Well! In the Yale Review, Chris Ware (one of my favorite cartoonists) writes about Richard Scarry (one of my favorite children’s book authors) and Cars and Trucks and Things That Go (one of my favorite books).
This year is the 50th anniversary of Scarry’s 1974 Cars and Trucks and Things That Go, which strikes me as a commemoration worthy of ballyhoo, especially now that, as a dad myself, I’ve spent so much time ferrying my own daughter to and from school and birthday parties in various cars that-well, mostly goed. (I’ve owned five automobiles in my life, all of them cheap, one of which smoked and required the driver’s side door to be kept shut with a bungee cord hooked to the opposite armrest, stretched across both driver and passenger. What can I say? I was a young cartoonist on a cartoonist’s budget.)
Unlike those budget vehicles, however, the new deluxe Penguin Random House anniversary edition of Cars and Trucks and Things That Go is lavishly well-made, attentively reprinted with sharp black lines and warm, rich, watercolors. It includes an especially lively afterword by Scarry’s son Huck, in which he explains, using language even a kid can understand, how his dad wrote and drew the book, as well as hinting at what it was like to grow up as the son of arguably the world’s most popular and successful children’s book author.
(Lowly was perhaps the first children’s book animal character with a real nod to the ADA and the myth of “dis”-ability, and cheerfully makes his linear form work in all sorts of inspiring and disarmingly moving ways.)
And:
But the more one looks at his work, the more one sees how the European daily grocery trip, the walk to a nearby shop or tradesman’s guild, the tiny apple car fit for a worm are not part of the blowout-all-in-for-oneself-oil-fueled-free-for-all toward which America was barreling in the late 1960s.
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Somehow, I missed that the teaser trailer for season two of the excellent The Last of Us premiered almost a month ago. I guess both I and the world have been busy with other things and also keeping tabs on the entire interest and media landscape is just not something that’s possible.
The second season, based on the 2020 game The Last of Us Part II, follows Joel (Pedro Pascal) and Ellie (Bella Ramsey) five years after the events of the first season, and introduces Abby (Kaitlyn Dever).
And that “the season is expected to span seven episodes”.
Oxfam analysis: “Investment emissions are the most significant part of a billionaire’s carbon footprint”, dwarfing jet & yacht emissions. “40% of the billionaire investments are in highly polluting industries: oil, mining, shipping, and cement.”
Some speculative analysis about how the ever-decreasing projections of global population (now ~9bn in 2054) might impact our climate future — “all else equal, fewer people means less carbon dioxide emissions.”
When Nirvana played a huge stadium show in Buenos Aires in 1992, an all-“female/queer/trans” band called Calamity Jane opened for them. The crowd pelted the band with objects like coins and rocks, forcing them off-stage and infuriating Kurt Cobain. Instead of refusing to play, the band went out and played a bunch of songs the audience didn’t know, started but then didn’t actually play all of Smells Like Teen Spirit, and generally just had fun pissing the crowd off for more than an hour. Here’s the full video of the show:
A few of the fun parts are the two Smells Like Teen Spirit false starts at 7:34 & 10:29 and Come As You Are at 23:14 (“hey hey hey hey hey”). Here’s how Cobain tells it:
When we played Buenos Aires, we brought this all-girl band over from Portland called Calamity Jane. During their entire set, the whole audience — it was a huge show with like sixty thousand people — was throwing money and everything out of their pockets, mud and rocks, just pelting them. Eventually the girls stormed off crying. It was terrible, one of the worst things I’ve ever seen, such a mass of sexism all at once. Krist, knowing my attitude about things like that, tried to talk me out of at least setting myself on fire or refusing to play. We ended up having fun, laughing at them (the audience). Before every song, I’d play the intro to ‘Smells Like Teen Spirit’ and then stop. They didn’t realize that we were protesting against what they’d done. We played for about forty minutes, and most of the songs were off Incesticide, so they didn’t recognize anything. We wound up playing the secret noise song (‘Endless, Nameless’) that’s at the end of Nevermind, and because we were so in a rage and were just so pissed off about this whole situation, that song and whole set were one of the greatest experiences I’ve ever had.
