The New Yorker Radio Hour

Kirk Douglas, the guitarist for the Roots, plays anything and everything as part of the “Tonight Show” band, so David Remnick put him to the test on some holiday classics.  Roz Chast rings a bell to collect pennies for a good cause: saving the globe from destruction by asteroid. And a religion scholar who just translated the New Testament from the original Greek explains why we’ve been getting the book wrong all these years.    New Yorker Radio Hour listeners, we want to hear from you.  We have a few questions about the show and how you listen to it. The survey takes about twenty minutes, and your feedback will help us make our podcast better.  Take the survey here.

The New Yorker staff writers Jia Tolentino, Doreen St. Félix, and Alexandra Schwartz all cover the culture beat from different angles. They talk with David Remnick about the emblematic pop-culture phenomena of 2018 that tell us where we were this year: how “Queer Eye” tried to fix masculinity, and how that spoke to women in the #MeToo era; whether “Black Panther” and “Crazy Rich Asians” will mark a turning point in the representation of nonwhite people in film; and how, as Tolentino says, “A Star Is Born” was r“arguably the only event of the year that brought America together.” New Yorker Radio Hour listeners, we want to hear from you.  We have a few questions about the show and how you listen to it. The survey takes about twenty minutes, and your feedback will help us make our podcast better.  Take the survey here.

In December of 2015, a video appeared on the Internet that stunned surfers worldwide. Titled “Kelly’s Wave,” it showed Kelly Slater—arguably the best pro surfer in history—unveiling a secret project he had been working on for more than a decade. With the help of engineers and designers, Slater had perfected the first artificial wave, created by machine in a pool, that could rival the best waves found in the ocean. “One could spend years and years surfing in the ocean,” notes staff writer William Finnegan, himself a lifelong surfer, “and never get a wave as good as what some people are getting here today. Ever.”   Finnegan went to visit the Kelly Slater Wave Company’s Surf Ranch—a facility in California’s Central Valley, far from the coast—to observe a competition and test the wave for himself. Up until now, surfing was defined by its lack of predictability: chasing waves around the world and dealing with disappointment when they do not appear has been integral to the life of a surfer. But with a mechanically produced, infinitely repeatable, world-class wave, surfing can become like any other sport. The professional World Surf League, which has bought a controlling interest in Slater’s company, sees a bright future. But Finnegan wonders what it means to take surfing out of nature. Will kids master riding artificial waves without even learning to swim in the ocean? Finnegan spoke with Kelly Slater, Stephanie Gilmore (the Australian seven-time world champion), and Matt Warshaw (the closest thing surfing has to an official historian). Warshaw, like Finnegan, is skeptical about the advent of mechanical waves. Yet he admits that, when he had the chance to ride it, he didn’t ever want to stop. “It reminded me of 1986,” Warshaw recalls. “The drugs have run out, you already hate yourself—how do we get more?” William Finnegan’s article “Kelly Slater’s Shock Wave” appeared this month in The New Yorker. New Yorker Radio Hour listeners, we want to hear from you.  We have a few questions about the show and how you listen to it. The survey takes about twenty minutes, and your feedback will help us make our podcast better.  Take the survey here.

As he set about adapting “To Kill a Mockingbird” for the stage—the play opened this week on Broadway—Aaron Sorkin first wrote a version that he says was very much like the novel, but “with stage directions.” As he delved into the character of Atticus Finch, though, he found himself troubled. The small-town lawyer is tolerant, but too tolerant, tolerant of everything, including the violent racism of many of his neighbors—which he attempts to understand rather than condemn. And Sorkin felt that Lee’s two black characters, the maid Calpurnia and the falsely accused Tom Robinson, had no real voice in the book. “I imagine that, in 1960, using African-American characters as atmosphere is the kind of thing that would go unnoticed by white people,” he tells David Remnick. “In 2018, it doesn’t go unnoticed, and it’s wrong, and it’s also a wasted opportunity.”   Sorkin’s changes in his adaptation led to a lawsuit from Harper Lee’s literary executor, who had approved him as the playwright but placed specific conditions on the faithfulness of his script. In Sorkin’s view, the criticisms of the executor, Tonja Carter, were tantamount to racism. He thinks they reinforced the lack of voice and agency of black people in the South in the nineteen-thirties. (Carter declined to comment on Sorkin’s remarks.) The two sides eventually reached a settlement, in May, and the play proceeded to production. Sorkin says that, of his own volition, he cut some of his lines that hinted too broadly at the political realities of America under Donald Trump. But Atticus Finch’s realization—that the people in his community whom he thought he knew best, he never really knew at all—mirrors the experience of many Americans since 2016. Plus, a Minnesota senator on running as a Democrat in the age of Trump.   New Yorker Radio Hour listeners, we want to hear from you.  We have a few questions about the show and how you listen to it. The survey takes about twenty minutes, and your feedback will help us make our podcast better.  Take the survey here.

