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.
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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 firstname.lastname@example.org.
(Track of the Day archive here. Pre-Notes archive here.)
The story of the coronavirus in the state is one of government inaction in the name of freedom and personal responsibility.
IOWA CITY, IOWA—Nick Klein knew the man wasn’t going to make it through the night. So the 31-year-old nurse at the University of Iowa ICU put on his gown, his gloves, his mask, and his face shield. He went into the patient’s room, held a phone to his ear, and tried hard not to cry while he listened to the man’s loved ones take turns saying goodbye. When they were finished, Klein put on some music, a muted melody like you might hear in an elevator. He pulled up a chair and took the man’s hand. For two hours that summer night, there were no sounds but soft piano and the gentle beep beep beep of the monitors. Klein thought about how he would feel if the person in the bed were his own father, and he squeezed his hand tighter. Around midnight, Klein watched as the man took one last, ragged breath and died.
The pop star’s career is a case study in courting public expectations by rebelling against them.
“I’m everything they said I would be,” Miley Cyrus sings, her voice dewy with disappointment, on her new album, Plastic Hearts. She’s apologizing to a lover she let down. But who’s the “they”? It’s you, the listener. It’s the imagined audience of Hannah Montana, the fictional pop star Cyrus portrayed in her early teens on the Disney Channel. It’s the actual audience of Hannah Montana who tracked Cyrus into adulthood. It’s the casual fan and casual hater, the pundits and influencers, and the friends and rivals. It’s basically everyone—because for the general public, people like Cyrus exist as examples of what fame does to a human life.
Cyrus knows by now that the concept of Miley Cyrus can’t be separated from the expectations that have followed her since tweendom (and maybe even before, as the daughter of the country star Billy Ray Cyrus). As she morphed from kid’s TV idol into tongue-wagging pop provocateur in the early 2010s—and then, across the decade, spent time as art punk, queer activist, and demure folkie—she has been ridiculed as excessive, desperate, fickle, insensitive, immature, and bad at twerking. She has never really bothered with countering the criticism. She has, instead, seemed to become more Miley with every phase, and by flipping her finger to the public, she’s only drawn more interest. Cyrus’s rowdy new album, out last Friday, is one of her stronger provocations.
On Wednesday, the United States broke 100,000 coronavirus hospitalizations for the first time ever.
Today the United States blew by two grim pandemic milestones. The country recorded a record 195,695 coronavirus cases and reported 100,226 hospitalizations, passing the 100,000 mark for the first time, according to the COVID Tracking Project at The Atlantic. While the 2,733 deaths today did not break the all-time record, this was the first day since May with more than 2,500 deaths, as well as the day with the second-most deaths so far. (By TheNew York Times’ methodology, today’s was the highest daily coronavirus death toll on record.)
These shocking numbers came on the same day that CDC Director Robert Redfield warned that this winter could be “the most difficult time in the public-health history of this nation” and as public-health experts await signs of a post-Thanksgiving surge. Some of today’s increase can be attributed to the numbers catching up after an expected holiday data lag, but it’s also reflective of a bad reality that is poised to get a lot worse as pandemic winter comes into view.
Americans will soon grow tired of the president, despite his efforts to stay in the limelight.
President Donald Trump has made one thing painfully clear: After he grudgingly leaves the White House, he will keep doing what he can to stay in the news. He will tweet insults and conspiracy theories. He may start his own television channel. And according to members of his inner circle, he may even run for president in 2024.
After half a decade under his spell, many pundits and political observers assume that Trump will succeed in keeping the nation’s attention. I can see why. A sizable minority of Americans believe that the election was stolen and remain deeply devoted to the outgoing president. Even now that Trump’s loss has liberated the GOP from its captor, elected Republicans seem to be suffering from a bad case of Stockholm syndrome. And the 45th president has proved, again and again, that he has a real talent for staying in the limelight.
Even works of escapism are reckoning with waning national myths.
Last month, the Institute for Advanced Studies in Culture at the University of Virginia published its most recent survey of American political life. One of its findings: 66 percent of Americans view their country to be in a state of decline. The survey arrived just after the publication of the latest Social Progress Index, which found that the United States is one of only three countries where citizens are worse off than they were in 2011, when the index started tracking quality of life. The deterioration is all the more perverse because the failures, in a country as rich as the U.S., are not material, but cultural. They are abdications of moral imagination. As one of the index’s advisers put it, in an observation both evergreen and newly acute: “We are no longer the country we like to think we are.”
