1. David Edelstein reviews Under the Skin and Only Lovers Left Alive:

    Undead Hipsters And An Abstract Alien Star In Two Arty Horror Pics

    Every so often a high-toned arthouse director dips a toe into the horror genre and the results are uplifting: You realize vampires and space aliens are subjects too rich to be the sole property of schlockmeisters. That’s the case with two new arty genre pictures: Jonathan Glazer’s Under the Skin and Jim Jarmusch’s Only Lovers Left Alive — both slow, expressionist, non-narrative, the kind of films that drive some people crazy with boredom and put others in their thrall.

  2. under the skin

    scarlett johansson

    only lovers left alive

    tilda swinton

    film review

    david edelstein

  1. image

    Our producer Ann Marie Baldonado is attending the TriBeCa Film Festival this weekend to watch some movies and scout some future guests.  She says, “I seem to be  picking my first films based on my love of many current sitcoms.  Last night i saw the new film About Alex which starts Max Greenfield (Schmidt from The New Girl, among other things) Aubrey Plaza (Parks and Rec) and Jason Ritter.  This current day, Big Chill-ish film about a group of college friends who get back together when one friend is in trouble, was written and directed by Jesse Zwick, (writer on Parenthood and son of Edward Zwick).  Up later today, Alex of Venice, the directorial debut by Chris Messina (The Mindy Project, The Newsroom).

     I guess I am also just picking films with “Alex” in the title.”

  2. TriBeCa film festival

    fresh air

  1. Today an avalanche on Mt. Everest killed 12 Nepalese Sherpas. According to The Guardian, the accident occurred while the Sherpas were fixing ropes for other climbers in an extremely dangerous ice fall area. Tourism ministry spokesman Mohan Krishna Sapkota says they were preparing the route for the climbing season that starts later this month. 
Grayson Schaffer, senior editor for Outside Magazine, wrote an article last year called Disposable Man about the extreme risk Sherpas face and what little financial protection they have—for themselves and for their families—if they are injured, maimed or killed on the job. 

Schaffer spoke to Fresh Air last summer about the dangerous work Sherpas do on Everest:

"The thing to understand about the Sherpa workforce is that there’s no other tourism industry in the world that so frequently kills and maims its workers for the benefit of paying clients. And it’s something that people haven’t yet connected the dots on. That a 1 percent mortality rate for someone choosing to climb a mountain is acceptable, but a 1 percent mortality [rate] for the people that they rely on to get their stuff up the mountain as a workplace safety statistic is outrageous. …
If you’re a Western climber, you’re climbing the mountain once and you’re done. If you’re a Sherpa, you’re doing lap after lap after lap through this roulette wheel of hazards that we know has a death rate, long term, of 1.2 percent, and that number makes climbing Everest as a Sherpa more dangerous than working on a crab boat in Alaska. It makes it more dangerous than being an infantryman in the first four years of the Iraq War. The thing that hides that number is that the season is relatively short … and [has] a relatively small workforce.”


Photograph by Cory Richards, National Geographic  View in High-Res

    Today an avalanche on Mt. Everest killed 12 Nepalese Sherpas. According to The Guardian, the accident occurred while the Sherpas were fixing ropes for other climbers in an extremely dangerous ice fall area. Tourism ministry spokesman Mohan Krishna Sapkota says they were preparing the route for the climbing season that starts later this month. 

    Grayson Schaffer, senior editor for Outside Magazine, wrote an article last year called Disposable Man about the extreme risk Sherpas face and what little financial protection they have—for themselves and for their families—if they are injured, maimed or killed on the job. 

