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Nelly Furtado Inspires 'The Spirit Indestructible'

Written By Unknown on Kamis, 20 September 2012 | 08.40

Audio for this story from Tell Me More will be available at approx. 3:00 p.m. ET

September 20, 2012

Nelly Furtado at NPR in New York.
Enlarge Courtesy of the artist

Nelly Furtado at NPR in New York.

Courtesy of the artist

Nelly Furtado at NPR in New York.

Singer-songwriter Nelly Furtado has sold more than 16 million albums and 18 million singles worldwide. She's gone multiplatinum in 32 countries and won a bevy of awards, including a U.S. Grammy and the Canadian and British equivalents.

But after Furtado recorded her last album, Mi Plan, in Spanish and took home a 2010 Latin Grammy for it, she was unsure about singing in English again. She even considered retiring as a pop musician.

In an interview with Tell Me More host Michel Martin, Furtado said, "After each album, I go through this phase where I kind of question everything, but then the music always pulls me back in. The music always gets me back in the studio, doing what I love to do."

Furtado's latest English-language album (her fifth album overall), The Spirit Indestructible, came out Tuesday.

Writing in Spanish taught her to think about songs in terms of themes, metaphors and things she never thought about when writing in English. "I took that back into The Spirit Indestructible — this new one — and I feel very proud of the lyrics. I think they're a lot more cohesive than my past work," she said.

The inspiration for the album came from a trip to Africa about two years ago to shoot a documentary for Free the Children. The charity has built hundreds of schools for youth and provides clean water and health care to millions of people worldwide.

Furtado said that while she was in Kenya, she felt a renewed sense of joy, an affirmation in hope, and an excitement for the future — all while reading books about the past, such as Isabel Allende's Island Beneath the Sea.

Nelly Furtado with Spencer West
Enlarge Andres Recio

Nelly Furtado with Spencer West

Andres Recio

Nelly Furtado with Spencer West

The album's title track was inspired by Spencer West. At age 4, West lost his legs due to a genetic disease. Now he's an author and a speaker for Free the Children.

Furtado explained, "He was going on this epic climb that he had been planning for years up Mount Kilimanjaro, the tallest peak in Africa, to raise money for clean water projects and also to motivate his, you know, all these kids that kind of look up to him to redefine their 'possible.' And I thought, 'That's the true spirit indestructible!' "

Other songs on the album that follow that inspirational theme include "Believers (Arab Spring)," "Miracles" and "The Most Beautiful Thing." Furtado said that people have to take the time to live, and that making mistakes, falling down and getting up again is all part of living — ideas she likes to explore in her songs. "Music is soul food, and I think you find the hungry people whereever they are," she said.

Furtado's sound has evolved over the years. Whoa Nelly! (2000) belongs to the mind, Folklore (2003) belongs to the heart, Loose (2006) belongs to the body and The Spirit Indestructible (2012) belongs to the spirit, she said.

She always tries to make her songs universal, she said, but she recognizes that her musical journey has alienated some fans.

"You have successes, you have failures and everything in between, but at the end of the day, the music speaks louder than all of that. And when you see people singing certain songs at your shows, it always makes you feel better, you know?"

19 Sep, 2012


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Source: http://www.npr.org/2012/09/20/161403153/nelly-furtado-inspires-the-spirit-indestructible?ft=1&f=1008
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Watch This: Filmmaker Kevin Smith's Varied Tastes

Kevin Smith has served as a writer, actor and director for films such as Clerks.
Mike Coppola/Getty Images

Kevin Smith has served as a writer, actor and director for films such as Clerks.

Kevin Smith — comic-book guru, writer-director of Clerks and Chasing Amy — shares some of his must-see movie and TV recommendations with NPR's Steve Inskeep. Smith is the latest guest in Morning Edition's series Watch This.


The Comeback

The show, a mockumentary in the style of The Office, follows a once-famous actress who has the chance to regain relevance and popularity on a new sitcom while simultaneously starring on a reality TV show.

Despite only running for one season, the HBO comedy, starring Lisa Kudrow, earned the actress an Emmy nomination — and critical acclaim — after her long-running hit Friends went off the air.

