Lin-Manuel Miranda Breaks Down How He Wrote Hamilton’s Big Hit, “My Shot”

The cur­rent moment has forced the orig­i­nal cast and crew of Lin-Manuel Miranda’s mas­sive hit musi­cal Hamil­ton to revis­it and reeval­u­ate the sto­ry it tells about America’s found­ing. As Miran­da him­self told The Root’s Ton­ja Renée Stid­hum, “All of these guys are com­plic­it in the bru­tal prac­tice of slav­ery, slav­ery is the third line of our show… that is just a pre­req­ui­site for the sto­ry we’re telling.” But he didn’t first set out to write his­to­ry. “Orig­i­nal­ly, this was a con­cept album. I want­ed to write a hip hop album, so I was nev­er pic­tur­ing the guys on the stat­ues that are being torn down right now. I was pic­tur­ing, ‘What are the voic­es that are best suit­ed to tell the sto­ry.’”

Debut­ing in more opti­mistic times, when the coun­try had its first Black pres­i­dent, Hamil­ton declared, says Leslie Odom, Jr. (who played Aaron Burr) that “if this his­to­ry belongs to all of us… then we’re going to take it and we’re going to say it and use our own words to tell it!” Con­tro­ver­sy and cri­tique aside, there’s no deny­ing Miranda’s tremen­dous gifts as a drama­tist and song­writer, on dis­play not only in Hamil­ton but in the Moana sound­track.

How does he do it? Rid­ing the wave of renewed Hamil­ton fan­dom after the Dis­ney release of the orig­i­nal cast film, Miran­da recent­ly sat down with Rot­ten Toma­toes to dis­cuss his process. When he gets to Hamil­ton, he gives us a detailed break­down of “My Shot,” which, he says, took him a year to write.

“It was not only writ­ing Hamil­ton’s ‘I want’ song,” says Miran­da, “although it cer­tain­ly is that. It was also prov­ing my the­sis that Hamilton’s intel­lect is what allows him to pro­pel through the nar­ra­tive of the sto­ry.” The play’s pro­tag­o­nist proves his intel­lec­tu­al wor­thi­ness by mas­ter­ing and mak­ing his own the styles of Miranda’s favorite rap­pers, from Big Pun to Jay Z to Big­gie to Mobb Deep. “I’m grab­bing from the influ­ences and pay­ing homage to those influ­ences. …I’m lit­er­al­ly call­ing on the ances­tors of this flow. …The ‘Whoah’ sec­tion, I’ll just say, is based on the AOL start­up sound because I want­ed it to feel like …his words are con­nect­ing with the world.”

Whether or not any of Hamil­ton’s younger view­ers have ever heard the AOL start­up sound, the detail reveals how Miranda’s mind works. His cre­ations emerge from a matrix of ref­er­ences and allu­sions, each one cho­sen for its spe­cif­ic rela­tion to the sto­ry. Many of these call­backs go over the audience’s heads, but they still have their intend­ed effect, cre­at­ing ten­sion in “the dens­est cou­plets that I could write,” Miran­da says. The mes­sage in “My Shot,” with­in the con­text of the musi­cal itself, is that “Hamil­ton is the future with­in this group of friends.” But the mes­sage of Hamil­ton has noth­ing to do with the 18th cen­tu­ry and every­thing to do with the 21st. Per­haps its most sub­ver­sive idea is that the high­est lead­er­ship in the U.S. might just as well look like Hamil­ton as Hamil­ton. See Miran­da and the Hamil­ton cast per­form “My Shot” at the White House just below.

via Laugh­ing Squid

Relat­ed Con­tent:

Watch Lin-Manuel Miran­da Per­form the Ear­li­est Ver­sion of Hamil­ton at the White House, Six Years Before the Play Hit the Broad­way Stage (2009)

A Whiskey-Fueled Lin-Manuel Miran­da Reimag­ines Hamil­ton as a Girl on Drunk His­to­ry

The Mup­pets Sing the First Act of Hamil­ton

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Icons of Art Wearing Masks: Frida Kahlo, Mona Lisa, Girl with the Pearl Earring & More

We hear the phrase “unprece­dent­ed times” every day now, but the truth is few calami­ties in human his­to­ry are more prece­dent­ed than plagues and pesti­lences. In West­ern his­to­ry, at least, dis­ease epi­demics seem always to have been fol­lowed by Machi­avel­lian oppor­tunism and cultish con­spir­a­cy the­o­ries that only made things worse.

