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The Healing Power of Massage

A new spa recently opened next door to the Mediander offices, and one day when my back was killing me I decided my pain warranted a little pampering. Twenty minutes later, my aches were healed and my mind was a warm soup of happy relaxation. The experience got me thinking—instead of viewing massage as a luxury, what if we thought of it as a regular item on the self-care checklist? Inspired, I turned to two childhood friends who grew up to become massage therapists: Alicia Cramm practices in Boulder, Colorado, and Trista Carlson, based in Iowa City, Iowa, specializes in shiatsu. Both were kind enough to open up about the healing power of massage. Why did you decide to study massage? Trista: I love helping people and I think if we can lend a hand to ease another’s suffering, we should. I was blessed with large, warm hands and an open, friendly personality, so maybe this is why people trust me to touch them. Alicia: I was in a bicycle accident that resulted in a broken collarbone. The doctor told me there was nothing that could be done for me medically and I would have to wear a brace, take pain medication and rest for a month or until the pain subsided. A couple months later, my mother-in-law took us for massages. I explained to the therapist that I’d broken my collarbone and that she should avoid my left shoulder. She said that with careful attention, she might be able to free up the muscles frozen from disuse. I came out of that massage with a miraculous amount of mobility in my left arm and shoulder, and was absolutely baffled that my doctor hadn’t recommended massage therapy in the first place. What are some of the health benefits of massage? Alicia: Massage has preventative and post-traumatic benefits both physically and emotionally. It speeds up recovery time, helps eliminate toxins, eases chronic aches and pains, decreases edema, increases circulation and can help the body regenerate healthy cells. Massage can also release pent-up emotions, which reduces stress. Trista: Massage puts people in a balanced state, boosting the body’s ability to recover from injury. Shiatsu in particular activates the body’s healing systems—people sleep better, heal faster and ache less after receiving treatment. Are there any drawbacks to massage? Alicia: In my opinion, there are no negative effects of massage as long as therapists know what they’re doing. How should a person choose a massage therapist? Alicia: Make sure to find someone who really listens to your needs. Get specific with what you’re looking for and see if they respond. This may take some shopping around, but once you find a therapist you like, you’ll know it. Ask around—a good referral can go a long way. What do you think stands in the way of people getting regular massages? Trista: It’s hard to prioritize our health. It’s hard to make time for ourselves. Most people consider themselves independently capable of maintaining their health, so they don’t seek assistance. But after they start getting massaged regularly, they feel more energy and have more to offer their work and their family. Alicia: A lot of people see massage as a way to pamper themselves and don’t fully understand the healing benefits. If you’re recovering from injury or trauma, one massage could certainly help, but it’ll most likely take a number of sessions to get to the root issue. That said, the going rate is around a dollar a minute, so not everyone can afford routine massage. How often do you recommend people get massaged? Alicia: I would recommend massage at least once a month for healthy, fully functioning individuals. It’s truly a preventative health measure: You’re investing in your future health and well-being. Trista: I recommend people get treated on a monthly basis to maintain health and twice in a week after any injury so we can get them back to wellness faster. What’s the etiquette for talking during a session? Alicia: I leave that up to each individual client. Some people like to share what’s going on in their lives as a way to vent and relax. Other people prefer to silently soak it all in. Many people fall asleep during a session, and I think it’s wonderful they feel comfortable enough with me to doze off on the table. Personally, I find I’m best able to get into the zone without chitchat. And I never want people to feel like they need to carry on a conversation out of politeness. Trista: Massage therapists are trained to remain silent during sessions unless we’re spoken to or have a question about the treatment. My clients and I usually speak more during the first session to orient ourselves, and after that we have a lot more quiet time. Some rules of thumb: If you have a scar you don’t want touched, an area where you’re ticklish or any new injuries or aches, share this with your therapist beforehand. Feel free to tell your therapist if the pressure is okay or if you’d prefer more or less. A good therapist will analyze how much you need and where, so generally you won’t have to say much once you’ve found your practitioner. Is there anything else people should know? Alicia: It’s very important to drink plenty of water after getting a massage to help the body flush out any toxins that have been released. Otherwise, it could result in achiness and nausea. Also, communication with your therapist is crucial. If you have an important meeting following a session, you’ll probably want an invigorating massage that won’t leave you feeling lethargic afterward. If you’re feeling stressed and haven’t been sleeping very well, you may want a massage that encourages deep relaxation. That really is the wonder of massage—it can meet your individual needs at any given time. Spa Week begins today. Photo courtesy of Flickr CONNECTS_massage

