Stew's new album Making It is, in part, about his relationship with his ex-girlfriend and songwriting partner, Heidi Rodewald.
The two musicians, who still work together professionally, dated each other for years. They collaborated on songs for their band The Negro Problem, as well as on orchestrations for Passing Strange, their semi-autobiographical Broadway musical about a young African-American trying to understand himself while traveling around Europe. But during Passing Strange's initial run in Berkeley, Calif., Stew and Rodewald broke up.
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:
It isn't a long shot that David Milch's newest series for HBO, called Luck, will be on par with his HBO series Deadwood. It's a sure thing. HBO sent out all nine episodes of the show's first season for preview, so there's no guesswork here.
For someone who has spent the majority of his career making comedies, Woody Allen sees the world — and his lifelong profession — through a surprisingly dark lens.
"Life is a terrible trial, and very harsh and very full of suffering ... [Film] is a different kind of pain. Making a movie is a great distraction from the real agonies of the world," Allen tells Terry Gross.
In 1974, trumpeter Jimmy Owens helped prepare and played on a Carnegie Hall concert of Thelonious Monk's music. On the night in question, the orchestra featured a surprise soloist: Monk himself. It was one of the pianist's last public performances.
No issue will be more important in the upcoming presidential election than President Obama's handling of the nation's economy. Critical to that debate is an assessment of the Obama administration's economic stimulus program. Republicans claim it was a costly failure. Supporters maintain it saved the U.S. from a depression.
As Albert Nobbs, Glenn Close has hair that's cropped and orangey, and a voice that rarely rises above a nasal croak. She lives and works as a waiter in a high-toned hotel, where she stands with lips pressed together, tight yet tremulous, her searching eyes her only naturally moving parts. She resembles no man I've seen, but no woman, either. She's the personification of fear — fear of being discovered to be a woman. Because hers is a society that treats all poor people badly, but poor women worse.
Veteran TV writer and producer David Milch grew up in Buffalo, N.Y. But a few times each year, Milch would accompany his father across the state to Saratoga Springs, where the two would bet on horse races.
When Steven Patrick Morrissey was 13, he was watching The Old Grey Whistle Test, a BBC rock television show, when the New York Dolls came on. Later, he called it "my first real emotional experience." It was hardly his last: Growing up awkward, tall and shy in suburban Manchester, he was the archetypal kid who didn't fit in, writing poetry and letters to members of the British rock press, disagreeing articulately with their critics.
The new Fox series Touch stars Kiefer Sutherland as a father — a widower — raising a withdrawn preteen son with behavioral problems.
But it doesn't begin with Sutherland.
It begins, instead, with the son — Jake, played by David Mazouz — providing the narration that opens the series. By the time the opening narration is over, you already know you're watching something a little different.