Dur­ing the 14th cen­tu­ry, almost six hun­dred years before Nao­mi Klein defined the shock doc­trine, the Black Death “strength­ened the pow­er of the state and accel­er­at­ed the dom­i­na­tion of key mar­kets by a hand­ful of large com­pa­nies,” write Eleanor Rus­sell and Mar­tin Park­er at The Con­ver­sa­tion (hel­lo, Ama­zon). In their argu­ment, dis­as­ter cap­i­tal­ism may have pre­ced­ed actu­al cap­i­tal­ism, and it start­ed with the plague.

In his his­to­ry of the Great Plague of 1665, Daniel Defoe described how “every­one behaved bad­ly, though the rich behaved the worst,” as Jill Lep­ore writes at The New York­er, forc­ing their ser­vants to put their lives at risk to pro­vi­sion the great hous­es. “This Neces­si­ty…,” writes Defoe, “was in a great Mea­sure the Ruin of the whole City,” though few in Lon­don then under­stood how to slow trans­mis­sion of the dis­ease.

That was not the case when the Influen­za epi­dem­ic took the lives of hun­dreds of mil­lions around the world between 1918 and 1920. Doc­tors under­stood how the flu spread and rec­om­mend­ed that every­one wear a mask in pub­lic. Cities passed ordi­nances and imme­di­ate­ly resis­tance sprang up, lead­ing to orga­ni­za­tions like San Francisco’s Anti-Mask League, whose rhetoric sounds like that of anti-mask pro­tes­tors of today.

The times may be unique—for the speed at which COVID-19 spread around the world, for instance, along with the disinformation—but humans have lived through many ver­sions of pan­dem­ic, and many dis­as­trous­ly self­ish, oppor­tunis­tic, and short-sight­ed respons­es to it. We may con­tem­plate these his­tor­i­cal rep­e­ti­tions as we admire the Insta­gram cre­ations of artist Genevieve Blais, who has been post­ing images of famous paint­ings, stat­ues, and pho­tographs with their sub­jects wear­ing masks.

More than nov­el­ty memes or high­brow pub­lic ser­vice announce­ments, Blais’ cre­ations are part-whim­si­cal/­part-sober­ing reminders of the per­sis­tence of plagues through­out history—their influ­ence on the rise and fall of dynas­ties and pow­er­ful patrons, and the igno­rance and fol­ly that led to so much pre­ventable death. Tech­no­log­i­cal­ly speak­ing, humans are bet­ter posi­tioned than ever before to com­bat epi­demics of dis­ease. But it’s worth remem­ber­ing the prece­dents for our cur­rent con­di­tions. Plagues have shaped human his­to­ry. We don’t always have to respond to them the same way. See all of Blais’s masked fine art images at her Plague His­to­ry Insta­gram page. If you DM her, she will make you a print.

via Kot­tke

Relat­ed Con­tent:

What Hap­pened When Amer­i­cans Had to Wear Masks Dur­ing the 1918 Flu Pan­dem­ic

Vin­tage Sci­ence Face Masks: Con­quer the Pan­dem­ic with Sci­ence, Cour­tesy of Maria Popova’s Brain­Pick­ings

Down­load Clas­sic Works of Plague Fic­tion: From Daniel Defoe & Mary Shel­ley, to Edgar Allan Poe

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Dr. Fauci Reads an Undergrad’s Entire Thesis, Then Follows Up with an Encouraging Letter

Pho­to via the Nation­al Insti­tute of Aller­gy and Infec­tious Dis­eases 

What are some qual­i­ties to look for in a leader?

  • A thirst for knowl­edge
  • A sense of duty
  • The scru­ples to give cred­it where cred­it is due
  • A calm, clear com­mu­ni­ca­tion style
  • Humil­i­ty

Dr. Antho­ny Fau­ci brings these qual­i­ties to bear as Direc­tor of the Nation­al Insti­tute of Aller­gy and Infec­tious Dis­eases at the Nation­al Insti­tute of Health.

They’re also on dis­play in his mes­sage to then-under­grad Luke Mes­sac, now an emer­gency med­i­cine res­i­dent at Brown Uni­ver­si­ty, whose research focus­es on the his­to­ries of health pol­i­cy in south­ern Africa and the US, and who recent­ly tweet­ed:

13 years ago, I emailed Dr. Fau­ci out of the blue to ask if I might inter­view him for my under­grad the­sis. He invit­ed me to his office, where he answered all my ques­tions. When I sent him the the­sis, HE READ THE WHOLE THING (see his over­ly effu­sive review below). Who does that?!

Here’s what Fau­ci had to say to the young sci­en­tist:

It cer­tain­ly reads like the work of a class act.

