"Pink Champagne," a song on Caitlin Rose's second album The Stand-In, presents Rose's voice in its sparest purity and veiled shrewdness. She sends her voice skyward, the notes as buoyant and light as the bubbles of the pink champagne she's singing about. Her high trills could, with only a slight shift in tone and attitude, become self-conscious with a Betty Boop coyness, as they do once or twice on The Stand-In. But most of the time, Rose keeps her music grounded in the details of yearning, heartache and a welcome sense of gratefulness and enthused energy.
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:
The third time might be the charm for some things, but the number three after a movie title is typically shorthand for a deal with the devil.
The studio thinks there's more money to be squeezed from a particular property, and voila: Spider-Man 3, Superman III, The Godfather — God help us — Part III. OK, The Godfather's a special case. Most other threes, though, are what happens when a too-thin plot meets a too-fat budget.
A garment factory that manufactures products for international clothing companies collapsed outside of Dhaka, Bangladesh, last month, killing more than 400 workers and injuring scores of others. It came on the heels of a fire at another factory in November 2012; that incident killed 112 workers.
Factories like these in Bangladesh pump out what author Elizabeth Cline calls "fast fashion," or clothes made on the cheap by big chains such as H&M, Zara, Esprit, Lee, Wrangler, Nike, J.C. Penney and Wal-Mart.
If reality TV has a redeeming value, it's that it teaches you to be suspicious of claims that you're seeing real people doing real things. This is especially so in an age when memoirs bristle with made-up events, and everyone from the Kardashians to the Obamas orchestrate their media coverage. These days, it's hard to tell whether an article, book or TV show is showing you the real person or only a performance.
Twenty years ago, when brain imaging made it possible for researchers to study the minds of violent criminals and compare them to the brain imaging of "normal" people, a whole new field of research — neurocriminology — opened up.
Adrian Raine was the first person to conduct a brain imaging study on murderers and has since continued to study the brains of violent criminals and psychopaths. His research has convinced him that while there is a social and environmental element to violent behavior, there's another side of the coin, and that side is biology.
In Ramin Bahrani's At Any Price, Zac Efron stars as a teen rebelling against his family and dreaming of becoming a professional race car driver. Sound like a generic summer pic? Critic David Edelstein says the film has "a hell of a sting in its tail."
Studios are putting most of their eggs in $100 million baskets these days, even as American independent filmmakers go hungry from lack of mainstream attention. But two of my favorite American indie writer-directors, Jeff Nichols and Ramin Bahrani, have new films with bigger stars than they've had before — films they hope will break through to wider audiences. The results, at least artistically, are impressive.
New York Times reporter C.J. Chivers, has spent much of the past year with the rebels in Syria, and has written poignantly about the impact of the fighting on the lives of ordinary Syrians and its devastating impact on that ancient land. Before becoming a journalist Chivers was a Marine and his knowledge of the military sometimes leads him to stories that only an insider would see.
When Marc Maron started his podcast "WTF with Marc Maron" out of his garage in September 2009, he was in a dark place: He was going through a divorce, his comedy career had hit a wall and — in his mid-40s — he didn't have a Plan B.
"I was at a place in my life where I had gotten very cynical," he tells Fresh Air's Terry Gross. "I had lost a lot of hope for my comedy and everything else, and I really feel that I was no longer able to really appreciate other people's stories. I had lost my ability to really kind of listen and enjoy the company of other people."