I really like your “most transformative cover songs.” Here’s a suggestion for your series: Scissor Sisters’ “Comfortably Numb.” Talk about transformation; making a Bee Gees-type disco number out of Pink Floyd’s original song is really something. Some people hate it, but I think it works surprisingly well.
My recommended cover song is Lizz Wright’s “Get Together.” I had heard the song before, and even knew the lyrics, having heard it growing up on radio stations that played oldies and soft rock. But I hadn’t really “heard it” until discovering Lizz Wright’s version. Hearing the song slowed down and mellowed out revealed a message about the Gospel that I wouldn’t have otherwise got.
I am a Christian. I listen to and read what appeals to me aesthetically and reject what is trite and/or in opposition to the basic tenets of Christianity, regardless of the artist’s professed belief. I am not saying that was The Youngbloods’ intention, just what I heard. Maybe Lizz Wright heard that, too. And it was nice she was able to bring out that aspect of the song without being backed by a choir.
(Submit a song via hello@. Track of the Day archive here. Pre-Notes archive here.)
A reader has some recommendations and anti-recommendations:
I really enjoy The Atlantic. I read it online and at the public library. Some covers I really enjoy: Dianne Reeves’ version of “River” (Joni Mitchell) and Stefon Harris’ cover of “Summertime” (George Gershwin).
There’s also Jimmy Fallon performing the fun-in-the-sun “Swimming Song.” I wallow in the melancholy of Antony singing “Go Leave” [embedded above] and Krystle Warren’s rendition of “I Don’t Know” (“You ask me what it’s all about/ I say I don’t know/ Should you stay and work it out/ I say I don’t think so”)—either of these versions could be good additions to your cover-song series. “Jacques et Gilles” is a story and a history lesson combined. And there are plenty of other songs in addition to the ones I’ve listed.
I have always liked folk music, so McGarrigle fits right into my preferences. But there’s also a little extra memory fillip regarding the Wainwrights that shows my age: Rufus and Martha are the children of Loudon S. Wainwright III (of “Dead Skunk” notoriety and the creator of “Swimming Song”), who is the son of Loudon Wainwright, Jr., whose work I grew up reading regularly in Life magazine. I absorbed certain lessons about writing from Time, Sports Illustrated, and Life without realizing it, and the writing of Loudon Wainwright, Jr., was work I particularly looked for and enjoyed.
(Submit a song via hello@. Track of the Day archive here. Pre-Notes archive here.)
Reader Barry highlights a band of two young kids and their father that became a YouTube sensation several years ago:
DMK is a Depeche Mode cover band from Bogotá. They have a ton of videos, including a concert in Poland from last year. “Enjoy the Silence” when the kids were still pretty small and really cute.
Likewise with “Everything Counts,” the band’s mega-hit embedded above. More details on DMK (short for trio’s names—Dicken, Milah, Korben) from their Wiki page:
DMK is noted for crudely emulating the sounds of Depeche Mode using an old keyboard and various toys and household items as instruments. … The band was featured in MTV Iggy’s “10 Colombian bands on the rise” article, by JetSet Magazine as the most famous Colombians in YouTube, and their remake of “Everything Counts” has been selected by Electronic Beats magazine as one of the ten best Depeche Mode covers ever.
Here’s a much more produced video with a wonderful dream-like vibe:
“The first video we made was kind of an act of psychomagic,” he said. “We never expected that it would evolve beyond that. I made one video and I invited my kids to join me and sing a song with me. I am not a professional musician. I have never taken a music lesson in my life. Everything I know about music is just for the love of it; it’s empirical. … We never expected [the fame]. It was organic and natural.”
(Submit a song via hello@. Track of the Day archive here. Pre-Notes archive here.)
What happens if you take Raw Power and rip it out of the socket? That’s the landmark 1973 album from the Stooges, a fierce burst of electric guitar that prefigured punk and hard rock.
But guitarist James Williamson, who wrote the songs with Iggy Pop, actually composed the guitar parts without amplification. “We were in a little mews house in London and you couldn’t be loud in there anyway, so I used acoustic to write the songs,” Williamson told me this week. “I got so I liked it better because you can really hear the notes really well.” The reason for his preference is even a little punk: “Sometimes the electric doesn’t have the same kind of punch that acoustic does. Acoustic is a little bit percussive, and sometimes the electric has the big sound, but it isn’t always as percussive.” (There are also some acoustic guitars on the David Bowie-produced record, notably on “Gimme Danger.”)
What would those classic songs sound like played unplugged? There’s no need to wonder, because on a new EP, Williamson teamed up with Deniz Tek, the guitarist in Radio Birdman and the Visitors, to record a handful of acoustic versions of songs Williamson wrote with Iggy Pop, including “Penetration.” Here’s the premiere of that track:
Acoustic K.O. (the name is a joke on the live Stooges release Metallic K.O.) also includes “I Need Somebody” from Raw Power as well as “Night Theme” and “No Sense of Crime” from the 1977 Pop/Williamson album Kill City, the former of which gets a full orchestration.
