personality, my own existence.
The worst things can happen on the most beautiful days. My family’s worst day was a perfect one in the summer of 2019. We picked my daughter up from camp and talked about where to go for lunch: the diner or the burger place. I don’t remember which we chose. What I do remember: being woken up, again and again, by doctors who insist on asking me the same questions—my name, where I am, what month it is—and telling me the same story, a story that I am sure is wrong.
“You were in a car accident,” they say. But this cannot be. We’re having lunch and then going on a hike. I had promised the think tank where I work that I’d call in to a 4 p.m. meeting.
“You are in Dartmouth-Hitchcock Hospital in New Hampshire.” Another ludicrous statement. I started the day in Vermont. Surely if I had crossed the river to New Hampshire I would know it.
Reducing hours without reducing pay would reignite an essential but long-forgotten moral project: making American life less about work.
The 89 people who work at Buffer, a company that makes social-media management tools, are used to having an unconventional employer. Everyone’s salary, including the CEO’s, is public. All employees work remotely; their only office closed down six years ago. And as a perk, Buffer pays for any books employees want to buy for themselves.
So perhaps it is unsurprising that last year, when the pandemic obliterated countless workers’ work-life balance and mental health, Buffer responded in a way that few other companies did: It gave employees an extra day off each week, without reducing pay—an experiment that’s still running a year later. “It has been such a godsend,” Essence Muhammad, a customer-support agent at Buffer, told me.
Some of the colors we see on creatures such as blue jays and poison-dart frogs aren’t created by pigments at all.
Peacocks, panther chameleons, scarlet macaws, clown fish, toucans, blue-ringed octopuses, and so many more: The animal kingdom has countless denizens with extraordinarily colorful beauty. But in many cases, scientists know much more about how the animals use their colors than about how they make them. New work continues to reveal those secrets, which often depend on the fantastically precise self-assembly of minuscule features in and on the feathers, scales, hair, and skin—a fact that makes the answers intensely interesting to soft-matter physicists and engineers in the photonics industry.
Many of the colors seen in nature, particularly in the plant kingdom, are produced by pigments, which reflect a portion of the light spectrum while absorbing the rest. Green pigments like chlorophyll reflect the green part of the spectrum but absorb the longer red and yellow wavelengths as well as the shorter blue ones. Which specific wavelengths get reflected or absorbed depends on the pigment’s molecular makeup and the exact distances between the atoms in its molecular structures.
There’s no way of knowing how bad things will get in the U.S. In a way, that’s a luxury.
This much is clear: The coronavirus is becoming more transmissible. Ever since the virus emerged in China, it has been gaining mutations that help it spread more easily among humans. The Alpha variant, first detected in the United Kingdom last year, is 50 percent more transmissible than the original version, and now the Delta variant, first detected in India, is at least 40 percent more transmissible than Alpha.
What’s less certain, however, is how the virus’s increased transmissibility will affect the pandemic in the United States. Alpha’s arrival prompted worries about a new surge in the spring, but one never came. The proportion of Alpha cases kept going up, but the total number of cases kept going down. People got vaccinated. Alpha became dominant in the U.S. Cases fell even further. The virus had become more biologically transmissible, but it wasn’t being transmitted to more people.
The rigged “election” of Ebrahim Raisi as Iran’s next president has the potential to be a turning point for the country. But its significance will be fully understood only in hindsight.
Tipping points in the fortunes of opaque, authoritarian regimes are often predicted but never predictable. The rigged “election” of Ebrahim Raisi, an uncharismatic, 60-year-old hard-line cleric, as Iran’s next president has the potential to be such a moment, although its significance will be fully understood only in hindsight. Will Raisi’s anointment be remembered, as some historians have asserted, as a brazen authoritarian overreach that destroyed the Islamic Republic’s remaining legitimacy and hastened its demise? Or will it be just another milestone in the life cycle of a theocracy that has defied predictions of reform and collapse, potentially paving the way for Raisi to succeed his patron, 82-year-old Ayatollah Ali Khamenei, as Iran’s next Supreme Leader?
A common ideology underlies the practices of many ultra-wealthy people: The government can’t be trusted with money.