    Schaffer spoke to Fresh Air last summer about the dangerous work Sherpas do on Everest:

    "The thing to understand about the Sherpa workforce is that there’s no other tourism industry in the world that so frequently kills and maims its workers for the benefit of paying clients. And it’s something that people haven’t yet connected the dots on. That a 1 percent mortality rate for someone choosing to climb a mountain is acceptable, but a 1 percent mortality [rate] for the people that they rely on to get their stuff up the mountain as a workplace safety statistic is outrageous. …

    If you’re a Western climber, you’re climbing the mountain once and you’re done. If you’re a Sherpa, you’re doing lap after lap after lap through this roulette wheel of hazards that we know has a death rate, long term, of 1.2 percent, and that number makes climbing Everest as a Sherpa more dangerous than working on a crab boat in Alaska. It makes it more dangerous than being an infantryman in the first four years of the Iraq War. The thing that hides that number is that the season is relatively short … and [has] a relatively small workforce.”

    Photograph by Cory Richards, National Geographic 

  2. mt. everest

    sherpas

    climbing

    grayson schaffer

    mountains

  1. Posted on 17 April, 2014

    395 notes | Permalink

    Reblogged from spacecadet

    Writer/director Mike Judge spoke to Fresh Air’s Dave Davies about his new HBO series Silicon Valley and his 1999 cult classic, Office Space. In the interview he tells us about where the boss character’s tagline of “… yeah,” came from: 

It wasn’t [based on] any specific person. It kind of came a few different ways. I worked at Whataburger which is a Texas-New Mexico chain, a burger place, and I worked at Jack-in-the-Box, this is when I was young. … The worst thing ever at both of those jobs is to change the fryers and the way that someone will say, “Yeah, um, Mike, why don’t you go ahead and change the fryers?” To say “go ahead” it’s like you were just chomping at the bit to go do it and I’m just gonna go cut you loose and go ahead — now it’s so common place. …
I think in the ’50s a boss would say “Hey Milton, move your desk. Thanks.” I don’t know if it’s the baby boom generation where everyone has to be cool, in the ’70s and ’80s it turned into, “Yeah … if I could get you just go ahead and move your desk,” And it’s this kind of “I’m casual, I’m cool. I’m not your ’50s boss.”
I would just prefer someone coming up and telling you what to do. I would respect that more. … Even over the years just noticing the “yeah” that means “no.” Like if you say, “Can I have Friday off?”
"Hmm … Yeah …"

    Writer/director Mike Judge spoke to Fresh Air’s Dave Davies about his new HBO series Silicon Valley and his 1999 cult classic, Office Space. In the interview he tells us about where the boss character’s tagline of “… yeah,” came from: 

    It wasn’t [based on] any specific person. It kind of came a few different ways. I worked at Whataburger which is a Texas-New Mexico chain, a burger place, and I worked at Jack-in-the-Box, this is when I was young. … The worst thing ever at both of those jobs is to change the fryers and the way that someone will say, “Yeah, um, Mike, why don’t you go ahead and change the fryers?” To say “go ahead” it’s like you were just chomping at the bit to go do it and I’m just gonna go cut you loose and go ahead — now it’s so common place. …

    I think in the ’50s a boss would say “Hey Milton, move your desk. Thanks.” I don’t know if it’s the baby boom generation where everyone has to be cool, in the ’70s and ’80s it turned into, “Yeah … if I could get you just go ahead and move your desk,” And it’s this kind of “I’m casual, I’m cool. I’m not your ’50s boss.”

    I would just prefer someone coming up and telling you what to do. I would respect that more. … Even over the years just noticing the “yeah” that means “no.” Like if you say, “Can I have Friday off?”

    "Hmm … Yeah …"

  2. mike judge

    silicon valley

    office space

    interview

    fresh air

  1. Maureen Corrigan reviews two graphic novels:

    A Bintel Brief and The Harlem Hellfighters are two New York Stories. That’s why I’m combining them in this review; not because — as some purists still think — they’re lesser works of literature because they’re graphic novels. If Egyptian hieroglyphics, the Bayeux Tapestry, and Art Spiegelman’s 1991 classic, Maus, haven’t yet persuaded the high art holdouts of the value of stories told in visual sequence, nothing I say now about these two books is likely to convince them. Which is a shame because A Bintel Brief by Liana Finck and The Harlem Hellfighters by Max Brooks and illustrated by Caanan White are two of the most powerful books I’ve read so far this year.