Williamson said the new EP represented the confluence of a couple currents. A Stooges superfan named Hakan Beckman (“He kinda knows what I had for breakfast in 1970,” Williamson chuckled) had long advocated for an acoustic record, and the duo of aging rockers Williamson and Tek decided to to do it after joking about playing lounge gigs together.
On “Penetration,” Williamson laid down an acoustic guitar part as well as some licks on Weissenborn lap slide. The recording process went a lot more smoothly than Raw Power. “At this point in time I think we have a clue as to what to do, and back in the day, that was my first album on Raw Power, so I had no idea what I was doing,” he said. The only hitch came when he sent his tracks to Tek, and the singer discovered they were out of concert pitch, thanks to a miscalibrated electronic tuner. It was an easy fix, though. Plus, the weird tuning was an echo of the way the Stooges did things: Eschewing tuners, they just tuned to each other’s instruments.
Williamson said he hasn’t talked to Pop about the new version. “I doubt if he cares. It’s just another version,” he said. But Williamson likes the way it compares to the 44-year-old original. “I think it stacks up very favorably. The original of course is the original. This one has more of a rhythmic thing going on with it.”
For comparison, here’s the original version:
Do you have a favorite reworking of an electric tune for acoustic instruments? Let us know at email@example.com.
(Track of the Day archive here. Pre-Notes archive here.)
The president’s decision could cost Democrats in 2022 and 2024. He doesn’t care.
When President Joe Biden rolled out his plan requiring vaccinations on a mass scale, he sounded a bit like a gambler at a point of desperation. Biden’s presidency, and much of his legacy, hinges on defeating the prolonged pandemic. During a dismal summer of rising infections and deaths due to vaccine holdouts and the Delta variant, the pandemic seemed to have defeated him. Under the new rules, Biden hopes to pressure about 80 million more Americans to get their shots. It’s a political risk that opens him up to Republican attacks that he’s intruding on peoples’ freedoms, ahead of midterm elections that could easily strip the Democrats of their congressional majority. Biden gets this. He’s all in, win or lose.
The right-wing rally at the Capitol turned out to be a forum for random grievances, and an opportunity to dress like Batman.
No one overran the U.S. Capitol this time or tried to subvert American democracy. What the people who came to the rally on a stretch of grass near the Capitol Reflecting Pool on Saturday afternoon really wanted to do was talk. Talk and argue. And then talk and argue some more.
The “Justice for J6” rally was supposed to highlight the plight of those charged with nonviolent crimes in the January 6 insurrection who, the organizers claim, have been denied fast and fair trials. In reality, the afternoon was a forum for any number of grievances, some difficult to discern. One guy walked around in a Batman costume. Another was accompanied by a service dog whose collar read Abolish the Democrats. Two men argued about whether the 2020 election was stolen, as former President Donald Trump has falsely claimed. Two others argued about God. A retired firefighter in a navy-blue uniform, complaining about the election results, said the U.S. had become a “banana republic.” “I’m a firefighter, too, and this guy is talking pure bullshit,” a man who’d been listening in said. If there was any mortal danger, it was a blend of heatstroke and tedium.
There are no simple rules for timing on a third jab—but maybe don’t rush it.
After a long and tense meeting today, an FDA committee unanimously recommended that the agency authorize third shots of the Pfizer COVID-19 vaccine for Americans who are over 65 or at high risk of severe COVID. The vote came after the panel voted overwhelmingly against the original question up for its consideration: authorizing boosters for everyone over 16. If the FDA follows the committee’s recommendation (as is expected), a CDC committee will help refine those guidelines next week, clarifying which groups qualify as “high risk.”
Even as we await these final decisions, the nation’s summer wave of COVID infections seems like it’s beginning to pass. Cases and hospitalizations are trending slightly downward. Now that we have more clarity about whether (and which) Americans need booster shots—and given that so many people are already getting boosters, eligibility be damned—more questions loom: When, exactly, should those people get those shots? Is it better to load up on extra antibodies as soon as possible, or should people wait until COVID rates start to rise again?
Perhaps you’ve noticed that ebooks are awful. I hate them, but I don’t know why I hate them. Maybe it’s snobbery. Perhaps, despite my long career in technology and media, I’m a secret Luddite. Maybe I can’t stand the idea of looking at books as computers after a long day of looking at computers as computers. I don’t know, except for knowing that ebooks are awful.
If you hate ebooks like I do, that loathing might attach to their dim screens, their wonky typography, their weird pagination, their unnerving ephemerality, or the prison house of a proprietary ecosystem. If you love ebooks, it might be because they are portable, and legible enough, and capable of delivering streams of words, fiction and nonfiction, into your eyes and brain with relative ease. Perhaps you like being able to carry a never-ending stack of books with you wherever you go, without having to actually lug them around. Whether you love or hate ebooks is probably a function of what books mean to you, and why.
