The Best Articles of the Week (12/2-12/9) – Politics/Culture

Welcome, friends, to another some millennials weekly series – this time, each of the site’s three main writers will tackle a day of the week to round up our favorite links to celebrate the best writing on the web (that isn’t done here). I am closing out the week with a roundup of politics and general culture writing that has caught my eye, and this week’s five lead you into the weekend with The Weeknd, contains three impressively different longform pieces, and includes a primer on healthcare in Vermont. Without further ado, the best articles of the week.

Washington Post“What does it mean when the Weeknd hits a high note?” by Chris Richards

Maybe it’s not a float so much as a drift. On the Weeknd’s earliest recordings,
you could hear a tremble in Tesfaye’s falsetto — tiny quivers of uncertainty that
made his glamorous ballads feel perilous. He sang like something was at stake,
maybe even his own life. Now, the only thing at stake appears to be his streaming
royalties, and his high notes evoke the whine of a flatlining EKG monitor.
Existential dread has deflated into existential boredom.

BuzzFeed – “Intake” by Rosalind Adams

Current and former employees from at least 10 UHS hospitals in nine states said
they were under pressure to fill beds by almost any method — which sometimes
meant exaggerating people’s symptoms or twisting their words to make them seem
suicidal — and to hold them until their insurance payments ran out.

Governing“Vermont Takes a Health Risk That Many States Abandoned” by Mattie Quinn

For one, Vermont's system will cover all providers -- hospitals, primary care,
specialists, urgent care clinics, you name it. And instead of the state paying
the providers their monthly fixed sum, it will be up to accountable care
organizations (ACOs), which are groups of providers that have the same goals as
all-payer: to reduce spending by rewarding better, not more, care.

Tiny Mix Tapes“2016: The Strength of Vulnerability” by Ben Levinson

The public secret functions on the predicate that feelings are insufficient as
sources of meaning. Artists, musicians, writers must acknowledge this and
interrogate it if they wish to radically exhibit the nuances of feeling and
rethink forms of political art. Perhaps art, so long as the art under
interrogation is non-presumptuous and hazard-less, is the one field in which one
should never need to make claim of their validity. Perhaps self-gratifying art
will always be understandable.

Jacobin“How Kissinger Won” by Jelle Bruinsma

As a Harvard graduate student, we are told, Kissinger was heavily influenced by
Oswald Spengler, but replaced his pessimist determinism with a call for action,
a need to seize the initiative and create one’s own facts — both as an individual 
and as state policy.

This worldview didn’t distinguish between “good” and “bad.” In a 1953 Harvard 
seminar, Kissinger tellingly “used Kantian existentialism (the idea that human 
beings are radically free) to undermine Kantian morality. ‘We can hardly insist,’
he said, ‘on both our freedom and on the necessity of our values.’”

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