Something's Wrong With Tiger Woods

Something's wrong with Tiger Woods. We don't know the struggle’s precise shape, but it's there. It has been there. The evidence is not subtle, and it is not new. That is the sad and disconcerting thing, and until it is reckoned with honestly, everything else is secondary.

What happened with Friday’s two-vehicle crash in Jupiter Island, Fla., and Woods’ subsequent arrest, involved drugs or medication; the Martin County Sheriff said so plainly, because the breathalyzer said 0.00 and the man crawling out of the overturned SUV appeared lethargic, impaired, somewhere other than fully present. That part we know. What we also know, and have known for a while, is the context that surrounds it: all the surgeries, a body that has been broken and rebuilt so many times that the pharmaceutical architecture required just to get through a day is complex, possibly dangerous, and for someone with Woods' injury history genuinely hard to escape. Chronic pain and how people manage it are not moral failures. They are medical realities that have unmade careful, disciplined, strong-willed people for as long as the drugs have existed. Tiger Woods is, whatever else you want to say about him, among the most disciplined human beings to ever stand over a golf ball. That discipline did not protect him. It may have obscured how much protection he needed.

We are looking at a pattern. The 2017 arrest was not an isolated incident. It was a signal. The diversion program, the rehab, the public statement about an unexpected reaction to prescribed medications, these were events that fit a sequence the press was not particularly interested in identifying as one. There was a comeback to cover. There was Augusta to wonder about. And then 2019 came, and the green jacket, and it became nearly impossible to hold both things at once, the miracle of that Sunday and the unanswered question from two years earlier. So we didn't.

Consider 2021. Woods drove off a California road at high speed and shattered his leg, nearly lost it. The Los Angeles County Sheriff called it an accident. No blood was drawn. No substance test was administered. The official account was no evidence of impairment, and that was mostly accepted, because Woods had nearly died and it felt indecent to push. But the absence of a test is not the same as a clean result. It is the absence of a test. What we were left with, in place of information, was a story about survival and the road back. That was covered extensively, and which made it functionally impossible to also say: we don't know what was in his system that morning. That matters. It still matters.

The golf world, this publication included, has organized its Tiger coverage around one persistent question for years: Can he play? It is a reasonable question if you are covering sports. It becomes an incomplete one when the honest answer to a prior question—Is this man OK?—is visibly, and has for some time been, no.

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We hope we are wrong. Maybe there is an explanation for the refused urine test that has nothing to do with what it appears to suggest. Everyone is entitled to their privacy, and no one should be mocked for their trials. But privacy is a harder argument to make when the struggle keeps arriving in public. On roadsides, in mugshots, in sheriff's press conferences. At some point, looking away is not discretion. It's something closer to abandonment.

The other questions will come. The legal exposure, the Masters, the PGA Tour committee he chairs, what any of this means for a legacy that was secured long ago and cannot be taken back. Those are real, and they will get their due. The sport will process this the way it processes everything: with coverage and debate and hot takes and updates and eventually, probably, a return to the question of whether he might somehow play. That is what we do. That is what we have always done with Tiger Woods, turning him back into a story about golf.

But there is a 50-year-old man who has been in some form of pain, physical or otherwise, for longer than most of his fans have been watching him. Who has been trying, by every public account, to hold together a competitive life and an institutional role and a comeback narrative and a body that has been asked to do more than bodies are meant to do.

The golf can wait. It has waited before. The difference now is that what's at stake isn't a green jacket or a record or a comeback story. It's him.

Joel Beall and Joe Raedle, Yahoo Sports |  Read more:

Image: Getty

[ed. See also: Will Crash Shake Golf From Its Dependency on Woods? (BBC)]

McCartney In Tokyo, 1966.
via:

[ed. Tuned left-handed?]

Dick Griffith: Alaskan Adventurer Dies At 98

Roman Dial’s first encounter with Dick Griffith at the Alaska Mountain Wilderness Classic pretty much encapsulated the spirit of the man Dial called the “grandfather of modern Alaskan adventure.”

Griffith invited the 21-year-old Dial, who was traveling without a tent, to bunk with him while rain fell in Hope at the onset of the inaugural race. And then the white-haired Griffith proceeded to beat virtually the entire field of racers — most of whom were 30 years his junior — to the finish line in Homer.

Griffith, who died earlier this month at age 98, was a prodigious adventurer with a sharp wit who fostered a growing community of fellow explorers who shared his yearning for the Alaska outdoors.

Dial was one of the many acolytes who took Griffith’s outdoors ethos and applied it to his own adventures across the state.

“Someone once told me once that the outdoor adventure scene is like this big tapestry that we all add on to,” Dial said. “And where somebody else is sort of woven in something, we pick up and kind of riff on that. And he added a really big band to that tapestry, and then the rest of us are just sort of picking up where he left off.”

On that first meeting at the race in 1982, Dial and the other Alaska Mountain Wilderness Classic competitors got a sense of Griffith’s humor as well. In a story that is now Alaska outdoors lore, Griffith pulled a surprise move at the race’s first river crossing, grabbing an inflatable vinyl raft out of his pack and leaving the field in his rear view.

“You young guys may be fast, but you eat too much and don’t know nothin’,” Dial recalls Griffith quipping as he pushed off.

“Old age and treachery beats youth and skill every time.”

In those years, Griffith may have been known for his old age as much as anything. But it didn’t take long for the 50-something racing against a much younger crowd to make a mark.

Kathy Sarns was a teenager when she first met Griffith in the early 1980s, and the topic of the Alaska Mountain Wilderness Classic came up.

“He says, ‘You want to do that race? I think a girl could do that race,’ ” Sarns recalls. “And I’m thinking, ‘Who is this old guy?’ And then he says, ‘If you want to do the race, give me a call. I’ll take you.’ ”

Sarns took up Griffith on the offer and in 1984, she and her friend Diane Catsam became the first women to complete the race.

Sarns said the adventures “fed his soul,” and were infectious for those who watched Griffith and joined him along the way.

“He motivated and inspired so many people by what he was doing,” Sarns said. “It’s like, well if he can do that, then I guess I could do this.”

By the time Dial and Sarns had met Griffith, he had already established a resume for exploring that was likely unmatched in the state.

In the late 1950s, Griffith walked 500 miles from Kaktovik to Anaktuvuk Pass, passing through the Brooks Range. Later he went from Kaktovik to Kotzebue in what is believed to be the first documented traverse of the range.

In total, Griffith logged over 10,000 miles in the Alaska and Canadian Arctic. He raced the 210-mile Iditaski multiple times.

Starting in his 60s, Griffith made annual trips north to tackle a 4,000-mile route from Unalakleet to Hudson Bay in northeastern Canada. At age 73, he completed the journey.

“The reason he did a lot of trips by himself is because nobody could keep up,” Dial said. [...]

John Lapkass was introduced to Griffith through Barney, a friend with whom Lapkass shared outdoor adventures.

Like many, Lapkass connected with Griffith’s wry sense of humor. Griffith would write “Stolen from Dick Griffith” on all of his gear, often accompanied by his address.

In Alaska, Griffith basically pioneered rafting as a form of getting deep into the Alaska backcountry.

Anchorage’s Luc Mehl has himself explored large swaths of the state in a packraft. An outdoors educator and author, Mehl met Griffith over the years at the barbecues he hosted leading up to the Alaska Wilderness Classic.

Although he didn’t embark on any adventures with Griffith, Mehl was amazed at how much accomplished well into his 80s.

“There are people in these sports that show the rest of us what’s possible,” Mehl said. “It would be dangerous if everybody just tried what Dick did. But there is huge value in inspiration. Just to know it’s a possibility is pretty damn special.” [...]

Many of those adventures were done mostly anonymously as a course of habit with friends, some only finding out after the fact what Griffith had accomplished.

“He had the heart of an explorer,” Clark said. “Dick’s exploring 40 years ago would have been with the pure motivation of finding out if he could get from here to there.”

by Chris Bieri, Anchorage Daily News | Read more:
Images: Bob Hallinen/Kathy Sarns
[ed. I didn't realize Dick had died, he was the kind of guy you'd never imagine succumbing to mortality. Walked alone across most of Alaska. Father of pack rafting. Never carried a gun or bear spray (it wasn't invented back then). A type of Alaskan I call TOBs (tough old bastards). I've known a few. My father-in-law was one (doctor, polar bear hunter, bush pilot - flew from Anchorage to Little Diomede Island in the Bering Straits each spring to visit friends); my former supervisor and eventual rehire during the Exxon Valdez oil spill, Lee Glenn (world class bear researcher, had four wisdom teeth chiseled out and removed without novocaine because he didn't like drugs); and others, like Dick Proenneke, and our former governor Jay Hammond. TOBs. They were what made Alaska - Alaska. I can just imagine what they'd think of todays influencers, hype artists, podcasters, and fake reality stars who need to document every mental fart for attention. Or folks like these: Oregon tourist couple files lawsuit over dogsled crash in Fairbanks (AK Beacon).]

Banksy Revealed?

The once anonymous artist half-shredded ‘Girl with Balloon,’ his best-known work, now renamed 'Love is in the Bin.' Joe Maher/Getty Images via

In late 2022, an ambulance pulled up to a bombed-out apartment building in this village outside Kyiv. Three people emerged. One wore a gray hoodie, another a baseball cap. Both had masks covering their faces.

