Leonardo’s Wood Charring Method Predates Japanese Practice

Yakisugi is a Japanese architectural technique for charring the surface of wood. It has become quite popular in bioarchitecture because the carbonized layer protects the wood from water, fire, insects, and fungi, thereby prolonging the lifespan of the wood. Yakisugi techniques were first codified in written form in the 17th and 18th centuries. But it seems Italian Renaissance polymath Leonardo da Vinci wrote about the protective benefits of charring wood surfaces more than 100 years earlier, according to a paper published in Zenodo, an open repository for EU funded research.

Check the notes

As previously reported, Leonardo produced more than 13,000 pages in his notebooks (later gathered into codices), less than a third of which have survived. The notebooks contain all manner of inventions that foreshadow future technologies: flying machines, bicycles, cranes, missiles, machine guns, an “unsinkable” double-hulled ship, dredges for clearing harbors and canals, and floating footwear akin to snowshoes to enable a person to walk on water. Leonardo foresaw the possibility of constructing a telescope in his Codex Atlanticus (1490)—he wrote of “making glasses to see the moon enlarged” a century before the instrument’s invention.

In 2003, Alessandro Vezzosi, director of Italy’s Museo Ideale, came across some recipes for mysterious mixtures while flipping through Leonardo’s notes. Vezzosi experimented with the recipes, resulting in a mixture that would harden into a material eerily akin to Bakelite, a synthetic plastic widely used in the early 1900s. So Leonardo may well have invented the first manmade plastic.

The notebooks also contain Leonardo’s detailed notes on his extensive anatomical studies. Most notably, his drawings and descriptions of the human heart captured how heart valves can control blood flow 150 years before William Harvey worked out the basics of the human circulatory system. (In 2005, a British heart surgeon named Francis Wells pioneered a new procedure to repair damaged hearts based on Leonardo’s heart valve sketches and subsequently wrote the book The Heart of Leonardo.)

In 2023, Caltech researchers made another discovery: lurking in the margins of Leonardo’s Codex Arundel were several small sketches of triangles, their geometry seemingly determined by grains of sand poured out from a jar. The little triangles were his attempt to draw a link between gravity and acceleration—well before Isaac Newton came up with his laws of motion. By modern calculations, Leonardo’s model produced a value for the gravitational constant (G) to around 97 percent accuracy. And Leonardo did all this without a means of accurate timekeeping and without the benefit of calculus. The Caltech team was even able to re-create a modern version of the experiment.

“Burnt Japanese cedar”

Annalisa Di Maria, a Leonardo expert with the UNESCO Club of Florence, collaborated with molecular biologist and sculptor Andrea da Montefeltro and art historian Lucica Bianchi on this latest study, which concerns the Codex Madrid II. They had noticed one nearly imperceptible phrase in particular on folio 87r concerning wood preservation: “They will be better preserved if stripped of bark and burned on the surface than in any other way,” Leonardo wrote.

“This is not folklore,” the authors noted. “It is a technical intuition that precedes cultural codification.” Leonardo was interested in the structural properties of materials like wood, stone, and metal, as both an artist and an engineer, and would have noticed from firsthand experience that raw wood with its bark intact retained moisture and decayed more quickly. Furthermore, Leonardo’s observation coincides with what the authors describe as a “crucial moment for European material culture,” when “woodworking was receiving renewed attention in artistic workshops and civil engineering studies.”

Leonardo did not confine his woody observations to just that one line. The Codex includes discussions of how different species of wood conferred different useful properties: oak and chestnut for strength, ash and linden for flexibility, and alder and willow for underwater construction. Leonardo also noted that chestnut and beech were ideal as structural reinforcements, while maple and linden worked well for constructing musical instruments given their good acoustic properties. He even noted a natural method for seasoning logs: leaving them “above the roots” for better sap drainage.

The Codex Madrid II dates to 1503-1505, over a century before the earliest known written codifications of yakisugi, although it is probable that the method was used a bit before then. Per Di Maria et al., there is no evidence of any direct contact between Renaissance European culture and Japanese architectural practices, so this seems to be a case of “convergent invention.”

The benefits of this method of wood preservation have since been well documented by science, although the effectiveness is dependent on a variety of factors, including wood species and environmental conditions. The fire’s heat seals the pores of the wood so it absorbs less water—a natural means of waterproofing. The charred surface serves as natural insulation for fire resistance. And stripping the bark removes nutrients that attract insects and fungi, a natural form of biological protection.

by Jennifer Ouellette, Ars Technica |  Read more:
Images: A. Di maria et al., 2025; Unimoi/CC BY-SA 4.0; and Lorna Satchell/CC BY 4.0

Tom Petty and the Heartbreakers

The lake was Lake Alice, on the campus of the University of Florida, in Gainesville. My parents moved there for work at the university in 1970, just before I was born, and we stayed until I was eight years old, living in a ranch house with a carport, a big backyard, and bright pink azalea bushes springing up in front of my bedroom window.

I’ve been thinking about those years a lot lately thanks to my discovery of Tom Petty’s “Gainesville.” The song was recorded in 1998 but not released until 2018, one year after Petty’s death from a drug overdose at age 66. Petty was born in Gainesville in 1950, twenty years and one day before I was, and lived there until 1974, when he left for Los Angeles with his first band, Mudcrutch. The song’s music video is full of shots of parts of the city he was known to have frequented. There are one-story ranch houses like the one I grew up in; red-brick university buildings; Griffin Stadium (“the Swamp”), where the Gators play; trees decorated with Spanish moss. And there’s Lake Alice and its alligators. As I watched the video, childhood memories surged from the back of my brain to the front, and I felt a sadness for my old town I hadn’t felt in years. Gainesville was a big town, Petty sings. It wasn’t really, but for a while it was the only one we both knew.

The video also has a shot of the mailbox at one of Petty’s childhood homes. It shows the address: 1715 NW 6th Terrace. I grew up on 16th Terrace, a 38-minute walk away (according to Google Maps). In 2019, after the video came out, someone stole the mailbox. (...)

Petty and I overlapped in Gainesville for just four years and obviously led very different lives. (I wasn’t playing in Mudcrutch; I was going to pre-kindergarten.) But it turns out we both transgressed at Lake Alice. Watching the “Gainesville” video sent me down a rabbit hole of research into Petty’s early life, savoring the chance to connect with my own story through his. I found a Gainesville Sun article about how, in 1966, when Petty was 16 and had just earned his driver’s license, he accidentally drove his mother’s old Chevy Impala into the lake. He was supposed to be at a dance, and his mom had to come pick him up in their other family car. (...)

Reading that Gainesville Sun article, I found myself wondering about Tom Petty’s mom. What was she thinking as she drove her son home from Lake Alice that night, unaware of the fame that would find him just a few years later? Did she try to teach him some kind of lesson? Or was she thinking, instead, of her own transgressions, perhaps invisible to her son? Did he—sitting, embarrassed in the passenger seat—still believe she was larger than life? Or was he already past that?

