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.)
At 3 a.m. I’m jolted awake. The room is dark and still. I grab my phone and scan sports scores and Twitter. Still awake. A faceless physician whispers in my mind: To overcome middle-of-the-night insomnia, experts say you ought to get out of bed … I get out of bed. I pour a glass of water and drink it. I go back to bed. Still awake. Perhaps you know the feeling. Like millions of Americans and hundreds of millions of people around the world, I suffer from so-called mid-sleep awakenings that can keep me up for hours.
One day, I was researching my nocturnal issues when I discovered a cottage industry of writers and sleep hackers who claim that sleep is a nightmare because of the industrial revolution, of all things. Essays in The Guardian, CNN, The New York Times, and The New York Times Magazine recommended an old fix for restlessness called “segmented sleep.” In premodern Europe, and perhaps centuries earlier, people routinely went to sleep around nightfall and woke up around midnight—only to go back to sleep a few hours later, until morning. They slept sort of like I do, but they were Zen about it. Then, the hackers claim, modernity came along and ruined everything by pressuring everybody to sleep in one big chunk.
Russia-Ukraine is becoming a trial of strength between different parts of the conservative universe.
Night after night, the host of the top-rated show on Fox News repeats Vladimir Putin’s talking points justifying aggression against Ukraine and opposing U.S. aid to that threatened sovereign country. Tucker Carlson’s influence is felt across right-wing social media, where it is amplified by figures such as Steve Bannon, Mike Cernovich, Glenn Greenwald, and Mollie Hemingway. A highly visiblecoterie of socially conservative intellectuals also argues the case against helping Ukraine.
Old songs now represent 70 percent of the U.S. music market. Even worse: The new-music market is actually shrinking.
Old songs now represent 70 percent of the U.S. music market, according to the latest numbers from MRC Data, a music-analytics firm. Those who make a living from new music—especially that endangered species known as the working musician—should look at these figures with fear and trembling. But the news gets worse: The new-music market is actually shrinking. All the growth in the market is coming from old songs.
The 200 most popular new tracks now regularly account for less than 5 percent of total streams. That rate was twice as high just three years ago. The mix of songs actually purchased by consumers is even more tilted toward older music. The current list of most-downloaded tracks on iTunes is filled with the names of bands from the previous century, such as Creedence Clearwater Revival and The Police.
In attempting to succeed in the Trump-era Republican Party, some politicians are masquerading as what they imagine voters want, with results that ring almost comically false.
In 2013, Bobby Jindal, then the governor of Louisiana and a presidential hopeful, delivered some tough love to the Republican National Committee: “We must stop being the stupid party.” Specifically, he continued, “we must stop insulting the intelligence of voters. We need to trust the smarts of the American people. We have to stop dumbing down our ideas and stop reducing everything to mindless slogans and taglines for 30-second ads.”
Even in the pre-Trump GOP, this was a bracing message, but Jindal was the person to make it: Known for his wonkish mien, Jindal had graduated from Brown at 20, scored a Rhodes Scholarship, become the youngest president of the University of Louisiana system, and then won the governorship.
Pour one out for Delta, the SARS-CoV-2 variant that Season 3 of the pandemic seems intent on killing off. After holding star billing through the summer and fall of 2021, Delta’s spent the past several weeks getting absolutely walloped by its feistier cousin Omicron—a virus that’s adept at both blitzing in and out of airways and dodging the antibodies that vaccines and other variants raise. In late November, Delta made up essentially all the SARS-CoV-2 infections that researchers were sequencing in the United States. Now it’s a measly 0.1 percent. As for the rest? It’s an Omicron show.
The global portrait’s a bit patchier, but by and large, “Delta won’t be able to compete,” Karthik Gangavarapu, a computational biologist at UCLA, told me. “My suspicion is that Omicron will take over.” It’s a fair shift from the tune many experts were singing just weeks ago, when they wonderedwhether Delta and Omicron might co-circulate in a vicious variant one-two punch. Katia Koelle, an evolutionary virologist at Emory University, told me she used to worry about that possibility when the world knew little about Omicron’s competitive edge, but “less so now.” Katie Gostic, an infectious-disease modeler at the University of Chicago, agrees that Delta’s doom is probably nigh. And if so, “good riddance,” she told me.
People seeking to obtain an exemption from the shot have found that some clergy see no theological foundation for an excusal.
Religious texts such as the Bible, the Torah, and the Quran don’t say anything about vaccines—of course, all three texts predate them by hundreds of years. So when faith leaders face questions about immunizations, they generally offer their own interpretations of the scriptures. Such questions, particularly about the applicability of religious exemptions, have become more urgent during the pandemic, forcing clergy to take hard stances for or against excusals.
