1/7 The current pandemic is far from over, but the window to prepare for future threats is closing fast, @edyong209 reports. How can the U.S. stay 10 steps ahead of tomorrow’s viruses when it can’t stay one step ahead of today’s? on.theatln.tc/ZCGlqpn
2/7 America’s frustrating inability to learn from the recent past shouldn’t be surprising to anyone familiar with the history of public health, Yong writes. The U.S. has been stuck in a Sisyphean cycle of panic and neglect:
3/7 “It might seem ridiculous to think about future pandemics now,” Yong writes. But we'll be doomed to repeat the panic-neglect cycle if we don’t act.
5/7: America must shift the spotlight, Yong argues, “away from pathogens themselves and onto the living and working conditions that allow pathogens to flourish.” What does that look like?
6/7 “Inequity reduction is not a side quest of pandemic preparedness,” Yong explains. “It is arguably the central pillar—if not for moral reasons, then for basic epidemiological ones. Infectious diseases can spread, from the vulnerable to the privileged.”
7/7 But “the panic-neglect cycle is not irresistible,” Yong concludes: on.theatln.tc/ZCGlqpn
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1/9 Today in The Atlantic, we’re thinking about offices: What are they good for, really? And why have some started to look like your living room?
2/9 Offices are “filling up with furnishings and flourishes such as comfy sofas, open shelving, framed artwork, mirrors, curtains, rugs, floor lamps, coffee tables, and materials such as wood and linen,” @jpinsk reports: on.theatln.tc/m54t8GG
3/9 Employers who use this aesthetic—known, regrettably, as resimercial—“hope that a more charming and comfortable physical space might help attract talented workers and help their employees do better work,” Joe Pinsker writes.
2/5 “Gold teeth have become as much a matter of community as of style,” @JulianThePoet writes.
“Every gold tooth in a Black mouth is a song with no lyrics … Often I’ve looked at a gold tooth and seen a kind of North Star, a light that chants ‘home.’”
1/5 Working-class Black women are “ingenious purveyors of fashion,” but their influence has been ignored, @charlienchargie writes. Designer Charles Harbison reflects on how women like his mom and grandmother wrote their own beauty narratives. theatlantic.com/culture/archiv…
2/5 Harbison’s mom worked at a tool factory, but on the weekends “she became a sexy Donna Karan power woman,” he writes.
3/5 Harbison’s grandma was a factory knitter. But the “smell of machinery” and “lint littering her short cropped hair” vanished on the weekends: “Her hair and cocoa complexion served as the perfect canvas for the silky sheaths and matching clutch-and-pump sets she preferred.”
1/5 New technologies are making it easy for historical Black images to be manipulated—and raising questions about who owns the Black body, Latria Graham writes. theatlantic.com/ideas/archive/…
2/5 One example: MyHeritage, an online genealogy platform that uses an artificial-intelligence software called Deep Nostalgia. The site’s users can upload photos of long-deceased relatives to the website, which animates their ancestors with motions such as smiles and head turns.
3/5 “The site tells users that the software ‘is intended for nostalgic use, that is, to bring beloved ancestors back to life,’ and warns that it is not built for more nefarious purposes, such as creating ‘deep fakes’ of living people,” Graham reports.
1/5 Since January, @emmaogreen has been interviewing newsmakers, scholars, and everyday people about some of the most challenging questions facing the country. Today, we’re giving a name to these conversations: “The Atlantic Interview.” theatlantic.com/projects/atlan…
2/5 Emma talked with John Seago, the legislative director of Texas Right to Life, who shepherded Texas’s new abortion law, about what it would mean for the country if the procedure was completely illegal: theatlantic.com/politics/archi…
3/5 A month after the Capitol insurrection, Emma spoke with Eric Metaxas, a staunch Donald Trump defender, Christian writer, and radio host, about why he had come to believe that he was righteous for questioning the 2020 election: theatlantic.com/politics/archi…
1/10 It was once a struggle to get Black characters on TV. Yet even today, as streaming services advertise “Black Lives Matter” and “Representation Matters” collections, Black screenwriters often navigate a set of implicit rules. @hannahgiorgis reports: on.theatln.tc/NdmL2GF
2/10 In the 1950s and ’60s, Sammy Davis Jr. and Nat King Cole headlined variety shows. Yet it wasn’t until 1972, when @TheNormanLear and Bud Yorkin launched “Sanford and Son,” that networks tried something more daring, with a show regularly addressing racism.
3/10 “‘Sanford and Son’ and ‘The Jeffersons’ proved that series with predominantly Black casts could be hits,” Giorgis writes. “Yet white executives continued to view Black shows as too much of a gamble.”