Demonstrations continue to face police crackdown as protesters vow to more pressure on universities.

In the spring of 1988, I made a lifelong friend thanks to a video-game cheat code. As preparation for a family move to Pensacola, Florida, I visited my new school. While there, I casually told a future classmate named Tim that the numbers 007 373 5963 would take him straight to the final fight of the very popular Nintendo boxing game Mike Tyson’s Punch Out. My buddies and I in Oxford, Mississippi, all knew this code by heart, but it turned out to be rare and valuable information in Pensacola. Years later, Tim revealed to me that it was my knowledge of the Punch Out cheat code that made him want to be friends.

I wouldn’t have understood this at age 9, but I had just engaged in a successful act of cultural arbitrage. If financial arbitrage involves the acquisition of commodities in a market where they are inexpensive and selling them for profit in a market where they are expensive, cultural arbitrage is the acquisition of information, goods, or styles in one location where they are common and dispersing them in places where they are rare. The “profit” is paid out not in money but in esteem and social clout. Individuals gain respect when others find their information useful or entertaining—and repeated deployments may help them build entire personas based on being smart, worldly, and connected.

In the past, tastemakers in the worlds of fashion, art, and music established careers through this sort of arbitrage—plucking interesting developments from subcultures to dangle as novelties in the mass market. The legendary writer Glenn O’Brien, for example, made his name by introducing the edgiest downtown New York bands to suits at record labels uptown and, later, by incorporating elements from punk rock, contemporary art, and underground S&M clubs in the creation of Madonna’s scandalous 1992 book, Sex.

But the internet’s sprawling databases, real-time social-media networks, and globe-spanning e-commerce platforms have made almost everything immediately searchable, knowable, or purchasable—curbing the social value of sharing new things. Cultural arbitrage now happens so frequently and rapidly as to be nearly undetectable, usually with no extraordinary profits going to those responsible for relaying the information. Moreover, the sheer speed of modern communication reduces how long any one piece of knowledge is valuable. This, in turn, devalues the acquisition and hoarding of knowledge as a whole, and fewer individuals can easily construct entire identities built on doing so.

There are obvious, concrete advantages to a world with information equality, such as expanding global access to health and educational materials—with a stable internet connection, anyone can learn basic computer programming from online tutorials and lectures on YouTube. Finding the optimal place to eat at any moment is certainly easier than it used to be. And, in the case of Google, to “organize the world’s information and make it universally accessible and useful” even serves as the company’s mission. The most commonly cited disadvantage to this extraordinary societal change, and for good reason, is that disinformation and misinformation can use the same easy pathways to spread unchecked. But after three decades of living with the internet, it’s clear that there are other, more subtle losses that come with instant access to knowledge, and we’ve yet to wrestle—interpersonally and culturally—with the implications.

To draw from my own example, there was much respect to be gained in the 1980s from telling friends about video-game cheat codes, because this rare knowledge could be obtained only through deep gameplay, friendships with experienced gamers, or access to niche gaming publications. As economists say, this information was costly. Today, the entire body of Punch Out codes—and their contemporary equivalents—can be unearthed within seconds. Knowledge of a cheat code no longer represents entrée to an exclusive world—it’s simply the fruit of a basic web search.

Admittedly, an increased difficulty in impressing friends with neat tips and trivia hardly constitutes a social crisis. And perhaps benefitting from closely kept secrets was too easy in the past, anyway: In my Punch-Out example, I gained a disproportionately large amount of esteem for something that required very little effort or skill. But when these exchanges were rarer—and therefore more meaningful—they could lead to positive effects on the overall culture. In a time of scarcity, information had more value, which provided a natural motivation for curious individuals to learn more about what was happening at the margins of society.

[Read: Why kids online are chasing “clout”]

Arbitrageurs would then “cash in” by introducing these artifacts to mainstream audiences, which triggered broader imitation of things once considered niche. This helped accelerate the diffusion of information from the underground into the mainstream, not only providing sophisticated consumers with an exciting stream of unfamiliar ideas but also breathing new life into mass culture. The end result of this collision was cultural hybridization—the creation of new styles and forms.

