This is FRESH AIR. I'm Terry Gross. SuperPACs have led to what was described in the New York Times yesterday as a new breed of super-donor. About two dozen individuals, couples or corporations have given a million dollars or more this year to Republican superPACs that have poured that money directly into this year's presidential campaign.
James Bopp is the lawyer who first represented Citizens United in the case that ended up in the Supreme Court, which ruled that corporations and unions could give money to political committees active in election campaigns. That decision and subsequent lower court decisions have led to SuperPACs, which allow corporations, unions and individuals to make unlimited contributions, pool them together, and use the money for political campaigns.
Blues and jazz singer Catherine Russell says she frequently listens to the radio while washing dishes. One night, she was by the sink listening to a Chick Webb compilation when Ella Fitzgerald's "Under the Spell of the Blues" came on. The song struck her.
"The lyric came on, and it was just a beautiful story, and then I [was] compelled to learn the tune, and then I learned about everything surrounding it," she says.
The song "I Got You Babe," on Bahamas' new album, Barchords, is obviously not Sonny and Cher's "I Got You Babe." This version is an original song the Canadian singer-songwriter Afie Jurvanen, who records under the stage name Bahamas, has written about holding and losing someone.
Through his many New Yorker covers, Barry Blitt has become one of the pre-eminent satirical cartoonists of America's recent presidents. He is probably best known for his controversial 2008 cover of Michelle and Barack Obama, dressed as a Muslim and a militant with an AK-47, fist-bumping in the Oval Office.
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 coming-home genre is so rife with stock ingredients that first I'd like to tell you what Liza Johnson's very fine drama Return doesn't do. The camera doesn't move in on returning-veteran Kelli, played by Linda Cardellini, as the sound of battle rises and she's back in her head on the front lines. The film doesn't give you what I call the "psychodrama striptease," in which a past trauma is revealed piece by piece until you're finally, at the end, shown the essential bit.