    Read/listen to the full review here.

  2. graphic novels

    review

    maureen corrigan

    bintel brief

    harlem hellfighters

  1. smithsonianmag:

Photo of the Day: Blue Car in Havana
Photography by Giancarlo Bisone (Franklin Lakes, New Jersey); Havana, Cuba
View in High-Res

    smithsonianmag:

    Photo of the Day: Blue Car in Havana

    Photography by Giancarlo Bisone (Franklin Lakes, New Jersey); Havana, Cuba

  2. smithsonian

    car

    blue

  1. The Both is the name for the duo formed by the veteran singer-songwriters Aimee Mann and Ted Leo. The Both is also the name of their debut album. The two began performing together in 2012, when Ted Leo was Mann’s opening act. Mann began joining Leo onstage during his set. They liked the sound their voices made together, and started collaborating. Fresh Air rock critic Ken Tucker has a review of The Both:




As separate acts, Ted Leo is generally considered a punk-influenced indie musician for the work he’s done with his band the Pharmacists, and Aimee Mann as a sensitive singer-songwriter ever since she left the pop star life with the group ‘Til Tuesday in the 1980s. But of course both of these musicians are more than their genre categories. What their work as The Both suggests is that together they’ve found common ground in confidently precise, propulsive melodies and lyrics that twist with oblique cleverness.

“Milwaukee” is one of the first songs Mann and Leo collaborated on in gradually hatching this plan to perform and record together as The Both. They bring out the best in each other musically: Leo gives Mann zip and vigor; she gives him poetry and hard-headedness. Sometimes one of them takes the lead vocal, at other times they trade off lines and harmonize throughout. 

In interviews, Aimee Mann has said working with Ted Leo has made her feel as though she’s in a rock band for the first time, which must make her old bandmates in ‘Til Tuesday feel a tad dismayed. But if anything, The Both includes some of the most Aimee Mannish of Aimee Mann songs, the way her best singing captures an urgent longing and pessimism that is redeemed by a prickly self-awareness.

The Both works so well as an album because its songs cohere as the documentation of the ways a new creative partnership revitalizes the familiar habits, tics, tricks, and talents of the collaborators. It sets their individual talents in a new context that compels the listener to form a new appreciation for these musicians. They may begin the album singing about a gamble that didn’t pay off, but their own musical collusion really has. 

 

Photo cred Christian Lantry/Super Ego Records View in High-Res

    The Both is the name for the duo formed by the veteran singer-songwriters Aimee Mann and Ted Leo. The Both is also the name of their debut album. The two began performing together in 2012, when Ted Leo was Mann’s opening act. Mann began joining Leo onstage during his set. They liked the sound their voices made together, and started collaborating. Fresh Air rock critic Ken Tucker has a review of The Both:

    As separate acts, Ted Leo is generally considered a punk-influenced indie musician for the work he’s done with his band the Pharmacists, and Aimee Mann as a sensitive singer-songwriter ever since she left the pop star life with the group ‘Til Tuesday in the 1980s. But of course both of these musicians are more than their genre categories. What their work as The Both suggests is that together they’ve found common ground in confidently precise, propulsive melodies and lyrics that twist with oblique cleverness.

    Milwaukee” is one of the first songs Mann and Leo collaborated on in gradually hatching this plan to perform and record together as The Both. They bring out the best in each other musically: Leo gives Mann zip and vigor; she gives him poetry and hard-headedness. Sometimes one of them takes the lead vocal, at other times they trade off lines and harmonize throughout. 