"It is, like, pitch perfect Hollywood satire" Smith says. "It's hysterically funny. In places really touching and heartbreaking, but it was a really clever and well done idea that didn't really get enough attention or exposure."


The Bad News Bears

This 1976 film stars Walter Matthau as the coach of a terrible little league baseball team. "People go, 'Oh, I've seen that story before.' And then you go, 'Well, yes, but this was the first time," Smith says. And that's what makes this film one of his picks.

Smith not only appreciated the originality of the film when he first saw it, but also admired its heart.

"It had incredible honesty, authenticity and edge. Nobody seems like they're acting."

Where the film really shines, according to Smith, is in its frank characterizations of children in the 1970s. "The kids are cursing, dropping racial epithets. The kids are bullying one another," Smith says. "It was literally a movie you'd watch and say, 'This doesn't even feel like a movie. This feels like my little league team.'"


Snapped

"This, to me, is a show that every man who's married needs to watch," Smith says. Now in its 7th season on the Oxygen network, Snapped features the stories of real women who have been accused of murder.

Smith admits that he uses the show for research.

"I sit there and watch it with my wife. I constantly look over at her to see if she's taking down notes," Smith says.

"It's crazy how many of these chicks break out the antifreeze," Smith says. "Because — and this is something I learned from Snapped — it's sweet," he adds as a caution.

A group of humans struggles to survive a zombie apocalypse in AMC's The Walking Dead.
Enlarge Gene Page/AMC

A group of humans struggles to survive a zombie apocalypse in AMC's The Walking Dead.

Gene Page/AMC

A group of humans struggles to survive a zombie apocalypse in AMC's The Walking Dead.


The Walking Dead

Talking Dead

The Walking Dead, based on the graphic-novel series of the same name, follows a group of zombie apocalypse survivors. Smith believes the AMC drama is best enjoyed with its talk-show counterpart, Talking Dead.

"The beauty of The Walking Dead is that they take their time telling the story. It's literally like a soap opera," Smith says. He compares his attitude toward The Walking Dead to his grandmother's love of The Young and the Restless.

The appeal of the companion show, Talking Dead, in Smith's opinion is in its similarity to sports commentary.

"For years, whenever you watched sports, man, there's like, an hour of the game and two hours of people pontificating about the game. Now, with Talking Dead, you've got a program that's kind of the same thing."


Hockey: A People's History

The CBC's 10-episode documentary series, produced in 2006, traces hockey's history through reenactments, archival footage and interviews with some of the game's greats.

"It's a really wonderful telling of the story of not just the game that Canada created, but the land that spawned it and the people that populate it."

Smith is not Canadian, but is a self-proclaimed "Canadaphile."

In the series, hockey is serious business.

"They show you just how important that game is to that country, and how it actually helped create a national identity," Smith says. "I've not seen a miniseries that engaged me so thoroughly."

20 Sep, 2012


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Source: http://www.npr.org/2012/09/20/161428962/watch-this-filmmaker-kevin-smiths-varied-tastes?ft=1&f=1008
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New In Paperback Sept. 17-23

Fiction and nonfiction releases from Alan Hollinghurst, Thomas Frank, Siddhartha Deb, Emmanuel Carrere and Mindy Kaling.

The Stranger's Child

The Man Booker Prize-winning author of The Line of Beauty and The Swimming-Pool Library returns with an astonishing novel that traces the evolution of English society through the life and (ever fluctuating) legacy of a poet modeled after Rupert Brooke. It's a high-wire act that jumps between perspectives and generations as minor characters are catapulted into prominence, offering a rich education in literary and queer history. Still, according to National Book Critics Circle President Eric Banks, it all feels effortless. Banks praises the book, calling it a "masterpiece of exacting irony and sinuous prose."

