Brian Kraker / Tuesdays With Horry
Right from the very start, 2016 stood to challenge us. From the very start, we knew it wasn’t going to be a run-of-the-mill annum, from North Korea’s interstellar aggravation to the deaths of every stranger we thought we knew, from our laughter at nationalistic shortsightedness abroad to the joke turning on us with an apolitically exhausting election cycle that, even now, seems interminable, this year has cast shadows into every corner and fear into every heart, asserting its overwhelming pessimism past the point of absurdity and into realms of dystopian ennui.
But then, light is said to shed out of darkness; without the light, we wouldn’t know dark from darker, and pitch blackness would be broad daylight. As historically low as some of the valleys insisted upon going, a great many peaks, more than we’ll care to recall, shot up with a distinctly human, distinctly empathetic vitality. 2016 was the equivalent of the Gordie Howe hat trick: a goal first, an assist next and one giant, inevitable fight, with indescribable rage having finally boiled over to manifest itself in hideousness antipathy. It is with this in mind that we at TwH look back, one final, bitter time at the insanity of the preceding twelve months, with an eye toward what society has constructed as 2017. If Earth is really dying, and if we’ve only got five years left to cry in, U better live now.
Brace, as defined by the dictionary, as a verb: prepare (someone or oneself) for something difficult or unpleasant.
Sometime last week, I saw a tweet from the Michael Slager trial where he (Slager) alleged that he never received proper training on how to de-escalate situations (Okay, I don’t have the verbatim. I’m not a journalist, so please just trust that I have the gist of things). If you are unfamiliar with Michael Slager, he is a former cop in North Charleston, SC, who was on trial for the murder of Walter Scott (Also, if you’re unfamiliar with Michael Slager, tip of the cap to ya! I consider myself a pretty connected person, but this story might have been pretty challenging to avoid, especially in South Carolina. So, I mean this when I say that it’s impressive to *not* have known about Slager or Scott in any capacity.)
Let’s say, for instance, you were at the forefront of popular culture in the free world, soon to be deposed and cast to a life of relative reality. If you were to host a party celebrating, commemorating and memorializing the occasion in the United States of America, who would you invite? With a good head on your shoulders, and among your own personal favorites, you would attempt to speak to the populace, who have chosen against you in the years ahead, allocating goodwill while bracing for the impact of an unforeseen, unpredictable regime.
On Tuesday, President Barack Obama bestowed what will presumably be the final twenty Presidential Medals of Freedom of his record-setting Presidency, in which he dispensed more than any other in history. The man knows how best to leave a party, it seems. In returning to that question, who would play your societal funeral?
Obvious Editor’s Note: SPOILERS AHEAD
Entering the finale, The Night Of was either the tale of an innocent man broken by a broken system, or that of a guilty man whose impropriety was slowly revealed to himself and those around him. I began the final episode of the miniseries unsure which I was watching. I didn’t want to believe Naz was guilty. Neither did the show. That’s why we met a quiet, reserved young man in the premier, one anxious to attend a party with a crowd he obviously yearned to be a part of. But slowly we learned about Naz’s seedier past. We learned he sold drugs. He assaulted two classmates. We saw he had the propensity to seek violent retribution again a fellow inmate and aided Freddie’s murder.
In college, I was on the Mock Trial team. It shares similarities with a debate team, except in the format of a trial. Each year, you’re given a fictional case, with fictional witnesses. You perform cross examinations and closing arguments before judges and get scored on everything from the logic of your argument, to your auditory skills, to whether you wore the correct tie (seriously). I bring this up because it colors how I view The Night Of. I am, by no means, a lawyer – at best, Mock Trial gave me a base understanding of the law and trial processes – but after a few years of pretending to be lawyer, I’ve realized I view this show in a pragmatic way.
I haven’t been as invested in the emotional beats of the show as much as the legal ones. To be clear, the emotional beats are there. The show has hit hardest when following the destruction of the Khan family. Poorna Jagannathan’s blank stare at the throng of reporters outside her home was devastating in its simplicity. Peyman Moaddi’s bewilderment when he learns his son must withdraw from school because of the violent actions of others. Their lives have been turned upside down because of something Naz is accused of doing. But in The Night Of, just like the real world, there is no presumption of innocence, and as a result, Naz’s family has suffered as much as he has.
For three consecutive years in college, I bought the above as a poster at an annual fair on campus. The first two met their ends in predictable fashion, either tearing irreparably from the wall one night while I was asleep or falling victim to the typical antics of undergraduate dorm life. The third couldn’t handle the unexpected transition from average resident to resident assistant and ended up in a garbage can, probably next to some Bob Marley counterparts and cans of new formula Four Loko.
The image, of course, is one of the most iconic of the twentieth century, something not even its ubiquity in male collegiate dorm rooms can ruin. In it, Sonny Liston looks up helplessly at the heavyweight champion of the world, a Kentuckian formerly called Cassius Clay whose brash demeanor and furious wordplay underscored a revolutionary style of boxing for the heavyweight division. Muhammad Ali, who has passed away at 74, made a habit of shocking the world, precisely as he said he would.
Michael Ochs Archives/Getty Images
There’s a moment at the very beginning of “Sloop John B,” the closing track of the first side of the album but the first recorded for it, right after the initial glockenspiel tone, that acts as a sort of timeout, as if to give the listener a chance to breathe before launching into another lament. Critics have sometimes met the song, adapted from a Bahamian folk standard, with confusion, wondering where the tale of a doomed ship and its crew fits in alongside the other tracks on the album.
The album, of course, is the Beach Boys’ Pet Sounds, which was released fifty years ago today, originally to mixed reviews which have since gone almost entirely and overwhelmingly positive. Beyond critical reception, Pet Sounds has enjoyed the luxury of indelible influence, assuring its permanent place in the musical version of the United States’ Great books for its lush instrumentation, unthinkably cohesive vocals and relatively simple, ageless lyrics of hope, heartbreak, loyalty and alienation.