The third was more easily identifiable: He was unmasked, and had one arm and two prosthetic legs, witnesses told Reuters.

The masked men carried cardboard stencils from the ambulance and taped them to what had been an interior wall of an apartment before the Russians obliterated the place. Then they pulled out cans of spray paint and got to work. An absurd image appeared in minutes: a bearded man in a bathtub, scrubbing his back amid the wreckage.

Its creator was Banksy, one of the world’s most popular and enigmatic artists, whose identity has been debated and closely guarded for decades. Banksy is best known for simple yet sophisticated stencil paintings with searing social commentary. His work has generated tens of millions of dollars in sales over the years.

Once an annoyance to authorities who viewed him as a vandal, he has become a British national treasure. In one survey, Brits rated him more popular than Rembrandt and Monet. In another poll, his “Girl with Balloon” painting was voted the favorite piece of artwork Britain has produced.

Some critics believe Banksy’s anonymity is as important to his work as stencils and paint. The British press has run many articles over the years that tried to deduce his identity. Still, Banksy and his inner circle won’t talk about it. Some have signed non-disclosure agreements. Others keep quiet out of loyalty, or fear of crossing the artist, his fans and his influential company, Pest Control Office, which authenticates his work and decides who gets the first chance to buy Banksy’s latest pieces.

When the bathtub mural and other Banksy pieces began appearing in Ukraine, Reuters wondered about the artist and how he had pulled off the stunt. Horenka was less than five miles east of Bucha, where Russian forces had left behind at least 300 civilians dead seven months earlier.

So we set out to determine how Banksy did it – and who he really is. Weeks later, a reporter visited Horenka with a photo lineup of graffiti artists often rumored to be the artist and showed the pictures to locals to see if anyone recognized him. Not long after, we heard that a famous British musician – one of the people often whispered to be Banksy – had been spotted in Kyiv, giving us a theory to pursue.

In a wild Sotheby’s auction in London in 2018, Banksy’s “Girl with Balloon” sold for $1.4 million. Moments later, a device Banksy built into the frame partially shredded the piece. Renamed “Love is in the Bin,” it sold three years later for about $25 million. REUTERS/Tom Nicholson

Reuters interviewed a dozen Banksy-world insiders and experts. None would comment on his identity, but many filled in details about his life and career. We examined photos of the artist, most of which obscured his face but contained critical information. We later unearthed previously undisclosed U.S. court records and police reports.

These included a hand-written confession by the artist to a long-ago misdemeanor charge of disorderly conduct – a document that revealed, beyond dispute, Banksy’s true identity.

And in the process, we learned how and why the man behind the name Banksy vanished from the public record more than a decade ago.

by Simon Gardner, James Pearson and Blake Morrison, Reuters |  Read more:  

Image: Gleb Garanich/Reuters
[ed. They have to ruin everything. Why? Reading the article, I'm not sure they actually proved anything. But at least there are a lot of great Banksy pictures. See also: What to Know About Banksy and the Effort to Unmask Him (NYT).]

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His long-time lawyer, Mark Stephens, wrote to Reuters that Banksy “does not accept that many of the details contained within your enquiry are correct.” He didn’t elaborate. Without confirming or denying Banksy’s identity, Stephens urged us not to publish this report, saying doing so would violate the artist’s privacy, interfere with his art and put him in danger.

For years, Stephens wrote, Banksy has “been subjected to fixated, threatening and extremist behaviour.” (He declined to describe those threats.) Unmasking Banksy would harm the public, too, Stephens wrote.

Working “anonymously or under a pseudonym serves vital societal interests,” he wrote. “It protects freedom of expression by allowing creators to speak truth to power without fear of retaliation, censorship or persecution – particularly when addressing sensitive issues such as politics, religion or social justice.”

Reuters took into account Banksy’s privacy claims – and the fact that many of his fans wish for him to remain anonymous. Yet we concluded that the public has a deep interest in understanding the identity and career of a figure with his profound and enduring influence on culture, the art industry and international political discourse. In so doing, we applied the same principle Reuters uses everywhere. The people and institutions who seek to shape social and political discourse are subject to scrutiny, accountability, and, sometimes, unmasking. Banksy’s anonymity – a deliberate, public-facing, and profitable feature of his work – has enabled him to operate without such transparency. [ed. blah, blah, blah...]

Murder Music

One hundred and nine million albums sold.

Fifteen billion YouTube streams.

One hundred Billboard charting singles.

One hundred and twenty-six RIAA certified platinum songs.

Thirty-four Billboard charting albums.

Surely, we’re discussing Taylor Swift here, right? Beyoncé, perhaps? Drake? Prince? The Eagles? Mariah Carey? The Beatles? Possibly even Michael Jackson?

What if I told you it was none of the above? And what if I told you these stunning achievements were all accomplished by the time the artist was 25? And what if it was all achieved without a single legacy media feature piece, cover story, late night TV appearance or mainstream artist co-sign? What if I told you the artist was confusingly named YoungBoy Never Broke Again, a.k.a NBA YoungBoy, a.k.a YoungBoy, a.k.a YB, a.k.a Top? You’re most likely pretty befuddled right now. Chances are you’ve never even heard of YoungBoy Never Broke Again. And if you have, maybe from that younger cousin who spends his every waking moment buried in the YouTube app or your one weird friend who keeps up with niche youth culture well past the age they should be doing so. Even if you have heard of NBA YoungBoy, chances are you have absolutely no idea just how legitimately, massively popular this kid truly is.

But you should know, right? This is the type of mainstream superstardom that makes waves, makes household names, steps on stage at SNL, rocks the Super Bowl. This artist rivals Drake and has lapped Kendrick Lamar many, many times over. And you hear about those two all the time. Jay-Z, a superstar you have certainly heard of, once rapped, “Numbers don’t lie.” And Jay-Z himself would kill for those numbers. So why have you, dear reader, never heard of someone statistically proven to be a top-selling superstar in current American music? Are you just too old? Are your fingers no longer on the pulse? Are you too cultured for your own good? Did you miss a New York Magazine feature somewhere?

Breathe easy. You can be fully forgiven for never having heard of YoungBoy Never Broke Again. Because it remains a confusing fact that one of the top-selling rappers of all-time, and therefore one of the top-selling artists, period, has only been the subject of one significant New York Times article, and this came only after he was too massive to ignore any longer. YoungBoy Never Broke Again was not interviewed for that article, and though the reporter seems to have made his way into a studio session, he didn’t get a single quote. The article was basically a concert review, with the reporter noticeably shocked at the 18,000-strong crowd screaming back every word of every song, and oddly focusing on how YoungBoy smokes Newports.

The Times reporter wonders why the New York Times has been ignoring an all-time top-selling rapper. How did he get here? And, most importantly, how did he do it without us? Published in November of 2025, at a time when YoungBoy Never Broke Again’s Billboard reign was becoming impossible to ignore, the article was titled: “NBA YoungBoy, Rap’s Defining 2025 Superstar, Is Hiding in Plain Sight.” Or in other words, “We Don’t Understand Why Or How This Person Is Popular, And Therefore He Shouldn’t Be Popular.” Same for the lone New Yorker article, which was actually titled — wait for it — “NBA YoungBoy Stands Alone.” Which would be accurate if “alone” was defined as having hundreds of millions of worldwide fans, several McMansions full of day one friends and managers and blunt rollers and young men with big guns all ready to do your bidding at a moment’s notice. Essentially, what the New Yorker means by “alone” here is that YoungBoy Never Broke Again doesn’t need them. Nor does he need any of the legacy media press gauntlets every other superstar at his level had to walk through on their way to household recognition. So you’re not on the hook. You’re not as out of touch as you thought you were when reading this essay’s opening. YoungBoy Never Broke Again is a superstar that has been hidden from you by the ignorance of the mainstream media. This is as confusing as it is infuriating. But unlike that grudging New York Times piece, in this space we’re going to try to get to the bottom of why. So strap in. Roll up a blunt. It gets real ugly.

The Devil’s Radar

Let’s get something out of the way right from the start: YoungBoy Never Broke Again makes excellent music. It may not be your cup of chai latte, but pull up his top five popular songs on Spotify and you will hear hooks for days and days. Everything is a hook with YoungBoy Never Broke Again. The choruses are packed with hooks, the verses are hooks, the beat is a hook, the intro is a hook, the outro is a hook. The songs may not speak to you specifically, but you will be humming them for hours against your will. And if there’s one thing YoungBoy Never Broke Again has, it’s songs. There are thousands of them spread across traditional streaming platforms, YouTube and all social media nooks and crannies. The officially released tracks are only the tip of the iceberg, since YoungBoy’s many thousands of fans trade leaks and snippets like kids in the 50s traded baseball cards. There’s an entire black market of unreleased YoungBoy tracks that has taken on an obsessive life of its own that rivals Grateful Dead fanatics trading show tapes. And none of this would be happening if the songs weren’t good. And “good” here is meant in the traditional sense. This isn’t some off-kilter musical firebrand like Playboi Carti (another artist you’ve heard of that YoungBoy has easily outsold) or a tough-on-the-ears image rapper of the SoundCloud tradition with more personality than talent.

