Internet on Language

New Yorker – "Is the Internet Making Writing Better?"

Wall Street Journal – "Yes, You Actually Should Be Using Emojis at Work"

Did we ever really need cars?

New Yorker – "Was the Automotive Era a Terrible Mistake?"

"For years, I counted this inability to drive as one of many personal failures. More recently, I’ve wondered whether I performed an accidental kindness for the world. I am one of those Darth Vader pedestrians who loudly tailgate couples moving slowly up the sidewalk, and I’m sure that I would be a twit behind the wheel. Perhaps I was protected from a bad move by my own incompetence—one of those mercies which the universe often bestows on the young (who rarely appreciate the gift). In America today, there are more cars than drivers. Yet our investment in these vehicles has yielded dubious returns. Since 1899, more than 3.6 million people have died in traffic accidents in the United States, and more than eighty million have been injured; pedestrian fatalities have risen in the past few years. The road has emerged as the setting for our most violent illustrations of systemic racism, combustion engines have helped create a climate crisis, and the quest for oil has led our soldiers into war.

Every technology has costs, but lately we’ve had reason to question even cars’ putative benefits. Free men and women on the open road have turned out to be such disastrous drivers that carmakers are developing computers to replace them. When the people of the future look back at our century of auto life, will they regard it as a useful stage of forward motion or as a wrong turn? Is it possible that, a hundred years from now, the age of gassing up and driving will be seen as just a cul-de-sac in transportation history, a trip we never should have taken?"

Queen & Slim

November 27, 2019
Written by Lena Waithe (Master of None)
Directed by Melina Matsoukas
Starring Daniel Kaluuya, Jodie Turner-Smith, Bokeem Woodbine, Chloë Sevigny

Hustlers

September 13, 2019
Written & Directed by Lorene Scafaria
Based on "The Hustlers at Scores" by Jessica Pressler
Starring Constance Wu, Jennifer Lopez, Julia Stiles, Lizzo, Cardi B

Prescribing Time Outdoors

Outside Mag – "The Nature Club – Inside the Health Revolution That Could Change Your Life"

"For health care providers, there are two reasons to prescribe nature. The first has to do with what it may do for us. Exposure to nonthreatening natural stimuli, scientists have discovered, lowers blood pressure, reduces stress-hormone levels, promotes physical healing, bolsters immune-system function, raises self-esteem, improves mood, curtails the need for painkillers, and reduces inflammation. One leading theory is that these stimuli—the scent of plants, the sight of trees swaying in the breeze, the sounds of birds, streams, and rustling leaves—combine to activate the unconsciously controlled “rest and digest” functions of our bodies, which are regulated by our parasympathetic nervous system. These functions are suppressed when a threatening stimulus, whether a venomous snake or an aggressive work e-mail, triggers our sympathetic “fight, flight, or freeze” system. If that response stays active long enough, our immune, digestive, reproductive, and psychological health suffers. In an increasingly urbanized world, in other words, nature cues our brains to shift us from a depleting to a restoring state. “The environment of our original adaptation is all outdoors,” says Chao-ying Wu, a pediatrician in Bellingham, Washington. “It just makes sense.”"

Aaliyah 2001

Pitchfork – "Aaliyah - Aaliyah – 9.3"

"Internally, there was a concern that her career would flounder, that she would not be able to match Kelly’s production and songwriting elsewhere. But with members of the Supafriends—Timbaland, Missy Elliott, and, eventually, the late Static Major—by her side, Aaliyah easily eclipsed her work with Kelly. “Tim and I were new producers," Missy told Rolling Stone in 2001. "From day one, she had that much faith in our music that she treated us like we already sold a million records, when we hadn't sold anything yet. She really helped make us what we are today.” The gamble paid off. Where Age Ain’t Nothing But A Number was defined by Kelly’s rote new jack swing and carried by her vocal depth, One In A Million was clever, fun, and forward-thinking. A couple of years later, “Are You That Somebody,” a single made for the Dr. Dolittle soundtrack, changed everything: Aaliyah wasn’t just sweet and sly; she revealed herself as endearingly weird and aspirationally cool—over a bizarre drum pattern and the sample of a baby’s coo, at that.

Aaliyah took that many steps further. By the time she began working on the album in 1998, she had developed an interest in both the experimental and traditional, and her collaborators on the album—the Supafriends as well as producers signed to her family’s Blackground record label—were up to the task. She veers wildly, but cohesively, between the futuristic, triple-time experimentation of singles like “We Need A Resolution” and “More Than A Woman” and the throwback soul of “Never No More” and “I Care 4 U.” It was Aaliyah’s voice that strung it all together. Her falsetto had earned an edge, and her multi-part harmonies, arranged ingeniously, added grace and texture. Even Timbaland’s grating, awkward raps and ad-libs are softened.

This time, Aaliyah had added Static, who’d cut his teeth working with Ginuwine and in the R&B group Playa, as a writer. The result was something that diverged from the pop language du jour, yet somehow remained in conversation with it. Though Aaliyah hadn’t yet become a writer, she was inordinately good at picking songs, absorbing them, and interpreting through her bright, wispy soprano. The album’s singles—“We Need A Resolution,” “More Than A Woman,” “Rock The Boat,”—are among her best, boldly off-kilter, imaginative, and alternately mellow and razor-edged. But the deep cuts are just as solid. “Never No More” is an emotional song about enduring and then rejecting abuse at the hands of a partner, “U Got Nerve” and “I Refuse” are formed around a similar suspicion and self-assurance. Her primary currency was an effortless cool matched only then by Janet Jackson and, all these years later, by Rihanna."

 

Randy Moss's Rookie Season

The Athletic – "‘This isn’t going to be fair’: An oral history of the arrival of Randy Moss"