This process helps explain the most significant stylistic shifts in 20th-century pop music. Living in the port city of Liverpool, where sailors imported American rock-and-roll records, the Beatles leveraged this early access to the latest stateside recordings to give themselves a head start over other British bands. A decade later, the music producer Chris Blackwell, who co-founded Island Records using his upbringing in Jamaica and knowledge of its music, signed Bob Marley and turned reggae into a globally recognized genre. Over the past 15 years, Drake has picked up this mantle as music’s great arbitrageur, using his singular celebrity to produce collaborations with then-emerging talent such as Migos and the Weeknd that cemented his own reputation as a tastemaker.       

Creative ideas appear to be impressive innovations to average consumers only once they get a foothold in wider society, which requires a difficult jump from so-called early adopters (who are curious to find new products and art forms) to the more conservative mainstream (who tend to like what they already know). And in the cultural marketplace, arbitrage succeeds more than pure invention because it introduces works that feel novel yet have proven track records of impressing others somewhere else. Before importing reggae to the United States and the United Kingdom, Blackwell knew that this music delighted Jamaicans—and that its popularity within a community that was fighting oppression would appeal to countercultural sympathizers as well.

That global platforms such as Spotify, YouTube, and Wikipedia reduce the glory of acquiring deep information has not stopped the hunt. Instead, it’s pushed everyone to solve a much more narrow set of information inequalities in their own, smaller communities. Big-league influencers may have trouble looking for the big score, but “day traders” in niche fan groups can achieve minor status boosts by being the first to deliver news about their favorite idols to fellow fans. Arguably, individual fandoms have never been stronger—yet because information moves so quickly, these communities exert less influence on larger audiences that have less time or inclination to keep up with every micro-development. And though such superfans may claim to reject public opinion, they secretly need their insights to be respected outside the group in order to feel like something other than just dedicated hobbyists.

At the same time, the hyper-politicization of culture on the internet has constrained arbitrage from a different angle: The previously common practice of being influenced by minority communities now elicits charges of appropriation. Such moral judgments are not new: The Nigerian musician Fela Kuti initially accused Paul McCartney of intending to steal “Black man’s music” after the former Beatle went to Lagos to record the Wings album Band on the Run. A greater awareness of the issue in recent years, however, means that third parties now actively police the exact moments when inspiration becomes theft. When the white influencer Charli D’Amelio boosted her own fame by popularizing the “Renegade” dance on TiKTok, the journalist Taylor Lorenz traced its origin back to its Black creator, Jalaiah Harmon. In this case, the heightened sensitivity toward appropriation had arguably positive effects: Harmon’s dance became world-renowned, and she eventually received proper credit for it. But these new standards make arbitrage a much weightier undertaking than it used to be, potentially requiring groundwork in coordinating permission and approval from originators.

[Read: How Ariana Grande fell off the cultural-appropriation tightrope]

In the past decade, some observers have wondered whether cultural innovation is slowing down. They’ve pointed to the stultifying effects of legacy IP at the box office, the way fast fashion has flattened any genuine sense of clothing trends, the indefatigability of Taylor Swift’s ongoing pop-chart dominance. The devaluing of cultural arbitrage—and the decrease in instances of hybridization—is certainly an additional factor to be considered. This is not just a problem for hipsters, however; it ends up affecting everyone who enjoys participating in popular art with other people. The wider entertainment industry always needs new ideas, and with reduced instances of cultural arbitrage, few that come to mainstream consumers now feel particularly valuable.

Some countervailing trends might organically reenergize cultural arbitrage over time. The move from billion-user platforms back to balkanized networks on clubbier apps such as Discord could allow savvy individuals to step in and bridge distinct worlds. We also may seek to reduce the amount of information shared online—keeping information exchange personal and limited to real life may restore some value to what tastemakers know. Restaurant reservations have become valuable for this very reason: There are limited seats in a real place. The Canadian indie-music project Cindy Lee recently released a double album, available for download only on GeoCities and as a YouTube stream rather than on streaming sites such as Spotify. The self-created scarcity gave the album palpable buzz, and the lack of easy access didn’t get in the way of critical reviews or online discussion.