News and Reviews

Pity The Billionaire

The Hard-Times Swindle and the Unlikely Comeback of the Right

How did the economic collapse of 2008 and 2009 give birth to a conservative populist revolt? That's the question Thomas Frank tries to answer in his sharp-tongued liberal polemic, Pity The Billionaire. In it, Frank — whose previous books include What's the Matter With Kansas? — writes that the recent revival of the right is just as extraordinary as "if the public had demanded dozens of new nuclear power plants in the days after the Three Mile Island disaster." He writes, "Before 2009, the man in the bread line did not ordinarily weep for the man lounging on his yacht." And yet, Frank says, that's become the central paradox of our time.

News and Reviews

The Beautiful And The Damned

A Portrait of the New India

Years after leaving his small village in northern India, journalist and novelist Siddhartha Deb set out to explore the true impact of globalization on his homeland. He started by working undercover in an Indian call center, an experience that paved the way for his nonfiction mosaic, The Beautiful and the Damned: A Portrait of the New India. In the book, Deb follows the lives of a rural farmer, an ambitious hotel worker and an affluent movie producer to expose the dark side of Indian prosperity. He finds that, inevitably, the globalization that helped make India a world player continues to leave millions behind.

News and Reviews

Lives Other Than My Own

French novelist Emmanuel Carrere's memoir begins on a beach in Sri Lanka on Dec. 26, 2004, when the Indian Ocean tsunami wiped out tens of thousands of lives. Carrere was there vacationing with his partner, but, thanks to a fluke of timing, he wasn't on the beach when the tsunami hit. Carrere did, however, witness the awful spectacle of his friends, Delphine and Jerome, discovering that their daughter had been swept out to sea. NPR critic John Freeman calls Carrere a "beguiling" writer and praises the way he "winds back the clock, novelistic style, to describe how his friends' family decided to come to Sri Lanka at all, turning a faraway island into a second home. Telescoping out and then back in to the trauma, he reveals the way such a disaster can feel like the sudden revelation of a fate for which one was always destined."

News and Reviews

Is Everyone Hanging Out Without Me? (And Other Concerns)

Much of actress Mindy Kaling's humor is rooted in something that might seem infeasible: using logic to explore American culture. But it works — and works well — because Kaling uses a type of circular logic that's all her own. Just consider this 2011 tweet: "Can everyone buy my book please? I wanna quit the business and homeschool my kids real weird." That sense of twisted earnestness is what has made Kaling's TV alter ego, Kelly Kapoor, a hit with audiences of The Office. And it's a sensibility that runs through Kaling's new book, Is Everyone Hanging Out Without Me? In humorous essays and lists, she shares her thoughts on her transformation from sensitive Indian girl to TV comedy player, her relationship with her mother, and the haphazard creative process of The Office's writers' room.

News and Reviews

Charlotte Abbott edits "New in Paperback." A contributing editor for Publishers Weekly, she also leads a weekly chat on books and reading in the digital age every Friday from 4-5 p.m. ET on Twitter. Follow her at @charabbott or check out the #followreader hashtag.

20 Sep, 2012


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Source: http://www.npr.org/2012/09/20/161400868/new-in-paperback-sept-17-23?ft=1&f=1008
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T.C. Boyle's 'San Miguel' Is No Island Paradise

San Miguel is the name of a treeless island off the coast of California where, in the 19th and early 20th centuries, a few nervy ranchers struggled to raise sheep. San Miguel is also the name of T. Coraghessan Boyle's chilling and beautiful new novel, which is loosely based on the memoirs of those ranchers.

It is a striking departure from Boyle's past work. In 13 satirical novels, Boyle has skewered all manner of egoists and kooks, ranging from health food gurus (The Road to Wellville) and hippies (Drop City) to Alfred Kinsey (The Inner Circle). He is skewering no one here, and it takes a solid 40 pages for a longtime fan to trust that he's put away his knives for real. He has. While the prose remains as exuberant and biting as ever, he has stripped away every trace of his trademark irony to stunning effect.

T.C. Boyle's books include Drop City and The Road to Wellville.
Enlarge Jamieson Fry/Viking Adult

T.C. Boyle's books include Drop City and The Road to Wellville.

Jamieson Fry/Viking Adult

T.C. Boyle's books include Drop City and The Road to Wellville.