by Emily Burns Morgan

Oct 20, 2014

Baseball Nostalgia Ain’t What It Used to Be

Kids today, they just don’t reminisce about baseball the way they used to. In my day, you walked to school wearing nothing but vague, sentimental longing for baseball’s golden age—both ways! Ah, nostalgia was so much purer then, and simpler. Don’t you just miss that old-time baseball nostalgia? Case in point: Derek Jeter. This past season, the media machine known as Major League Baseball gave the retiring Yankee shortstop the most hyped farewell tour in baseball history, showering him with adulation, gifts, speeches and ovations everywhere he went. And that’s nothing compared with the wardrobe stunt the Yankees pulled. For the last month of the regular season, the New York club adorned their shirts and caps with commemorative Derek Jeter tribute patches (Jeter was adorned, too). This practice is usually reserved for—let’s put it in euphemistic baseball terms—inactive players: Lou Gehrig, Jackie Robinson, Earl Weaver, Stan Musial and others who have bit the ballpark dust. Keith Olbermann called it “creepier than hell,” and rightly so. Why the premature eulogizing? This nostalgia for still-active players was designed to make fans forget about the steroid era. As revelations about performance-enhancing drugs rolled out by the rosterful in the late 1990s and early 2000s, Major League Baseball began force-feeding fans a synthetic nostalgia for the clean players still in the game. One of these planned legends was Jeter. Another was Mariano Rivera. A third, at one time, was Alex Rodriguez. (We know how that turned out.) With a conspicuous lack of modern-era reps in baseball’s sacred pantheon, Jeter’s lionization was amplified, expedited and in many ways contrived. Not to say he didn’t deserve the tributes and ovations bestowed upon him. You just have to see it for what it is: exploitation of an aging star. Jeter means more to baseball in monument than in the lineup. Why, I still remember those good old days when we would allow a player to put a period at the end of his career, even let a suspenseful ellipsis build up, before rapturing him up to baseball heaven. Let’s take a brief look at the history of baseball nostalgia. Baseball was hardly out of the womb when, in 1856, a journalist for the New York Mercury first called it America’s “national pastime.” Soon, the idea that baseball had a simple and pure past seeped into the nation’s collective subconscious. In 1868 a sentimental and possibly confused fan grumbled, “Somehow or other they don’t play ball now as they used to…with the same kinds of feeling or for the same object.” By 1915 the groan had become, “The sordid element of baseball as a business has cast a shadow over the sport. Players make too much money and become spoiled.” Lawrence Ritter hit the ball on the screws when he wrote, “The strongest thing that baseball has going for it today are its yesterdays.” And he said that half a century ago. Is this intense nostalgia specific to baseball? Sure it is. Baseball is part of American folklore, the only sport whose ultimate purpose is to remind us of our past. By contrast, basketball and football are forward-looking sports geared toward the next generation of superstars—hence ESPN’s coverage of college games and live coverage of both drafts. (Who follows college baseball?) When commentators invoke yesterday’s NBA and NFL greats, it’s usually for purpose of comparison: “I’m telling you, this kid’s the next Jordan!” No one dares proclaim the nextRuth or Gehrig—that would be like proclaiming the next God. Baseball’s past is behind glass: Look but don’t touch. Nostalgia is part of our national psyche and selective memory. The essence of every generation is to idealize the past—the MLB and its media machinery just help it along. You watch, A-Rod’s reinstatement next season will be spun out as a classic redemption tale, the prodigal son returning, now chastened and wise. The game itself, which has always been there, is secondary. America’s pastime isn’t baseball; it’s nostalgia. And I miss the way it used to be. Photo courtesy of Flickr CULTUREMAP_Birth-of-Baseball

by Gabriel Rosenberg

Oct 17, 2014

Taxicab Confessionals

With one yellow taxi for every 600 New Yorkers, hailing a cab can sometimes feel like a deltoid-building exercise in futility. Should you land one, however, do as these characters do and put your cabbie-passenger confidentiality to good use. Here are five classic scenes in which the taxi is used for its true and ultimate purpose: urban confessional. 1. Johnny Friendly controls the waterfront with an iron fist. Charley “The Gent” Malloy is Friendly’s right-hand man. And Charley’s brother, Terry Malloy, uses a combination of left and right hooks to put money in their pockets. Marlon Brando won an Academy Award for his role as Terry, a washed-up pugilist, in On the Waterfront (1954), and his speech in the back of a taxi is one of cinema’s finest moments. 2. Ever respectful of his filmic forebears, Quentin Tarantino paid homage to Brando’s boxer-in-the-backseat scene in his 1994 cult classic Pulp Fiction. Only in a Tarantino movie would a sexy Colombian cabbie pick up a half-naked heavyweight in the middle of the night and ask him, with film-noir nonchalance, what it feels like to beat a man to death. This browbeater is no Malloy: He’s a real contender. 3. There are disturbed taxi drivers and there are disturbed taxi passengers, and the twain often meet in New York City. Director Martin Scorsese plays a mentally unhinged passenger on a midnight prowl to catch his adulterous wife in the act, while cabdriver Travis Bickle (Robert De Niro), himself more than a bit unhinged, bears it silently in Taxi Driver (1976). 4. Jeff “The Dude” Lebowski, who’s already had a really rough day, man, picks the wrong taxi in which to confess his distaste for a certain 1970s band. Dude, take it easy. 5. The classic final scene in Breakfast at Tiffany’s (1961) may be the only rival to Brando’s Waterfront speech, at least as far as telling someone off in a taxi goes. Paul (George Peppard) puts the young socialite, Holly Golightly (Audrey Hepburn), in her place, which is right where she was when the movie started: alone in a taxi. Bonus: Not a taxicab confession in the strictest sense, but this scene does open the door to the protagonist’s major self-realization. Is there a flat rate for a trip down Memory Lane? Photo courtesy of Flickr CONNECTS_Taxi-Driver