The internet arrived at a time when we gained social clout from arbitraging information, so our first instinct was to share information online. Perhaps we are now entering an era of information hoarding. This may mean that, for a while, the most interesting developments will happen somewhere off the grid. But over time, this practice will restore some value to art and cultural exploration, and bring back opportunities for tastemaking. Whatever the case, we first must recognize the role that arbitrage played in preventing our culture from growing stale while literally making us friends along the way. Winning respect by sharing video-game cheat codes may be a thing of the past, but we need to promote new methods for innovators and mediators to move the culture—otherwise it may not move much at all.

From the 1970s through the 2000s, Marjorie Perloff and Helen Vendler were regularly mentioned together as America’s leading interpreters of poetry. When a 2000 article in Poets & Writers referred jokingly to a “Vendler-Perloff standoff,” Perloff objected to the habitual comparison. “Helen Vendler and I have extraordinarily different views on contemporary poetry and different critical methodologies, but we are assumed to be affiliated because we are both women critics of a certain age in a male-dominated field,” she wrote in 1999.

Now fate has paired them again: Perloff’s death in late March, at age 92, was followed last week by Vendler’s at age 90. Both remained active to the very end: Perloff wrote the introduction to a new edition of Ludwig Wittgenstein’s Tractatus Logico-Philosophicus, published this year, and the current issue of the journal Liberties includes an essay by Vendler on war and PTSD in poetry. But for many poets and readers of poetry, the loss of these towering scholars and critics feels like the definitive end of an era that has been slowly passing for years. In our more populist time, when poetry has won big new audiences by becoming more accessible and more engaged with issues of identity, Vendler and Perloff look like either remote elitists or the last champions of aesthetic complexity, depending on your point of view.

Age and gender may have played a role in their frequent pairing, as Perloff suspected, but it was their different outlooks as critics that made them such perfect foils. They stood for opposite ways of thinking about the art of poetry—how to write it, how to read it, what kind of meaning and pleasure to expect from it.

Vendler was a traditionalist, championing poets who communicated intimate thoughts and emotions in beautiful, complex language. As a scholar, she focused on clarifying the mechanics of that artistry. Her magnum opus, The Art of Shakespeare’s Sonnets, is a feat of “close reading,” examining the 154 poems word by word to wring every drop of meaning from them. In analyzing “Sonnet 23,” for instance, she highlights the 11 appearances of the letter l in the last six lines, arguing that these “liquid repeated” letters are “signs of passion.”

For Vendler, poetic form was not just a display of virtuosity, but a way of making language more meaningful. As she wrote in the introduction to her anthology Poems, Poets, Poetry (named for the popular introductory class she taught for many years at Harvard), the lyric poem is “the most intimate of genres,” whose purpose is to let us “into the innermost chamber of another person’s mind.” To achieve that kind of intimacy, the best poets use all the resources of language—not just the meaning of words, but their sounds, rhythms, patterns, and etymological connections.

Perloff, by contrast, championed poetry that defied the very notion of communication. She was drawn to the avant-garde tradition in modernist literature, which she described in her book Radical Artifice as “eccentric in its syntax, obscure in its language, and mathematical rather than musical in its form.” She found this kind of spiky intelligence in John Ashbery, John Cage, and the late-20th-century school known as Language poetry, which drew attention to the artificiality of language by using it in strange and nonsensical ways. One of her favorite poets was Charles Bernstein, whose poem “A Test of Poetry” begins:

What do you mean by rashes of ash? Is industry

systematic work, assiduous activity, or ownership
of factories? Is ripple agitate lightly? Are
we tossed in tune when we write poems?

For Perloff, the difficulty of this kind of poem had a political edge. At a time when television and advertising were making words smooth and empty, she argued that poets had a moral duty to resist by using language disruptively, forcing readers to sit up and pay attention. “Poetic discourse,” she wrote, “defines itself as that which can violate the system.”

