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.)
The president is failing, and Americans are paying for his failures.
“I don’t take responsibility at all,” said President Donald Trump in the Rose Garden on March 13. Those words will probably end up as the epitaph of his presidency, the single sentence that sums it all up.
Trump now fancies himself a “wartime president.” How is his war going? By the end of March, the coronavirus had killed more Americans than the 9/11 attacks. By the first weekend in April, the virus had killed more Americans than any single battle of the Civil War. By Easter, it may have killed more Americans than the Korean War. On the present trajectory, it will kill, by late April, more Americans than Vietnam. Having earlier promised that casualties could be held near zero, Trump now claims he will have done a “very good job” if the toll is held below 200,000 dead.
The U.S. may end up with the worst COVID-19 outbreak in the industrialized world. This is how it’s going to play out.
Three months ago, no one knew that SARS-CoV-2 existed. Now the virus has spread to almost every country, infecting at least 446,000 people whom we know about, and many more whom we do not. It has crashed economies and broken health-care systems, filled hospitals and emptied public spaces. It has separated people from their workplaces and their friends. It has disrupted modern society on a scale that most living people have never witnessed. Soon, most everyone in the United States will know someone who has been infected. Like World War II or the 9/11 attacks, this pandemic has already imprinted itself upon the nation’s psyche.
A global pandemic of this scale was inevitable. In recent years, hundreds of health experts have written books, white papers, and op-eds warning of the possibility. Bill Gates has been telling anyone who would listen, including the 18 million viewers of his TED Talk. In 2018, I wrote a story for The Atlantic arguing that America was not ready for the pandemic that would eventually come. In October, the Johns Hopkins Center for Health Security war-gamed what might happen if a new coronavirus swept the globe. And then one did. Hypotheticals became reality. “What if?” became “Now what?”
If there is a way to stop COVID-19, it will be by blocking its proteins from hijacking, suppressing, and evading humans’ cellular machinery.
Twenty-nine. That’s the number of proteins the new coronavirus has, at most, in its arsenal to attack human cells. That’s 29 proteins to go up against upwards of tens of thousands of proteins comprising the vastly more complex and sophisticated human body. Twenty-nine proteins that have taken over enough cells in enough bodies to kill more than 80,000 people and grind the world to a halt.
If there is a way—a vaccine, therapy, or drug—to stop the coronavirus, it will be by blocking these proteins from hijacking, suppressing, and evading humans’ cellular machinery. The coronavirus may sound small and simple with its mere 29 proteins, but that is also what makes it hard to fight. It has so few weak spots to exploit. Bacteria, in comparison, might have hundreds of their own proteins.
Widespread social-distancing measures have produced some jarring effects across land, air, and sea.
From inside her living room in London, Paula Koelemeijer can feel the world around her growing quieter.
Koelemeijer, a seismologist, has a miniature seismometer sitting on a concrete slab at the base of her first-floor fireplace. The apparatus, though smaller than a box of tissues, can sense all kinds of movement, from the rattle of trains on the tracks near Koelemeijer’s home to the waves of earthquakes rolling in from afar. Since the United Kingdom announced stricter social-distancing rules last month, telling residents not to leave their home except for essential reasons, the seismometer has registered a sharp decrease in the vibrations produced by human activity.
With fewer trains, buses, and people pounding the pavement, the usual hum of public life has vanished, and so has its dependable rhythms: Before the spread of COVID-19 shut down the city, Koelemeijer could plot the seismometer’s data and see the train schedule reflected in the spikes, down to the minute. Now, with fewer trains running, the spikes seem to come at random.
Critics are letting their disdain for the president blind them to geopolitical realities.
When a new coronavirus emerged in China and began spreading around the world, including in the United States, President Donald Trump’s many critics in the American foreign-policy establishment were quick to identify him as part of the problem. Trump had campaigned on an “America first” foreign policy, which after his victory was enshrined in the official National Security Strategy that his administration published in 2017. At the time, I served in the administration and orchestrated the writing of that document. In the years since, Trump has been criticized for supposedly overturning the post–World War II order and rejecting the role the United States has long played in the world. Amid a global pandemic, he’s being accused—on this site and elsewhere—of alienating allies, undercutting multinational cooperation, and causing America to fight the coronavirus alone.