In addi­tion to serv­ing as one of the COVID-19 pandemic’s most rec­og­niz­able faces, Dr. Fau­ci has acquired anoth­er duty—that of scape­goat for Don­ald Trump, the 6th pres­i­dent he has answered to in his long career.

He seems to be tak­ing the administration’s pot­shots with a char­ac­ter­is­ti­cal­ly cool head, though com­pared to the furi­ous crit­i­cisms AIDS activists direct­ed his way in the 80s and 90s, he’s unlike­ly to find much of edu­ca­tion­al val­ue in them.

Last March, The Body Pro, a newslet­ter for work­ers on the front lines of HIV edu­ca­tion, pre­ven­tion, care, and ser­vices quot­ed ACT UP NY’s Jim Eigo on the doctor’s response to a let­ter demand­ing par­al­lel track­ing, a pol­i­cy revi­sion that would put poten­tial­ly life-sav­ing drugs in the hands of those who test­ed pos­i­tive far ear­li­er than the exist­ing clin­i­cal tri­al require­ments’ sched­ule would have allowed:

Lo and behold, he read the let­ter and liked it, and the fol­low­ing year he start­ed pro­mot­ing the idea of a par­al­lel track for AIDS drugs to the FDA. Had he not helped us push that through, we couldn’t have got­ten a lot of the cousin drugs to AZT, such as ddC and ddI, approved so fast. They were prob­lem­at­ic drugs, but with­out them, we couldn’t have kept so many peo­ple alive. 

Fau­ci, despite being straight and Catholic, was not only not homo­pho­bic, which much of med­ical prac­tice still was in the late 1980s, he also wouldn’t tol­er­ate homo­pho­bia among his col­leagues. He knew there was no place for that in a pub­lic-health cri­sis.

Speak­ing of cor­re­spon­dence, Dr Mes­sac seems to have tak­en the “per­pet­u­al stu­dent” con­cept Dr. Fau­ci impressed upon him back in 2007 to heart, as evi­denced by a recent tweet, regard­ing a les­son gleaned from Arnold Schwarzeneg­ger in Pump­ing Iron, a 1977 doc­u­men­tary about body­builders:

Schwarzeneg­ger explained how he would fig­ure out what to work out every day by look­ing in a mir­ror and find­ing his weak­est mus­cles. It’s pret­ty good advice for study­ing dur­ing res­i­den­cy. Every shift reveals a weak­ness, and greats nev­er stop look­ing for their own.

In writ­ing to Mes­sac, Dr. Fau­ci allud­ed to his com­mence­ment speech­es, so we thought it appro­pri­ate to leave you with one of his most recent ones, a vir­tu­al address to the grad­u­at­ing class of his alma mater, Col­lege of the Holy Cross:

“Now is the time, if ever there was one” he tells the Class of 2020, “to care self­less­ly about one anoth­er… Stay safe, and I look for­ward to the good work you will con­tribute in the years ahead.”

Relat­ed Con­tent: 

Real Women Talk About Their Careers in Sci­ence

Richard Feynman’s Tech­nique for Learn­ing Some­thing New: An Ani­mat­ed Intro­duc­tion

Nov­el­ist Cor­mac McCarthy Gives Writ­ing Advice to Sci­en­tists … and Any­one Who Wants to Write Clear, Com­pelling Prose

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Fol­low her @AyunHalliday.

Everything You Need To Know About Viruses: A Quick Visual Explanation of Viruses in 9 Images

It’s a great time to tune in to what sci­en­tists are try­ing to tell us.

It’s true that we’ve received a lot of con­flict­ing infor­ma­tion over the last four months with regard to how to best pro­tect our­selves and oth­ers from COVID-19.

Sci­en­tists and health care pro­fes­sion­als have a learn­ing curve, too.

Their bul­letins evolve as their under­stand­ing of the nov­el coro­n­avirus grows, through research and hands-on expe­ri­ence.

There are still a lot of unknowns.

Some peo­ple take any evi­dence-based mes­sag­ing updates regard­ing masks and re-open­ing as proof that sci­en­tists don’t know their ass­es from their elbows.

To which we might counter, “If that’s the case, please take a minute from berat­ing the poor gro­cery store employ­ee who asked you to fol­low clear­ly post­ed state man­dat­ed pub­lic health prac­tices to edu­cate us. For­get the econ­o­my. For­get the elec­tion. Blind us with some sci­ence. Pre­tend we don’t know any­thing and hit us with some hard­core facts about virus­es. We’re lis­ten­ing.”