Somewhere around the second song or so, there is a moment when I open my eyes to finally take it all in, and realize that the crowd is competing with us — they are shouting at us and flipping us off, and even somehow penises are flashed. This really does not compute at first, I am in super punk rock overdrive, but I notice that there is a ring of spit gobs surrounding me on the stage; I look across the stage to my bandmates and there is dismay, anger, and dare I say terror in their eyes. We are now being pelted with clods of dirt, coins, ice cubes, more spit, and inundated with shouts of a word I fully understand “Puta!” (Whore). Looking out on a sea of penises and middle fingers, it is evident that they are not happy, they do not like us, and they want us off the stage. It becomes pretty impossible to continue playing — I mean we aren’t the Sex Pistols — we don’t want the crowd to actively hate us!
Aside from a reunion gig in 2016, Calamity Jane never played again — the Buenos Aires show was their last.
WHAT?! “In Sverris Saga, the Old Norse saga of King Sverre Sigurdsson, one passage details a 1197-CE raid on the castle and mentions a dead man thrown into the well. Radiocarbon dating supports that these are that individual’s remains.”
From 1980 to the present, a timeline map of every earthquake in the world with a magnitude of 5 or above. You can play around with different parameters and data, so you can see where the different tectonic plates are, just see where the biggest earthquakes occurred, or add in volcanic eruptions. You can also draw a cross section and it will show how deep the quakes occurred along that line.
New book from John Green: Everything Is Tuberculosis, the story of “the scientific and social histories of how tuberculosis has shaped our world and how our choices will shape the future of tuberculosis”. (Green is signing 100,000 copies of this!)
In 2020, during the dark days of our first pandemic winter, Dua Lipa played NPR’s Tiny Desk Concert remotely from London, which is still the most popular Tiny Desk of all time (130M views). This week, NPR had Lipa ‘round the office for a proper set, with the singer playing four songs off of her latest album, Radical Optimism.
Befitting an artist whose newest songs often reflect the pursuit of personal growth — see: “Happy for You” — Lipa and her team breezed through the NPR Music offices with a mix of low-drama professionalism and unmistakable warmth. We’ve dealt with a lot of stars (and their teams) over the years, and as often as people ask us to dish about people who’ve been difficult, we’ve mostly accumulated stories of people who’ve been lovely to have around. Even among all those, Lipa and her people stood out: They were kind, gracious, fun and game.
The NY Times Editorial Board: “Donald Trump says he will prosecute his enemies, order mass deportations, use soldiers against citizens, play politics with disasters, abandon allies. Believe him.”
High above the streets of NYC, Brazilian ballet dancer Ingrid Silva performs wearing a custom paper sculpture.
Revealing the rooftop of Renzo Piano’s New York Times Building for the first time, director Jacob Krupnick captures Brazilian ballet dancer Ingrid Silva against the Manhattan skyline at sunrise for short film Above. Dancing to music by Nils Frahm and wearing a custom paper sculpture by French artist Pauline Loctin, Silva moves between HVAC utilities humming 800 feet above the city, in an unseen space with an unexpected elegance.
There would be a parade,
a celebration,
a holiday to commemorate
the day he sought enlightenment.
We would not speak of
temptation by the devil, rather,
we would laud Adam’s curiosity,
his desire for adventure
and knowing.
Here’s how foods that were a part of WWII soldiers’ rations (like M&Ms, Nescafé, and Spam) made their way into American homes after the war. And a cheap, post-war glut of powdered cheese resulted in the invention of Cheetos.
“Polls are not votes. The candidates are not deadlocked. There is no ahead or behind, even ‘with 72% of precincts reporting’ on election night. The way elections work is they’re 0-0 all the way up until the votes are counted and then someone wins.”
The local environment of this cluster is a close analogue of what existed in the early Universe, with very low abundances of elements heavier than hydrogen and helium. The existence of dark clouds of dense dust and the fact that the cluster is rich in ionised gas also suggest the presence of ongoing star formation processes. This cluster provides a valuable opportunity to examine star formation scenarios under dramatically different conditions from those in the solar neighbourhood.
It is very worth your time to click through and look at this image in all of its massive celestial glory. I found this image via Phil Plait, who calls it “one of the most jaw-droppingly mind stomping images I’ve seen from JWST” and, directing us back to the science (remember the science?!), notes that NGC 602 is actively forming stars (it’s only about 5 million years old) and that it depicts “the first young brown dwarfs outside our Milky Way”. Cool!
