A reader recommends the stirring hymn, “Partly because I’m from Africa, but mostly because it is just a beautiful song.” The version above is sung by a massive crowd led by Miriam Makeba, Ladysmith Black Mambazo, and Paul Simon. Here’s some background for “Nkosi Sikelel' iAfrika”:
[It’s] a hymn originally composed in 1897 by Enoch Sontonga, a Xhosa clergyman at a Methodist mission school near Johannesburg [South Africa]. The song became a pan-African liberation anthem and was later adopted as the national anthem of five countries in Africa including Zambia, Tanzania, Namibia and Zimbabwe after independence. Zimbabwe and Namibia have since adopted new national anthems. The song is currently the national anthem of Tanzania and, since 1994, a portion of the national anthem of South Africa.
(Submit a song via hello@. Track of the Day archive here. Pre-Notes archive here.)
“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: 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.)
Despite the easing of taboos and the rise of hookup apps, Americans are in the midst of a sex recession.
These should be boom times for sex.
The share of Americans who say sex between unmarried adults is “not wrong at all” is at an all-time high. New cases of HIV are at an all-time low. Most women can—at last—get birth control for free, and the morning-after pill without a prescription.
If hookups are your thing, Grindr and Tinder offer the prospect of casual sex within the hour. The phrase If something exists, there is porn of it used to be a clever internet meme; now it’s a truism. BDSM plays at the local multiplex—but why bother going? Sex is portrayed, often graphically and sometimes gorgeously, on prime-time cable. Sexting is, statistically speaking, normal.
The industry’s fall from grace may feel unprecedented, but we have a model for what happens when a beloved industry fails us.
Think back a few years, before the Amazon HQ2 sweepstakes, before Susan Fowler’s viral blog post, before the #MeToo movement, before the 2016 election. Across the nation, Silicon Valley was the crown jewel of the economy. The companies were youthful and ambitious. The culture was loose and exciting. The capabilities they put into the world’s pockets were astonishing: talk to anyone, know everything, buy anything, all with a few little taps on glass. Yes, this had unleashed unprecedented surveillance possibilities, as Edward Snowden revealed, but these were still the most beloved companies in the country. Their founders were legends.
The past several weeks have been like the past two years in miniature. First, The New York Times released a blockbuster article about Google’s sexual-harassment problems that placed the blame both on the institution itself and on the co-founder and current CEO, Larry Page. Then, Amazon selected its new headquarters, releasing a torrent of criticism of the deals: Why were municipalities subsidizing the richest man in the world in their race to the bottom? And finally, yesterday, the Times put out a 50-source story about Facebook’s obliviousness to its own platform’s darker possibilities. (In a statement today, Facebook’s board of directors called the story “grossly unfair.”)
The latest news about Facebook is a wake-up call that “leaning in” doesn’t mean doing right.
Back in 2013, many women of a certain ideological stripe and geographic location (D.C., New York, or basically any big city) wanted to be just like a woman most of us had only recently heard of: Sheryl Sandberg, the chief operating officer of Facebook.
With her blockbuster book, Lean In, she seemed to offer women a way—as long as we had nannies, an education, and smart biz-cazh attire—to finally get treated the way men do at the office.
The answer: It was on us. She had anodyne advice for being noticed: “Sit at the table,” literally. She had tips for tricking your boss into thinking you’re working harder than you are: “Holding my first and last meetings of the day in other buildings to make it less transparent when I was actually arriving and departing.”
In The Last Unicorn, there are no maps, invented languages, or epic battles. But the 1968 tale has a timely message about the importance of reality over magic.
I encountered the cover of Peter S. Beagle’s fantasy novel The Last Unicorn years before I read the book. On the front of the Ballantine paperback edition that once sat on my parents’ shelf, there’s a white unicorn running in a forest as a small red sun sets behind the mountains. Where was this majestic creature going? I wondered.