(Crick­ets…)

Sci­ence writer Dominic Wal­li­man, founder of the Domain of Sci­ence Youtube  chan­nel, may have a PhD in quan­tum device physics, but he also had the humil­i­ty to real­ize, ear­li­er in the pan­dem­ic, that he didn’t know much about virus­es:

So I did a load of research and have sum­ma­rized what I learned in… nine images. This video (above) explains the key aspects of virus­es: how big they are, how they infect and enter and exit cells, how virus­es are clas­si­fied, how they repli­cate, and sub­jects involv­ing viral infec­tions like how they spread from per­son to per­son, how our immune sys­tem detects and destroys them and how vac­cines and anti-viral drugs work.

Wal­li­man ani­mates his 10-minute overview with the same bright info­graph­ics he uses to help stu­dents and laypeo­ple wrap their heads around com­put­er sci­ence, biol­o­gy, chem­istry, physics, and math.

The virus video has been fact-checked by immu­nol­o­gist Michael Bramhall and biol­o­gist Christoph von Arx.

And how refresh­ing to see trans­paren­cy with regard to human error, pub­lished as a cor­rec­tive:

In slide 9 tox­in vac­cines are for bac­te­r­i­al infec­tions like tetanus, not virus­es. 

For those who’d like to learn more, Wal­li­man has tacked a whop­ping 15 links onto the episode’s descrip­tion, from sources such as Sci­en­tif­ic Amer­i­canNatureStan­ford Medicine’s Scope blog, and the Nation­al Cen­ter for Biotech­nol­o­gy Infor­ma­tion.

Down­load a free poster of Domain of Science’s Virus­es Explained in 9 Images here.

Relat­ed Con­tent: 

Spring Break vs. COVID-19: Map­ping the Real Impact of Ignor­ing Social Dis­tanc­ing

A Chill­ing Time-Lapse Video Doc­u­ments Every COVID-19 Death on a Glob­al Map: From Jan­u­ary to June 2020

The Case for a Uni­ver­sal Basic Income in the Time of COVID-19

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Her lat­est project is an ani­ma­tion and a series of free down­load­able posters relat­ed to COVID-19 pub­lic health Fol­low her @AyunHalliday.

What Happened When Americans Had to Wear Masks During the 1918 Flu Pandemic

Med­ical pro­fes­sion­als have had a par­tic­u­lar­ly dif­fi­cult time get­ting peo­ple in the Unit­ed States to act in uni­son for the pub­lic good dur­ing the pan­dem­ic. This has been the case with every step that experts urge to curb the spread of COVID-19, from clos­ing schools, church­es, and oth­er meet­ing places, to enforc­ing social dis­tanc­ing and wear­ing masks over the nose and mouth in pub­lic spaces.

The resis­tance may seem symp­to­matic of the con­tem­po­rary polit­i­cal cli­mate, but there is ample prece­dent for it dur­ing the spread of so-called Span­ish Flu, which took the lives of 675,000 Amer­i­cans a lit­tle over a hun­dred years ago. Even when forced to wear masks by law or face jail time, many Amer­i­cans absolute­ly refused to do so.

“In 1918,” writes E. Thomas Ewing at Health Affairs, “US pub­lic health author­i­ties rec­om­mend­ed masks for doc­tors, nurs­es, and any­one tak­ing care of influen­za patients.” The advi­so­ry “grad­u­al­ly and incon­sis­tent­ly” spread to the gen­er­al pub­lic, in a dif­fer­ent cul­tur­al cli­mate, in some impor­tant respects, than our own, as Uni­ver­si­ty of Michi­gan med­ical his­to­ri­an J. Alexan­der Navar­ro explains.

Nation­wide, posters pre­sent­ed mask-wear­ing as a civic duty – social respon­si­bil­i­ty had been embed­ded into the social fab­ric by a mas­sive wartime fed­er­al pro­pa­gan­da cam­paign launched in ear­ly 1917 when the U.S. entered the Great War. San Fran­cis­co May­or James Rolph announced that “con­science, patri­o­tism and self-pro­tec­tion demand imme­di­ate and rigid com­pli­ance” with mask wear­ing. In near­by Oak­land, May­or John Davie stat­ed that “it is sen­si­ble and patri­ot­ic, no mat­ter what our per­son­al beliefs may be, to safe­guard our fel­low cit­i­zens by join­ing in this prac­tice” of wear­ing a mask.

Despite the civic spir­it and gen­er­al­ized pub­lic sup­port for mask wear­ing, pass­ing local mask ordi­nances was “fre­quent­ly a con­tentious affair.” Debates that sound famil­iar raged in city coun­cils in Los Ange­les and Port­land, both of which reject­ed mask orders. (One offi­cial declar­ing them “auto­crat­ic and uncon­sti­tu­tion­al.”) San Fran­cis­co, on the oth­er hand, brought the police down on any­one who refused to wear a mask, impos­ing fines and jail time.