Divided into three sections, the novel begins in the 1880s as Marantha Waters arrives on San Miguel, literally gasping for breath. Wracked by tuberculosis, she hopes that the island's "virginal air" will vanquish her disease and placate her restless husband. But from the moment she sets foot on its bleak shore, flustered and cold, ignored by her more robust companions (including her husband), she understands her folly. The grim house is drafty and water-stained, overrun with mice. A newborn lamb she tries to rescue dies a hideous death in her kitchen. Her husband proudly brings home human bones — "naked and white and fissured with age" — he finds in the sand.

The savagery of nature is all around her, but also inside her, as she huddles in the bedroom coughing up blood and "sputum that was like the gristle cut from a piece of meat." (Boyle's descriptions of consumption are unsparing.) And far from healing her, the "virginal air" haunts her sleepless nights: "The wind kept beating, keening, unholy, implacable, and it was as if it were aimed at her, and her alone. As if it had come for her. Come to blow her away across the waters and force her down beneath the waves, down and down and down to the other place, darkness eternal."

The wind has other messages for Edith, Marantha's teenaged daughter, who is the subject of the book's middle section. Edith is held captive on the island by her stepfather and "at night when she lay in her damp bed — everything damp, always damp, mold creeping over the mattress like a wet licking tongue and the walls beaded with condensation — she listened to the wind, to the distant tolling of ships bells and the fading ghostly cries of the foxes that were no bigger than a cat and her mind spun away into fantasies of escape." Imagery doesn't get much more gothic than that. Edith's schemes to flee grow ever more degrading and desperate, and if the island doesn't break her like it does her mother, it leaves an indelible mark on her character.

But just when you've decided Boyle has written a horror novel, he introduces a long, tender love story that brings the narrative to its bittersweet conclusion. In 1930, newlyweds Elise and Herbie Lester arrive on San Miguel to start their lives together. While Herbie is prone to disturbing mood swings (today it's called "manic depression"), he and Elise find peace and equilibrium on the island "set down in the heaving froth of the Pacific Ocean." While Elise's first impression of San Miguel is as wretched as Marantha's, she finds and creates loveliness in its sere landscape. She and Herbie raise two daughters here, and one of the small beauties of the novel is Boyle's depiction of a calm and happy marriage distinguished by mutual accommodation and ongoing erotic love.

All idylls must come to an end, of course, as do the Lesters'. But Boyle never suggests that they — or any of these people — deserved their fate. In the past, Boyle has moved characters around like puppets to score satirical points. In San Miguel, he sets them free.

20 Sep, 2012


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Source: http://www.npr.org/2012/09/20/161062913/t-c-boyle-s-san-miguel-is-no-island-paradise?ft=1&f=1008
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A Leap Of The Imagination Across The 'River Of Bees'

Ursula Le Guin comes immediately to mind when you turn the pages of Kij Johnson's first book of short stories, her debut collection is that impressive. The title piece has that wonderful power we hope for in all fiction we read, the surprising imaginative leap that takes us to recognize the marvelous in the everyday.

"It starts with a bee sting," Johnson opens, as a woman named Linna leaves Seattle to take her dying dog on a salutary road trip through the intermountain West and finds the road is blocked east of Missoula by a bizarre phenomenon, which Johnson describes in perfectly metaphorical terms. "The air above the road," we read, "truly is flowing darkness, like ink dropped in moving water." Linna asks the driver of the Montana state police SUV parked at the side of the road about the nature of the delay.

"The Bee River is currently flooding east- and westbound lanes of 94, ma'am," he explains. He suggests some alternate routes to some other drivers stalled there along with Linna and Sam. She chooses, instead, to follow the river to its mouth, and off on this quest she goes, dog beside her.

Alongside the straightforward realism of her travels, we read of her sightings of the river, which Johnson gives us in more lovely lyric sentences whenever it appears. When she first gets on the trail of its source, the "sky lightens," turning from pearl to lavender to blue, while the river remains "a dark mist like the shifting of a flock of flying starlings, like a pillar of gnats over a highway in hot August dusk, like a million tiny fish changing direction. South to north, the river runs like cooling lava, like warm molasses. It might be 8 feet deep, though in places is much less, in others much more. It changes as she watches ... "

There's an attractive, even compelling variation on this motif of following or crossing mysterious waters in the novella-length "The Man Who Bridged the Mist." In this long and consistently delightful piece of story-making, Johnson reverses the polarities and sets the tone of her tale — about a mythical empire divided nearly in half by a river composed of a constantly shifting and evolving skein of mist — much more as fantasy than real. The effect is, again, quite lyrical.