For Vendlerites, Perloff’s approach to poetry could seem excessively theoretical and intellectual; for Perloffians, Vendler’s taste could seem too conventional. (Perloff wrote that when her “poet friends … really want to put me down, they say that I’m not so different from Helen Vendler!”) Vendler’s scholarly books explored canonical poets such as Wallace Stevens, W. B. Yeats, and Robert Lowell; Perloff’s focused on edgier figures such as Gertrude Stein and the French Oulipo group, which experimented with artificial constraints on writing, such as avoiding the letter e. When it came to living poets, Vendler’s favorites tended to win literary prizes—Pulitzers, National Book Awards, and in the case of her friend and colleague Seamus Heaney, the Nobel. Perloff’s seldom did, finding admiration inside the academy instead.

These differences in taste can be seen as a reflection of the critics’ very different backgrounds. Vendler was born in Boston and attended Catholic schools and a Catholic college before earning a doctorate from Harvard. She went on to teach for 20 years at Boston University and then returned to Harvard as a star faculty member. She spoke about the open sexism she initially encountered in the Ivy League, but she was a product of that milieu and eventually triumphed in it.

Perloff was born to a Jewish family in Vienna and came to New York in 1938 as a 6-year-old refugee from Nazism. (In her memoir, The Vienna Paradox, she wrote that she exchanged her original name, Gabrielle, for Marjorie because she thought it sounded more American.) She earned her Ph.D. from Catholic University, in Washington, D.C., and spent most of her academic career in California, at the opposite corner of the country from the Ivy League and its traditions. Perloff’s understanding of high art as a tool for disrupting mass culture unites her with thinkers of the Frankfurt School such as Theodor Adorno—German Jewish émigrés of an older generation, many of whom also ended up in California.

In his poem “Little Gidding,” written during World War II, T. S. Eliot wrote that the Cavaliers and Puritans who fought in England’s Civil War, in the 17th century, now “are folded in a single party.” The same already seems true of Vendler and Perloff. Today college students are fleeing humanities majors, and English departments are desperately trying to lure them back by promoting the ephemera of pop culture as worthy subjects of study. (Vendler’s own Harvard English department has been getting a great deal of attention for offering a class on Taylor Swift.) Both Vendler and Perloff, by contrast, rejected the idea that poetry had to earn its place in the curriculum, or in the culture at large, by being “relevant.” Nor did it have to be defended on the grounds that it makes us more virtuous citizens or more employable technicians of reading and writing.

Rather, they believed that studying poetry was valuable in and of itself. In her 2004 Jefferson Lecture for the National Endowment for the Humanities, Vendler argued that art, not history or theory, should be the center of a humanistic education, because “artworks embody the individuality that fades into insignificance in the massive canvas of history.” Perloff made a similar argument in her 1999 essay “In Defense of Poetry,” where she criticized the dominance of cultural studies in academia and called for “making the arts, rather than history, the umbrella of choice” in studying the humanities.

There are no obvious heirs to Vendler and Perloff in American poetry today. Given the trend lines for the humanities, it seems unlikely we will see a similar conjunction of scholarly authority and critical discernment anytime soon. But that is all the more reason for them to be remembered—together, for all their differences—as examples of how literary criticism, when practiced as a true vocation, can be one of the most exciting expressions of the life of the mind.

Joseph Otting, the newly-minted CEO of New York Community Bank, painted a pretty hopeful picture for the lender’s future — even after posting millions in first-quarter losses. Investors seemed to like it.

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Yesterday afternoon, Columbia University’s campus felt like it would in the hours before a heat wave breaks. Student protesters, nearly all of whom had wrapped their faces in keffiyehs or surgical masks, ran back and forth across the hundred or so yards between their “liberated zone”—an encampment of about 80 tents—and Hamilton Hall, which they now claimed as their “liberated building.” At midnight yesterday morning, protesters had punched out door windows and barricaded themselves inside. As I walked around, four police helicopters and a drone hovered over the campus, the sound of the blades bathing the quad below in oppressive sound.