These mea­sures were adopt­ed by oth­er cities, as well as abroad in Paris and Man­ches­ter. “Fines ranged,” Navar­ro writes, “from US$5 to $200,” a huge amount of mon­ey in 1918, and a good amount for many peo­ple out of work today. Even in cities that did not impose harsh penal­ties, “non­com­pli­ance and out­right defi­ance quick­ly became a prob­lem.” Much of the resis­tance to wear­ing masks, how­ev­er, came lat­er, after a first wave of flu infec­tions sub­sided. When pre­cau­tions were relaxed, cas­es rose once again, and new mask man­dates went into effect in 1919.

San Francisco’s Anti-Mask League formed in protest, attract­ing some­where between 4,000 and 5,000 unmasked atten­dees to a Jan­u­ary meet­ing. Some of their objec­tions rest­ed on an ear­ly study that found scant evi­dence for the effi­ca­cy of com­pul­so­ry mask-wear­ing. How­ev­er, a lat­er com­pre­hen­sive 1921 study by War­ren T. Vaughn, notes Ewing, found that the data was too sketchy to draw con­clu­sions: “The prob­lem was human behav­ior: Masks were used until they were filthy, worn in ways that offered lit­tle or no pro­tec­tion, and com­pul­so­ry laws did not over­come the ‘fail­ure of coop­er­a­tion on the part of the pub­lic.’”

Vaughn con­clud­ed, “It is safe to say that the face mask as used was a fail­ure.” Many behav­iors con­tributed to this out­come. As we see in the pho­to­graph at the top of anony­mous Cal­i­for­ni­ans wear­ing masks and hold­ing a sign that reads, “Wear a mask or go to jail,” many did not wear masks prop­er­ly, leav­ing their nose exposed, for exam­ple, like the woman in the cen­ter of the group. Notably, instead of social dis­tanc­ing, the group stands shoul­der to shoul­der, ren­der­ing their masks most­ly inef­fec­tive.

The kind of masks most peo­ple wore were made of thin gauze. (“Obey the laws and wear the gauze. Pro­tect your jaws from sep­tic paws,” went a jin­gle at the time.) The mate­r­i­al was­n’t at all effec­tive at clos­er dis­tances, where today’s quilt­ed cot­ton masks, on the oth­er hand, have been shown to stop the virus a few inch­es from the wearer’s face. Still, masks, when com­bined with oth­er mea­sures, were shown to be effec­tive when com­pli­ance was high, though much of the evi­dence is anec­do­tal.

What can we learn from this his­to­ry? Does it under­mine the case for masks today? “We need to learn the right lessons from the fail­ure of flu masks in 1918,” Ewing argues. The over­whelm­ing sci­en­tif­ic con­sen­sus is that masks are some of the most effec­tive tools for slow­ing the spread of the coro­n­avirus, and that, unlike in 1918, “Masks can work if we wear them cor­rect­ly, mod­i­fy behav­ior appro­pri­ate­ly, and apply all avail­able tools to con­trol the spread of infec­tious dis­ease.”

Relat­ed Con­tent: 

Japan­ese Health Man­u­al Cre­at­ed Dur­ing the 1918 Span­ish Flu Pan­dem­ic Offers Time­less Wis­dom: Stay Away from Oth­ers, Cov­er Your Mouth & Nose, and More

What Hap­pened to U.S. Cities That Practiced–and Didn’t Practice–Social Dis­tanc­ing Dur­ing 1918’s “Span­ish Flu”

The His­to­ry of the 1918 Flu Pan­dem­ic, “The Dead­liest Epi­dem­ic of All Time”: Three Free Lec­tures from The Great Cours­es

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Nursing Home Residents Replace Famous Rock Stars on Iconic Album Covers

Deserved­ly or not, British care homes have acquired a rep­u­ta­tion as espe­cial­ly drea­ry places, from Vic­to­ri­an nov­els to dystopi­an fic­tion to the flat affect of BBC doc­u­men­taries. Mar­tin Parr gave the world an espe­cial­ly mov­ing exam­ple of the care home doc­u­men­tary in his 1972 pho­to series on Prest­wich Asy­lum, out­side Man­ches­ter. The com­pelling por­traits human­ize peo­ple who were neglect­ed and ignored, yet their lives still look bleak in that aus­tere­ly post-war British insti­tu­tion kind of way.