You’re all right anywhere you land, he would write 22 years later. You’re okay anywhere you fall. For both of us, that was Gainesville, for a while. And then Gainesville shrank, becoming something else: somewhere we used to live, somewhere we no longer know, somewhere we were all so young. Long ago and far away, another time, another day.  ~ Tracks on Tracks

[ed. Thought I'd heard most TP songs, but not this one.]

Suzuribako writing box, Last third of the 19th century. Box: wood, lacquer, mother-of-pearl, ivory, stone. Techniques: iro-urushi, takamaki-e, hiramaki-e, togidashi, nashiji, ohirame, inlay, carving. Water-dropper: silver, non-ferrous alloys, 24.3 × 22 × 4.9cm

via:

Numb At Burning Man

Numb at Burning Man (long..)

Every year, seventy thousand hippies, libertarians, tech entrepreneurs, utopians, hula-hoop artists, psychonauts, Israelis, perverts, polyamorists, EDM listeners, spiritual healers, Israelis, coders, venture capitalists, fire spinners, elderly nudists, white girls with cornrows, Geoff Dyers, and Israelis come together to build a city in the middle of the Nevada desert. The Black Rock Desert is one of the most inhospitable places on the planet. The ground there isn’t even sand, but a fine alkaline powder that causes chemical burns on contact with your skin, and it’s constantly whipped up into towering dust storms. Nothing grows there. There’s no water, no roads, and no phone signal. In the daytime the heat is deadly and it’s freezing cold at night. The main virtue of the place is that it’s extremely flat; it’s been the site of two land speed records. But for one week, it becomes a lurid wonderland entirely devoted to human pleasure. Then, once the week is up, it’s completely dismantled again. They rake over the desert and remove every last scrap of plastic or fuzzball of human hair. Afterwards the wind moves over the lifeless alkaline flats as if no one was ever there.

They’ve been doing this there since 1990, as long as I’ve been alive, and for the most part I’ve been happy to leave them to it. Burning Man might be where the world’s new ruling class are free to express their desires without inhibitions, which makes it a model of what they want to do to the rest of the world; if you want to know what horrors are heading our way, you have to go. But I don’t do drugs, I don’t like camping, and I can’t stand EDM. It’s just not really my scene.

What happened is that in February this year I received a strange email from two strangers who said they wanted to commission me to write an essay. They weren’t editors, they didn’t have a magazine, and they didn’t care where I published the essay once I wrote it; all they wanted was for me to go to Burning Man and say something about the experience. (...)

Up before dawn. Seventy thousand people would be attempting to get into Burning Man that day; to avoid queues your best bet is to go early. Three hours driving through some of the most gorgeous landscapes anywhere in the world, green meadows between sheer slabs of rock, glittering black crystal lakes, until finally the mountains fall away and you’re left on an endless flat grey plain. Nine thousand years ago, this was a lakebed. Now it’s nothing at all. Drive along a rutted track into this emptiness until, suddenly, you reach the end of the line. Ahead of us were tens of thousands of vehicles, cars and trucks and RVs, jammed along a single track far into the horizon. Like a migrant caravan, like a people in flight. If we’re lucky, Alan said, we should get in and have our tents set up before sunset. Wait, I said, does that mean that if we’re unlucky, we might not? Alan shrugged. He explained that once he’d been stuck in this line for nearly twelve hours. He’d staved off boredom by playing Go against himself on the surface of an imaginary Klein bottle... Every half an hour the great mass of vehicles would crawl ahead thirty, forty, fifty metres and then stop. (...)

I don’t know exactly what I’d expected the place to look like. For the best possible experience, I’d studiously avoided doing any research whatsoever. A hazy mental image of some vast cuddle puddle, beautiful glowing naked freaks. What it actually looked like was a refugee camp. Tract after tract of mud-splattered tents, rows of RVs, general detritus scattered everywhere. Our camp, when we finally arrived, was a disaster zone. A few people had already arrived and set up, but the previous night’s storm had uprooted practically everything. Tents crumpled under a collapsed shade structure; tarps sagging with muddy water, pegs and poles and other bits of important metal all strewn about like a dyspraxic toddler’s toys. The ground moved underfoot. When it rains over the alkaline flats you don’t get normal, wholesome, Glastonbury-style mud. Not the dirt that makes flowers plants grow. An alien, sterile, non-Newtonian substance, sucking at my shoes. (...)

My camp for the duration of Burning Man was named BrainFish. We were a theme camp. Most camps are just a small group of friends pitching their tents together, but some are big. Dozens or hundreds of people who have come to offer something. All free, all in the gift economy. A bar, or food, or yoga classes, or orgies. One camp runs a library, which contains a lot of books about astrology and drug legalisation, plus two copies of Fake Accounts by Lauren Oyler. Mostly, though, theme camps are the ones with geodesic domes. (...)

What I learned, digging and hauling all day and talking to BrainFish at night, is that Burning Man is not really a festival. Festivals have a very long history. A thousand years ago, the villagers could spend the feast day drinking and feasting, while the bishop had to ride through town backwards on a donkey being pelted with turds. A brief moment of communal plenty. Leftists like me like the festival; what we want is essentially for life to be one big festival all the time. But as conservative critics point out, you can’t really consider the festival in isolation, and there’s no feast without a fast. There are also days of abstention and self-denial, when people are forbidden from laughing or talking, solemn mortification of the flesh. Burning Man is something new: a festival and an antifestival at the same time. Everything that’s scarce in the outside world is abundant. There are boutiques where you can just wander in and take a handful of clothes for free; there’s a basically infinite supply of drugs, and a similarly infinite supply of random casual sex. It is the highest-trust society to have ever existed anywhere in the world. At the same time, some extremely rich and powerful people come to Burning Man to experience deprivation and suffering. All the ordinary ties and comforts of a complex society are gone. No public authority that owes you anything, no public services, no concept of the public at all, just whatever other individuals choose to gift you. This is the only city in the world without any kind of water supply, or system for managing waste, or reliable protection from the elements. You are something less than human here. Not a political animal, but a mangy desert creature, rutting in the dust.

Not everyone experiences the same level of discomfort. There are plug-and-play camps, where they hire a team of paid staff to set up all the amenities, and you can just arrive, stay in a luxury caravan, and have fun. They get private showers. Everyone else despises these people, supposedly because it’s not in keeping with the ethos of the place. I’m not sure it’s just that. There’s something more at stake.