And rhetoric grew ever angrier. Columbia University, a protester proclaimed during a talk, was “guilty of abetting genocide” and might face its own Nuremberg trials. President Minouche Shafik, another protester claimed, had licked the boots of university benefactors. Leaflets taped to benches stated: Palestine Rises; Columbia falls.

[Will Creeley: Those who preach free speech need to practice it]

As night fell, the thunderclap came in the form of the New York Police Department, which closed off Broadway and Amsterdam Avenue and filled the roads with trucks, vans, and squad cars. Many dozens of officers slipped on riot helmets and adjusted vests. On the campus, as the end loomed, a diminutive female student with a mighty voice stood before the locked university gates and led more than 100 protesters in chants.

“No peace on stolen land,” she intoned. “We want all the land. We want all of it!”

Hearing young people mouthing such merciless rhetoric is unsettling. The protester’s words go far beyond what the Palestinian Authority demands of Israel, which is a recognition that a two-state solution is possible—that two peoples have claims to the land between the Jordan River and Mediterranean Sea. It was striking to see protesters playfully tossing down ropes from the second floor to haul up baskets filled with pizza boxes and water, even as they faced the imminent risk of expulsion from the university for breaking into Hamilton.

No one won here. Student protesters took pride in their collective revolutionary power, and yet appeared to have few leaders worthy of the term and made maximalist claims and unrealistic demands. Their call for Columbia to divest from Israel would appear to take in not just companies based in that country but any with ties to Israel, including Google and Amazon.

The protesters confronted a university where leaders seemed alternately stern and panicked. Columbia left it to police to break a siege around 9 p.m. in a surge of force, arresting dozens of protesters and crashing their way into Hamilton Hall.

The denouement was a tragedy that came accompanied by moments of low comedy, as when a student protester seemed to suggest yesterday that bloody, genocidal Columbia University must supply the students of the liberated zone and liberated building with food. “We’re saying they’re obligated to provide food for students who pay for a meal plan here,” she explained. But moments of true menace were evident, such as when some protesters decided to break into and occupy Hamilton Hall.

[Michael Powell: The unreality of Columbia’s ‘liberated zone’]

Rory Wilson, a senior majoring in history, had wandered over to the site early yesterday morning when he heard of the break-in. He and two friends were not fans of this protest, he told me, but they also understood the swirl of passions that led so many Arab and Muslim students to recoil at the terrible toll that Israeli bombings have inflicted on Gaza. To watch Hamilton Hall being smashed struck him as nihilistic. He and his friends stood in front of the doors.

Hundreds of protesters, masked, many dressed in black, surged around them. “They’re Zionists,” a protester said. “Run a circle around these three and move them out!.”

Dozens of masked students surrounded them and began to press and push. Were you scared?, I asked Wilson. No, he said. Then he thought about it a little more. “There was a moment when a man in a black mask grabbed my leg and tried to flip me over,” he said. “That scared me”

One more fact was striking: As a mob of hundreds of chanting students smashed windows and built a barricade by tossing dozens of chairs against the doors and reinforcing them with bicycle locks, as fights threatened to break out that could seriously harm students on either side, Wilson couldn’t see any guards or police officers anywhere around him. Two other students told me they had a similar impression. “I don’t get it,” Wilson said. “There were some legitimately bad actors. Where was the security? Where was the university?” (Columbia officials did not respond to my requests for comment.)

Less than 24 hours later university leaders would play their hand by bringing in police officers.

For more than a decade now, we’ve lived amid a highly specific form of activism, one that began with Occupy Wall Street, continued with the protests and riots that followed George Floyd’s murder in 2020, and evolved into the “autonomous zones” that protesters subsequently carved out of Seattle and Portland, Oregon. Some of the protests against prejudice and civil-liberties violations have been moving, even inspired. But in this style of activism, the anger often comes with an air of presumption—an implication that one cannot challenge, much less debate, the protesters’ writ.