One can­not say any­thing of the kind of the pho­to series rep­re­sent­ed here, which casts res­i­dents of Syd­mar Lodge Care Home in Edge­ware, Eng­land as rock stars, dig­i­tal­ly recre­at­ing some of the most famous album cov­ers of all time. This is not, obvi­ous­ly, a can­did look at res­i­dents’ day-to-day exis­tence. But it sug­gests a pret­ty cheer­ful place. “The main aim was to show that care homes need not be a sad envi­ron­ment, even dur­ing this pan­dem­ic,” says the pho­tos’ cre­ator Robert Speker, the home’s activ­i­ties man­ag­er.

“Speker tweet­ed side-by-side pho­tos of the orig­i­nal cov­ers and the Syd­mar Lodge res­i­dents’ new takes, and the tweets quick­ly took off,” NPR’s Lau­rel Wams­ley writes. He’s made it clear that the pri­ma­ry audi­ence for the recre­at­ed cov­ers is the res­i­dents them­selves: Iso­lat­ed in lock­down for the past four months; cut off from vis­its and out­ings; suf­fer­ing from an indef­i­nite sus­pen­sion of famil­iar rou­tines.

Speker does not deny the grim real­i­ty behind the inspir­ing images. “Elder­ly peo­ple will remain in lock­down for a long time,” he writes on a GoFundMe page he cre­at­ed to help sup­port the home. “It could be months before the sit­u­a­tion changes for them.”

But he is opti­mistic about his abil­i­ties to “make their time as hap­py and full of enjoy­ment and inter­est as pos­si­ble.” Would that all nurs­ing homes had such a ded­i­cat­ed, award-win­ning coor­di­na­tor. Res­i­dents them­selves, he wrote on Twit­ter, were “enthused and per­haps a bit bemused by the idea, but hap­py to par­tic­i­pate.” When they saw the results—stunning Roma Cohen as Aladdin Sane, defi­ant Sheila Solomons as Elvis and The Clash’s Paul Simenon, casu­al Mar­tin Stein­berg as a “Born in Eng­land” Springsteen—they were delight­ed. Four of the home­’s car­ers got their own cov­er, too, posed as Queen.

Res­i­dents, Speker said, were real­ly “hav­ing a good gig­gle about it.” And we can too, as we bear in mind the many elder­ly peo­ple around us who have been locked in for months, with maybe many more months of iso­la­tion ahead. Not every­one is as tal­ent­ed as Robert Speker, who did the mod­els’ make­up and tat­toos him­self (with hair by a care home man­ag­er), as well as tak­ing all the pho­tographs and edit­ing the images to con­vinc­ing­ly mim­ic the pos­es, com­po­si­tion, light­ing, font, and col­or schemes of the orig­i­nals. But let’s hope his work is a spark that lights up nurs­ing homes and care facil­i­ties with all sorts of cre­ative ideas to keep spir­its up. See sev­er­al more cov­ers below and the rest on Twit­ter.

via the BBC/NPR

Relat­ed Con­tent:

Peo­ple Pose in Uncan­ny Align­ment with Icon­ic Album Cov­ers: Dis­cov­er The Sleeve­face Project

The His­to­ry of the Fish­eye Pho­to Album Cov­er

Dyson Cre­ates 44 Free Engi­neer­ing & Sci­ence Chal­lenges for Kids Quar­an­tined Dur­ing COVID-19

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Watch the Famous James Baldwin-William F. Buckley Debate in Full, With Restored Audio (1965)

When James Bald­win took the stage to debate William F. Buck­ley at Cam­bridge in 1965, it was to have “a debate we shouldn’t need,” writes Gabrielle Bel­lot at Lit­er­ary Hub, and yet it’s one that is still “as impor­tant as ever.” The propo­si­tion before the two men—famed prophet­ic nov­el­ist of the black expe­ri­ence in Amer­i­ca and the con­ser­v­a­tive founder of the Nation­al Review—was this: “The Amer­i­can Dream is at the Expense of the Amer­i­ca Negro.”

The state­ment should not need defend­ing, Bald­win argued, because it is so obvi­ous­ly true. The wealth cre­at­ed by hun­dreds of years of slav­ery has passed down through gen­er­a­tions of fam­i­lies. So too has the pover­ty. These divi­sions have been stren­u­ous­ly main­tained by Jim Crow, redlin­ing, and racist polic­ing. “Prof­its from slav­ery,” write Stephen Smith and Kate Ellis at APM Reports, “helped fund some of the most pres­ti­gious schools in the North­east, includ­ing Har­vard, Colum­bia, Prince­ton and Yale,” which hap­pened to be Buckley’s alma mater and was found­ed by an actu­al slave trad­er.