If anything, YoungBoy is something of a triple threat. His singing voice is pleasant, unique, with a melodic southern slur that harkens back to the country blues of artists like Slim Harpo. Yes, there’s autotune, but not the type that drenches the vocals in an effort to smooth out an unskilled singing voice. There are zero loverboy R&B concessions, no carboard cutout boasts of cars/cash/women. What you do hear is pain. Centuries of slow southern poverty, of Section 8 housing complexes reclaimed by swamps, of territorial feuds and generational grudges, of narcotics and their benefits and downsides, of disloyal women and the havoc they wreak. There’s a whole current genre of rap referred to as Pain Music, and this genre was sparked specifically by YoungBoy’s crooning. If you listen closely, you can hear Leadbelly in these songs, even the faint, disembodied echoes of Robert Johnson himself.

Which brings us to The Devil. There’s a reason YoungBoy appeals to so many white kids, from the suburbs to the trailer parks, for just as a hellhound stalked Robert Johnson’s trail, there are many such hounds of hell chasing our YoungBoy. This music is as unsettling as it is melodic. All the classic subject matter of the primal side of rock n’ roll and heavy metal is fully present here, especially within the tracks where YoungBoy lets loose his non-singing, non-pain music alter ego and simply raps. This kid can absolutely rap his ass off, no doubt. This isn’t the “lyrical miracle” type of rapping so popular with the kinds of white folk who play Wordle and search for double entendres in Kendrick lyrics. This is machine gun bursts of hyper-specific violence. YoungBoy is not concerned with bars, filling up verses with words upon words upon words until they’re top heavy, unstoppable monoliths.

To his fans, YoungBoy’s non-singing rap tracks have a whole category of their own: Murder Music. It’s a fitting title, since YoungBoy sounds like an absolute unhinged monster on many of these Murder Music tracks. Dead rivals are mocked mercilessly. Gang politics are broken down. Rap industry titans are threatened. Women and close friends betray. Guns upon guns upon guns upon guns. You see, YoungBoy is from Baton Rouge, the type of southern location where it’s fully legal to walk around the projects toting a loaded assault rifle out in the open. This is what he knows. Gangs are what he knows. Hopeless, generational urban southern poverty is what he knows. This is not party music. Nor is it of the opiated mumble rap class. It isn’t of the lean-drenched DJ Screw southern rap tradition. Nor are these songs attempting to break down oppression or aspiring to lofty lyrical accomplishments. It’s obvious that the majority of these tracks are off-the-cuff expressions of whatever YoungBoy was feeling in the studio that late night, that hour, that second, and those feelings fall squarely within the realm of extreme paranoia, PTSD from a lifetime of exposure to ultra-violence, fatalistic declarations, spiritual longing, extreme romantic strife of the baby mamma drama variety, plus that age-old, ever-lingering presence of The Devil. And all delivered with a natural earworm melodicism in the same league as someone like White Album-era Paul McCartney.

No wonder two entire generations of teenagers and counting love this shit.

by Daniel Falatko, The Metropolitan Review | Read more:
Image: NBA Young Boy, 2018/uncredited

The Plastic Surgeon Summit

We’re in a plastic surgery “renaissance period.”

Dr. Yannis Alexandrides: It is busier than ever. There’s a remarkable year-on-year demand increase that we see in surgical procedures, especially for the face, but also for the body. This is a trend that we have seen through the pandemic, but it has accelerated the last year.

Dr. Akshay Sanan: I think plastic surgery is in a renaissance period right now because of people publicly talking about it. Plastic surgery is now part of your wellness armamentarium. People used to flex what gym they went to, that they had a trainer, and now plastic surgery is part of that flex. People love to rock that they had their eyes done or their face and neck done or their body done. It’s just part of the cultural shift that we’re seeing.

Dr. Jason Champagne: This is where social media comes into play, camera phones and Zoom meetings. You see yourself from all these different angles nowadays that maybe you didn’t notice in the past.

Dr. Emily Hu: I find it very generational: Those who grew up in the social media era with a lot of sharing and openness are also very open about telling their friends [about the work they’ve had done].

Sanan: There’s a shift in consumer or patient habits. More people in their late 30s, early 40s, they’re choosing surgery earlier to age gracefully instead of waiting until things are advanced. They’re like, “I’m not going to wait until it drops down further. I just want to be hot in my 40s.”

Dr. John Diaz: It used to be that not everyone had access to a plastic surgeon. That was reserved within the realm of the elite. Well, not anymore. I have celebrities, executives, and business owners come in — but also teachers and waiters. There’s this democratization of attractiveness.

Dr. Paul Afrooz: Patients are very educated these days. They know what they’re looking for, they know what realistic results are, and they have the ability to do a lot of background research and understand who does things at an elite level. [...]

Let’s get into it: Why are we talking so much about facelifts this year?

Diaz: Facelifts have absolutely exploded for a few reasons. A lot of women see celebrities and influencers suddenly looking incredible, and they want to know how. Think about Kris Jenner — she had a huge impact when her pictures came out. And now it’s brought awareness to the fact that we have the technology to be able to take a young-looking woman and make her look better with surgery, without making her look fake. That was a real challenge 20 years ago.

Alexandrides: Kris Jenner was a very hot topic the last few months. Definitely a lot of the patients I see here take her as, let’s say, a model on how they want to look, because she looks fresh, but she doesn’t look pulled. She looks younger, and she looks happy, and you cannot see the scars, at least not in these pictures that we see.

Hu: I can’t tell you how many of my patients are like, “Yeah, my mom had a facelift. She was so scary. I’m never doing a facelift.” I mean, that was their response because they see their mom all bruised and scary looking.

Dr. Mark Murphy: Facelifts historically had a stereotypical “plastic surgery” look. Now people have realized, “I can look like myself 15 years ago and not have to look like a circus freak for it.” It’s become very digestible for patients. Social media is a huge driver behind it. Well, that, and the techniques are better.

So what’s actually new or changing about facelifts?

Dr. Mark Mani: We call it the golden age of facelift surgery. It’s primarily because of the success of the deep plane facelift.

Dr. David Shafer: There’s nothing new about [the deep plane facelift] as a procedure. It’s just very sophisticated marketing that’s being done now, and there are refinements to the procedures. But it’s not some plastic surgeon who’s marketing it now as some magic procedure that he came up with that nobody else does.

Mani: [A version of] the first deep plane lifts was performed in the late 1960s by a surgeon named Tord Skoog in Sweden [though the name came later]. I have his textbook and can show you results that would stand up to the best deep plane surgeons today. It’s not the procedure, it’s the surgeon, and facelift surgery, among all surgeries in plastic surgery, is an art form.

Afrooz: A surgeon named Sam Hamra — he just passed, but a wonderful human being, an extraordinary thinker, an extraordinary surgeon — first coined the phrase “deep plane facelift” in a 1990 paper and laid out some building blocks of the procedure. Just like everything else in plastic surgery, we stand on the giants before us.

Dr. Michael Stein: There are two main facelift techniques: deep plane and SMAS plication. The deep plane facelift is where you cut the layer under the skin called the SMAS, dissect underneath it, and tighten it in addition to the skin. In the SMAS facelift, instead of cutting and elevating the SMAS, you suture it to itself to tighten it from over top.

Dr. Amir Karam: The majority of surgeons, up until recently, have been doing the traditional SMAS technique, which is more or less horizontally pulling the face sideways, and that was leading to a very unnatural look.

Mani: I was the surgeon who wrote the most-read facelift academic article that convinced other surgeons to do deep plane facelifts. It was an article in Aesthetic Surgery Journal in 2016, where I detailed the specific anatomic reasons that deep plane is better.

Stein: The people who only do deep plane facelifts say they have a more longitudinal result, and vice versa. But the truth is, a good result is a good result. It depends more on the surgeon versus technique. A good facelift is a good facelift.

Facelifts aren’t done evolving.

Karam: The consumer is driving surgeons to create better and better results. So there’s been a massive increase in interest for surgeons to level up their strategies surgically and learn new techniques that are not new but new to them.

Afrooz: Even my facelift today is better than my facelift was one year ago. When you hone in on one thing as your career, you’re just constantly looking for ways to improve. It’s the cumulative effect of small subtleties over time and practice that you notice nuanced improvements to your results. One might assume that a deep plane facelift in one surgeon’s hands is the same as it is in another’s, but I’m here to tell you that it’s very much not the same.

Dr. Daniel Gould: There are new layers that we’re adding into the surgery. We’re recognizing the importance of the mid-face and volume position there. I’m recognizing adding fat to the mouth and the areas around the mouth, the chin, because all these areas have been neglected. We are now nailing all the low-hanging fruit: We’re nailing the neck, we’re nailing the face, we’re nailing the temple and the brows. Now it’s time to move forward and continue to innovate and push the limits of what we can really do in facial rejuvenation.

Mani: What I’ve developed is called the scarless lift, and it’s basically a deep plane facelift without a scar in front of the ear, with an endoscope. The endoscopic procedure involves a hidden incision within the hair, a short one behind the ear, and sometimes one under the chin. I still do about 60% open [non-endoscopic], but a good percentage of my facelifts are scarless endoscopic. The results are more beautiful because you don’t have to worry about the scar, and the vectors of lifting are better.

Alexandrides: I don’t think this will be now, “OK, let’s forget about facelifts, let’s move to something else.” What will probably happen is that people will discover intricate little different techniques and say, “You have the facelift that is done like that.” I have patients who ask me very technical questions: How do you design your scar around your ear?

