(Roughly) Daily

From our friends at The Pudding— specifically, from Alvin Chang— a thorough (and illuminating and bracing) look at how the conditions in which our young are raised have everything to do with how their lives unfold…

In this story, we’ll follow hundreds of teenagers for the next 24 years, when they’ll be in their late-30s. They’re among the thousands of kids who are part of the National Longitudinal Survey of Youth. This means researchers have followed them since their teenage years to the present day – and beyond.

As Matt Muir observes in his invaluable Web Curios…

… Very North America-centric in terms of the data it’s drawing on, but wherever you are in the world the themes that it speaks to will apply – drawing on data about the life experiences of young people tracked by US statisticians….

As you scroll you see visual representations of the proportion of kids in each agegroup coterie who will experience ‘significant’ life events, from crime to poverty and beyond, and how those life events will go on to impact their academic prospects and, eventually, their life prospects – none of this should be surprising, but it’s a hugely-effective way of communicating the long-term impacts of relatively small differences in early-stage life across a demographic swathe…

Data visualization at its best and most compelling: “This Is a Teenager,” from @alv9n in @puddingviz via @Matt_Muir.

* David Bowie, “Changes”

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As we analyze adolescence, we might recall that it was on this date in 1961 that the Cleftones, a group of teens who had formed a vocal group a 3 years earlier in high school, released “Heart and Soul” (a rearrangement of the 1938 standard); it reached #18 on the pop chart and #10 on the R&B chart and was later used in the 1973 movie American Graffiti.

Then fifteen-year-old Duane Hitchings, who went on to win a Grammy award for his work on the Flashdance soundtrack in 1984, played keyboards on the track– his first professional gig. In an interview with Rock United, he recalls that the recording session was cut short when singer Pat Spann, who was dating drummer Panama Francis, was caught in a compromising position with the guitarist. “That ended the session. So the last track we recorded was the record.”