    In interviews, Aimee Mann has said working with Ted Leo has made her feel as though she’s in a rock band for the first time, which must make her old bandmates in ‘Til Tuesday feel a tad dismayed. But if anything, The Both includes some of the most Aimee Mannish of Aimee Mann songs, the way her best singing captures an urgent longing and pessimism that is redeemed by a prickly self-awareness.

    The Both works so well as an album because its songs cohere as the documentation of the ways a new creative partnership revitalizes the familiar habits, tics, tricks, and talents of the collaborators. It sets their individual talents in a new context that compels the listener to form a new appreciation for these musicians. They may begin the album singing about a gamble that didn’t pay off, but their own musical collusion really has.

     

    Photo cred Christian Lantry/Super Ego Records

  2. the both

    aimee mann

    ted leo

    review

    fresh air

    ken tucker

  1. Ryan Gosling directed his first film, Lost River. It was just announced that it will be premiering at the Cannes Film Festival next month.  
(Hear Fresh Air’s interview with Gosling, while you’re at it)

    Ryan Gosling directed his first film, Lost River. It was just announced that it will be premiering at the Cannes Film Festival next month.  

    (Hear Fresh Air’s interview with Gosling, while you’re at it)

  2. ryan gosling

    cannes film festival

    fresh air

    interview

    film

  1. Jon Hamm explains emotions on Sesame Street. 

    (You’re welcome)

    Happy Hump Day, people! 

  2. jon hamm

    sesame street

    mad men

    pbs

    emotions

    wednesday

  1. While I think if we didn’t know what we know now we’d say “Ah, he’s a virtual slacker,” in fact, it seems to be a period of incredible self-education in which he became an expert on systems, became an expert on so many things to do with navigating the Internet. The amazing thing is [that] it appears to be largely self-taught. He was a kid out there in the virtual world, unmoored, really, from all vestiges of traditional influence.

    — 

    Bryan Burrough on Edward Snowden

    Edward Snowden: From ‘Geeky’ Drop-Out To NSA Leaker

  2. edward snowden

    NSA

    intelligence

    bryan burrough

    vanity fair

  1. Fresh Air critic at large John Powers reviews the new translation of Italian noir novel A Private Venus: 

Like all good noirs, A Private Venus centers on a disillusioned loner — in this case, Duca Lamberti, a loner with good reason to be disillusioned. Once a doctor, he was imprisoned for murder after compassionately helping a dying woman kill herself. Now free, but forbidden to practice medicine, Duca gets hired by a Milanese plastics mogul who, like most rich men in noir, is a respectable creep. The assignment is to straighten out the mogul’s 22-year-old son, Davide who has gone from being a normal, spoiled heir to a guilty, taciturn young alcoholic.
Duca knows something has driven Davide to such self-destructive straits — probably a woman. And so, he sets about looking into what changed him, enlisting help from a police superintendent who was friends with Duca’s cop father. The investigation takes him from chic nightclubs into the sinister underbelly of fashion-mad Milan where pretty young women exist to have their bodies stripped, sold and carved up by thugs. Along the way, Duca befriends a smart, attractive young woman, Livia, who has her own reasons for bringing the bad guys down. Suffice it to say that everything does not turn out perfectly.
View in High-Res

    Fresh Air critic at large John Powers reviews the new translation of Italian noir novel A Private Venus

    Like all good noirs, A Private Venus centers on a disillusioned loner — in this case, Duca Lamberti, a loner with good reason to be disillusioned. Once a doctor, he was imprisoned for murder after compassionately helping a dying woman kill herself. Now free, but forbidden to practice medicine, Duca gets hired by a Milanese plastics mogul who, like most rich men in noir, is a respectable creep. The assignment is to straighten out the mogul’s 22-year-old son, Davide who has gone from being a normal, spoiled heir to a guilty, taciturn young alcoholic.