Stein: Facelift surgery has survived the test of time. Every year there are new machines designed to tighten skin, and for some patients with mild laxity, they may see nice results. The truth is though, if you have jowls or droopy skin of the face and neck, the only thing that’s really going to give you the best bang for your buck and directly address your laxity is a facelift.

by Bustle Editors, Bustle |  Read more:

Image: uncredited

The Irsay Collection/Auction

Kurt Cobain’s famed Fender is part of $1 billion collection going to auction

In the summer of 1991, Nirvana filmed the music video for “Smells Like Teen Spirit” on a Culver City sound stage. Kurt Cobain strummed the grunge anthem’s iconic four-chord opening riff on a 1969 Fender Mustang, Lake Placid Blue with a signature racing stripe.

Nearly 35 years later, the six-string relic hung on a gallery wall at Christie’s in Beverly Hills as part of a display of late billionaire businessman Jim Irsay’s world-renowned guitar collection, which heads to auction at Christie’s, New York, beginning Tuesday. Each piece in the Beverly Hills gallery, illuminated by an arched spotlight and flanked by a label chronicling its history, carried the aura of a Renaissance painting.

Irsay’s billion-dollar guitar arsenal, crowned “The Greatest Guitar Collection on Earth” by Guitar World magazine, is the focal point of the Christie’s auction, which has split approximately 400 objects — about half of which are guitars — into four segments: the “Hall of Fame” group of anchor items, the “Icons of Pop Culture” class of miscellaneous memorabilia, the “Icons of Music” mixed batch of electric and acoustic guitars and an online segment that compiles the remainder of Irsay’s collection. The online sale, featuring various autographed items, smaller instruments and historical documents, features the items at the lowest price points.

A portion of auction proceeds will be donated to charities that Irsay supported during his lifetime.

Cobain’s Fender was only one of the music history treasures nestled in Christie’s gallery. A few paces away, Jerry Garcia’s “Budman” amplifier, once part of the Grateful Dead’s three-story high “Wall of Sound,” perched atop a podium. Just past it lay the Beatles logo drum head (estimated between $1 million and $2 million) used for the band’s debut appearance on “The Ed Sullivan Show,” which garnered a historic 73 million viewers and catalyzed the British Invasion. Pencil lines were still visible beneath the logo’s signature “drop T.” [ed. Also includes Eric Clapton's Martin acoustic guitar used on 'Unplugged'].

It is exceptionally rare for even one such artifact to go to market, let alone a billion-dollar group of them at once, Walker said. But a public sale enabling many to participate and demonstrate the “true market value” of these objects is what Irsay would have wanted, she added.

Dropping tens of millions of dollars on pop culture memorabilia may seem an odd hobby for an NFL general manager, yet Irsay viewed collecting much like he viewed leading the Indianapolis Colts.

Irsay, the youngest NFL general manager in history, said in a 2014 Colts Media interview that watching and emulating the legendary NFL owners who came before him “really taught me to be a steward.”

“Ownership is a great responsibility. You can’t buy respect,” he said. “Respect only comes from you being a steward.”

The first major acquisition in Irsay’s collection came in 2001, with his $2.4-million purchase of the original 120-foot scroll for Jack Kerouac’s 1957 novel, “On the Road.” He loved the book and wanted to preserve it, Walker said. But he also frequently lent it out, just like he regularly toured his guitar collection beginning 20 years later.

“He said publicly, ‘I’m not the owner of these things. I’m just that current custodian looking after them for future generations,’ ” Walker said. “And I think that’s what true collectors always say.”

At its L.A. highlight exhibition, Irsay’s collection held an air of synchronicity. Paul McCartney’s handwritten lyrics for “Hey Jude” hung just a few steps from a promotional poster — the only one in existence — for the 1959 concert Buddy Holly, Ritchie Valens and J.P. “The Big Bopper” Richardson were en route to perform when their plane crashed. The tragedy spurred Don McLean to write “American Pie,” about “the day the music died.”

Holly was McCartney’s “great inspiration,” Christie’s specialist Zita Gibson said. “So everything connects.”

Later, the Beatles’ 1966 song “Paperback Writer” played over the speakers near-parallel to the guitars the song was written on. [...]

Another fan-favorite is the “Wilson” volleyball from 2000’s “Cast Away,” starring Tom Hanks, estimated between $60,000 and $80,000, Gibson said.

Historically, such objects were often preserved by accident. But as the memorabilia market has ballooned over the last decade or so, Gibson said, “a lot of artists are much more careful about making sure that things don’t get into the wrong hands. After rehearsals, they tidy up after themselves.”

by Malia Mendez, Los Angeles Times/Seattle Times |  Read more:

Image:Cover Images/ZUMA Press/TNS
[ed. Mentioned this in a previous post but still can't believe what's here.]

Anthony Bourdain’s Moveable Feast

When the President of the United States travels outside the country, he brings his own car with him. Moments after Air Force One landed at the Hanoi airport last May, President Barack Obama ducked into an eighteen-foot, armor-plated limousine—a bomb shelter masquerading as a Cadillac—that was equipped with a secure link to the Pentagon and with emergency supplies of blood, and was known as the Beast. Hanoi’s broad avenues are crowded with honking cars, storefront venders, street peddlers, and some five million scooters and motorbikes, which rush in and out of the intersections like floodwaters. It was Obama’s first trip to Vietnam, but he encountered this pageant mostly through a five-inch pane of bulletproof glass. He might as well have watched it on TV.

Obama was scheduled to meet with President Trần Đại Quang, and with the new head of Vietnam’s national assembly. On his second night in Hanoi, however, he kept an unusual appointment: dinner with Anthony Bourdain, the peripatetic chef turned writer who hosts the Emmy-winning travel show “Parts Unknown,” on CNN. Over the past fifteen years, Bourdain has hosted increasingly sophisticated iterations of the same program. Initially, it was called “A Cook’s Tour,” and aired on the Food Network. After shifting to the Travel Channel, it was renamed “Anthony Bourdain: No Reservations,” and it ran for nine seasons before moving to CNN, in 2013. All told, Bourdain has travelled to nearly a hundred countries and has filmed two hundred and forty-eight episodes, each a distinct exploration of the food and culture of a place. The secret ingredient of the show is the when-in-Rome avidity with which Bourdain partakes of indigenous custom and cuisine, whether he is pounding vodka before plunging into a frozen river outside St. Petersburg or spearing a fatted swine as the guest of honor at a jungle longhouse in Borneo. Like a great white shark, Bourdain tends to be photographed with his jaws wide open, on the verge of sinking his teeth into some tremulous delicacy. In Bourdain’s recollection, his original pitch for the series was, roughly, “I travel around the world, eat a lot of shit, and basically do whatever the fuck I want.” The formula has proved improbably successful.

People often ask Bourdain’s producers if they can tag along on an escapade. On a recent visit to Madagascar, he was accompanied by the film director Darren Aronofsky. (A fan of the show, Aronofsky proposed to Bourdain that they go somewhere together. “I kind of jokingly said Madagascar, just because it’s the farthest possible place,” he told me. “And Tony said, ‘How’s November?’ ”) A ride-along with Bourdain promises the sidekick an experience that, in this era of homogenized tourism, is all too rare: communion with a foreign culture so unmitigated that it feels practically intravenous. Parachuted into any far-flung corner of the planet, Bourdain ferrets out the restaurant, known only to discerning locals, where the grilled sardines or the pisco sours are divine. Often, he insinuates himself into a private home where the meal is even better. He is a lively dining companion: a lusty eater and a quicksilver conversationalist. “He’s got that incredibly beautiful style when he talks that ranges from erudite to brilliantly slangy,” his friend Nigella Lawson observed. Bourdain is a font of unvarnished opinion, but he also listens intently, and the word he uses perhaps more than any other is “interesting,” which he pronounces with four syllables and only one “t”: in-ner-ess-ting.

Before becoming famous, Bourdain spent more than two decades as a professional cook. In 2000, while working as the executive chef at Les Halles, a boisterous brasserie on Park Avenue South, he published a ribald memoir, “Kitchen Confidential.” It became a best-seller, heralding a new national fascination with the grubby secrets and “Upstairs Downstairs” drama of the hospitality industry. Bourdain, having established himself as a brash truth-teller, got into public spats with more famous figures; he once laid into Alice Waters for her pious hatred of junk food, saying that she reminded him of the Khmer Rouge. People who do not watch Bourdain’s show still tend to think of him as a savagely honest loudmouthed New York chef. But over the years he has transformed himself into a well-heeled nomad who wanders the planet meeting fascinating people and eating delicious food. He freely admits that his career is, for many people, a fantasy profession. A few years ago, in the voice-over to a sun-dappled episode in Sardinia, he asked, “What do you do after your dreams come true?” Bourdain would be easy to hate, in other words, if he weren’t so easy to like. “For a long time, Tony thought he was going to have nothing,” his publisher, Dan Halpern, told me. “He can’t believe his luck. He always seems happy that he actually is Anthony Bourdain.”

The White House had suggested the meeting in Vietnam. Of all the countries Bourdain has explored, it is perhaps his favorite; he has been there half a dozen times. He fell for Hanoi long before he actually travelled there, when he read Graham Greene’s 1955 novel, “The Quiet American,” and the city has retained a thick atmosphere of colonial decay—dingy villas, lugubrious banyan trees, monsoon clouds, and afternoon cocktails—that Bourdain savors without apology. Several years ago, he seriously considered moving there.