Even though the Supreme Court recently struck down a federal vaccine-or-test mandate for businesses with more than 100 employees, many Americans still must receive a COVID-19 vaccine in order to resume in-person work. Some people are seeking ways to skirt the obligation, and religious exemptions, which stipulate that a person’s spiritual beliefs can free them from a medical requirement, present one way to do so. In private Facebook groups, for instance, people swap tips on how to convince employers that they don’t need a shot, while others are hiring consulting services for help obtaining an exemption. Many people requesting exemptions have tried to strengthen their case with a written statement from a religious leader, but to some clergy, agreeing to support a person’s claim feels unjustifiable. Instead, faith leaders I spoke with are trying to assuage congregants’ misgivings about the vaccines, and are pushing back against attempts to circumvent public-health measures with scripture.
Districts should rethink imposing on millions of children an intervention that provides little discernible benefit.
In the panicked spring of 2020, as health officials scrambled to keep communities safe, they recommended various restrictions and interventions, sometimes in the absence of rigorous science supporting them. That was understandable at the time. Now, however, two years into this pandemic, keeping unproven measures in place is no longer justifiable. Although no district is likely to roll back COVID policies in the middle of the Omicron surge, at the top of the list of policies we should rethink once the wave recedes is mandatory masks for kids at school.
The CDC guidance on school masking is far-reaching, recommending “universal indoor masking by all students (age 2 and older), staff, teachers, and visitors to K–12 schools, regardless of vaccination status.” In contrast, many countries—the U.K., Sweden, Norway, Denmark, and others—have not taken the U.S.’s approach, and instead follow World Health Organization guidelines, which recommend against masking children ages 5 and younger, because this age group is at low risk of illness, because masks are not “in the overall interest of the child,” and because many children are unable to wear masks properly. Even for children ages 6 to 11, the WHO does not routinelyrecommend masks, because of the “potential impact of wearing a mask on learning and psychosocial development.” The WHO also explicitly counsels against masking children during physical activities, including running and jumping at the playground, so as not to compromise breathing.
Since last summer, the conservative campaign against vaccination has claimed thousands of lives for no ethically justifiable purpose.
In the earlyphases of the pandemic, as the coronavirus spread in the United States and doctors and pharmacists and supermarket clerks continued to work and risk infection, some commentators made reference—metaphorical reference, fast and loose and over the top—to ritual human sacrifice. The immediate panicky focus on resuming business as usual in order to keep the stock market from crashing was the equivalent of “those who offered human sacrifices to Moloch,” according to the writer Kitanya Harrison. That first summer, as Republicans settled into their anti-testing, anti-lockdown, anti-mask, nothing-to-worry-about orthodoxy, Representative Jamie Raskin, a Democrat, said it was “like a policy of mass human sacrifice.” The anthropology professor Shan-Estelle Brown and the researcher Zoe Pearson wrote that people who continued to do their jobs outside their homes were essentially victims of “involuntary human sacrifice, made to look voluntary.” Meanwhile, people on the right likewise compared the inconvenience of closing down public places to ritual sacrifice.
The proliferation of restrictive laws—from school curriculum to the ballot box—continues.
The accelerating red-state offensive to censor what public-school students are taught about racism is emerging as a critical companion measure to proliferating race-based voter restrictions in many of the same states.
The two-pronged fight captures how aggressively Republicans are moving to entrench their current advantages in red states, even as many areas grow significantly more racially and culturally diverse. Voting laws are intended to reconfigure the composition of today’s electorate; the teaching bans aim to shape the attitudes of tomorrow’s.
“This is the next wave of voters, so the indoctrination that we see occurring right now is planting the seeds for the control of that electorate as they become voters,” Janai Nelson, the associate director-counsel of the NAACP Legal Defense and Educational Fund, told me recently. “They are trying to manipulate power and exert their influence at both ends of the spectrum by limiting those who can cast ballots now, and by indoctrinating those who can cast ballots later.”
The Lost Daughter is the rare film about a struggling mother that doesn’t excuse—or judge—her choices.
We’re nearly two years into the pandemic and parents are not okay. Variants have upended schooling. Tests are in short supply. And a work-life balance that disappeared in 2020 feels no closer to returning. It’s enough to make some mothers get together to just scream.
Few works of entertainment express the strains and contradictions of parenthood today like Netflix’s The Lost Daughter. The movie portrays a woman named Leda Caruso at two different points in her life: Olivia Colman is present-day Leda, a professor on holiday in Greece. And Jessie Buckley plays Leda two decades earlier, a mother with two young daughters who is struggling to balance parenting and her creative ambitions.
Adapted from the Elena Ferrante novel of the same name, The Lost Daughter weaves the two time periods into a blur of joy, stress, and regret. Colman’s Leda watches a young mother on the beach and thinks back to working in her apartment at 28 as her two girls cry for her attention. “I felt like I’d been trying not to explode, and then I exploded,” she admits. Unlike other recent worksabout “bad mothers,”The Lost Daughter doesn’t tell Leda’s story with judgment. It’s the rare film that understands the secret shame of motherhood.