by Mediander Staff

Oct 16, 2014

Binge-Watching at the Cinema: The New York Film Festival

Over the past two weeks, my life has revolved around the 52nd annual New York Film Festival. By the time it closed I’d seen 15 films, and with each movie I became more impressed by the selection committee’s refusal to play it safe. Below are my six favorites—films that cover everything from Olympic wrestling champions to teenage heroin use.     Birdman _AF_6405.CR2 Photo courtesy of Fox Searchlight Pictures Batman, Beetlejuice, Birdman—Michael Keaton is back. In Alejandro Iñárritu’s new film Birdman or The Unexpected Virtue of Ignorance, Keaton plays a washed-up superhero actor who, wanting to feel relevant again, decides to adapt Raymond Carver’s short story “What We Talk About When We Talk About Love” for Broadway. The camera circles around the St. James Theatre in Times Square, following the cast without ever appearing to cut. Edward Norton, Naomi Watts, Zach Galifianakis and Emma Stone all swoop in and out as the film leads us down hallways, into dressing rooms and out onto the stage. Iñárritu’s surreal imagery will make you feel like you’re hovering in a dreamworld, but Birdman’s acidic wit and pointed social commentary are bracing enough that you’ll never want to wake up.   Whiplash Whiplash Photo by Daniel McFadden, courtesy of Sony Pictures Classics Damien Chazelle’s Whiplash is an intense look at the relationship between Andrew (Miles Teller), a student who wants to be the next great jazz drummer, and his teacher Fletcher (J.K. Simmons), who believes that “there are no two words in the English language more harmful than good job.” Fletcher terrorizes his students to the point that they break. Everything about the movie is brutal and brilliant, from its cinematography to the score. But let’s not forget Miles Teller (Divergent), who gives the best performance of his career—and maybe even of the year. And yes, that’s really him playing the drums.   Heaven Knows What HeavenKnowsWhat Photo courtesy of Iconoclast/Elara Pictures Josh Safdie met Arielle Holmes in a New York City subway station while researching a potential film about the Diamond District, a film that was never made. Not only was the 19-year-old Holmes homeless and addicted to heroin at the time, she was in a dangerous relationship with a guy named Ilya, who a few weeks later forced her to attempt suicide. After Holmes recovered, Josh and his brother Benny Safdie commissioned her to write about living on the streets as a kid. Heaven Knows What is based on the resulting novel (Mad Love in New York City, yet to be published), with Holmes playing herself opposite Caleb Landry Jones (one of the few professional actors in the film) as the chilling Ilya. Interestingly, the Safdies shot all the street scenes a few blocks from the action with their cameras zoomed in and the film equipment tucked out of sight, a technique that adds another layer of authenticity by compelling unwitting pedestrians and real-time cars to flow around the actors.   Eden Eden Photo courtesy of New York Film Festival Mia Hansen-Løve’s new film, Eden, vibrantly depicts France’s rave scene in the 1990s. Based on the life of her brother and co-writer, Sven (Félix de Givry), the movie captures the dawn of house music in underground clubs and travels through time to the current state of the genre. The score includes songs by house legends such as Frankie Knuckles and Daft Punk—portrayed in the film decades before they won Grammys, of course.   Foxcatcher FOXCATCHER Photo by Scott Garfield, courtesy of Sony Pictures Classics Foxcatcher is based on real-life Olympic gold medal–winning wrestler Mark Schultz. After being recruited by millionaire John du Pont, Schultz and his brother Dave (also an Olympic champion) pack up their lives and move to Foxcatcher Farm, on du Pont’s estate, to run a training facility and create a national wrestling team. Director Bennett Miller does a virtuoso job creating an unsettling mood: You know something is about to go horribly wrong, but you can’t figure out how or why until the end. Even then, it’s worse than you think. Channing Tatum, Mark Ruffalo and the unrecognizable Steve Carell carry this film with career-changing performances.   Two Days, One Night TwoDaysOneNight Photo courtesy of New York Film Festival On paper, Two Days, One Night, directed by Jean-Pierre Dardenne and Luc Dardenne, sounds none too intriguing. It tells the story of Sandra, a factory worker who has recently taken a leave of absence due to illness. Upon her return, she learns that her boss has eliminated her position and, using her paycheck, offered bonuses to the remaining employees. Ultimately her coworkers must decide whether or not she’s let go, by way of a secret ballot. Thus Sandra, played by the always emotive Marion Cotillard, is left with no choice but to go door-to-door and beg for their vote to keep her job, resulting in the loss of their bonuses. Cotillard’s performance will keep you riveted for 95 minutes and have you spending the entire next day wondering what you’d do in her coworkers’ shoes. Feature photo courtesy of Fox Searchlight Pictures CONNECTS_NYFF

by Stephanie Adams

Oct 15, 2014