Tech people tend to have a very particular view of their role in the universe. They are the creators, the people who build the world, who bless the rest of us with useful and entertaining apps. But they’re never allowed to simply get on with their job of engineering reality; they’re constantly held back from doing whatever they want by petty political forces that try to hold back progress in the name of dusty eighteenth-century principles like democracy. As if the public’s revealed preferences weren’t already expressed through the market. Every so often an imbecile politician will demand that tech companies turn off the algorithm. They don’t know what an algorithm is, they just know it’s bad. The British government thinks you can save water by deleting old emails. These people straightforwardly don’t understand anything about the industry they’re trying to regulate, but if you suggest getting rid of the whole useless political layer people get upset. You can’t win. But Burning Man is a showcase for the totally unlimited power of the builders. Here they get to be Stalinist technocrats, summoning utopia out of the Plan. The difference is that unlike the Soviet model, their utopia really works. Look what we can do. From literally nothing, from a barren desert, we can build a paradise of pleasure in a week and then dismantle it again. And all of this could be yours, every day, if you give over the world to me.

But all these tech people are, as everyone knows, interlopers. Burning Man used to be for weirdos and dreamers; now it’s been colonised by start-up drones, shuffling around autistically in the dirt, looking at their phones, setting up Starlink connections so they can keep monitoring their KPIs in the middle of the orgy. Which just shows how little people know, because the hippie counterculture and the tech industry are obviously just two stages in the development of the same thing. They call it non-monogamy instead of free love, and there’s a lot more business software involved, but the doctrine is exactly the same: tear down all the hoary old repressive forces; bring about a new Aquarian age of pleasure and desire. Turn on, tune in, spend all day looking at your phone. It’s what you want to do. Your feed doesn’t want to harsh your trip with any rules. It just wants to give you more of what you want.

by Sam Kriss, Numb at the Lodge |  Read more:

Image: uncredited

We’re All Unique. Or Are We?

Have you ever found yourself in a new place and realized you don’t quite fit in? Your shoes, which made sense at the office, are not quite the right ones for the date after work in a different part of the city. Your hairstyle, which felt normal when you left your hometown, suddenly labels you uncool in a new city.

Or perhaps you’ve had the opposite experience? You feel out of place in your day-to-day circle and dress in hopes that someone with taste as refined as yours will see your attempts to distinguish yourself in your natty suits.

Most of us have at least a passing acquaintance with the push and pull between the desire to fit in and the urge to stand out depending on the setting. Everyone, as some point, discovers the subtle sartorial codes governing their communities and must decide how much to adopt or reject them.

The two have made those sub-classifications the basis of their three-decade-long art project, which now exceeds 200 groups arranged by visual likeness. Each category features 12 individual portraits organized in a grid, named and arranged with the precision of butterflies in a entomologist’s case.

To flip at random through “Exactitudes” (a portmanteau of exact and attitudes) is to be struck by the cleverness and care the artists have taken in selecting their subjects. Looking through each grid is like playing a game. Your eyes dart from frame to frame, in search of the subtle deviances in hairstyles and the way body language speaks volumes.

Now, on the occasion of publishing the seventh and final edition of “Exactitudes,” the duo is putting the project to bed. After three decades of collaboration, they look back in fondness at the time capsules they’ve created. (...)

When they don’t have a firm handle on a subculture they’re photographing, they listen. “Some of the groups, you start and you have a vague idea about them,” Mr. Versluis said. By listening, he said, “you get educated, especially when it’s a super-niche culture or something new.”

Sometimes they wait many days on location before finding enough willing participants. Sometimes the people in the grid know each other, but not always. For the most part, they say, participants are flattered to be included in the project.

‘The diverse human experience of getting dressed.’

Both artists have always worked independently and will continue to do so, though they did not rule out the possibility of a returning if a tantalizing commission comes along. Since they began shooting “Exactitudes,” the world has transformed from an one dominated by analog technologies to one ruled by digital algorithms. Where they were once perceptive humans finding patterns among the other humans, social media now serves up endless micro-trends to viewers the world over. In some way the magic of their project has been consumed by TikTok and Instagram.

by Stella Bugbee, NY Times | Read more:

Image:Ari Versluis and Ellie Uyttenbroek/Exactitudes

[ed. See also: Behind Exactitudes, the photo series that inspired Vetements (Dazed).]

Woodshedding It

[ed. Persevering at something even though you suck at it.]

Generally speaking, we have lost respect for how much time something takes. In our impatient and thus increasingly plagiarized society, practice is daunting. It is seen as prerequisite, a kind of pointless suffering you have to endure before Being Good At Something and Therefore an Artist instead of the very marrow of what it means to do anything, inextricable from the human task of creation, no matter one’s level of skill.

Many words have been spilled about the inherent humanity evident in artistic merit and talent; far fewer words have been spilled on something even more human: not being very good at something, but wanting to do it anyway, and thus working to get better. To persevere in sucking at something is just as noble as winning the Man Booker. It is self-effacing, humbling, frustrating, but also pleasurable in its own right because, well, you are doing the thing you want to do. You want to make something, you want to be creative, you have a vision and have to try and get to the point where it can be feasibly executed. Sometimes this takes a few years and sometimes it takes an entire lifetime, which should be an exciting rather than a devastating thought because there is a redemptive truth in practice — it only moves in one direction, which is forward. There is no final skill, no true perfection.

Practice is in service not to some abstract arbiter of craft, the insular juries of the world, the little skills bar over a character’s head in The Sims, but to you. Sure, practice is never-ending. Even Yo-Yo Ma practices, probably more than most. That’s also what’s so great about it, that it never ends. You can do it forever in an age where nothing lasts. Nobody even has to know. It’s a great trick — you just show up more improved than you were before, because, for better or for worse, rarely is practice public.

by Kate Wagner, The Late Review |  Read more:

Lost Vegas

At a bar downstairs at the Luxor Hotel and Casino in Las Vegas, I recently found myself next to a 67-year-old man who had come to town to get a tattoo on his shoulder. The tattoo in question was of Yosemite Falls, in California. As best I could understand it, he was getting branded with the landmark because he was enmeshed in a situationship that wasn’t working out. He and this woman had apparently taken a memorable trip to Yosemite earlier this year, and he hoped that—after he showed her the tattoo—a tarnished spark would be rekindled. I wished him all the luck in the world as he took his leave of me, and for a few minutes, I was alone among the chirping slot machines, nursing a gin and soda and pondering how no place on Earth can make you believe the impossible quite like Las Vegas.

I know more people who hate Las Vegas than love it, and I’ve never been able to construct a convincing argument for why they’re wrong. We are granted only so many vacations in this life, and it might seem ill-considered to spend one of them watching the Blue Man Group in an Egyptian-themed hotel in the Nevadan desert. But here I was, at the Luxor, on a quest to renew my love affair with this city.

The hotel, located at the tip of the Las Vegas Strip, remains a crown jewel of the city’s famed themed-resort district. The building is a matte-black pyramid, fitted with 4,407 rooms and 65,000 square feet of gaming space, all flourished with pop-Egyptian pastiche. Incoherent hieroglyphs plate the walls, plastic pharaohs stand guard in the check-in lane, and taxis idle under the haunches of a gargantuan Sphinx. I had arrived at the hotel on a balmy afternoon in early autumn and took the elevator to a third-floor suite on the southern face of the pyramid, desert sun pouring through the slanted floor-to-ceiling windows. The resort has long been known as one of the more budget-friendly options in Las Vegas, but it has never been cheaper than it is today. That’s because the Luxor, like so many other hotels in the city, is currently half off.

