Peter Conrad studied in Englad on a Rhodes scholarship, but grew up in Tasmania -- an island once used as an Australian penal colony. His new memoir, about his return to his home country, is called Behind the Mountain.
Critic and composer Gunther Schuller's new book, The Swing Era, examines the history of big band music. Though he is already a jazz enthusiast, Schuller says he researched his book as if he had no prior knowledge of the genre, hoping to craft a more comprehensive and objective account of that its development.
Classical music critic Lloyd Schwartz reviews a new recording of the Estonian composer's version of the Passion of St. John. He says that its simplicity reveals surprises, and that, even at 70 minutes, the piece never grows tiresome.
William and Jane Tubman are American scholars of the Soviet Union's politics and literature, respectively. Their new book, Moscow Spring, documents their six months in the country during the reforms of Perestroika and Glasnost under the Gorbachev administration.
Lovett plays country music, but he's heavily influenced by rock and roll and jazz. His newest album, Lyle Lovett and His Large Band, takes its cue from the big band era.
Many listeners aren't familiar with the New Orleans pianist Professor Longhair, but his songs have had a profound influence on the current generation of Louisiana musicians. Rock historian has this profile.
John Irving began his career writing short books that were critically-acclaimed but commercially unsuccessful. His more sprawling novels, beginning with The World According to Garp, proved to be more popular. Book critic John Leonard reviews Irving's latest, A Prayer for Owen Meany, which he says is fatalistic, religious, and unexpectedly funny.
The 1960 broadcast of the musical, starring Mary Martin in the titular role, returns to television. TV critic David Bianculli says, watching it again, he clapped right along with his two young children.
Jazz critic Kevin Whitehead says a new album by Connie Crothers and the Lennie Popkin Quartet features predictable, snaking melodies, but, like their mentor Lennie Tristano, they keep up the intensity beneath their cool exterior.
Award-winning book reviewer Jonathan Yardley has recently published a memoir called Our Kind of People, about his family, his parents' marriage, and WASP culture. He says that, at the age of 47, he was finally able to see his mother and father as people -- not just his parents. He joins Fresh Air to talk about his book, as well as his work as a critic.
Part 2 of the Fresh Air interview with Little Anthony. He talks about the making some of his hit records like "Shimmy Shimmy Cocoa Pop" and "Hurt So Bad." He performs regularly in New York, but hopes to reignite his recording career.
Lester Brown is the president of the Worldwatch Institute. The organization's latest State of the World report looks into the greenhouse effect, deforestation, and rising sea levels, among other troubling trends. Brown joins Fresh Air to discuss the causes of these phenomena, whether they'll cause permanent changes, and how we can mitigate their effects.
Critic-at-large Laurie Stone says that recent advertisements, TV shows, and theater betray a cultural shift toward a new traditionalism that debases feminism and expects women to return to conventionally feminine roles.
The prolific and award-winning author is uncomfortable with fame, and has kept a low public profile. Now he opens up in a new collection of autobiographical essays. Updike uses his own body as a jumping-off point for his ruminations.
Film critic Stephen Schiff says the former Monty Python animator's latest movie, like his others, suffer from a mid-story slump. Yet it's also Gilliam's best to date, and can inspire awe in viewers of all ages.
XTC's Andy Partridge describes his band's music as "weird pop." His frustration with the imperfections of live performances and his intense stage fright have kept the band from touring. Yet Partridge opens up on XTC's latest album with what rock critic Ken Tucker calls "an aggressive humanism."
Rather than simply include more women artists into the canon, Nochlin believes art critics and historians should rethink the way artistic greatness has been constructed in such a way that has prevented women from achieving a particular model of success. Her new book about this topic is called Women, Art, and Power.