It’s now been 50 years since the novel’s publication, and the unicorn’s journey still captures the minds and hearts of readers. This week marks the release of The Last Unicorn: The Lost Journey, a commemorative edition of Beagle’s first draft of the novel. The book’s early popularity was no doubt fueled by the Tolkien boom; J. R. R. Tolkien’s The Lord of the Rings found legions of fans in the United States after it appeared in a paperback edition in 1965. But The Last Unicorn has since come into its own. In 1982, the novel was made into an animated film, which has become something of a cult classic. A novelette sequel that Beagle published in 2005 won both the Nebula and the Hugo Awards—the fantasy genre’s two highest honors. After all these years, The Last Unicorn still feels relevant. It’s not an epic fantasy, but a softer tale at the boundaries of magic and reality, that place where one grapples with what it means to be human.
A Democratic tsunami in the midterms engulfed the state Trump won most narrowly in 2016—and could keep the state blue in 2020.
DETROIT—Gretchen Whitmer had her red water bottle with the Wonder Woman logo. Debbie Stabenow was touching up her makeup. Dana Nessel was up front, sitting with her wife, right behind the stack of boxed salads that was the food for the day.
The top of the Democratic ticket in Michigan—candidates for governor, Senate, and attorney general—were rolling along to the 77th and final stop of a statewide bus tour, hours before polls closed on Election Day. When the dust settled on 2016, no one would have been counting on any of them to be in contention, let alone win.
But with the way things were going now, two years later, they felt like singing. “We need a Democratic fight song we can all agree on,” Whitmer said.
The backlash against the incoming congresswoman’s “very nice” outfit is both tedious and predictable.
Earlier this week, Alexandria Ocasio-Cortez posted a tweet: At congressional events, she shared (the representative-elect of New York’s 14th Congressional District is currently in Washington for a series of orientations on the workings of the House), she keeps being mistaken for an intern. Or sometimes for the spouse of the person who must be the true new member of Congress. Ocasio-Cortez, a young woman who is also a woman of color who is also a democratic socialist—a politician who won her election, earlier this month, with 78 percent of her district’s vote—keeps getting told that she doesn’t quite belong in Congress. Her tweet sharing that experience was punctuated by a face-palm emoji. It went viral.
Hair removal, at its core, is a form of gendered social control.
I’m sure there was a time when I was not hairy, but I can’t remember it. I have an early memory from middle school where a doctor examined my sideburns, which stretched almost down to my jawline, and suggested some pills to slow the growth. She told me they were for people with a lot of facial hair, like me. I recall inspecting the black hairs on my legs with serious fascination; my mother would use sticky sugar to rip them out from their stubborn roots. “Beauty requires strength,” she would say, deploying an Arabic take on the more common proverb: Beauty is pain.
The Bay Area chef believes that great food can be both beautiful and accessible. Her new Netflix series, based on her celebrated cookbook Salt, Fat, Acid, Heat, might just help her deliver that message.
The first day we met, Samin Nosrat improved my cooking for maybe the 100th time. I’d been employing Nosrat’s approach to cooking in my own kitchen for more than a year, each small tweak and lesson learned its own miracle. But last month, Nosrat intervened directly (and perhaps unknowingly).
At the market she chose as our meeting place, downtown Brooklyn’s Atlantic Fruit & Vegetable, the Berkeley-based chef and educator giddily pointed out a number of produce gems. One of them—fresh bay leaves—ended up finding its way into the soup I made that evening. A spicy medley of andouille sausage, Yukon Gold potatoes, black-eyed peas, and Tuscan kale, my soup would’ve been tasty without the addition. But the bay leaves, quietly fragrant and almost minty in their essence, balanced out the richness of the broth. Suddenly, it sang.
Despite vast increases in the time and money spent on research, progress is barely keeping pace with the past. What went wrong?
The writer Stewart Brand once wrote that “science is the only news.” While news headlines are dominated by politics, the economy, and gossip, it’s science and technology that underpin much of the advance of human welfare and the long-term progress of our civilization. This is reflected in an extraordinary growth in public investment in science. Today, there are more scientists, more funding for science, and more scientific papers published than ever before:
On the surface, this is encouraging. But for all this increase in effort, are we getting a proportional increase in our scientific understanding? Or are we investing vastly more merely to sustain (or even see a decline in) the rate of scientific progress?