In September, the Luxor participated in the “Fabulous Five-Day Sale,” a massive weeklong initiative launched by the Las Vegas Convention and Visitors Authority, offering cut-rate deals on restaurants, resorts, and shows across the city. The goal was to coax lapsed vacationers back to America’s sanctum of indulgence, greasing the wheels of a hospitality sector that’s struggled all year long. More to the point, it was a tacit admission that something in Las Vegas had gone awry. Significantly fewer visitors have come to the city in 2025 than they did in 2024, when Vegas hosted more than 41 million travelers, and it’s now facing the worst dip in traffic since the COVID-19 pandemic.

Agitators in the city have attempted to document the deterioration by posting ominous images of barren casinos, conjuring the perception of a place hollowed out by economic armageddon. The reality is more nuanced, but it is true that practically every conceivable indicator tracking tourism to Las Vegas is flashing warning signs. Hotel occupancy has cratered. Rooms were only 66.7 percent full in July, down by 16.8 percent from the previous year. The number of travelers passing through Harry Reid International Airport also declined by 4.5 percent in 2025 during an ongoing ebb of foreign tourists, for familiar reasons. Canadians, historically one of the city’s most reliable sources of degenerates, have effectively vanished. Ticket sales for Air Canada jets flying to Las Vegas have slipped by 33 percent, while the Edmonton-based low-cost carrier Flair has reported a 62 percent drop-off. Those last data points have provoked the city’s mayor, Shelley Berkley, to engage in some emergency diplomacy. In September, she implored our neighbors from the north to make their prodigal return to the Strip.

“I’m telling everyone in Canada, please come,” she said. “We love you, we miss you, we need you.”

Where did everyone go? Nobody seems to know for sure. It’s clear that the city is in the midst of a rough season. What is more vexing is diagnosing what the issue actually is. Are there some obvious, observable problems to explain the swoon? To a certain extent, yes. Vegas has grown more expensive in recent years—hotels and restaurants have gotten pricier, gambling more extractive. But complaints about the cost of leisure have also hampered every other city in America. Tourism is down nationwide, even if destinations like New York City and Los Angeles haven’t suffered as much as Vegas. The terminal plunge of Canadian visitation, meanwhile, is almost certainly related to Donald Trump’s goading the nation at every opportunity. This trend is set to continue into 2026, with experts forecasting as much as a 6 percent drop in foreign visitation to the United States, curtailing tourism sectors all across the country.

But what’s ailing Vegas might be harder to quantify than any material factor—closer to spiritual rot than pure economic tumult. Multiple generations of Americans have been socialized to believe that a mecca of cheap, dirty pleasures awaits in the wastelands of southern Nevada. And for a long time, that was basically true. The mythology of Las Vegas is all-day buffet counters as big as football fields, of David Copperfield tickets that cost the same as a cup of coffee, of indoor cigarettes and comped drinks and the irresponsible ideas those forces can summon in tandem. Las Vegas took your money with gracious respect for your degeneracy, gouging you sweetly and slowly. The magnitude of excess saturated time itself. Somehow, no matter how much you lost at the casino—and you will lose at the casino—it always felt as if you got your money’s worth.

These days, though, that dream is in tatters. Millions of people seem to have determined that Las Vegas has become corroded—its joys less accessible, its humiliations too dire. And that is precisely why I, a longtime devotee of the city, found myself at the Luxor for a three-day stint in October. If Las Vegas was truly in decline, I wanted to see for myself what had gone so wrong. And boy did I.

John and Kristina Mehaffey, the husband-and-wife duo who run the gambling news website Vegas Advantage, asked to meet me at Harrah’s, one of the chintzier casinos on the Strip, located just up the road from Madame Tussauds. Vegas Advantage is famous for its obsessively updated database, which tracks the city’s gambling landscape. If a game room has just installed a fresh band of blackjack felt, the Mehaffeys are the first to know. I reached out to them because I wanted a tour of the infamous triple-zero roulette wheels, which have become a symbol for latter-day Las Vegas hubris. These tables were unheard of in the city until 2016, when two of them made landfall in the bowels of the luxe Venetian. The game has since proliferated across the Strip, for one reason: Every time a player sits down for a few spins of triple zero, they’re getting ripped off.

The Mehaffeys escorted me past the blinking slot machines and into the pit, where we sidled up alongside a gaggle of players peering over the wheel—watching the silver ball zip along the rim. John explained the math: A standard roulette table has 36 numbers—half red, half black. Hit your number, and you’re paid 35 to 1; bet on a color, and you double your money. Quantitatively speaking, a roulette wheel fashioned this way would be totally fair. “Theoretically, over a million spins, you’d get 100 percent of your money back,” said John.

A green felt table with numbers and alternating orange and black squares. There are three zeros at the beginning, making the odds worse for the player.A green felt table with numbers and alternating orange and black squares. There are three zeros at the beginning, making the odds worse for the player.

A triple-zero roulette table. Photo illustration by Slate. Photo by Getty Images Plus.

Where the house maintains its edge is in the two additional numbers foisted upon the roulette wheel, a single zero and a double zero, both painted green. With those digits in place, betting on red or black is no longer a 50/50 proposition, and if a player is lucky enough to score a win on a 7, or a 12, or a 28, they’re still making what they bet back by a multiplication of just 35—despite the fact that those green spaces allow for 38 potential outcomes. All this is to say that each zero added to a roulette table increases the revenue it scrapes from players by 2.7 percentage points. So, in a moment of incredible audacity, the power brokers of Las Vegas decided to sharpen their advantage, festooning a gauche and unsightly triple zero to their wheels, plundering our wallets more efficiently than ever before.

Why would anyone put up with those bad odds? That’s not quite the right question to ask. Later on in the day, I watched a bachelor party descend upon a triple-zero wheel, despite that, right next to them, bathed in fluorescent light, a double-zero table—encircled by empty seats—waited for customers. The serene, vodka-buzzed tourists either didn’t know or didn’t care that they were inches away from a much better deal. Vegas happily feasted upon that ambivalence all night long.

Vegas seems to have exported its triple-zero philosophy across the Strip. Another casualty is blackjack, which remains the most popular casino attraction in the city. Historically, the game has followed a golden rule. If you are dealt 21—an ace and a 10—you’ve hit blackjack, and your wager is paid out on a 3-to-2 ratio. (A $100 bet nets $150, and so on.) But Vegas has since altered the rules. Now, on most tables, blackjack is rewarded with a 6-to-5 equation; that same $100 kicks back only $120, significantly curtailing just how lucky someone is allowed to get. Again, it’s not hard to see why Vegas casinos made the change. “They’re tripling the house edge,” John told me. “It went up from about 0.66 percent to 2 percent.”