Bourdain believes that the age of the fifteen-course tasting menu “is over.” He is an evangelist for street food, and Hanoi excels at open-air cooking. It can seem as if half the population were sitting around sidewalk cookfires, hunched over steaming bowls of phở. As a White House advance team planned the logistics for Obama’s visit, an advance team from Zero Point Zero, the company that produces the show, scoured the city for the perfect place to eat. They selected Bún chả Hương Liên, a narrow establishment across from a karaoke joint on a busy street in the Old Quarter. The restaurant’s specialty is bún chả: springy white noodles, smoky sausage, and charred pork belly served in a sweet and pungent broth.

At the appointed hour, Obama exited the Beast and walked into the restaurant behind a pair of Secret Service agents, who cleared a path for him, like linemen blocking for a running back. In a rear dining room on the second floor, Bourdain was waiting at a stainless-steel table, surrounded by other diners, who had been coached to ignore the cameras and Obama, and to focus on their bún chả. Like many restaurants in Vietnam, the facility was casual in the extreme: diners and servers alike swept discarded refuse onto the floor, and the tiles had acquired a grimy sheen that squeaked beneath your feet. Obama was wearing a white button-down, open at the collar, and he greeted Bourdain, took a seat on a plastic stool, and happily accepted a bottle of Vietnamese beer.

“How often do you get to sneak out for a beer?” Bourdain asked.

“I don’t get to sneak out, period,” Obama replied. He occasionally took the First Lady to a restaurant, he said, but “part of enjoying a restaurant is sitting with other patrons and enjoying the atmosphere, and too often we end up getting shunted into one of those private rooms.”

As a young waitress in a gray polo shirt set down bowls of broth, a plate of greens, and a platter of shuddering noodles, Bourdain fished chopsticks from a plastic container on the table. Obama, surveying the constituent parts of the meal, evinced trepidation. He said, “All right, you’re gonna have to—”

“I’ll walk you through it,” Bourdain assured him, advising him to grab a clump of noodles with chopsticks and dunk them into the broth.

“I’m just gonna do what you do,” Obama said.

“Dip and stir,” Bourdain counselled. “And get ready for the awesomeness.”

Eying a large sausage that was floating in the broth, Obama asked, “Is it generally appropriate to just pop one of these whole suckers in your mouth, or do you think you should be a little more—”

“Slurping is totally acceptable in this part of the world,” Bourdain declared.

Obama took a bite and let out a low murmur. “That’s good stuff” he said, and the two of them—lanky, conspicuously cool guys in late middle age—slurped away as three cameras, which Bourdain had once likened to “drunken hummingbirds,” hovered around them. Noting the unaffected rusticity of the scene, Obama was reminded of a memorable meal that he had eaten as a child, in the mountains outside Jakarta. “You’d have these roadside restaurants overlooking the tea fields,” he recalled. “There’d be a river running through the restaurant itself, and there’d be these fish, these carp, that would be running through. You’d pick the fish. They’d grab it for you and fry it up, and the skin would be real crispy. They just served it with a bed of rice.” Obama was singing Bourdain’s song: earthy, fresh, free of pretense. “It was the simplest meal possible, and nothing tasted so good.”

But the world is getting smaller, Obama said. “The surprises, the serendipity of travel, where you see something and it’s off the beaten track, there aren’t that many places like that left.” He added, wistfully, “I don’t know if that place will still be there when my daughters are ready to travel. But I hope it is.” The next day, Bourdain posted a photograph of the meeting online. “Total cost of Bun cha dinner with the President: $6.00,” he tweeted. “I picked up the check.” [...]

As he sipped a beer and picked at a platter of delicate spring rolls, he was still fidgeting with exhilaration from the encounter with Obama. “I believe what’s important to him is this notion that otherness is not bad, that Americans should aspire to walk in other people’s shoes,” he reflected. This idea resonates strongly with Bourdain, and, although he insists his show is a selfish epicurean enterprise, Obama’s ethic could be the governing thesis of “Parts Unknown.” In the opening moments of an episode set in Myanmar, Bourdain observes, “Chances are you haven’t been to this place. Chances are this is a place you’ve never seen.” [...]

In 1998, he answered an ad in the Times and got the executive-chef job at Les Halles. It was an ideal fit for Bourdain: an unpretentious brasserie with its own butcher, who worked next to the bar, behind a counter stacked with steak, veal, and sausages. “Kitchen Confidential,” which was excerpted in this magazine, was inspired by “Down and Out in Paris and London,” in which George Orwell describes chefs as “the most workmanlike class, and the least servile.” Karen Rinaldi, the editor who acquired the book, for Bloomsbury, told me that she underestimated the impact it would have. “It was a flyer,” she said—the profane musings of a guy who broiled steaks for a living. “But a lot of the books that end up shifting the culture are flyers.”

“Kitchen Confidential” was filled with admonitions: Bourdain assailed Sunday brunch (“a dumping ground for the odd bits left over from Friday and Saturday”) and advised against ordering fish on Mondays, because it is typically “four to five days old.” The book was marketed as a dispatch from the scullery, the type of tell-all that might be more interesting to the naïve restaurant-goer than to the battle-seasoned cook. (“I won’t eat in a restaurant with filthy bathrooms,” Bourdain warned. “They let you see the bathrooms. If the restaurant can’t be bothered to replace the puck in the urinal or keep the toilets and floors clean, then just imagine what their refrigeration and work spaces look like.”) But, for Bourdain, the most important audience was his peers. The final line of the acknowledgments page was “Cooks rule,” and he hoped, desperately, that other professionals would see the book in the spirit he had intended, and pass gravy-stained copies around the kitchen.

Bourdain did not quit his job at Les Halles when the book became a success. “I was careful to modulate my hopes, because I lived in a business where everybody was a writer or an actor,” he recalls. For decades, he’d seen colleagues come into work crowing about their latest callback, only to see their grand designs amount to nothing. “So at no point was it ‘So long, suckers.’ ” His confederates at Les Halles were amused, if mystified, by his blossoming career as a writer, and the owners were accommodating about the book tour. When Bourdain started travelling to promote the book, something curious happened. He’d amble into a restaurant alone and order a drink at the bar. Out of nowhere, a plate of amuse-bouches would appear, compliments of the house. It marked an affirmation for Bourdain: chefs were reading the book, and they liked it. But it also signified a profound inversion. He had spent the first half of his life preparing food to feed others. He would spend the second half getting fed.

by Patrick Radden Keefe, New Yorker | Read more:
Image: William Mebane
[ed. I was reading another article in the New Yorker and got sidetracked. Great read. Still miss not having him in this world. And Obama in the presidency.] 

The Economics of a Super Bowl Ad

In 2026, Ro is running our first Super Bowl ad. It will feature Serena Williams and her amazing journey on Ro — her weight loss, her improved blood sugar levels, her reduction in knee pain, and the overall improvement in her health.

As I’ve shared the news with friends and family, the first question they ask, after “Is Serena as cool in person?” (the answer is unequivocally yes), is “How much did it cost?”.

$233,000 per second, minimum, for the air time — excluding all other costs. When you first hear that a Super Bowl ad costs at least $233,000 per second, it’s completely reasonable to pause and question whether that could ever be a good use of money. On its face, the price sounds extravagant — even irrational. And without context, it often is.

But once you break down the economics, the decision starts to look very different. The Super Bowl is not just another media buy. It is a uniquely concentrated moment where attention, scale, and cultural relevance align in a way that doesn’t exist anywhere else in the media landscape. That alone changes the calculus. This leads us down a fascinating discussion of the economics behind DTC advertising, brand building, and the production of the spot.

After having the conversation a few times, my co-founder Saman and I thought it would be helpful to put together a breakdown of how we thought about both the economics of and the making of our Super Bowl ad. To check out “The making of Ro’s Super Bowl Ad,” head over to my co-founder Saman’s post here.

Of course, some brands will approach it differently, but I think this could be a helpful example for the next Ro that is considering running their first Super Bowl ad.

Let’s dive in.

WHAT MAKES A SUPER BOWL AD SO UNIQUE?

1. Ads are part of the product

For most advertising, it is an interruption. Viewers want to get back to the product (e.g., a TV show, sporting event, or even access to the wifi on a plane!). Even the best ads are still something you tolerate on the way back to the content you actually want.

There is exactly one moment each year when the incentives of advertisers and viewers are perfectly aligned. For a few hours, on a Sunday night in February, more than 100 million people sit down and are excited to watch an ad. They aren’t scrolling TikTok. They aren’t going to the bathroom. They are actively watching…ads.

People rank Super Bowl ads. They rewatch them. They critique them. They talk about them at work the next day. The Today Show plays them…during the show as content, not as ads!

That alone makes the Super Bowl fundamentally different from every other media moment in the year. It’s an opportunity, unlike any other, to capture the hearts and minds of potential (and sometimes existing) customers.

2. Opportunity to compress time

No single commercial builds a brand. Advertising alone doesn’t create a brand. The best brands are built over time. They are built by the combination of a company making a promise to a customer (e.g., an advertisement) and then delivering on that promise time and time again (i.e., the product).