Our culture writers’ top picks for how to stay entertained—without a streaming subscription
The economic repercussions of the coronavirus crisis mean that money is tight for many right now. Entertainment services such as streaming subscriptions may be a necessary expense to cut—even as social isolation and stay-at-home orders leave people with a lot of time to kill and a pressing need for distraction. Luckily, the internet offers plenty of no-cost resources, including thousands of public-domain audiobooks available on LibriVox and many hours of ambient songs on the Free Music Archive. To help you narrow down the options, here are some of our culture writers’ top choices for free quarantine entertainment.
There’s an elegant simplicity to the setup of COLORS shows: just an artist, a mic, and a monochromatic set. Without the distractions of extensive design, audience feedback, and potent beats, the musicians’ voices soar. One of my favorite videos on the channel is a January 2019 recording in which the Swedish Gambian singer Seinabo Sey sings “Truth,” a single from her sophomore album, I’m a Dream. By the time I stumbled upon the COLORS rendition, I’d already played the record tons of times (seriously, it’s wonderful), but I was still startled by the sheer force of Sey’s vocals. I stopped to really listen in a way I often don’t. The series is great for that—snapping you outside your own head, often with the work of artists you’ve never heard of before. — Hannah Giorgis
Netflix’s Tiger King is the apotheosis of extreme storytelling: The more unfathomable and ethically dubious, the better.
This article contains spoilers through all seven episodes of Tiger King.
At this particular moment, the most-watched show in America is a seven-part documentary series about a gay, polygamous zoo owner in Oklahoma who breeds tigers, commissions and stars in his own country-music videos, presides over what he describes as “my little cult” of drifters and much younger men, and ran for governor of Oklahoma in 2018 on a libertarian platform. He’s also currently serving a 22-year prison sentence for, among other charges, trying to arrange the assassination of his nemesis, an animal-sanctuary owner in Florida. And his business allies include another big-cat breeder—a yoga-loving guru in Myrtle Beach who runs what appears to be a tiger-themed sex sect.
Contact tracing is working in South Korea and Singapore. But it raises privacy issues.
It’s a cool fall evening in September 2020. With a bottle of wine in hand, you slide into the front seat of your car to drive to a dinner party with close friends. It’s been eight months since you’ve seen most of them, at least outside of a computer screen.
As you’re pulling out of the neighborhood, you feel your phone buzz. It’s an alert from the new agency overseeing the coronavirus outbreak. On the lock screen, you can read the words “BE ADVISED.” Your heart sinks as you unlock the phone to read the rest of the message:
We have determined that in the past few days, you may have interacted with somebody who has recently tested positive for COVID-19. There is no need to panic. But for the sake of your family, friends, and neighbors, we are relying on your support. As soon as you can, please …
When something outside your control changes your life, it’s what you do with what you can control that really shapes your children.
Editor’s note: The Atlantic is making vital coverage of the coronavirus available to all readers. Find the collection here.
What if you woke up one day, and had to be an entirely different parent from the one you were the day before? For much of America, that day arrived last month.
With the spread of COVID-19, millions of moms and dads have started spending a lot more time with their kids, in new roles. I’ve noticed a recurring semi-desperate refrain in memes as well as Facebook posts and Instagram Stories: “But I’m not a stay-at-home mom”; “I’m not a homeschooling dad”; “I’m not a Pinterest mom.” Along with the markets, the coronavirus has wreaked havoc on our mental health and parenting strategies.
The coronavirus pandemic and a chapter of history that should have expired long ago
In a large windowlessroom in the bowels of the CIA, there is a sign that reads Every day is September 12th. When I first saw those words, during a tour of the agency’s operations, I felt conflicted. As a New Yorker who witnessed the 9/11 attacks, I once felt that way myself, but by the time I saw the sign, during the second term of the Obama administration, it seemed to ignore all the things that our country had gotten wrong because of that mindset. Now, as COVID-19 has transformed the way that Americans live, and threatens to claim exponentially more lives than any terrorist has, it is time to finally end the chapter of our history that began on September 11, 2001.
I say that as someone whose life was shaped by 9/11. I was a 24-year-old graduate student working on a city-council campaign when I watched the second plane curve into the World Trade Center and then saw the first tower collapse. Everything that I’d done in my life up to that point suddenly seemed trivial. I walked several miles to my apartment, as my fellow New Yorkers came out into the streets to be near one another (as we can’t be today). In the days that followed, my Queens neighborhood was the setting for a number of funerals for firemen. I will never forget the image of one devastated widow sitting in a lawn chair in her front yard, receiving condolences from a line of the toughest—but most broken—men I had ever seen.