Slave labor fund­ed, built, and main­tained near­ly every part of the for­ma­tive uni­ver­si­ty sys­tem in the ear­ly U.S., and built the wealth of many oth­er pow­er­ful insti­tu­tions. Bald­win says it is “awk­ward” to have to point out these facts. Rather than recite them, he per­son­al­izes, speak­ing, he says, as “a kind of Jere­mi­ah” in nam­ing crimes gone unre­dressed for too long: “I am stat­ing very seri­ous­ly, and this is not an over­state­ment. I picked the cot­ton, I car­ried it to the mar­ket, and I built the rail­roads under some­one else’s whip for noth­ing. For noth­ing…. The Amer­i­can soil is full of the corpses of my ances­tors. Why is my free­dom or my cit­i­zen­ship, or my right to live there, how is it con­ceiv­ably a ques­tion now?”

Buckley’s response drips with con­de­scen­sion and con­tempt. He begins with a stan­dard con­ser­v­a­tive line: deplor­ing the acts of a few “indi­vid­ual Amer­i­can cit­i­zens” who “per­pet­u­ate dis­crim­i­na­tion,” but deny­ing that his­toric, sys­temic racism still exists. He then cites “the fail­ure of the Negro com­mu­ni­ty itself to make cer­tain exer­tions, which were made by oth­er minor­i­ty groups dur­ing the Amer­i­can expe­ri­ence.” He damns an entire group of peo­ple with plat­i­tudes about hard work while also declar­ing loud­ly that race has noth­ing to do with it.

This contradiction—engaging in racist scape­goat­ing while claim­ing not to see race—was part of the strat­e­gy of “col­or­blind” con­ser­vatism the Nation­al Review adopt­ed after the pas­sage the Civ­il Rights Act. Pri­or to the ear­ly six­ties, how­ev­er, Buck­ley had been a stri­dent seg­re­ga­tion­ist who pub­licly defend­ed insti­tu­tion­al­ized white suprema­cy rather than claim­ing it had dis­ap­peared. In 1957, he wrote an edi­to­r­i­al titled “Why the South Must Pre­vail” and argued that white south­ern politi­cians must “take such mea­sures as are nec­es­sary to pre­vail, polit­i­cal­ly and cul­tur­al­ly” over black cit­i­zens.

Buck­ley had not fun­da­men­tal­ly changed in 1965, though he posi­tioned him­self as a mod­er­ate mid­dle ground between lib­er­als and seg­re­ga­tion­ists like Strom Thur­mond, whom he con­sid­ered crude. His posi­tion amounts to lit­tle more than a defense of dom­i­na­tion, couched in what his­to­ri­an Joshua Tait calls the “racial inno­cence of intel­lec­tu­al con­ser­vatism” that delib­er­ate­ly ignores or dis­torts his­tor­i­cal truths and present real­i­ties. “Bristling at Baldwin’s claim that the Amer­i­can econ­o­my was built by the unre­mu­ner­at­ed labour of Black peo­ple,” writes Joss Har­ri­son, “Buck­ley cries: ‘My great grand­par­ents worked too!’”

The debate “now stands as one of the arche­typ­al artic­u­la­tions of the divid­ing line between US pro­gres­sives and con­ser­v­a­tives on ques­tions of race, jus­tice and his­to­ry,” writes Aeon, who bring us the full ver­sion above with restored audio by Adam D’Arpino. Buck­ley responds to Baldwin’s pow­er­ful rhetoric with insults, out of con­text “facts and fig­ures – as well as an ad hominem shot at Baldwin’s speak­ing voice.” He pro­pos­es that one road to equal­i­ty lies in dis­en­fran­chis­ing poor South­ern whites as well as black cit­i­zens.

Buck­ley dis­plays a “com­plete igno­rance of the prob­lems faced by black Amer­i­cans in soci­ety,” writes Har­ri­son. Such igno­rance, “allied with pow­er,” Bald­win said else­where, con­sti­tutes “the most fero­cious ene­my jus­tice can have.” For Bald­win, Buck­ley’s atti­tude sim­ply con­firmed the “great shock,” that he mov­ing­ly describes in his debate state­ment, “around the age of five, or six, or sev­en, to dis­cov­er that the flag to which you have pledged alle­giance, along with every­body else, has not pledged alle­giance to you.”

via Aeon

Relat­ed Con­tent:

Why James Baldwin’s Writ­ing Stays Pow­er­ful: An Art­ful­ly Ani­mat­ed Intro­duc­tion to the Author of Notes of a Native Son

Great Cul­tur­al Icons Talk Civ­il Rights: James Bald­win, Mar­lon Bran­do, Har­ry Bela­fonte & Sid­ney Poiti­er (1963)

James Bald­win: Wit­ty, Fiery in Berke­ley, 1979

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

A Chilling Time-Lapse Video Documents Every COVID-19 Death on a Global Map: From January to June 2020

The sto­ry of the Coro­n­avirus, at least in the US, has swung between a num­ber of rhetor­i­cal tics now com­mon to all of our dis­course. Called a “hoax,” then giv­en sev­er­al racist nick­names and dis­missed as a “noth­ing burg­er,” the pandemic—currently at around 3 mil­lion cas­es in the coun­try, with a U.S. death toll over 130,000—has now become the “new nor­mal,” a phrase that pops up every­where you look.