Even if a gambler is willing to tolerate these perversions of tradition, the price of admission in Vegas has skyrocketed. According to John’s research, in 2020, 38 casinos in the greater Las Vegas gambling market featured tables dealing 3-to-2 blackjack capped at a $5 minimum bet. (As in, to play, you need to risk at least $5 per hand.) These days, that group has dropped to six casinos. Prowl through the Strip after dark, sift through the pits, and you’ll feel the difference. Most table games in 2025 force patrons to sacrifice painful amounts of cash to its maw—$25 minimums are basically standard. Fifty-dollar minimums aren’t uncommon either. Even more deviously, some Vegas properties force customers to pay a premium to access friendlier rules. I came across exactly one ultra-rare single-zero roulette wheel on the Strip, which felt a little bit like uncovering the hutch of the last surviving dodo. Naturally, it was stowed away in a high-limit room. (...)

It might seem wise to make room for smaller bankrolls in the city—the soul of Las Vegas is contingent on budget travelers—but those appeals are invariably ignored. Like so many other pleasures of modern life, Las Vegas is increasingly becoming a city financed by private equity. Harrah’s Entertainment, the gambling company that owned the casino where I met the Mehaffeys, was sold to a pair of equity sponsors in 2008 for $27.8 billion. One of those firms was Apollo Global Management, a New York–based real-estate holdings group that in 2022 made a play for the iconic Venetian hotel. That pattern has continued across the Strip. Blackstone, the commercial real-estate giant, entered sale-leaseback agreements for the Bellagio in 2019 and picked up the MGM Grand and Mandalay Bay in the years afterward. Blackstone would later sell some of those investments to Vici Properties, a real-estate investment fund founded in 2017, which owns a total of 54 casinos. The mom-and-pops have been bought off, the copper wiring is stripped, and as so often is the case with Wall Street, that tends to be the plan all along.

“The casinos on the Strip are no longer being driven by personalities at leadership. They’re being driven by corporate politics. So they have a different attitude about how you treat your consumers,” said Andrew Woods, director of the Center for Business and Economic Research at the University of Nevada, Las Vegas. “Why wouldn’t the resort industry find a way to maximize shareholder value by nickel-and-diming their consumers? Especially when, until very recently, those consumers haven’t pushed back.”

His point recalled a conversation I had with Jacob Orth, better known by his online moniker JacobslifeinVegas, who has been publishing YouTube videos about Las Vegas for the past 11 years. In earlier eras of his channel, Orth’s videos had a frothy self-help flair; he doled out advice on how to best enjoy some of the more revelrous temptations the city has to offer. (His best-performing upload is titled “5 Ways Las Vegas Prostitutes Scam You.”) Lately, though, Orth’s repertoire has grown increasingly despondent as he chronicles the sense of precipitous decline pervading the Strip. His second-most-popular video was published three months ago. The title: “Why Nobody Wants to Visit Las Vegas Right Now.”

Orth told me a story that he thinks illustrates what has changed. Two years ago, he dumped a couple thousand dollars into a slot machine with the intention of losing his way into a free room. This is a classic Vegas ritual; there is a long history of casino managers giving away free meals, drinks, and lodging to whales willing to risk a tremendous amount of money on their property. The plan worked, and a few weeks later, Orth received a letter in the mail inviting him back to the casino with a complimentary suite. However, rather than the red-carpet treatment he expected—the licentious glamour of earlier epochs in the desert—Orth found the whole process oddly onerous. He ate a conspicuous “resort fee” on his room to the tune of $90. He was told if he made the booking over the phone, he would be charged $15 more. Early check-in, meanwhile, would cost another $60. When Orth finally got into the suite, he found the bathroom covered with questionable splotches. When he asked the front desk for a different room, the attendant inquired about his membership tier.

All told, the experience left Orth with a feeling shared by a lot of people who’ve traveled to Vegas lately. “Can I just get a clean room without having another fee thrown at me?” he said. “It’s like, ‘Do you guys even want me here?’ ”

by Luke Winkie, Slate |  Read more:

Image: illustration by Slate. Photos by Getty Images Plus

[ed. Way too expensive. Normally you'd accept the possibility inevitability of losing money as part of the experience. But now it's mostly trying to avoid being ripped off. My friends used to opt for downtown and outlying casinos, but even those are getting more expensive now.]

Liminal Spaces

or... The Dead Mall Society.

“How’s everybody feeling today?” Aryeh asks the crowd of thirty-odd people gathered at a bus stop on the fringes of downtown Toronto. In response, there’s sparse, nervous laughter. “No, really,” says Aryeh. “What does it feel like to be alive today?”

Horrible, whispers a woman behind me.

Undeterred, Aryeh presses on. “We’re going to feel for real today,” he tells us, before leading the group through a ramshackle guided meditation, encouraging us to pay attention to the sights and smells and sounds that surround us. I take in the pillowy, slate-coloured sky, the wads of gum mixed with concrete at my feet, the faint smell of cooking oil. At that moment, a child screams and a flock of pigeons crashes into the crowd; a few of us duck for cover. “Yes,” says Aryeh, laughing. “Even that.”

Aryeh, wearing jeans, a t-shirt, and a colourful cap with a propeller atop, is here to take us to the mall—or, more accurately, to several malls, most of which are almost completely abandoned. In his spare time, he runs an organization called Liminal Assembly, which shuttles people through a series of decaying suburban shopping malls around the Greater Toronto Area, places that seem stuck in purgatory between eras, at once eerie and beseeching. (...)

Aryeh’s tours have gained a cult following, often attracting people obsessed with “liminal spaces,” a term given to places that represent in-between stages, connecting two different eras or experiences. By this definition, a parking lot or an empty hallway can be considered a liminal space, as can an abandoned structure, paused mid-demolition. Many people report feeling unsettled or haunted in liminal spaces, and some anthropologists believe this is because our bodies innately know we’re not supposed to dwell in them. They are, after all, not a destination, but a portal, a gateway to another world. But despite this disconnect, many people report feeling a strange, forbidden pull towards liminal spaces. There are digital and in-person communities around the world dedicated to sharing these experiences. r/LiminalSpace on Reddit, for example, has one million followers who post daily photos of bridges and doorways and food courts, of highways that stretch into oblivion. “Dude, that’s so liminal,” others will respond.

For the liminal space curious, semi-abandoned suburban shopping malls are a perfect example of this phenomenon: something purpose-built that’s long-since lost that purpose, yet sits in limbo awaiting its next iteration—a nod to the past, an amorphous fumble toward the future.

But I didn’t know any of this as I slipped into the crowd at Cumberland Terrace on that winter day. I was surprised at the diversity of the people who joined the send off: hipsters, tourists, students, even a few senior couples who strolled the fluorescent, mirrored hallways hand-in-hand, perhaps imagining the mall’s glory days, a 1980s meet-cute at the Italian deli stall when the food court was still open. Days later, I called Aryeh to ask what he thought was the appeal of these deserted, liminal spaces, expecting him to say something about nostalgia and ’90s kids who simply can’t get with the times. But the depth and complexity of Aryeh’s answer surprised me. Nostalgia is part of it, he admitted. People want a reminder of simpler times, when they weren’t bombarded with “the technological future and all this short-form content.” But Aryeh told me that standing in the wreckage of these spaces unlocks a sensation people often crave, but can’t name. He called it a “rare emotion,” the same haunted feeling one experiences after a particularly powerful piece of literature or music.