When ProPublica published its report last week on the tax profiles of 25 of the richest Americans, jaws dropped across the United States. How was it possible that plutocrats such as Elon Musk, Jeff Bezos, and Warren Buffett could pay nothing in income taxes to the federal government? What sneaky sleights of pen, what subterfuge, what acts of turpitude could have led to this result?
The shock stems, in part, from a disturbing reality: Nowhere does ProPublica assert that these men cheated, lied, or did anything felonious to lower their tax burdens. The naked fact of the matter is that not a single one of the documented methods and practices that allowed these billionaires to so radically minimize their tax obligations was illegal.
Leagues are seeing the downside of treating vaccines as simply a matter of personal choice.
When the NBA announced Wednesday that Phoenix Suns point guard Chris Paul was being sidelined indefinitely under the league’s coronavirus-safety protocols, the next question was obvious: Had Paul been vaccinated?
For COVID-19 concerns to interrupt Paul’s brilliant playoff run seemed particularly cruel—not only because the widespread availability of vaccines has made transmission of the virus largely preventable, but also because the Suns had just secured a spot in the Western Conference finals. Even though Paul is one of the best NBA point guards ever, this week’s development was another unfortunate entry in his long history of medical problems during the playoffs.
The television analysts Matt Barnes and Jalen Rose, both of whom are former NBA players, soon reported that Paul had indeed been vaccinated. But all the discussion of his status raised another important question: Do fans even have the right to know, and do journalists have the right to ask, if a player has been vaccinated against COVID-19?
People in the United States no longer agree on the nation’s purpose, values, history, or meaning. Is reconciliation possible?
Nations, like individuals, tell stories in order to understand what they are, where they come from, and what they want to be. National narratives, like personal ones, are prone to sentimentality, grievance, pride, shame, self-blindness. There is never just one—they compete and constantly change. The most durable narratives are not the ones that stand up best to fact-checking. They’re the ones that address our deepest needs and desires. Americans know by now that democracy depends on a baseline of shared reality—when facts become fungible, we’re lost. But just as no one can live a happy and productive life in nonstop self-criticism, nations require more than facts—they need stories that convey a moral identity. The long gaze in the mirror has to end in self-respect or it will swallow us up.
Kodak changed the way Americans saw themselves and their country. But it struggled to reinvent itself for the digital age.
Above, clockwise from bottom-right: Kodak founder George Eastman takes a picture, circa 1925. High Falls in Rochester, New York, Kodak’s hometown. Postcard of the Kodak Pavilion at the New York World’s Fair, 1964. FIGHT, a group seeking to change Kodak’s hiring practices, protests at a shareholders’ meeting, 1967.
This article was published online on June 16, 2021.
When I was in fifth grade, my class took a field trip to the George Eastman Museum, in Rochester, New York, as the fifth graders at my rural elementary school, 30 minutes south of the city, did every year. Housed in a Colonial Revival mansion built for the founder of the Eastman Kodak Company in 1905, the museum is home to one of the most significant photography and film collections in the world. But our job there was to stare at old cameras the size of our bodies, marvel at the luxury of having a pipe organ in your house, and write down what a daguerreotype is to prove that we’d been paying attention. At the end of the tour—in a second-story sitting room full of personal artifacts—we were presented, matter-of-factly, with a copy of Eastman’s suicide letter, dated March 14, 1932: “My work is done. Why wait?” Eastman shot himself in the heart with a Luger pistol at the age of 77.
On the heels of WandaVision, two new series—Kevin Can F**k Himself and Physical—explore how pop culture can limit the roles that women play in real life.
The creators of Kevin Can F**k Himself have yet to go on the record about this, but they’re clearly tired of lopsided sitcom marriages. The series, with its pointed title, seems to be a roast of shows starring the comedian Kevin James over the years, such as TheKing of Queens; notably, his characters’ spouses didn’t have lives of their own outside of doting on him. (One even got unceremoniously written out off-screen between the first and second seasons.) Kevin’s protagonist, Allison (played by Annie Murphy of Schitt’s Creek), takes after those long-suffering wives: She flits along the edges of the frame, ever dutiful and understanding of her husband,Kevin (Eric Petersen), in spite of his childish antics and myriad jokes at her expense.