Commercials are one way to make that promise. To share with the world what you’ve built and why you think it could add value to their life. To make them “aware” of what you do. This takes time. It takes repetition. It often takes multiple touch points. Again, this is why the first takeaway about people paying attention is so important — they might need fewer touch points if they are “actively” watching.

The Super Bowl can compress the time it takes for people to be “aware” of your brand. Of course, you still have to deliver on that promise with a great product. But in one night, you can move from a brand most people have never heard of to one your mom is texting you about.

There is no other single marketing opportunity that can accomplish this. With today’s algorithms, even what goes “viral” might be only in your bubble.

During the Super Bowl, we all share the same bubble.

The NFL accounted for 84 of the top 100 televised events in 2025 (including college football, it was 92). The NFL and maybe Taylor Swift are the only remaining moments of a dwindling monoculture.

Last but not least, the Super Bowl is the only moment where you can speak to ~100 million people at the same time. In 30 seconds, you can reach an audience that would otherwise take years—this is what it means to compress time.

3. There is asymmetric upside

While the decision to run a Super Bowl commercial is not for every company, for the universe of companies for which running an ad could make sense, the financial risk profile is misunderstood. This is not a moonshot. It’s a portfolio decision with a capped downside and asymmetric upside. [...]

Initial Ad Cost

On average, every 30 seconds of advertising time in the Super Bowl costs ~$7M-10M (
link) . This can increase with supply-demand dynamics. For example:

• The later in the year you buy the ad, the more expensive it can be (i.e., inventory decreases)
• The location of the spot in the game can impact the price someone is willing to pay
• Given that viewership in the Super Bowl is not even across the duration of the game, premiums may be required to be in key spots early in the game, or adjacent to the beginning of Halftime when viewership is often at its highest
• If a brand wishes to have category exclusivity (i.e., to be the only Beer brand advertising in the game), that would come at a premium
• First time or “one-off” Super Bowl advertisers may pay higher rates than large brands who are buying multiple spots, or have a substantial book of business with the broadcasting network

Note: if companies run a 60 second ad, they will have to pay at least 2x the 30-second rate - and may even pay a premium. There is typically no “bulk discount” as there is no shortage of demand. Any company that wants to pay for 60 seconds needs to buy two slots because the second 30-second slot could easily be sold at full price to another company.

Production cost

A high-level rule of thumb for production costs relative to ad spend is to allocate 10-20% of your media budget towards production. The Super Bowl, however, usually breaks that rubric for a myriad of reasons.

A typical Super Bowl will cost ~$1-4M to produce, excluding “celebrity talent.” This cost bucket would cover studio/site costs, equipment, production staff, travel, non-celeb talent, director fees and post-production editing and sound services. Again, this is a range based on the conversations I’ve had with companies that have run several Super Bowl ads. [...]

Last year, 63% of all Super Bowl ads included celebrities (link). There are a variety of factors that will influence the cost of “talent.”

• How well known and trusted is the celebrity?
• How many celebrities are included?
• What’s the product? Crypto ads now might have a risk-premium attached after FTX
• What are you asking them to do / say in the ad?

For Ro, our partnership with Serena stems far beyond one commercial. It’s a larger, multi-year partnership, to share her incredible journey over time. From a pure cost perspective, we assigned a part of the deal to the production cost to keep ourselves intellectually honest.

Based on 10+ interviews with other brands who have advertised in the Big Game, talent for a Super Bowl ad ranges from $1-5M (of course there are outliers).

by Z. Reitano, Ro, X |  Read more:

Image: Ro

Bad Bunny

In his first televised win of the night, for best música urbana album (before the show, he was also announced as the winner of best global music performance), Bad Bunny delivered a heartfelt speech criticizing ICE’s anti-immigration activities.

“Before I say thanks to God, I gotta say ICE out,” he began. “We’re not savage, we’re not animals, we’re not aliens. We are humans, and we are Americans. Also, I will say to people, I know it’s tough to know not to hate on these days and I was thinking sometimes, we get contaminados [contaminated], I don’t know how to say that in English. Hate gets more powerful with more hate. The only thing that is more powerful than hate is love. So please, we need to be different. If we fight we have to do it with love. We don’t hate them. We love our people. We love our family, and that’s the way to do it: With love. Don’t forget that, please. Thank you.”

via:

[ed. And that's the way you say it.]

Why I Fell For Transcendental Meditation

We might consider yogic flying the crowning oddity of transcendental meditation (TM), a practice that promises higher states of consciousness as well as a happier, calmer, more productive daily life. The basics of TM are not particularly out there – a 15- to 20-minute meditation, twice a day, in which you silently repeat a mantra to yourself. But for those who want to take things to the next level, the “TM-Sidhi program” taught by the Maharishi Foundation (which runs the Peace Palace), allows meditators to go even deeper – culminating in what I witness in the men’s flying hall. And this is only the first of three stages of yogic flying (though it is the only one for which there is evidence of anyone managing to achieve). In the second stage, you briefly hover above the ground; in the third, you actually… move through the air.

It is a most curious ending to my three-night retreat at the Peace Palace, which I am undertaking having started to practise TM two months before.

 
I turn up to my first session at the Foundation’s London headquarters with a collection of items I have been asked to bring along – two pieces of sweet fruit, some freshly cut flowers, a new white handkerchief – and press the buzzer on which I find a little label: “TM – a simple effortless effective meditation for everyone.”

A bald Russian man opens the door, looking more finance bro than guru in smart jeans, a pink shirt and a black gilet. His name is Pavel Khokhlachev and he will be my teacher. An interpreter, he is also “the voice of Putin on Sky News”, he tells me. He brings me down into the basement, past a little shrine to Maharishi Mahesh Yogi, the man who brought TM to the west in the late 1950s (both the meditation technique itself and the yogic flying are ancient Vedic practices), and into a room containing a couple of chairs and an altar covered in a gold-trimmed white cloth. Above us looms a large picture of the Hindu monk Brahmananda Saraswati, more commonly referred to as Guru Dev, who was Maharishi’s teacher.

Khokhlachev begins by performing a little ceremony, which I am told to keep confidential, and I am given my mantra, which I am also told I must never share with anyone. The mantra is a Sanskrit sound that does not convey any meaning. It is allocated to me using a system that is kept secret but which also comes from India’s ancient Vedic religion. The idea is that repeating it will allow some reprieve from one’s mental chatter – Khokhlachev likens it to giving a puppy something to chew on so that it doesn’t chew up your furniture. We sit down on the chairs and I do my first meditation. Unlike in some other meditation practices, in TM you don’t need to sit up poker straight or in lotus position to practise; you just need to be comfortable. If you have an itch, you can scratch it. If you want to cross your legs around the other way, you can. Even if you find yourself thinking, that’s also fine; thoughts aren’t the enemy. Just “innocently return to the mantra”, Khokhlachev tells me. The idea is that it should all feel easy, simple, effortless. If it doesn’t, you’re doing something wrong.

 
Like many people, I was drawn to TM by David Lynch, the filmmaker and artist who would have turned 80 on 15 January (the one-year anniversary of his death is five days after that). Lynch practised TM for more than 50 years and devoted much of the last two decades of his life to promoting it, setting up his own foundation in 2005 to fund its teaching in schools and to at-risk populations around the world. 

Lynch’s passion notwithstanding, I have always suspected TM to be a bit of a cult. Even the fact that it’s abbreviated to TM has always felt a bit off to me, somehow. I was quite ready for this piece to be an exposé of what a scam the whole thing is.

 
But while I can’t say I immediately feel the same level of bliss that some describe during my first meditation, something does happen that takes me by surprise. Suddenly, it’s like I’ve fallen down a hole – a very nice, quiet, relaxing hole. And the strangest thing is that it feels somehow… familiar. It’s as if I have fallen asleep, and yet I am wide awake. Some people have described it as “falling awake”. I describe my experience to Khokhlachev, and he tells me it sounds like I transcended. I leave the centre feeling most pleased with myself.

 
Over the four days of consecutive sessions – the introductory course is priced between £295 and £725 depending on one’s earnings – we continue to discuss and refine my TM technique. After my first successful session, I find it harder to access the transcendent for the next few days but I’m told not to worry. “We should come to the meditation with no anticipation and no expectation,” Khokhlachev advises. “Don’t chase the transcendence, because then it’s not innocent.”

How is this form of meditation really different from any other? Bob Roth, CEO of the David Lynch Foundation, who has taught TM to Oprah Winfrey, Tom Hanks, Jerry Seinfeld and Sting, as well as many thousands of others, tells me that there are three different meditation techniques that all have measurably different effects on the brain. There’s focused attention, such as when you concentrate on your breath, which produces gamma waves such as you might see if you were solving a complex maths problem. Open monitoring, in which you observe your thoughts coming and going in a non-judgmental way, which generates calming theta brain waves, such as we experience just before we dream. And then there’s this one, “automatic self-transcending”, which produces “alpha coherence” – increased and synchronised activity across the brain. Scientists call this “restful alertness”; some TM practitioners call it “pure consciousness”. The idea is that it has a twofold effect: the lovely feeling of transcendence while you are in it, and then the extra energy, clarity and creativity you are left with. When you have a really good meditation, the time really flies.

