Carole King initially found it extremely difficult to navigate the social hierarchies of high school. The Grammy Award-winning songwriter was a few years younger than her fellow classmates and was often dismissed as being "cute."
"And it was like, no, I don't want to be cute, I want to be beautiful and smart," she tells Fresh Air's Terry Gross. "And that wasn't happening, and then I connected through music. So music became a way of identifying my particular niche. How lucky for me."
The warmth and vigor of Bonnie Raitt's voice throughout her new album Slipstream, even when she's covering an oldie such as Gerry Rafferty's "Right Down the Line," is vital and fresh — urgent, even. Raitt has always possessed a gift for taking a familiar phrase and rendering it in a manner that compels a listener to think anew about what the words really mean.
Most pitchers in the majors stick to fastballs, curveballs, sliders and change-ups when facing batters at the plate.
But not New York Mets right-hander R.A. Dickey. Dickey is currently the only knuckleball pitcher in a current rotation. At 37, he's also one of the older pitchers in the league and has seen his career — and life — mimic the erratic trajectory of the difficult pitch he throws game after game.
Originally published on Mon April 9, 2012 11:00 am
While attending services and small group meetings at The Vineyard, an evangelical church with 600 branches across the country, anthropologist T.M. Luhrmann noticed that several members of the congregation said God had repeatedly spoken to them and that they had heard what God wanted them to do.
In When God Talks Back, which is based on an anthropological study she did at The Vineyard, Luhrmann examines the personal relationships people developed with God and explores how those relationships were cemented through the practice of prayer.
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:
Brad Ausmus has spent most of his career in a squatting position. As a major league catcher, he crouched behind home plate for roughly seven months a year while playing with the San Diego Padres, the Detroit Tigers, the Houston Astros and the Los Angeles Dodgers.
Some years back, I was driving across the South with a German friend, leaving early Sunday morning from Athens, Ga., and heading to Louisiana. I turned on the radio and found a black church service in progress, and a woman with a remarkable voice singing. "Who's that?" my friend asked. I told him I had no idea. "But with a voice like that, she must be famous," he said. Some miles down the road, when the station had faded out, he still didn't believe me.
Terence Davies' films aim for and often achieve a state of music, the camerawork in harmony with the soundtrack, the images connected by emotion rather than narrative.
Adapting Terence Rattigan's 1952 play The Deep Blue Sea, he throws out the drama's tidy structure and much of the dialogue, and shows the events through the eyes of the adulterous Lady Hester Collyer, played by Rachel Weisz.
Lionel Shriver's new novel, called The New Republic, is actually an old manuscript with a star-crossed history. As Shriver explains in a prefatory note, this satire on (among other things) terrorism was finished in 1998, but, back then, publishers weren't interested. That was five years before Shriver's break-through novel, We Need to Talk About Kevin. Then, Sept. 11 happened: sincerity was in; irony was out. Publishers wouldn't touch this story that offered an ironic take on violent extremism.
The callow croon over a pulsating beat, the massed harmonies in the chorus, the lyrics about partying that name-check Katy Perry and include a wistful wish for a nameless girl to kiss the singer — this is boy-band music at its newest and its most timeless. The five young guys who comprise One Direction are single-minded.