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:
When he was 16, James Burton was inventing the American guitar. He'd been born in Dubberly, La., in 1939, and was apparently self-taught on his instrument. At 15, he cut a single backing local singer Carol Williams, and then one day he came up with a guitar riff that he liked. He took it to a singer from Shreveport he was touring with, and they worked out a song to use in his act. One thing led to another, and it wound up on a record called "Suzie Q," credited to Dale Hawkins, the singer.
Many people are rapturous over the work of Wes Anderson, and for them, I expect, Moonrise Kingdom will be nirvana. The frames are quasi-symmetrical: a strong center, often human, with misaligned objects on each side suggesting a universe that's slightly out of balance, like a series of discombobulated dollhouses.
This interview was originally broadcast on August 25, 2011. The Leftovers is now available in paperback.
Last year, California-based preacher Harold Camping announced that the beginning of the end of the world would take place on May 21, 2011. The date passed by with no apparent rapture, and Camping became the butt of many late-night talk show jokes.
After hearing a lot about barefoot running, New York Times Phys Ed columnist Gretchen Reynolds decided to try it out for herself. An amateur runner for several decades, Reynolds says she thought the transition would be easy. But almost immediately, she got injured.
Jeremy Denk has recently written for <a href="http://www.newyorker.com/reporting/2012/02/06/120206fa_fact_denk"><em>The New Yorker</em></a> and <em><a href="http://www.nytimes.com/2012/04/15/books/review/the-great-animal-orchestra-by-bernie-krause.html?_r=2&adxnnl=1&pagewanted=all&adxnnlx=1337778055-USiY+mXCAcDwaHTUn+NOVA">The New York Times</a> Book Review.</em>
Whenever I think about Christopher Tilghman's writing — and I have many times since his atmospheric novel, Mason's Retreat, came out more than 15 years ago — I think of critic John Leonard. John, among many other distinctions, was my predecessor as book critic for Fresh Air and, every once in a while before his death in 2008, we'd have occasion to talk or exchange e-mails about books. I remember John sending me a note in 1996, in which he mentioned Mason's Retreat and said of Tilghman, "He's the real deal."