“When you go to these places that have what I like to say is importance built into them, in the detail of the tiles and the polished brass railings and all these elements, they suggest this place is a very important place,” he said. “But when you see it empty, there’s something very uncanny and eerie about that…You feel things and go, ‘huh, that is really unique.’ And I think that is the escape that people feel when they come to these liminal spaces.” He told me this is a feeling that seems to transcend cultures and geographies, that many people report feeling relieved and delighted when they find there are others who experience this pang of emotion in these spaces. “It’s something core in the human experience.”

***

But if humans themselves are in a constant search for optimization and self-improvement, so are cities as a whole. And malls, with their single-storey forms, plopped amongst a sea of unused parking spots (what some real estate developers call “lazy land”) are easy targets for the chopping block. Between 2017 and 2022, an average of 1,170 malls closed each year in the United States, nearly twice as many as during the period between 1986 and 2017. In my work as a journalist, which sometimes involves covering the urban planning beat, countless economists and land use planners have told me that the rise of e-commerce, a global recession, and population growth requiring new housing has created a perfect storm for the demise of these spaces. I tried to find data about mall closures or redevelopments in Canada, as we’re clearly not exempt from these same forces, but came up empty.

Regardless, malls are now considered so outdated that many North American municipalities—including Toronto, Metro Vancouver and Phoenix, Arizona—have unrolled mall redevelopment strategies. These often guide or incentivize the “intensification” of shopping and strip mall sites, imagining, in their wake, clusters of sleek luxury towers with airy retail units on their ground floors, side streets with artful shrubbery, places for pedestrians to sit and walk and admire the benefits of capitalism.

But as a mass trend, this hasn’t always worked out. Some redevelopment projects—like the mall we just visited with the Liminal Assembly—get stuck amid municipal red tape, while others fall victim to rising costs and construction labour shortages, leaving them in limbo, the gaping maws of excavators still poised in their parking lots. Other malls seem to be resisting this movement altogether, standing sentinel with their faux-brick tiling and plastic ferns, even as vendors abandon ship and their kiosks clank shut for the last time, having sold their final mutton roll or polyester-blend nightgown. Though our cities have always been susceptible to the whims of social, behavioral and economic forces, the truth is, even the most meticulous of plans sometimes go awry, leaving gaps between what we want and what we are given.

***

We make our way through the suburbs, spilling into low-rise malls that threaten to blur together as one: the same brown tiles and shuttered kiosks, the plastic trees and fountains parched of water. The murky glass atriums that soar over the retail corridors, now hushed and sleepy. The way all that’s left in these malls are stores that seem to sell a singular, specific item: Clocks Unlimited, Bikini Warehouse. On the bus between destinations, we talk about millennial childhoods, about the passage of time, about how disconcerting it feels to explain pivotal news events that shaped our youths, like 9/11, to a younger generation who has only the vaguest notion of them.

Christa pipes in: “Tell me about it. When students ask me about Y2K it becomes a history lesson.” We laugh, uneasily. The sands of time, and all that.

We pull into our final mall destination of the day, which Aryeh preemptively describes as “a beautiful and tragic space.” Inside, the main floor has been commandeered by a mishmash of cash-only Asian food stalls, which gives it the feel of a makeshift street market. On the mall’s perimeters, vendors sell DVDs, Filipino souvenirs, discount travel agency packages, while the building’s upper levels consist of carpeted banquet halls and space leased by a Chinese Baptist church. One or two of the walls have been painted a shade of bubblegum pink not found in nature. We run up and down the stairs, delighted by the open space, whispering to each other that there’s a payphone bank with real phonebooks from the ’90s. Of all the malls, this one feels like the most functional, as though unplugged from the “global mall system,” as Aryeh calls it. It’s gone back to the earth, becoming what its community really needs: cheap noodles and worship services and bootleg DVDs. Somewhere, a land developer is having a wet dream about turning this place into a utopian master-planned community, but for now it persists, a quiet dignity to its stubbornness.

I once read a comment on r/LiminalSpace likening the feeling of being in a liminal space to the sensation you get as you’re about to rappel off a cliff. Weight balanced between your foot and a rope, your body hovering over the drop, it’s a viscerally unsettling moment as you navigate two different experiences of gravity. But with that comes possibility, said the commenter, so many different futures awaiting as you leap into the chasm.

by Lana Hall, Hazlitt |  Read more:

Image: via

The Last Good Thing

On a late-winter Chicago day that was more gray than cold, I retrieved a binder from a neighbor’s front porch. The binder was fat and unexpectedly heavy, and I had the deranged thought that it might be filled with sand, but it wasn’t filled with sand. It was filled with 92 DVDs. DVDs can seem heavy if you haven’t held them in a while.

I had not been on the lookout for DVDs, and until I became aware of this binder, I had no special attachment to DVDs of any sort. There was no box of Criterion Collection masterpieces lugged from apartment to apartment since my college days. I certainly did not long for the color-coded cables that always had to be untangled and reconnected to the DVD player my husband weirdly couldn’t bring himself to throw away, nor did I miss hunting for the special remote that only ever made an appearance when I was looking for the regular one. Society had moved past DVDs, and frankly, so had I.

Still, the second I saw the binder—containing “practically every major kid’s cartoon movie from the last 20 years on DVD”—appear on my local Free Box Facebook group (where my neighbors give away everything from original artwork to half-empty bottles of shampoo), I wanted it deeply, covetously, like when you see someone wearing a wool sweater that is so entirely your style, you can’t believe it isn’t already yours. Ninety-two disks! Without a moment’s hesitation, I typed, “Interested!” and pressed return. And the next day, I stood awkwardly on my neighbor’s porch to collect my prize.

At this point, I still assumed my excitement about the DVDs had primarily to do with thriftiness, or perhaps a kind of rugged self-reliance. I still assumed their appeal came not from what they could offer me but from what they could free me of, namely going along with the ever-more-expensive whims of Disney+ executives.

In other words, I considered a binder containing 92 DVDs to be the children’s media equivalent of F*** You Money—Take that streaming bill and shove it!—and not, say, something to build my identity as a parent around.

Obviously.

That evening, while my husband sautéed asparagus on the stovetop and my children squabbled over whether to watch Peppa Pig on Amazon Prime or All Engines Go on Netflix, I announced to my family that we were quitting our streaming services and going analog.

“Well, more analog,” I said, suddenly unsure. “Digital analog. Is that a thing?” I sensed that it might not be, but also that this wasn’t particularly important. What was important was that our viewing habits were moving back in time to an era when watching television didn’t require keeping a credit card on file with five different companies.