Arizona state-Senate Republicans launched the process this spring as a response to false claims of election fraud spread by several of themselves, as well as former President Donald Trump. The Senate hired Cyber Ninjas, a firm run by a “Stop the Steal” backer that has repeatedly declined to offer any evidence it is qualified for the job. The process was originally expected to conclude by May 14. This was a hard deadline, because the coliseum rented for the count was due to hold another event. But the count missed that deadline, and the process resumed later in May.
After the horrors that health-care workers have endured during the pandemic, many are struggling to sympathize with people who won’t protect themselves.
On social media, I’ve been seeing sentiments that I never thought I’d see anyone express in a public forum. People who choose to be unvaccinated should not be offered lung transplants. What if people with COVID-19 who didn’t get the vaccine have to wait in the Emergency Department until everyone else is seen?Should unvaccinated patients just be turned away?
These are harsh, angry feelings. And some of the people giving voice to them are doctors.
I am an obstetrician in New York. I have been working with pregnant COVID-19 patients from the very beginning of the coronavirus pandemic, in a medical institution and city that have cared for thousands of patients with the disease. Health-care workers have suffered through a terrible year and a half—a period first defined by a lack of masks and gloves, and throughout by the very real fear of personal sickness and death. We have been afraid of bringing the disease home, of infecting our spouses, of leaving our children parentless. For about three months, I didn’t kiss my children.
Conventional wisdom says that venting is cathartic and that we should never go to bed angry. But couples who save disagreements for scheduled meetings show the benefits of a more patient approach to conflict.
For decades, when Liz Cutler’s husband, Tom Kreutz, did something that bothered her, Cutler would sometimes pull out a scrap of paper from the back of her desk drawer. On it she would scribble down her grievances: maybe Kreutz had stayed late at work without giving her a heads-up, or maybe he’d allowed their kids to do something she considered risky. The list was Cutler’s way of honoring a promise she and her husband had made. They would talk about their frustrations only in scheduled meetings—which they held once a year for a time, and later, every three months. It’s a system they’ve adhered to for more than 40 years.
Any psychologist will tell you that conflict is both an inevitable and a vital part of a close relationship. The challenge—which can make the difference between a lasting, satisfying partnership and one that combusts—is figuring out how to manage conflict constructively.
SpaceX's first private astronauts have returned to Earth from a three-day stay in orbit.
The space tourists are back.
On Saturday night, the private astronauts braced themselves as their spacecraft streaked through Earth’s atmosphere, deployed parachutes, and then drifted down off the coast of Florida. When the capsule touched the waves, they might have heard a voice from mission control radio in: “Thanks for flying SpaceX.” As if the passengers had just touched down on a runway at O’Hare instead of surviving a fiery reentry. As if they hadn’t just spent three days flying higher than the International Space Station, with a window seat that looked out on the contours of entire continents.
The mission, known as Inspiration4, was the first-ever spaceflight of a crew made entirely of non-professional astronauts. The tech billionaire who chartered the trip for himself and three others paid “under $200 million” for it, and for that kind of money, SpaceX let him customize the experience, from the food menu to the flight plan. The crew—the businessman Jared Isaacman, the geoscience professor Sian Proctor, the physician assistant Hayley Arceneaux, and the data engineer Chris Sembroski—spent their time in orbit doing a few science experiments and generally basking in the microgravity. They even made a call to Tom Cruise, who plans to fly SpaceX to shoot a movie on the space station someday.
Norma McCorvey, the plaintiff in Roe v. Wade, never had the abortion she was seeking. She gave her baby girl up for adoption, and now that baby is an adult. After decades of keeping her identity a secret, Jane Roe’s child has chosen to talk about her life.
Nearly half a century ago, Roe v. Wade secured a woman’s legal right to obtain an abortion. The ruling has been contested with ever-increasing intensity, dividing and reshaping American politics. And yet for all its prominence, the person most profoundly connected to it has remained unknown: the child whose conception occasioned the lawsuit.
Roe’s pseudonymous plaintiff, Jane Roe, was a Dallas waitress named Norma McCorvey. Wishing to terminate her pregnancy, she filed suit in March 1970 against Dallas County District Attorney Henry Wade, challenging the Texas laws that prohibited abortion. Norma won her case. But she never had the abortion. On January 22, 1973, when the Supreme Court finally handed down its decision, she had long since given birth—and relinquished her child for adoption.
The pandemic has exposed a fundamental weakness in the system.
America has too many managers.
In a 2016 Harvard Business Review analysis, two writers calculated the annual cost of excess corporate bureaucracy as about $3 trillion, with an average of one manager per every 4.7 workers. Their story mentioned several case studies—a successful GE plant with 300 technicians and a single supervisor, a Swedish bank with 12,000 workers and three levels of hierarchy—that showed that reducing the number of managers usually led to more productivity and profit. And yet, at the time of the story, 17.6 percent of the U.S. workforce (and 30 percent of the workforce’s compensation) was made up of managers and administrators—an alarming statistic that shows how bloated America’s management ranks had become.