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Fresh Air
Weekdays at 7:00pm
Opening the window on contemporary arts and issues with guests from worlds as diverse as literature and economics.
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Beetlejuice is back, in a supernatural screwball sequel
Director Tim Burton seems more interested in updating than duplicating his 1988 hit. Beetlejuice Beetlejuice demonstrates affection for the characters and genuine curiosity in how they’re doing now.
New Release By Numero Revisits Ork Records' Complete Catalog
by Ed Ward
Terry Ork was a mystery man who crashed the Warhol scene and founded his own record label. Rock historian Ed Ward traces the brief, tumultuous existence of Ork Records.
Embedded In Des Moines: A 'Times' Reporter's Year Covering The '16 Campaign
New York Times political reporter Trip Gabriel has spent the past year in Iowa, covering the political operations, speeches and rallies leading up to the first vote of the presidential campaign.
'Portable Veblen' Puts A Quirky Spin On Marriage And Family
by Maureen Corrigan
Elizabeth McKenzie's new novel about the pitfalls of approaching marriage is a sharply written romantic comedy with elements of experimental fiction. Maureen Corrigan calls it "totally endearing."
Deconstructing Gov. Chris Christie's 'Bridge To Redemption'
Journalist Matt Katz discusses Christie's rise to power in New Jersey, the "Bridgegate" scandal and his performance in the '16 Republican presidential primary. Katz is the author of American Governor.
'Leave Me Alone' Blends Harshness With Beauty
by Ken Tucker
Rock critic Ken Tucker reviews the debut album by the Spanish quartet Hinds. "These four women revive the notion of do-it-yourself punk musicianship," Tucker says of Leave Me Alone.
'I Regret Everything': Toni Morrison Looks Back On Her Personal Life
"It's not profound regret," Morrison tells Fresh Air. "It's just a wiping up of tiny little messes that you didn't recognize as mess when they were going on." Originally broadcast April 20, 2015.
Messy And Absurd, 'London Spy' Mixes Espionage With Genuine Emotion
by John Powers
Fresh Air critic John Powers says the five-part BBC America show pulls off something ambitious: It keeps viewers enthralled with its intensity, while catching them in "a lingering emotional undertow."