 
Research has demonstrated that transcendental meditation specifically has strong positive effects on a whole range of conditions. In 2013, the American Heart Association formally recognised TM as a complementary technique for reducing blood pressure and cardiovascular risk, and noted its association with a reduced risk of heart attack, stroke and death in patients with heart disease. Other studies have shown TM significantly reduces anxiety and stress more effectively than other relaxation or meditation techniques, while long-term practitioners have been found to have increased cognitive clarity, memory and emotional resilience. 

After about a month of practising TM, I start finding it easier to “transcend” – I begin to reach that place most times that I do it (although not every time). I’m struck by how much more focused I am for several hours after meditating, and how much energy it gives me – meditating in the morning sets me up for the day; meditating in the afternoon feels a bit like having a nap, but more powerful and without the grogginess. It isn’t just a vague feeling, either: according to my Fitbit, during meditation my heart rate tends to drop a beat below its lowest rate during my nightly sleep.

 
I was not expecting any of this to happen. I have meditated before and found it helpful for reducing anxiety and putting things into perspective. But I haven’t ever found it transformational in this way. I have also always found doing it a bit of an effort – something I should be doing – whereas now, most of the time, I relish the chance to do it. Lynch said that he never missed a single one of his twice-daily sessions and, inspired by him, I have so far kept a clean record, though admittedly not always for the full 20 minutes. I would suggest, tentatively, that TM might be a gamechanger.

by Jemima Kelly, Financial Times/AT | Read more:
Image: Getty

[ed. I took up TM in the early 70s (but just an occasional practioner now). Everything described here is exactly how the TM experience feels. Highly recommended.]

How Willie Nelson Sees America

When Willie Nelson performs in and around New York, he parks his bus in Weehawken, New Jersey. While the band sleeps at a hotel in midtown Manhattan, he stays on board, playing dominoes, napping. Nelson keeps musician’s hours. For exercise, he does sit-ups, arm rolls, and leg lifts. He jogs in place. “I’m in pretty good shape, physically, for ninety-two,” he told me recently. “Woke up again this morning, so that’s good.”

On September 12th, Nelson drove down to the Freedom Mortgage Pavilion, in Camden. His band, a four-piece, was dressed all in black; Nelson wore black boots, black jeans, and a Bobby Bare T-shirt. His hair, which is thicker and darker than it appears under stage lights, hung in two braids to his waist. A scrim masked the front of the stage, and he walked out unseen, holding a straw cowboy hat. Annie, his wife of thirty-four years, rubbed his back and shoulders. A few friends watched from the wings: members of Sheryl Crow’s band, which had opened for him, and John Doe, the old punk musician, who had flown in from Austin. (At the next show, in Holmdel, Bruce Springsteen showed up.) Out front, big screens played the video for Nelson’s 1986 single “Living in the Promiseland.”

“Promiseland” joined Nelson’s preshow in the spring, after ICE ramped up its raids on immigrants. The lyrics speak on behalf of newcomers: “Give us your tired and weak / And we will make them strong / Bring us your foreign songs / And we will sing along.” The video cuts between footage of Holocaust survivors arriving on Liberty ships and of Haitian migrants on wooden boats. In Camden—two nights after the assassination of Charlie Kirk, one night after the State Department warned immigrants against “praising” his murder, hours after bomb threats forced the temporary closure of seven historically Black colleges—the images hit hard. When the video ended, three things happened at once: stagehands yanked the scrim away, Nelson sang the first notes of “Whiskey River,” and a giant American flag unfurled behind him.

“Whiskey River” has been Nelson’s opener for decades. He tends to start it with a loud, ringing G chord, struck nine times, like a bell. On this night, he sat out the beginning and took the first solo instead, strumming forcefully, pushing the tempo. “I don’t know what I’m going to do when I pick up a guitar,” Nelson said. He plays to find out, discovering new ways into songs he’s been singing, in some cases, since he was a child. “Willie loves to play music more than anyone I’ve ever met,” the musician Norah Jones told me. “He can’t stop, and he shouldn’t.” For Nelson, music is medicine—he won’t do the lung exercises his doctors prescribe, but “singing for an hour is good for you,” he says. His daughter Amy put it more bluntly: “I think it’s literally keeping him alive.”

Last year, Nelson didn’t make it to every performance. On those nights, his older son, Lukas, filled in. At the end of the tour, no one knew if Nelson would go out again; five months later, he did. I started following him in February, in Florida. In Key West, Lukas and Annie flanked Nelson as he sat and rested before going on. Annie had her hand on the small of his back and Lukas on his shoulder; they looked like two cornermen coaxing a boxer back into the ring. Nelson suffers from emphysema. He barely survived COVID-19. (He got so sick he wanted to die; Annie told him if he did she would kill him.) His voice is still inky, he struggles for air, but he stays in charge, or lets go, as the moment requires.

“I’m definitely following Willie,” Nelson’s harmonica player, Mickey Raphael, told me. “He sets the tempo. He picks the songs.” Raphael is tall, with dark, curly hair and the easy swagger of a man who has spent his life onstage. When he started with Nelson, in 1973, there was no set list. Every night was “stream of consciousness,” catch-as-catch-can. Now, even with set lists taped to the carpet, Nelson might switch songs or skip ahead, lose his way, or drop verses—things he did as a younger man, too. At the end of a number that’s really careened, he’ll look over his shoulder and cross his arms in an umpire’s safe sign. “We made it,” he’s telling Raphael on these occasions. “We’re home.” (...)

“Willie means more to me than the Liberty Bell,” Jeff Tweedy told me. Tweedy and his band, Wilco, played a few dates with Nelson this year, as part of the annual Outlaw Music Festival, which Nelson headlined along with Bob Dylan. (Other performers included Billy Strings and Lucinda Williams.) Tweedy said he admires Nelson’s vision of America—“a big tent, and it should be”—and the way Nelson says what he thinks without rancor, always punching up. “He doesn’t aim at his fellow-citizens. He aims at corporations. He aims at injustice.”

Nelson has a knack for leaning left without losing the room. He stumped for Jimmy Carter, who was a friend, and for the former congressman and Presidential candidate Dennis Kucinich; he co-chairs the advisory board of the National Organization for the Reform of Marijuana Laws; he has pushed for the use of biofuels, running his tour buses on vegetable oil and soybeans; he opposed the war in Iraq. In 2006, he recorded a Ned Sublette song called “Cowboys Are Frequently, Secretly Fond of Each Other.” “I’ve known straight and gay people all my life,” he told Texas Monthly. “I can’t tell the difference. People are people where I came from.” (“Beer for My Horses,” a hang-’em-high duet with Toby Keith, has aged less well.)

In 2018, when the government began separating families at the southern border, Nelson said, “Christians everywhere should be up in arms.” That fall, he played a new song, “Vote ’Em Out,” at a rally for Beto O’Rourke, who was running for Senate. O’Rourke told me the point wasn’t only the stand Nelson took; it was the idea of Texas he represented. There was a temptation, O’Rourke said, to accept the caricature of Texas as “extreme, conservative, macho, tough-guy,” though for people like him, who’d lived there all their lives, “true Texas is kindness, hospitality, open hearts.” Nelson, he said, embodied “the best of Texas: you can be a freak, a weirdo, a cowboy, a rancher, a cello player, whatever. He’s the patron saint of that—growing his hair, rejecting corporate music, and just being a good fucking human being.”

At Nelson’s concerts, all of those types gather. They always have. In the seventies, when Nelson was still playing dance halls, ranch hands and refinery workers shared the floor with hippies who’d heard his songs on FM radio. It was a volatile mix. At the Half-Dollar, outside Houston, groups of long-haired kids sat in front of the stage as cowboys two-stepped behind them. The cowboys “would start dancing, do a little spin, and kick somebody in the back,” Steve Earle recalled. “Willie caught it out of the corner of his eye.” Nelson stopped the band in the middle of a song. “There’s room for some to sit and for some to dance,” he said, and, as soon as he did so, there was.

“People out there get to clap their hands and sing for a couple hours, and then they go home feeling better,” Nelson said. “I get the same enjoyment that they do—it’s an equal exchange of energy.” As a young man in Texas, Nelson taught Sunday school and considered the ministry. On the bus in Weehawken, I asked if he saw his work as akin to a preacher’s. “Oh, I don’t know about that,” Nelson said. “I don’t try to preach to nobody.” Annie disagreed: “I think he’s a shaman.” Musicians like him draw strangers together, she said. “Let’s face it, we’re being divided intentionally. That’s part of the playbook—divide and conquer. It’s been around a long time. When somebody’s saying hello to somebody without knowing their political ideology, and they’re just enjoying music together, that’s church. That’s healing. That’s really important right now. Really, really important.” (...)

Nelson doesn’t mind doing two or three takes of a number. He bristles at four. Don Was, who produced Nelson’s album “Across the Borderline,” in 1992, told me about recording the title track in Dublin, where Nelson had a night off from touring. They spent an hour working out the arrangement—talking, not playing—then went for the first take. Halfway through the second verse, Was thought, Oh, man, this is unbelievable. Please, nobody fuck up. “He plays this incredible solo in the middle. Third verse, I’m really freaking out—please, nobody. And nobody did.” Kris Kristofferson added harmonies; that was the only overdub. Then Nelson rolled a joint and marked it with a Sharpie, about three-quarters of the way down. He told the house engineer, “I’m going to smoke this joint. When it gets burned down to the blue dot, your mix is done.” Forty-five minutes later, it was. “That’s the mix on the album,” Was said.