Looking at the long views from the Hubble space telescope might be good for you.
In December of 1995, astronomers around the world were vying for a chance to use the hottest new tool in astronomy: the Hubble space telescope. Bob Williams didn’t have to worry about all that. As the director of the institution that managed Hubble, Williams could use the telescope to observe whatever he wanted. And he decided to point it at nothing in particular.
Williams’s colleagues told him, as politely as they could, that this was an awful idea. But Williams had a hunch that Hubble would see something worthwhile. The telescope had already captured the glow of faraway galaxies, and the longer Hubble gazed out in one direction, the more light it would detect.
So the Hubble telescope stared at the same bit of space, nonstop, for 10 days—precious time on a very expensive machine—snapping exposure after exposure as it circled Earth. The resulting image was astounding: Some 3,000 galaxies sparkled like gemstones in the darkness. The view stretched billions of years back in time, revealing other cosmic locales as they were when their light left them and began coasting across the universe.
The show treats domestic violence like a striptease.
Updated at 9:46 p.m. ET on December 2, 2020.
This article contains spoilers through the series finale of The Undoing.
The Sunday finale of The Undoing was the most-watched episode of any HBO show since the last episode of Big Little Lies. The Undoing is a whodunit about the murder of a woman found, by her fourth-grade son, with her décolletage displayed and her face in pieces. Sex sells, according to the old advertising adage. Clearly violence does too. And the intermingling of sex and violence is a winning formula for HBO.
Art depicting intimate violence has found an audience since ancient times. Take the third-century-B.C. sculpture of Gaul killing his wife, or the two miniseries released in 2016 about O. J. Simpson’s role in the murder of his ex-wife.* Despite the A-listers who star in it, The Undoing is no more than a costly, glossy, schlocky melodrama. But perhaps because of its cast, and the enviable lifestyle reproduced on camera, the show is attracting a lot of attention.
Democrats need elected officials to do what Trump never did: Accept responsibility. Absorb criticism. Come back and campaign better.
Updated at 11:01 a.m. ET on December 3, 2020.
For weeks, President Donald Trump has spread misinformation by playing up the significance of voter fraud during the election without evidence, while playing down the significance of COVID-19, despite the evidence all around him. He has left his followers infected in more ways than one, harming themselves and others.
But misinformation is hardly new for the birther theorist, for the wall builder who said some Latino immigrants were animals and rapists, for the chanter of “Lock her up” and “Send her back,” for the caster of neo-Nazis as very fine people, for the framer of peaceful demonstrators as looters and anarchists, for the denier of climate change and racism.
Justices’ drive to promote “religious liberty” may only become more intense.
The Supreme Court’s decision last week overturning New York state’s limits on religious gatherings during the COVID-19 outbreak previewed what will likely become one of the coming decade’s defining collisions between law and demography.
The ruling continued the conservative majority’s sustained drive to provide religious organizations more leeway to claim exemptions from civil laws on the grounds of protecting “religious liberty.” These cases have become a top priority for conservative religious groups, usually led by white Christians and sometimes joined by other religiously traditional denominations. In this case, Orthodox Jewish synagogues allied with the Roman Catholic Diocese of Brooklyn to oppose New York’s restrictions on religious services.
Pod means something different to everyone, and that’s a problem.
Updated at 5:06 p.m. ET on December 2, 2020.
Americans’ social lifelines are beginning to fray. As the temperature drops and the gray twilight arrives earlier each day, comfortably mingling outside during the pandemic is getting more difficult across much of the country. For many people, it’s already impossible.
To combat the loneliness of winter, some of us might be tempted to turn to pods, otherwise known as bubbles. The basic idea is that people who don’t live together can still spend time together indoors, as long as their pod stays small and exclusive. And pods aren’t just for the winter: Since March, parents have formed child-care bubbles. Third graders have been assigned to learning pods. Some NBA teams were in a bubble for months. A July survey of 1,000 Americans found that 47 percent said they were in a bubble.