For the past twenty-five years, since she was a young teen-ager, the singer Robyn has been on the cutting edge of pop music. Her sound is sparse and complex, influenced by electro and dance music while preserving the catchiness of pop. After a brief stint with Max Martin early in her career, Robyn has avoided the big hit-making producers who put their stamp on an artist. Instead she’s produced, written, and performed all her own work, becoming a kind of oxymoron: an indie pop star.   “Body Talk,” Robyn’s previous album, came out in 2010, and, for many of the years that followed, Robyn has been out of the public eye. Following a breakup and a close friend’s death, she slipped into a depression serious enough that she had trouble getting out of bed and leaving her house. She eventually started recording again and recently released an album called “Honey.” (The New Yorker’s Jia Tolentino wrote,“the force of her conviction continues to hold together what often seems impossible, musically or otherwise: maximum sadness, felt as the bedrock of absolute joy.”) Robyn, who lives in her native Sweden, spoke with David Remnick about the many years of difficulties that went into making “Honey.” Plus, the pop-music critic Amanda Petrusich picks three favorites for 2018, and the fight director B. H. Barry gives a lesson in brutal mayhem with music. New Yorker Radio Hour listeners, we want to hear from you.  We have a few questions about the show and how you listen to it. The survey takes about twenty minutes, and your feedback will help us make our podcast better.  Take the survey here.

One of the hot trends in the food world is one of the oldest: fermentation. No longer just for beer and sauerkraut, fermentation—which Helen Rosner calls “bacteria engaging with your food”—is the subject of cookbooks, and the specialty of destination restaurants like Noma, in Copenhagen, which has been called the world’s best restaurant for several years. René Redzepi, the chef at Noma, and David Zilber, the director of its fermentation lab, visited Rosner’s home kitchen to give her a lesson. A couple of weeks later, after the microbes had done their work, she brought some highly unusual fermented snacks to share with David Remnick. Plus, Dexter Filkins traces the rise to power of the Saudi crown prince, Mohammed bin Salman. Long before the international furor over the murder of the journalist Jamal Khashoggi—back when bin Salman was still being hailed as a reformer—Filkins says that he eliminated political opponents, cracked down on the press, extorted other wealthy royals, and arrested human-rights activists. New Yorker Radio Hour listeners, we want to hear from you.  We have a few questions about the show and how you listen to it. The survey takes about twenty minutes, and your feedback will help us make our podcast better.  Take the survey here.

In the November midterm elections, Stacey Abrams, a gubernatorial candidate in Georgia, arrived at her polling place to cast a vote for herself, only to have a poll worker claim that she had already filed for an absentee ballot. Carol Anderson’s book “One Person, No Vote” explores how measures designed to purge voters rolls or limit voting have targeted Democratic and particularly minority voters. Anderson sees voter-identification laws and a wide range of bureaucratic snafus as successors to the more blatantly racist measures that existed before the Voting Rights Act; she describes the resurgence of voter suppression as an expression of white rage. “It is not what we think of in terms of Charlottesville and the tiki torches,” she tells David Remnick. “It's the kind of methodical, systematic, bureaucratic power that undermines African-Americans’ advances." White Americans, she says, see themselves as trapped in a kind of “zero sum” situation, in which all advances for people of color must come at whites’ expense. Plus, the staff writer Jon Lee Anderson journeys up the Madre de Dios River in the Peruvian Amazon to observe as the Mashco Piro—one of the few remaining uncontacted indigenous tribes—begin a fraught, possibly fatal engagement with the outside world. New Yorker Radio Hour listeners, we want to hear from you.  We have a few questions about the show and how you listen to it. The survey takes about twenty minutes, and your feedback will help us make our podcast better.  Take the survey here.