“This fram­ing is invit­ing,” writes Chime Asonye at the World Eco­nom­ic Forum. It con­veys “the idea that our present is okay because nor­mal is reg­u­lar,” and we’re all sup­posed to be get­ting back to reg­u­lar life, accord­ing to the pow­ers that be, who don’t seem par­tic­u­lar­ly trou­bled by the dead, sick, and dying or the con­tin­ued threat to pub­lic health.

But pre­tend­ing things are nor­mal is sim­ply a form of a denial, a mal­adap­tive and unhealthy response to trau­ma as much as to dis­ease. “Allow­ing our­selves to cope means not nor­mal­iz­ing our sit­u­a­tion,” writes Asonye, “but giv­ing our­selves the time to tru­ly process it.” We are all liv­ing in the midst of pro­found loss—of loved ones, liveli­hoods, future plans and present joys. Asonye adds:

Psy­chol­o­gists advise that it’s impor­tant to iden­ti­fy the loss­es we are feel­ing and to hon­our the grief sur­round­ing us through meth­ods like med­i­ta­tion, com­mu­ni­cat­ing our strug­gle, and express­ing our­selves through art or by keep­ing a jour­nal. In uncer­tain times, the ‘new nor­mal’ frame rein­forces an under­stand­ing that the world and our emo­tions should by now have set­tled. Sur­round­ed by uncer­tain­ty, it’s okay to admit that things are not nor­mal. It’s okay to allow our­selves to grieve or to be scared. It’s okay not to be com­fort­able with what is going on.

How do we process if we can­not admit that there is a problem—a mas­sive prob­lem that requires our lives to change, even if we’re feel­ing fatigued and worn out? Though we may have grown cyn­i­cal­ly accus­tomed to the cal­lous, cor­rupt response of cer­tain gov­ern­ments to human suf­fer­ing, the “over­whelm­ing scale” of the pan­dem­ic, as James Beck­with writes on YouTube, marks the coro­n­avirus as decid­ed­ly not nor­mal. It may be the kind of cat­a­stro­phe the world has not wit­nessed in over a cen­tu­ry.

Inspired by artist Isao Hashimoto’s “Time-Lapse Map of Every Nuclear Explo­sion Since 1945,” which we’ve pre­vi­ous­ly fea­tured here, Beck­with used the same visu­al pre­sen­ta­tion to map the over 500,000 lives lost to the virus since the first Jan­u­ary out­break in Chi­na. “The virus grows, con­tin­u­ing to work its way through­out the world until the end of June—where this piece ends but the real virus has not,” he writes. “It is like­ly a sequel will need to be made.” Though he admits the ani­ma­tion “may be upset­ting to some peo­ple,” Beck­with, like Asonye, rec­og­nizes the impor­tance of admit­ting the full scope.

Watch­ing the virus spread, and kill, over the past six months hits much hard­er than read­ing the dry facts. The video is ded­i­cat­ed to “every per­son that trag­i­cal­ly lost their lives to COVID-19.” Beck­with would like it “to be under­stood and seen by as many peo­ple around the world as pos­si­ble,” so that we can all have a shared under­stand­ing of what we’re fac­ing togeth­er (and maybe come to an agree­ment that this can­not be the “new nor­mal”). “Some­times there are no words for ter­ri­ble events like this,” Beck­with writes, but he would like help trans­lat­ing the video descrip­tion into oth­er lan­guages. You can con­tact him via his YouTube or Insta­gram chan­nels to vol­un­teer.

Relat­ed Con­tent:  

The His­to­ry of the 1918 Flu Pan­dem­ic, “The Dead­liest Epi­dem­ic of All Time”: Three Free Lec­tures from The Great Cours­es

Watch “Coro­n­avirus Out­break: What You Need to Know,” and the 24-Lec­ture Course “An Intro­duc­tion to Infec­tious Dis­eases,” Both Free from The Great Cours­es

Inter­ac­tive Web Site Tracks the Glob­al Spread of the Coro­n­avirus: Cre­at­ed and Sup­port­ed by Johns Hop­kins

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

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