David Remnick is joined by The New Yorker’s award-winning writers, editors and artists to present a weekly mix of profiles, storytelling, and insightful conversations about the issues that matter — plus an occasional blast of comic genius from the magazine’s legendary Shouts and Murmurs page. The New Yorker has set a standard in journalism for generations and The New Yorker Radio Hour gives it a voice on public radio for the first time. Produced by The New Yorker and WNYC Studios.
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What Is Happening in the Internment Camps in Xinjiang
In a special episode on the crisis in Xinjiang region of China, the staff writer Raffi Khatchadourian investigates Xi Jinping’s government’s severe repression of Muslim minorities, principally Uyghurs and Kazhaks. Accounts from a camp survivor and a woman who fled detainment show how, even outside the camps, life in the province of Xinjiang became a prison. The crisis meets the United Nations’ definition of genocide, and the U.S. State Department has also made that determination. With the 2022 Winter Olympics coming up in Beijing, what can the world do about Xinjiang?
Rickie Lee Jones’s Life on the Road
Rickie Lee Jones emerged into the pop world fully formed; her début album was nominated for five Grammys, in 1980, and she won for Best New Artist. One of the songs on that record was “The Last Chance Texaco,” and Jones has made that the title of her new memoir. The song evokes a service station on a long stretch of highway, and Jones’s book reflects on her almost obsessive need to travel and uproot herself at almost any cost. “All I wanted to do was leave” from a very young age, she says.“When I talk about it from here, it seems like it was so horribly dangerous.” She adds, “Suddenly I’ll [say], ‘I think I’ll go to Big Sur,’ and I’m in a car, going. But the chaos and trouble that brings to a life!” The producer Scott Carrier, who hosts the podcast “Home of the Brave,” interviewed Jones near her home in New Orleans.
The Brody Awards, and Louis Menand on “The Free World”
Oscars, schmoscars! Richard Brody is a critic of wide tastes and eccentric enthusiasms. His list of the best films of the year rarely lines up with the Academy’s. Each year, he joins David Remnick and the staff writer Alexandra Schwartz to talk about the year’s cinematic highlights. Plus, the staff writer Louis Menand talks with Remnick about his new work of cultural history, “The Free World.” Menand writes about the postwar flowering of American culture, when the United States evolved from an economic and military giant into a global creative force. Modern jazz and rock and roll were exported and celebrated around the world. Painters got out from under the long shadow of Europe and led the way into new forms of abstraction and social commentary. Writers like James Baldwin turned a spotlight back on America’s fundamental, unexamined flaws. It was a time, Menand writes, when “ideas mattered. Painting mattered. Movies mattered. Poetry mattered.”
David Fincher on “Mank,” and Daniel Alarcón’s Favorite Children’s Books
David Fincher made his name in Hollywood as the director of movies that pushed people’s buttons—dark thrillers like “Fight Club,” “The Game,” “Seven,” and “Gone Girl”—but his new film belongs to one of Hollywood’s most esteemed genres: stories about Hollywood. Around thirty years ago, his father, the late Jack Fincher, gave him the draft of a screenplay about Herman J. Mankiewicz, who wrote “Citizen Kane” and other classics. Fincher tells David Remnick that Mankiewicz was a key figure in film—one of that first generation of writers who invented a vibrant language for movies as they came into the sound era. Nominated for ten Academy Awards (including a Best Director nomination for Fincher), “Mank” is the story of the writer’s conflict with Orson Welles in the making of “Citizen Kane,” and their struggle is one that has bedevilled creators and critics down the decades: Who really authors a film? Plus, the journalist and fiction writer Daniel Alarcón talks about three children’s books he’s been enjoying with his son during the pandemic.
Race and Taxes, and Jane Mayer on How to Kill a Bill
The investigative reporter Jane Mayer recently received a recording of a meeting attended by conservative power brokers including Grover Norquist, representatives of PACs funded by Charles Koch, and an aide to Senator Mitch McConnell. The subject was the voting-rights bill H.R. 1, and the mood was anxious. The bill (which we discussed in last week’s episode) would broadly make voting more accessible, which tends to benefit Democratic candidates, and it would raise the curtain on “dark money” in elections with stringent disclosure requirements. The problem for this group, a political strategist says, is that the bill is popular among voters of both parties, but H.R. 1, they insist, must die. As we hear the participants tick through options to tarnish the bill’s public appeal, Mayer notes how the political winds have shifted in Washington, leaving the Republican coalition newly fragile. Plus, Dorothy Brown, a professor of tax law, uncovers how the seemingly race-neutral tax code compounds many inequalities in American life, and prevents Black people from building wealth. She talks with Sheelah Kolhatkar about her new book, “The Whiteness of Wealth.”
The Complex Story of Being Trans in Africa, and Derek DelGaudio on Deception
Our producer talks with the South African scholar Dr. B Camminga, whose essay “Disregard and Danger” deconstructs the viewpoints of so-called TERFs—trans-exclusionary radical feminists—through an African-feminist lens. And we speak with Derek DelGaudio, whose magic special on Hulu is “In & Of Itself.” DelGaudio says that he’s never liked tricking people, and he credits his brief stint as a “bust-out dealer”—a professional card dealer who cheats the players on behalf of the house—with changing his perspective on the power of deception. DelGaudio compares the claims of a rigged election that preceded the actual election to his work as a crooked dealer: he made his legitimate deals look shady in order to camouflage the bad ones.
Great job ... super interview
Love the show and hosts but repetitive content
Love Remnick, and have listened to the show a lot over the years, but I only seem to listen to 1 out of every 5 shows these days at best. Besides the odd musical episode, it seems every single episode is on Trump or COVID. I understand those are important topic but a lot of episodes are beating a dead horse on these things. Hoping they can get back to more interesting content soon.
One of my favourite podcasts
Great magazine. Great podcast. I LOVE David Remnick.