Appearing at the New Yorker Festival, in conversation with Michael Schulman , Bridget Everett brought her dog onstage. It was unconventional, but no more so than anything else she does. Vulgar, badly behaved, and entirely comfortable with herself, Everett’s persona as a cabaret performer whips audiences into a frenzy at the legendary Joe’s Pub, in New York. That cult following led to parts on the television shows “Inside Amy Schumer”, “Lady Dynamite,” and “Girls,” and in the movie “Trainwreck.” But Everett found a new depth in last year’s “Patti Cake$,” as the barfly mother of the movie’s title character, who is a young, overweight white woman aspiring to be a rapper. Everett’s character, Barb, is a failed singer who mocks her daughter’s musical career. “I get the urge to want to tear somebody down even when you love them, because you don’t want them to slip away, or you don’t want them to have something you never had,” she said. “If I was still in Kansas and I wasn’t singing, and I wasn’t doing what I want to do, that’s exactly who I would be. And I would be that drunk and I would be at that bar, hopefully not with those nails, but I would be that person.” *This episode contains explicit language. New Yorker Radio Hour listeners, we want to hear from you.  We have a few questions about the show and how you listen to it. The survey takes about twenty minutes, and your feedback will help us make our podcast better.  Take the survey here.

As a young boy, Jim Carrey got in trouble for staring in the mirror. He didn’t do it because he was vain; he was practicing the comic skills that made him one of the great impressionists of our time, a man whose face seems to be made of some pliable alien material. Yet that malleable face is as capable of portraying deep and complex emotion as it is of making us laugh. As a result, Carrey’s career has been one reinvention after another. These days, he’s been lighting up Twitter as a political cartoonist—his way of drawing Donald Trump is particularly grotesque—and starring in the television series “Kidding.” He plays a children’s entertainer, in the mold of Mr. Rogers, who is struggling with the death of his own son. Carrey sat down with Colin Stokes at the New Yorker Festival in October, 2018. He spoke about his reverence for Fred Rogers and the inspiration he takes from Eastern philosophy. “I don’t exist,” Carrey says. “There’s no separation between you and me at all . . . I know I’m sounding really crazy right now, but it’s really true.” New Yorker Radio Hour listeners, we want to hear from you.  We have a few questions about the show and how you listen to it. The survey takes about twenty minutes, and your feedback will help us make our podcast better.  Take the survey here.

Last year, the Mexican government finally agreed to extradite the notorious drug kingpin El Chapo to the U.S. Born Joaquín Guzmán Loera, he was once ranked by Forbes as one of the most powerful people in the world. His trial began in New York, on November 5th, and Guzmán faces seventeen counts related to drugs and firearms; prosecutors have said that they will also tie him to more than thirty murders. The government’s star witnesses against the notoriously elusive drug lord are identical twins from Chicago, Pedro and Margarito Flores. While still in their twenties, the Flores brothers became major drug traffickers, importing enormous quantities of drugs from the Sinaloa cartel. They avoided violence and feuds with rivals, but eventually got caught in the middle of a cartel war. It was a dangerous position, and the only way out was to seek government protection. The Flores brothers flipped; they began working secretly for prosecutors—recording their business calls with Guzmán and others—in exchange for leniency in their own trials. Tom Shakeshaft, the former Assistant U.S. Attorney who flipped them, tells The New Yorker’s Patrick Radden Keefe how it all went down. New Yorker Radio Hour listeners, we want to hear from you.  We have a few questions about the show and how you listen to it. The survey takes about twenty minutes, and your feedback will help us make our podcast better.  Take the survey here.