Kij Johnson is a novelist, short story writer and poet. She won a 2012 Nebula Award for the novella-length story, "The Man Who Bridged the Mist," included in this collection.
Enlarge Small Beer Press

Kij Johnson is a novelist, short story writer and poet. She won a 2012 Nebula Award for the novella-length story, "The Man Who Bridged the Mist," included in this collection.

Small Beer Press

Kij Johnson is a novelist, short story writer and poet. She won a 2012 Nebula Award for the novella-length story, "The Man Who Bridged the Mist," included in this collection.

In the story called "Fox Magic," which Johnson created out of her research into the nature of the fantastic in Japanese culture, the unfolding of the story — about a vixen who falls in love with a feudal nobleman and bewitches him into thinking she is a royal personage who has fallen in love with him — comes in bursts of events that I found bewitching in themselves, as when the she-fox first begins her campaign to cloud the man's mind and win his love:

"The fox-path was long and wandering. We walked along it until we saw lights. 'Home,' I said, and took his hand and led him the last few steps. He was lost in the magic then, and didn't notice that he had to enter my beautiful house by lying belly-down in the dirt and wriggling under the storehouse."

I was just as bewitched by this story as by the way Johnson handles the science-fiction material. In "Dia Chjerman's Tale," she delivers an entire space epic in a few masterly pages. "Spar" gives us the rush of a sexual escapade between a human woman and an alien that doesn't just push the envelope — it seals it, and sends it off into the mail. But it's "The Horse Raiders" that reminded me most of Le Guin, with its deeply imagined sense of distant other-planetary culture, its powerful female narrator, its vital sense of life, wherever we happen to live it, on Earth or in some distant constellation that's dying in a corner of the sky.

20 Sep, 2012


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Source: http://www.npr.org/2012/09/20/158433061/a-leap-of-the-imagination-across-the-river-of-bees?ft=1&f=1008
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Watch This: Filmmaker Kevin Smith's Varied Tastes

Audio for this story from Morning Edition will be available at approx. 9:00 a.m. ET

September 20, 2012

Kevin Smith has served as a writer, actor and director for films such as Clerks.
Mike Coppola/Getty Images

Kevin Smith has served as a writer, actor and director for films such as Clerks.

Kevin Smith — comic-book guru, writer-director of Clerks and Chasing Amy — shares some of his must-see movie and TV recommendations with NPR's Steve Inskeep. Smith is the latest guest in Morning Edition's series Watch This.


The Comeback

The show, a mockumentary in the style of The Office, follows a once-famous actress who has the chance to regain relevance and popularity on a new sitcom while simultaneously starring on a reality TV show.

Despite only running for one season, the HBO comedy, starring Lisa Kudrow, earned the actress an Emmy nomination — and critical acclaim — after her long-running hit Friends went off the air.

"It is, like, pitch perfect Hollywood satire" Smith says. "It's hysterically funny. In places really touching and heartbreaking, but it was a really clever and well done idea that didn't really get enough attention or exposure."


The Bad News Bears

This 1976 film stars Walter Matthau as the coach of a terrible little league baseball team. "People go, 'Oh, I've seen that story before.' And then you go, 'Well, yes, but this was the first time," Smith says. And that's what makes this film one of his picks.

Smith not only appreciated the originality of the film when he first saw it, but also admired its heart.

"It had incredible honesty, authenticity and edge. Nobody seems like they're acting."

Where the film really shines, according to Smith, is in its frank characterizations of children in the 1970s. "The kids are cursing, dropping racial epithets. The kids are bullying one another," Smith says. "It was literally a movie you'd watch and say, 'This doesn't even feel like a movie. This feels like my little league team.'"