    Duca knows something has driven Davide to such self-destructive straits — probably a woman. And so, he sets about looking into what changed him, enlisting help from a police superintendent who was friends with Duca’s cop father. The investigation takes him from chic nightclubs into the sinister underbelly of fashion-mad Milan where pretty young women exist to have their bodies stripped, sold and carved up by thugs. Along the way, Duca befriends a smart, attractive young woman, Livia, who has her own reasons for bringing the bad guys down. Suffice it to say that everything does not turn out perfectly.

  2. noir

    novel

    review

    italy

    literature

    john powers

  1. Former NSA Contractor Edward Snowman.

By Beth Novey, our web guru at NPR, Washington View in High-Res

    Former NSA Contractor Edward Snowman.

    By Beth Novey, our web guru at NPR, Washington

  2. edward snowden

    nsa

  1. Spruce Gran Picea #0909 – 11A07 (9,550 years old; Fulufjället, Sweden)
From Rachel Sussman’s collection The Oldest Living Things in the World  View in High-Res

    Spruce Gran Picea #0909 – 11A07 (9,550 years old; Fulufjället, Sweden)

    From Rachel Sussman’s collection The Oldest Living Things in the World 

  2. rachel sussman

    tree

    photography

    guggenheim fellowship

  1. Fresh Air’s TV critic David Bianculli reviews the new series  Fargo, based on the 1996 Coen Brothers cult classic. Here’s what he says: 



When the news arrives that FX has a new series called Fargo, the expectation is that it will be either a sequel to, or expansion of, that 18-year-old movie. And certainly, the previews have done nothing to discourage that.

But no. The TV version of Fargo tells a completely different story, with completely different characters. Only the snow remains the same. Yet based on the first four episodes, this new Fargo is a worthy companion piece to the film. The Coen brothers are on board as two of the executive producers, so they clearly approve – though that’s pretty much the extent of their involvement. Instead, FX’s Fargo is written and concocted by Noah Hawley, whose previous credits include working on Bones, and not much else. This is his step up to the major leagues – and in his first at-bat in the bigs, he swings hard, and hits a home run.

His Fargo – this first season, anyway – is envisioned as a stand-alone 10-part story. If it continues to a Season 2, it will be with a completely different plot, characters, and cast. That’s the way True Detective launched itself this season on HBO, and you know how brilliantly that turned out. By designing TV shows this way – longer and deeper than a feature film but not running for years – networks can get A-list movie talent to commit, and writers can craft stories with the end in sight from the start.
FX’s Fargo benefits from that, greatly.

Hear the full review HERE. 



 

image via FX  View in High-Res

    Fresh Air’s TV critic David Bianculli reviews the new series  Fargo, based on the 1996 Coen Brothers cult classic. Here’s what he says: 

    When the news arrives that FX has a new series called Fargo, the expectation is that it will be either a sequel to, or expansion of, that 18-year-old movie. And certainly, the previews have done nothing to discourage that.

    But no. The TV version of Fargo tells a completely different story, with completely different characters. Only the snow remains the same. Yet based on the first four episodes, this new Fargo is a worthy companion piece to the film. The Coen brothers are on board as two of the executive producers, so they clearly approve – though that’s pretty much the extent of their involvement. Instead, FX’s Fargo is written and concocted by Noah Hawley, whose previous credits include working on Bones, and not much else. This is his step up to the major leagues – and in his first at-bat in the bigs, he swings hard, and hits a home run.

    His Fargo – this first season, anyway – is envisioned as a stand-alone 10-part story. If it continues to a Season 2, it will be with a completely different plot, characters, and cast. That’s the way True Detective launched itself this season on HBO, and you know how brilliantly that turned out. By designing TV shows this way – longer and deeper than a feature film but not running for years – networks can get A-list movie talent to commit, and writers can craft stories with the end in sight from the start.

    FX’s Fargo benefits from that, greatly.

    Hear the full review HERE.

     

    image via FX 

  2. fargo

    coen brothers

    tv

    review

    david bianculli

  1. Louis Kahn by Andreas Levers

    Louis Kahn by Andreas Levers

  2. architecture

    louis kahn

    photography