On a languid, damp July morning, I meet weed scientist Aaron Hager outside the old Agronomy Seed House at the University of Illinois’ South Farm. In the distance are round barns built in the early 1900s, designed to withstand Midwestern windstorms.
The first couple minutes of Quincy—the 2018 documentary about Quincy Jones, co-directed by his daughter Rashida—are really a quite striking prologue. The shots are simple enough: There’s the obligatory survey of so many record plaques and iconic portraits posted on so many walls of Quincy’s mansion in Bel-Air.
As many, many, many critics have pointed out, Malcolm Gladwell has built a brilliant career—staff writer at the New Yorker, multiple New York Times bestsellers, an ambitious (if embattled) podcast network, a highly lucrative sideline in speaking engagements—out of boiling down the research of social scientists into digestible rules of thumb that usually run counter to conventional wisdom.
The first time it happened, it was an accident. But every dream is. It would have been my last REM cycle of the night, had I been able to sleep. Instead, for the previous six hours, I had counted sheep, had dressed for imaginary occasions in my mind, had tried the Army sleep techniques, alternately imagined myself in a black velvet hammock and in a canoe on a calm, still lake.
A flurry of book bars has recently opened that prioritize solo time as much as low-key conversation, offering a fun alt-combo to record bars and libraries. These spaces for reading, drinking, listening to music, and chatting with other book lovers (or not) are a post-shutdown pivot from social distancing.