From the Atlantic in 1948, Death of a Pig by E.B. White is about the story that inspired the author to write Charlotte’s Web a few years later.
The scheme of buying a spring pig in blossom time, feeding it through summer and fall, and butchering it when the solid cold weather arrives, is a familiar scheme to me and follows an antique pattern. It is a tragedy enacted on most farms with perfect fidelity to the original script. The murder, being premeditated, is in the first degree but is quick and skillful, and the smoked bacon and ham provide a ceremonial ending whose fitness is seldom questioned.
Once in a while something slips — one of the actors goes up in his lines and the whole performance stumbles and halts. My pig simply failed to show up for a meal. The alarm spread rapidly. The classic outline of the tragedy was lost. I found myself cast suddenly in the role of pig’s friend and physician — a farcical character with an enema bag for a prop. I had a presentiment, the very first afternoon, that the play would never regain its balance and that my sympathies were now wholly with the pig. This was slapstick - the sort of dramatic treatment which instantly appealed to my old dachshund, Fred, who joined the vigil, held the bag, and, when all was over, presided at the interment. When we slid the body into the grave, we both were shaken to the core. The loss we felt was not the loss of ham but the loss of pig. He had evidently become precious to me, not that he represented a distant nourishment in a hungry time, but that he had suffered in a suffering world.
The producer later said that it took him 17 takes to read the death scene of Charlotte. And finally, they would walk outside, and E.B. White would go, this is ridiculous, a grown man crying over the death of an imaginary insect. And then, he would go in and start crying again when he got to that moment.
The boxes on the chart have changed, but since the appointment of Bob Iger as CEO, Disney has seemingly doubled down on Walt’s old strategy with their increased focus on franchises.
Disney’s dominance can be boiled down very simply to one word: franchises. Or rather, an “incessant focus on franchises” in the words of former Disney CFO Jay Rasulo.
“Everything we do is about brands and franchises,” Rasulo told a group of financial analysts last September. “Ten years ago we were more like other media companies, more broad-based, big movie slate, 20 something pictures, some franchise, some not franchise. If you look at our slate strategy now, our television strategy, almost every aspect of the company, we are oriented around brands and franchises.”
Franchises are well suited to extend across multiple parts of a big business like Disney, particularly because it’s a repeating virtuous cycle: movies drive merchandise sales and theme park visits, which in turn drives interest for sequels and spin-offs, rinse, repeat, reboot.
I wonder if more tech companies could be using this strategy more effectively. Apple does pretty well; their various hardware (iPhone, iPad, Mac), software (iOS, OS X), and services (iCloud, App Store, iTunes Store) work together effectively. Microsoft rode Office & Windows for quite awhile. Google seems a bit more all over the place — for instance, it’s unclear how their self-driving car helps their search business and Google+ largely failed to connect various offerings. Facebook seems to be headed in the right direction. Twitter? Not so much, but we’ll see how they do with new leadership. Or old leadership…I discovered Walt’s chart via interim Twitter CEO Jack Dorsey.
The 1619 Project: A Visual Experience is an illustrated version of the bestselling book by Nikole Hannah-Jones, featuring archival images, photos by Black photographers, and artwork from Black artists like Carrie Mae Weems & Vitus Shell.
This short video takes us on a trip through the criminal justice system and highlights a “hidden form of punishment” directed toward incarcerated people: fees. At every turn, people who are sentenced to incarceration are subject to tens of thousands of dollars in fees: bail fees, public defender fees, filing fees, court costs, mandatory contributions to funds like the state police fund, room & board, phone calls, money transfer fees, medical co-pays, and fees for post-incarceration monitoring. This is on top of any penalties that are paid by offenders.
We’re not talking about fines, those monetary punishments that judges impose on offenders. And this isn’t about restitution, which is an additional sanction intended to reimburse victims. Fees are far more insidious, functioning like predatory taxes that raise revenue for the government. They can vary from state to state, municipality to municipality, institution to institution.
And they can have severe economic consequences, particularly for people who are already broke when they enter the system — that is, most people who run afoul of the law. The resulting debts can destroy people’s credit, prevent them from voting and interfere with their ability to find employment and housing.
And guess what? People in debt turn to crime to pay their bills. This is all just another way that America’s criminal justice system is punitive and not rehabilitative.
