For all our talk about food, we don't like to think much about it after we put it in our mouths. But Mary Roach — whose latest book is Gulp: Adventures on the Alimentary Canal — did just that. Gulp takes a close look at the human digestive system, from the mouth on down, and Roach writes that she wants readers to say not, "This is gross," but instead, "I thought this would be gross, but it's really interesting. OK, and maybe a little gross."
Fresh Air Weekend highlights some of the best interviews and reviews from past weeks, and new program elements specially paced for weekends. Our weekend show emphasizes interviews with writers, filmmakers, actors and musicians, and often includes excerpts from live in-studio concerts. This week:
Awhile back, I went to the Los Angeles County Museum of Art to see its show on filmmaker Stanley Kubrick. It was jammed with visitors poring over his letters, eyeing the dresses worn by the spooky twins in The Shining, and posing for photos in front of the sexy-futuristic decor of the Korova Milk Bar from A Clockwork Orange.
Frank Langella, who earned an Oscar nomination for his portrayal of Richard Nixon in Frost/Nixon, stars in the film Robot & Frank, about an aging ex-burglar. He says he was drawn to the unsentimental role.
Credit Samuel Goldwyn Films and Stage 6 Films
In Robot & Frank, a robot cares for an aging ex-burglar who has dementia. Frank Langella, who plays the burglar, says his character "becomes fond of the robot only because it is a tool for his wicked, wicked ways."
Emmylou Harris' first solo album, "Pieces of the Sky," was released in 1975 after the death of her singing partner, Gram Parsons. The opening track on the album is a song called "Bluebird Wine," by a then-unknown songwriter named Rodney Crowell. She recorded two more of his songs on her next album, got him to join her band in the mid-'70s and now, after an almost 40-year friendship, the two musicians have recorded an album together called Old Yellow Moon. The two talk with Terry Gross about their long, enduring careers, their friendship, their influences and singing harmony.
Jonathan Dee likes to write about rich, good-looking people falling apart — and who among the 99 percent of us can't enjoy that plot? In The Privileges, the dad of the family was a Wall Street trader, tempted by existential boredom into larceny; in A Thousand Pardons, the dad of the family is a partner in a New York law firm, tempted by existential boredom into a disastrous workplace affair.
On Monday evening on MSNBC, All In with Chris Hayes will premiere, making the 34-year-old the youngest prime-time anchor on any of the major cable news channels. For the past 18 months, he has hosted an early morning weekend show — Up with Chris Hayes — on MSNBC, but he's already a familiar face to MSNBC evening viewers: He has frequently filled in for Rachel Maddow and has been a popular guest on her show.
During the debate over whether to invade Iraq, or whether to stay in Afghanistan, many people looked back to World War II, describing it as a good and just war — a war the U.S. knew it had to fight. In reality, it wasn't that simple. When Britain and France went to war with Germany in 1939, Americans were divided about offering military aid, and the debate over the U.S. joining the war was even more heated. It wasn't until two years later, when the Japanese bombed Pearl Harbor and Germany declared war against the U.S., that Americans officially entered the conflict.
Anthony Lewis, the New York Times columnist and reporter who covered the Supreme Court in the late 1950s and early 1960s, died Monday. Fresh Air remembers him by listening back to a 1991 interview in which Lewis talks about the responsibilities of a columnist and the importance of a correctly-spelled name.
As a film critic for The Boston Globe, Ty Burr has met a lot of movie stars and is often asked what they're really like. What he has realized is that often, the actor's image has little to do with their actual personality, but that's not what interests him; Burr is more curious about why we ask that question to begin with. Burr wants to know "why we respond to these people who we think are larger than life [and] that are — especially in the classic days — manufactured and all their irregularities sanded off and presented to us as some kind of perfection."