[Michael Powell: The curious rise of ]settler colonialism and Turtle Island

Yesterday in front of Hamilton Hall—which protesters had renamed Hind’s Hall in honor of a 6-year-old girl who had been killed in Gaza—organizers of the Columbia demonstration called a press conference. But when reporters stepped forward to ask questions, they were met with stony stares and silence. At the liberated tent zone, minders—some of whom were sympathetic faculty members—kept out those seen as insufficiently sympathetic, and outright blocked reporters for Israeli outlets and Fox News.

All along, it has never been clear who speaks for the movement. Protesters claimed that those who took over Hamilton Hall were an “autonomous collective.” This elusiveness can all but neuter negotiations.

By 11 p.m., much of the work was done. The police had cleared Hamilton Hall and carted off protesters for booking. At 113th Street and Broadway, a mass of protesters, whose shouts echoed in the night, and a group of about 30 police officers peered at each other across metal barriers. One female protester harangued the cops—at least half of whom appeared to be Black, Asian-American, or Latino—by likening them to the Ku Klux Klan. Then the chants fired up again. “From the river to the sea, Palestine will be free.” There was a pause, as if protesters were searching for something more cutting. “Hey, hey, ho, ho, Zionism has got to go.”

As I left the area, I thought about how Rory Wilson responded earlier when I asked what life on campus has been like lately. The senior, who said he is Jewish on his mother’s side but not observant, had a  take that was not despairing. In polarized times, he told me, having so many Jewish and Israeli students living and attending class on a campus with Arab and Muslim students was a privilege. “Some have lost families and loved ones,” he said. “I understand their anger and suffering.”

After spending two days on the Columbia campuses during the protests, I was struck by how unusual that sentiment had become—how rarely I’d heard anyone talk of making an effort to understand the other. Maximal anger was all that lingered.

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A new abortion ban in Florida has providers scrambling—and pregnant women reassessing their options. But the law has implications well beyond the Sunshine State. More after these four new stories from The Atlantic:

Trump’s contempt knows no bounds. How Daniel Radcliffe outran Harry Potter Those who teach free speech need to practice it, Will Creeley argues. Are white women better now?

Losing an Access Point

After two years of reporting on abortion for The Atlantic, I’ve noticed that providers and clinic administrators are usually pretty eager to talk with me. They’re happy to help demystify their work, or to explain how they’re responding to new developments in the legal system.

Not this week. Over the past two days, when I’ve reached out to providers and clinic staff across Florida, almost none of them had time for an interview. They were far too busy, they told me via email or harried phone call, treating and triaging an overwhelming number of patients trying to obtain an abortion before tomorrow’s new six-week cutoff takes effect.

Florida clinics have plastered warnings about the new ban across their websites for a while now: By May 1, in accordance with state law, abortions after six weeks will be prohibited, with exceptions included for rape and incest (which, in practice, are not often granted). Until now, abortions under 15 weeks have been legal in Florida, and since the fall of Roe v. Wade, the state has served as a kind of haven for women seeking the procedure from nearby states with stricter laws. More than 9,000 people traveled to Florida to obtain an abortion in 2023, and the proportion of Florida abortions provided to out-of-state patients increased from 5 percent in 2020 to 11 percent in 2023, according to the Guttmacher Institute, a research organization focused on advancing reproductive rights.

Florida was “the beacon of access for all of the Southeast,” said Daniela Martins, who leads case management for the Women’s Emergency Network, a Florida-based abortion fund, and who called me in between working with two pregnant patients. In recent weeks, Florida providers have been working weekends and late nights to perform as many abortions for as many patients as possible before tonight’s midnight cutoff. “We’ve seen people elsewhere going without essential health care, bleeding in ERs, and we are fully aware that’s going to be Florida soon,” Martins said.