New children’s picture book from the excellent Jessica Hische: My First Book of Fancy Letters, “a delightful spin on the traditional alphabet book, featuring creatively hand-lettered words from A to Z”.
Pony Boys is a delightful short documentary about two boys (aged 9 & 11) who traveled from a Boston suburb to the 1967 World’s Fair in Montreal by pony cart.
In the short documentary above, the “pony boys,” Tony and Jeff Whittemore, recount that as youngsters, they were unaware of the controversial questions the trip raises. What constitutes responsible parenting? Did their parents do something dangerous, or was it a brilliant parenting move that taught lifelong lessons? What they recall is a life-changing adventure made possible by a free-spirited mother who believed they could do it.
Three thought experiments that suggest “the space-time continuum we seem to inhabit is not fundamental but an approximation of something deeper, and that the concept will eventually be replaced…” What a wrench in the works black holes are!
Freedom is the great American commitment, but as Snyder argues, we have lost sight of what it means — and this is leading us into crisis. Too many of us look at freedom as the absence of state power: We think we’re free if we can do and say as we please, and protect ourselves from government overreach. But true freedom isn’t so much freedom from as freedom to — the freedom to thrive, to take risks for futures we choose by working together. Freedom is the value that makes all other values possible.
Before Google, reference librarians answered questions via telephone. “We learned not merely how to find information but how to think about finding information. Don’t take anything for granted; don’t trust your memory; look for the context…”
This Icelandic hotel offers a unique a valuable service: an aurora wake-up call. “When the northern lights appear in the night sky, they’ll wake you to make sure don’t miss a once-in-a-lifetime viewing experience.”
For the latest installment of Every Frame a Painting, Tony Zhou and Taylor Ramos examine the artistry and thought silent film master Buster Keaton put into the physical comedy in his movies. I used to watch all sorts of old movies with my dad (Chaplin, Keaton, Laurel & Hardy) and had forgotten how good Keaton was. If you’re anything like me in wanting to head down a Keaton rabbit hole, they recommend starting with the first short film he directed and released, One Week.
I love this: a carpenter fires his nail gun in time to the music of a band practicing or performing next door. Music, artistry, and playfulness is everywhere.
The Onion: “The Donald Trump and Kamala Harris campaigns both debuted new commercials Tuesday that attempt to win support for their respective candidates with a supercut of Trump’s most racist comments.” 🎯
Oh boy, a new book from one of my favorite designers: Kelli Anderson’s Alphabet in Motion, a pop-up book that explains how typography works. Watch the video…this book is bonkers. Instant pre-order for me.
Too Much Love is a project from Katja Kemnitz in which she photographs the beloved dolls & stuffed animals of young children alongside brand-new versions of the same toys. Anyone who is a parent or caregiver can relate to the destruction on display here, as well as the difficulty of replacing these items.
I show old, much-loved teddies and dolls and compare them with as good as new doppelgangers. I think the broken stuffed animals have a lot of soul. The project is inspired by my older daughter, who took her plush dog everywhere when she was little. One day I found this dog again without button eye and torn seams in the store and bought it. She did not like him. The old one was better and could not be replaced.
An attempt to rapidly deport twelve million people will also change everyone else. As Trump has said, such an action will have to bring in law enforcement at all levels. Such a huge mission will effectively redefine the purpose of law enforcement: the principle is no longer to make all people feel safe, but to make some people unsafe. And of course the diversion of law enforcement resources to deportation means that crimes will not be investigated or prosecuted. So some people will be radically less safe, but everyone regardless of status will in fact be less safe.
Such an enormous deportation will requires an army of informers. People who denounce their neighbors or coworkers will be presented as positive examples. Denunciation then becomes a culture. If you are Latino, expect to be denounced at some point, and expect special attention from a government that will demand your help to find people who are not documented. This is especially true if you are a local civic or business leader. You will be expected to collaborate in the deportation effort: if you do, you will be harming others; if you do not, you risk being seen as disloyal yourself. This painful choice can be avoided not at a later point but only now, by voting against mass deportations.
The Trump campaign is telling us straight out that this is their plan — they are not hiding it! at all! — and historians are letting us know what has happened in similar situations in the past and it’s just not all that confusing or complicated to understand. Even if they try and don’t succeed, it’s going to be absolutely brutal. Those are the stakes.
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