Then I inhaled sharply, cringing the way one does while uncorking a particularly volatile bottle of champagne. Ditching streaming would be no great struggle for me, someone who watches about as much television as your typical giant Pacific octopus. But the rest of them?

To my surprise, the anticipated shrieks of displeasure never came. My children, whose ears shut down at six p.m. though their bodies keep kicking until eight, wouldn’t even register the change until the end of the month, when our Netflix account finally ran out of gas. At that point they would look at me as though I’d shredded a sacred contract formed between them and the universe. I would, in turn, cheerfully remind them about the DVDs.

“That’s right,” I would say. “They are very shiny. No, stop—you can’t touch them! They scratch.”

Even my husband merely nodded and flipped the asparagus. I could only assume that he was deep in thought, considering the transformative possibilities of spending less time watching television. The two of us have always shared some private dismay about not being altogether more impressive people—Times obit–worthy, ideally, but at the very least, people who exercise more often. Besides, it went without saying that I would not be canceling YouTube Premium, which is where my husband watches sports highlights. In my quest to become a thriftier parent, I had no desire to become a single parent.

An honest account of the binder’s out-of-nowhere appeal should also include observing how neatly DVDs’ technological primacy aligns with my own “reminiscence bump.” This is what psychologists call the increased salience for the autobiographical memories we form between the ages of approximately 10 and 30. For the rest of our lives, although what came before and after will predictably recede, the events of those 20 years will maintain their privileged place in our minds. Researchers aren’t entirely sure why this is. Some suspect novelty: New things are inherently more memorable, and this is a time of new things. Others chalk it up to the sheer number of culturally significant milestones that happen during our teens and 20s, from first kisses and summer jobs and driver’s licenses to weddings and college graduations and—well, more common until recently—first homes. Another theory focuses on storytelling: As we come of age, the places we go and the music we listen to and the people we bond with become the settings and soundtracks and characters for the stories we tell ourselves about the people we are becoming, stories that we’ll carry all our lives.

If these theories sound similar, it’s because they’re all trying to explain the same phenomenon: why our formative years are so very formative. They are all trying to explain why some part of a reasonably well-adjusted, middle-aged woman with a husband and two kids will always be a teenager with spiky hair, trying desperately to convince herself that she likes watching low-budget horror movies.

Low-budget horror movies on DVD, that is. In 1997, when the disks first hit American shelves, I was just 13; by the time revenue from streaming eventually eclipsed that from DVDs (and their higher-definition Blu-Ray cousins), I had already left my 20s behind. Which means that for me, the pinnacle of home entertainment is and will always be synonymous with a fat binder of DVDs.

For a few weeks, quitting our streaming services and embracing DVDs indeed seemed like a sacrifice. Quickly, though, the experiment morphed into something quite different. I found myself proselytizing about the Way of the DVD. They’re so cheap, I’d say to another parent at pre-K pickup. People are literally giving them away. Go to a garage sale of any size and there you go: more DVDs for the collection.

It’s nice to really own a thing, I’d say to a colleague with children of her own. It’s nice not to worry something will go poof in the night.

It’s great for the kids to have choices but not too many choices, I’d say to anyone still listening. It’s great when what they want to watch is in the binder, and it’s great when it isn’t and they have to decide whether they want to purchase How to Train Your Dragon: The Hidden World with their tooth-fairy money (both of my kids were in highly productive tooth-losing phases) or wait for a free disk to arrive at the library. Because when everything can be yours just like that, is anything even real?

It’s good for movies to be real, I’d say. Treat them badly—roll them down the stairs or throw them like frisbees or wear them because it’s fun to pretend to have large, glassy robot eyes—and they will scratch. Natural consequences! It’s good for there to be natural consequences. (...)

Unlike VHS tapes, DVDs encode data digitally, allowing for higher video resolution and superior audio quality. DVDs also store more data, and they store the information more efficiently. This is what frees up space for the bells and whistles: dubbed audio tracks and subtitles, director’s cuts and deleted scenes. DVDs are read by laser; so long as they aren’t used as coasters or hockey pucks, they shouldn’t wear or tear at all. On a commercial DVD, even the most determined fool cannot accidentally tape over a favorite movie. And remember the days before opening menus, when you stood by the television and pressed “REW” on the VCR until the members of your family screamed that you’d gone too far, in which case you’d press “FF” until they screamed again? DVDs have menus, and when they arrived, America let out a collective, “Hell yeah.”

But VHS, the technology that DVDs supplanted, was the truly transformative one. VHS was what let us all own movies in the first place, to watch whenever we wanted to. Or was it color television that transformed home entertainment? The rise of network programming? That very first public broadcast? It hardly matters. By the time DVDs came along, the latest crest among so many waves of progress, it seemed inevitable that they would be good, and that the technology that eventually replaced them would be even better.

A lot of things seemed inevitable then.

I grew up, after all, when the growing up was good. The Berlin Wall was coming down, and the world was opening up. The economy was strong and college attendance was on the rise and Americans were more optimistic that children would live better lives than their parents. There were problems, sure, but they were problems that would resolve themselves in time, as a new, more enlightened generation took the helm. I grew up when time itself seemed on my side.

I watched social media connect us, and then I watched it detonate us into a billion tiny factions. I watched smartphones liberate us, and then I watched them capture us all over again. Now I see artificial intelligence on the horizon, and even as I am awestruck by its potential, I shudder.

“When you invent the ship, you also invent the shipwreck,” said the philosopher Paul Virilio. Here’s the thing: I grew up when it still felt possible that we could invent the ship and then put our heads together to avoid the shipwreck. In the world bequeathed to my children, it can seem like there is no avoiding the wreck. And in this world, in this widening gyre of uncertain outcomes and frictionless gratification, DVDs are shiny and real and the same shape as life preservers. DVDs are the last unambiguously good thing: the last technology that arrived and only made things better and would never ever let us down.

by Jess Love, The American Scholar |  Read more:

Image: Gracia Lamb

A sewing and tailoring book from Dublin, complete with samples (1833).

via:

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.

Can Cruising Survive Influencers?

It was a balmy July day and Joseph had dick on the brain. The 25-year-old Brooklyn barista had agreed to walk a friend’s dog in Washington Square Park, so he figured that while he was in Manhattan he’d check in on one of his favorite cruising spots: a men’s restroom at Penn Station. Those in the know know this bathroom; Joseph (his middle name) estimates he’d cruised for sex there about eight times before. He likes that among the fresh faces he will often see the same old queens catching up in their de facto third space. Sure, he could open Grindr or Scruff to find a hookup, but then he’ll get picky and end up scrolling endlessly. Cruising feels more authentic, more real. It’s a ritual. A hunt.