Until now, Martins’s job has involved helping women obtain abortions in Florida; for a typical patient, her organization will cover the cost of an abortion procedure (typically $600–700), as well as an Uber ride to the provider’s office. Now Florida patients seeking abortions will need to travel as far as Virginia; Maryland; Washington, D.C.; or New York for an abortion. North Carolina, although geographically closer to Florida, Martins said, requires a three-day waiting period in between appointments, and she doesn’t recommend that patients go there. On top of paying for an abortion procedure, Florida patients will now have to come up with money for airfare or gas, as well as a hotel; they’ll need to take time off work; and they might have to find someone to watch their kids for a few days. (Although, realistically, many women who might otherwise have obtained an abortion will not be financially or physically able to travel to have the procedure—which is, of course, the purpose of bans like these.) “It’s now going to cost three times more,” Martins said. “For every three people we could help before, now we can only help one.”

The Florida ban won’t just affect Floridians. Pregnant women who are seeking abortions all over the South no longer have Florida as an access point, which means that providers in abortion-friendly states, including Virginia, Illinois, and New York, will face a crush of new patients. Since the fall of Roe, many of these clinics have tried to anticipate this moment by moving to bigger clinics, hiring more staff, and expanding hours.

“We are expecting a huge influx of patients,” Karolina Ogorek, the administrative director of the Bristol Women’s Health clinic in southern Virginia on the border with North Carolina and Tennessee, told me. She’s hired a new nurse practitioner and set up contracts with two more physicians, expanded the clinic’s schedule to include Saturday and sometimes Sunday hours, and created a new landing page on their website to help out-of-state patients find financial support. She’s not anxious about the coming wave of patients because her clinic has faced a similar situation before, when South Carolina passed its own six-week abortion ban last year. “We are outraged,” Ogorek said. “But there is also a sense of calm. We say, ‘Okay, let’s do this again.’”

Florida’s abortion-rights advocates still have hope: A November ballot measure could, if it passes, protect abortion access in the state. And some Democrats, including the president, now view this fairly red state as a potentially winnable one for the first time in years; they’re hopeful that the issue will bring voters to the ballot box. “We’ve got staff on the ground; you’ve seen our investments begin to pop up in the state of Florida,” Joe Biden’s campaign communications director, Michael Tyler, told reporters last week. “It is one of many pathways that we have to 270 electoral votes, and we’re going to take it very, very seriously.”

But my Atlantic colleague Ron Brownstein doesn’t think a Biden victory in Florida seems especially likely, ballot measure or no. “The more likely scenario is that [Democrats] have to worry about Michigan, Pennsylvania, and Wisconsin,” he told me, and “that they don’t have money—or, more importantly, time—to really give much attention to Florida.”

Related:

A plan to outlaw abortion everywhere The abortion underground is preparing for the end of Roe v. Wade (From 2022)

Today’s News

The judge in Donald Trump’s hush-money criminal trial held the former president in contempt and fined him $9,000 for repeatedly violating a gag order. The judge also warned Trump that he could face jail time if he continues making attacks on jurors and witnesses. The DEA is planning to reclassify marijuana as a less dangerous drug, according to the Associated Press. The proposal would not legalize marijuana on the federal level for recreational use. Israeli Prime Minister Benjamin Netanyahu vowed to carry on with the planned offensive in Rafah, a city in southern Gaza, “with or without” a hostage deal with Hamas.

Evening Read

Illustration by The Atlantic. Source: Getty.

What I Wish Someone Had Told Me 30 Years Ago

By Jim VandeHei

In 1990, I was among the most unremarkable, underachieving, unimpressive 19-year-olds you could have stumbled across. Stoned more often than studying, I drank copious amounts of beer, smoked Camels, delivered pizza. My workouts consisted of dragging my ass out of bed and sprinting to class—usually late and unprepared …

Then I stumbled into a pair of passions: journalism and politics. Suddenly I had an intense interest in two new-to-me things that, for reasons I cannot fully explain, came naturally …

Thirty years later, I am running Axios, and fanatical about health and self-discipline. My marriage is strong. My kids and family seem to like me. I still enjoy beer, and tequila, and gin, and bourbon. But I feel that I have my act together more often than not—at least enough to write what I wish someone had written for me 30 years ago, a straightforward guide to tackling the challenges of life.

Read the full article.

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Stephanie Bai contributed to this newsletter.

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