These days, Cannon cuts backing tracks with musicians who “get Willie and don’t look at the clock.” Nelson comes in later, as he was doing now, to play and sing. “He has no pitch issues,” Cannon says. “He’s allergic to out-of-tune-ness.” But Nelson plays odd tricks with rhythm—phrasing behind the beat while his guitar rushes forward. “Willie’s timing is so weird,” Raphael told me. “It’s like a snake slithering across the ground.” Nelson is one of the most imitated guitarists in the world, Cannon says, but, without his feel, imitators “sound silly.” When Nelson plays, “even the crazy shit sounds beautiful.” Cannon tries not to sand down the edges: “I love his music too much to screw it up.” (...)

“You never know exactly what he’s going to do,” Micah Nelson told me, describing the concerts he’s played with his dad. He went on, “You’re always present. Nobody’s phoning it in, because you never know where the spirit’s going to take him.” Nelson may sing a verse way ahead of everyone, when they’re “still on the first chord,” and the instinct is to speed up, to catch him, Micah said. “It’s, like, No, no, he’s waiting for us over there, three blocks away.” Nelson lets the band close the gap, then keep going. “He’s singing so outside of the pocket, there is no pocket. He’s obliterating any sort of timing,” Micah continued. Somehow, it works. Any number of times, Micah has thought, Oh, shit, he’s lost the plot. He always finds it again. Playing with Nelson is like performing with the Flying Wallendas, Micah said, or with Neil Young’s band. It’s the opposite of perfectly choreographed shows with backing tracks that all but play themselves. There’s never a safety net. “Obviously, it helps to have great songs,” he added. “Now that I say it, the songs are the safety net. You really can’t go wrong when you have good songs.” (...)

Amy recalled a time when she and her sister were trampled by fans trying to get to their father: “My mom said, ‘He’s not going to really know what that’s like, because they stop when they get to him. They will plow through you to get to him.’ ” Any hard feelings fell away when she thought about the alternative—years her father had spent going nowhere, the life he might have led had he not broken through. “Whatever resentment I had for his fans disappeared when I started looking at it from that perspective.”

by Alex Abramovich, New Yorker | Read more:
Image: Danny Clinch
[ed. What more is there to say about Willie at this point? Well, this profile of a recent tour, is one example. Then there's this, by Bob Dylan:]

I asked Dylan about Nelson, and he wrote back with a warning: “It’s hard to talk about Willie without saying something stupid or irrelevant, he is so much of everything.” He went on:

How can you make sense of him? How would you define the indefinable or the unfathomable? What is there to say? Ancient Viking Soul? Master Builder of the Impossible? Patron poet of people who never quite fit in and don’t much care to? Moonshine Philosopher? Tumbleweed singer with a PhD? Red Bandana troubadour, braids like twin ropes lassoing eternity? What do you say about a guy who plays an old, battered guitar that he treats like it’s the last loyal dog in the universe? Cowboy apparition, writes songs with holes that you can crawl through to escape from something. Voice like a warm porchlight left on for wanderers who kissed goodbye too soon or stayed too long. I guess you can say all that. But it really doesn’t tell you a lot or explain anything about Willie. Personally speaking I’ve always known him to be kind, generous, tolerant and understanding of human feebleness, a benefactor, a father and a friend. He’s like the invisible air. He’s high and low. He’s in harmony with nature. And that’s what makes him Willie.

Playing With Fire At Patrick Mahomes and Travis Kelce's Steakhouse

KANSAS CITY, Mo. — As celebrity restaurant mascots, athletes offer a tidy sense of vertical integration: Why not supply the very calories they need to expend on the field? I’m surprised there are so few successful models. We have all mostly forgotten (or agreed not to talk about) George Brett’s restaurant in Kansas City, Brett Favre’s Wisconsin steakhouse, or those 31 Papa John’s franchises Peyton Manning coincidentally shed two days before the NFL dropped the pizza chain as a sponsor.

Still, tables have been reliably booked at 1587 Prime—a mashup of Patrick Mahomes’s and Travis Kelce’s jersey numbers, along with a word that vaguely connotes “beef”—since it opened in Kansas City in August. I left an eight-year gig as a KC restaurant critic in 2023, but the mania surrounding the opening was enough to summon me out of retirement. Like a washed-up former detective, I couldn’t resist stumbling half-drunk into my old precinct for one last job.

In some respects, a flashy celebrity steakhouse means the same thing everywhere. But it means something else in Kansas City, a cowtown whose economic engine was its stockyards, once the second-largest in the country, and which has struggled for years to cultivate a high-end dining scene. We have some great restaurants, but fundamentally, we’re a city that loathes to dress for dinner. (I felt a swell of civic pride when I learned Travis proposed to Taylor Swift in shorts.) I wondered how Noble 33—the Miami-based fine-dining restaurant group tasked with executing 15 and 87’s vision—would fare here.

In a pure business sense, they seem to be faring just fine. On a recent visit, a server told me that a group of Taylor Swift fans had waited six hours for bar seats, hoping they might catch a glimpse of the singer housing a truffle grilled cheese. Taylor didn’t show. I wish the restaurant had something else to offer them.

If nothing else, 1587 Prime looks nice. The 238-seat, two-story restaurant inside the Loews Kansas City Hotel is riddled with luxury tropes. Everything is bathed in a charmed, golden light. The stairs are marble, the tables are marble, and the servers all wear smart white coats and black ties. The leather-backed menus are enormous—perilous. Manipulating them at a small table covered with expensive glassware made me feel like a horse on roller skates.

Music is ostensibly a theme. Every night, local musicians perform short sets of Motown, jazz, and soul hits, and the performers are universally talented. They’re also chastely miked. The live backing band is never loud enough to compete with diners’ conversation, and while the singers roam around the dining room, they seem trained in the art of extremely brief eye contact that asks nothing of you in return.

The same can’t be said of the patrons. Every time I looked around the room, diners looked back with the defiant stares of people who are used to being watched. The restaurant seems to be drawing in its target clients: people who fly private. On my first visit, our server—a very friendly woman named Debbie—told us she had two tables that had flown in just for dinner.

“There’s this thing I learned about,” she said. “Did you know they have an Uber Jet?”

I did not. I sensed that Debbie and I had both learned this against our will.

To be fair, one of the reasons I kept looking around the room was that everyone’s drinks were on fire. This was, I learned, The Alchemy ($22), a cocktail the restaurant created for Taylor Swift, a woman who has never had to use Uber Jet.

I ordered one, too, and a dedicated server brought out a martini glass with some steel wool tangled around the stem. (Something else to know about 1587 Prime: there are at least two employees whose main job appears to be setting things on fire.)

“How many tables order this every night?” I asked.

“Almost all of them,” she said, with just a hint of resignation.

She lit the drink. The steel wool pulsed with a warm, luxurious shimmer before almost immediately fizzling into a cold pile (yes, this is a metaphor). “The stem might be a little hot,” she warned, pawing the nest away from the glass. The drink tasted like a Cosmo someone had strained through a French Vanilla Yankee Candle.

The Alchemy is in a section of cocktails titled “The Players,” named for the steakhouse’s famous guests. For Mahomes fans, there’s the “Showtime” ($19), a rum and coconut cocktail made with a “Coors Light syrup” that I tragically could not taste. I preferred Kelce’s “Big Yeti” ($24), a nocino-enhanced old fashioned with bitter chocolate notes.

There is a fourth cocktail in the section, named after Brittany Mahomes. I will not be tricked into commenting on it.

The drinks were designed by beverage director Juan Carlos Santana, who’s led menu design at other Noble 33 haunts. This is the only way I can explain why a steakhouse cocktail menu features a “Noble Margarita” ($18), or why the house martini ($23) is laced with fino sherry and fennel-infused Italicus (a sweet, sunny bergamot liqueur). It’s a lovely, nuanced cocktail, and it seems to have been designed in a lab to piss off martini drinkers.

If you’re after a more traditional martini—say, gin and vermouth—you can order the martini “your way” for an extra $10.

“Isn’t this a service most bars offer for free?” my husband asked.

Sure. But most bars don’t come with a “Martini Cart Experience.” The first part of the Experience is using a checklist and a golf pencil to select your ideal spirits, vermouths, and enhancements, whether that’s truffle brine (an additional $5), caviar-stuffed olives (an extra $12) or an accompanying “caviar bump” ($21).

The second part of the Experience is waiting for the cart. The restaurant only has space for one cart per floor, which can create backlogs when multiple tables order martinis. On my first visit, my table waited a modest 12 minutes before the cart became available.

The Experience concluded with a bartender scanning my checklist, building the martini, shaking it (you read that correctly), and straining it into a glass that had been chilled by a light-up contraption resembling a Simon. With the upcharge for the truffle brine, the martini was $38. (...)

Perhaps my mistake was ordering it with a “tableside flambé,” which you can add to any steak here for an extra $27. After conferring with Debbie about whether this was a good idea, she dispatched a second cart with a second fire-oriented employee.

While he worked, I peppered him with questions. Did he man the flambé cart every night? Yes, by choice. “I’ve never worked in a kitchen,” he said. “I just really like fire.” Had he ever singed his shirtsleeves on the cart? “I’m going to tell you guys a little secret,” he replied. He leaned over the table and brushed some hair away from his forehead. Most of his eyebrows were missing.

by Liz Cook, Defector |  Read more:

Images: uncredited