In the early hours of the afternoon, he’d expected the restroom to be livelier. (Rush hour can bring too many commuters seeking to use the bathroom for its intended purpose.) But there was one guy standing at a urinal: a handsome Latino man with dark hair and eyes, and big, beefy arms protruding from his orange high-visability safety vest. This man nodded to Joseph as he entered, which he took as a sign to install himself at the adjacent urinal. The construction worker appeared to be rubbing himself and smiling, Joseph recalled. “He was looking at me. He was trying to peek over. He was doing it. He seemed seasoned at this,” Joseph said. “He was giving an Oscar-winning performance.”

That performance ended when Joseph, thinking he’d met a fellow traveler, flashed the guy his penis. “We got one,” the undercover Amtrak police officer immediately said into a radio microphone hidden in his collar. Stunned and embarrassed, Joseph barely had time to put his penis away before he was handcuffed and marched through the station—his fly still unbuttoned—to a holding room, where he spent the next few hours. One other man was already there, looking humiliated and sad. Two more were eventually brought in as part of the same sting operation: one who was adamant he’d just been in the bathroom to pee and another man in his 20s who spoke only Spanish. Joseph then watched as this man, freaking out, was eventually handed over to immigration agents.

Joseph is among almost 200 people who have been arrested since June 1 as part of a crackdown on cruising in the Penn Station restroom, an Amtrak spokesperson told me. At least 20 of these men were immigrants transferred to ICE custody. While other mass public indecency arrests were made in Indiana, Arizona, and Illinois during the same period, the Penn Station operation was unique in its scale and length. Rep. Jerry Nadler and other outraged lawmakers dubbed it a “hostile arrest campaign reminiscent of anti-LGBTQ policing from the Stonewall era.”

There is a major difference, though, between that era and now: the once-secret world of cruising has never been more out in the open. As Amtrak police were arresting men, nearby cinemas were screening Plainclothes, a movie in which Tom Blyth portrays an undercover New York cop who patrols bathrooms and falls for one of his targets, played by Russell Tovey. When thousands gathered in a Clinton Hill warehouse during Pride Month for the “Twinks vs. Dolls” event, they did so amid ample signage and merchandise from co-sponsor, Sniffies, the map-based cruising app. Mainstream media stories about cruising and orgies have outraged some gay men who say that their safe spaces have been exposed.

But cruising’s real “outing” has occurred on social media, where a growing cottage industry of men are vying to become the Rick Steves of cruising. Guys on TikTok or Instagram will now teach you how to cruise at your gym or how to avoid getting caught in the steamroom. You can learn the best ways to pick up guys in a Barnes & Noble (Step One: “Pick a book you’re not actually reading”) or at your Lowes hardware store. (Step One: “Dress like you know your way around wood.”) You can see videos of men following each other among trees in public parks or tapping their feet in bathroom stalls in the manner of Larry Craig. One creator named Connor (who did not respond to requests for comment) has amassed over 375,000 followers over various accounts with a seemingly endless stream of videos in which he boasts graphically about cruising in airport bathrooms, waterparks, or at his local Macy’s. On X, where content guidelines are much freer, adult performers with hundreds of thousands of followers share explicit videos of themselves having sex with blurry-faced strangers in what appear to be department store changing rooms.

“I’m a teacher by nature and so I thought, Hey, cruising has been around forever. It’s part of our history. Why not teach on it?” said Chandler (his last name), a 34-year-old adult creator who posts instructional guides or suggestive stories themed to what he calls “CruiseTok.” He puts his openness on social media down to a desire for authenticity. “I think in today’s world, it’s more acceptable to be who you are. If that means showing your expression or passion, then yeah!”

But amid a resurgent right-wing that has sought to wind back LGBTQ rights, all this openness has left some, including Joseph, uncomfortable or even worried about what they see as unwanted attention. “I think calling attention to it and trying to get your social media clout from it is annoying,” he said. “The whole point—the whole, historical purpose of cruising was to be super low-key and discreet.” While information about cruising has always been available for people who wanted to seek it out, it’s now being entrusted to algorithms that can push it on people who aren’t, including, potentially, the authorities. All this has left some men wondering whether certain things should still be gate-kept.

“A lot of these much younger people that are 22 and excited about this activity, their natural inclination is just supposed to post it online. There’s no way to control that fire,” said Leo Herrera, an artist and author who self-published a guide to cruising last year. He likened cruising to manning a grill: You need some exposure to act as oxygen to get the fire going, but you want to be able to control it. In the past, cruising might have been fueled by scribbles on bathroom doors or gay hotlines or newspapers, but now it’s an algorithm. “It supercharges it to a level where it just kind of blows up in our face,” Herrera said. “How do we celebrate our sexuality while protecting it?”

by David Mack, The Cut |  Read more:

Image: blissbodywork_, dbchandler_, showoffjonah

How I Learned to Stop Worrying and Love AI Slop

Lately, everywhere I scroll, I keep seeing the same fish-eyed CCTV view: a grainy wide shot from the corner of a living room, a driveway at night, an empty grocery store. Then something impossible happens. JD Vance shows up at the doorstep in a crazy outfit. A car folds into itself like paper and drives away. A cat comes in and starts hanging out with capybaras and bears, as if in some weird modern fairy tale.

This fake-surveillance look has become one of the signature flavors of what people now call AI slop. For those of us who spend time online watching short videos, slop feels inescapable: a flood of repetitive, often nonsensical AI-generated clips that washes across TikTok, Instagram, and beyond. For that, you can thank new tools like OpenAI’s Sora (which exploded in popularity after launching in app form in September), Google’s Veo series, and AI models built by Runway. Now anyone can make videos, with just a few taps on a screen.

If I were to locate the moment slop broke through into popular consciousness, I’d pick the video of rabbits bouncing on a trampoline that went viral this summer. For many savvy internet users, myself included, it was the first time we were fooled by an AI video, and it ended up spawning a wave of almost identical riffs, with people making videos of all kinds of animals and objects bouncing on the same trampoline.

My first reaction was that, broadly speaking, all of this sucked. That’s become a familiar refrain, in think pieces and at dinner parties. Everything online is slop now—the internet “enshittified,” with AI taking much of the blame. Initially, I largely agreed, quickly scrolling past every AI video in a futile attempt to send a message to my algorithm. But then friends started sharing AI clips in group chats that were compellingly weird, or funny. Some even had a grain of brilliance buried in the nonsense. I had to admit I didn’t fully understand what I was rejecting—what I found so objectionable.

To try to get to the bottom of how I felt (and why), I recently spoke to the people making the videos, a company creating bespoke tools for creators, and experts who study how new media becomes culture. What I found convinced me that maybe generative AI will not end up ruining everything. Maybe we have been too quick to dismiss AI slop. Maybe there’s a case for looking beyond the surface and seeing a new kind of creativity—one we’re watching take shape in real time, with many of us actually playing a part.

by Caiwei Chen, MIT Technology Review | Read more:
Image:@niceaunties (Wenhui lim)
[ed. See also: Let's Hear It for Slop (word of the year) - with bouncing bunnies included; or here.]