Snapped

"This, to me, is a show that every man who's married needs to watch," Smith says. Now in its 7th season on the Oxygen network, Snapped features the stories of real women who have been accused of murder.

Smith admits that he uses the show for research.

"I sit there and watch it with my wife. I constantly look over at her to see if she's taking down notes," Smith says.

"It's crazy how many of these chicks break out the antifreeze," Smith says. "Because — and this is something I learned from Snapped — it's sweet," he adds as a caution.

A group of humans struggles to survive a zombie apocalypse in AMC's The Walking Dead.
Enlarge Gene Page/AMC

A group of humans struggles to survive a zombie apocalypse in AMC's The Walking Dead.

Gene Page/AMC

A group of humans struggles to survive a zombie apocalypse in AMC's The Walking Dead.


The Walking Dead

Talking Dead

The Walking Dead, based on the graphic-novel series of the same name, follows a group of zombie apocalypse survivors. Smith believes the AMC drama is best enjoyed with its talk-show counterpart, Talking Dead.

"The beauty of The Walking Dead is that they take their time telling the story. It's literally like a soap opera," Smith says. He compares his attitude toward The Walking Dead to his grandmother's love of The Young and the Restless.

The appeal of the companion show, Talking Dead, in Smith's opinion is in its similarity to sports commentary.

"For years, whenever you watched sports, man, there's like, an hour of the game and two hours of people pontificating about the game. Now, with Talking Dead, you've got a program that's kind of the same thing."


Hockey: A People's History

The CBC's 10-episode documentary series, produced in 2006, traces hockey's history through reenactments, archival footage and interviews with some of the game's greats.

"It's a really wonderful telling of the story of not just the game that Canada created, but the land that spawned it and the people that populate it."

Smith is not Canadian, but is a self-proclaimed "Canadaphile."

In the series, hockey is serious business.

"They show you just how important that game is to that country, and how it actually helped create a national identity," Smith says. "I've not seen a miniseries that engaged me so thoroughly."

20 Sep, 2012


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Source: http://www.npr.org/2012/09/19/161428962/watch-this-filmmaker-kevin-smiths-varied-tastes?ft=1&f=1008
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The Elusive, Endangered 'Knuckleball'

Written By Unknown on Rabu, 19 September 2012 | 14.10

Tim Wakefield, formerly of the Boston Red Sox, was the oldest active player in the majors before retiring in 2011. For years he was the only pitcher throwing a knuckleball.
Break Thru Films

Tim Wakefield, formerly of the Boston Red Sox, was the oldest active player in the majors before retiring in 2011. For years he was the only pitcher throwing a knuckleball.

Knuckleball!

  • Directors: Ricki Stern, Annie Sundberg
  • Genre: Documentary
  • Running Time: 90 minutes

Not rated

There are essentially two things that can happen with a knuckleball. It can float toward the plate without spin, jerk around like boozy relatives at a wedding hall and make the world's best hitters look like hapless Looney Tunes characters. Or it can float toward the plate with spin, lope with a steady trajectory at 65 mph and give the world's best hitters the juiciest slab of red meat this side of Sizzler. When a knuckleball specialist is on, he's a magician, conjuring the dark and mysterious forces of the universe; when he's off, he's the pot-bellied assistant manager throwing batting practice.

Ricki Stern and Annie Sundberg's documentary Knuckleball! — the curious exclamation mark suggests the biggest flop in Broadway history — considers one of baseball's greatest quirks with good humor and a glancing touch. Last seen following Joan Rivers around for the affectionate profile Joan Rivers: A Piece of Work, Stern and Sundberg view the small fraternity of knuckleball pitchers as outsiders in their own right. Just as Rivers was pegged as a groundbreaking female comedian, brash and vulgar in forbidding times, knuckleballers are cast as pariahs and freaks, a carnival act breezing through town. In other words, they're not real baseball players because real baseball players don't get laid up by a chipped fingernail.

Throughout the history of Major League Baseball, only one or two knuckleball pitchers have tended to play at any one time, which keeps the pitch on the endangered species list. Stern and Sundberg have done well to round up all the living knuckleballers for interviews, including old-timers like Phil Niekro, Charlie Hough and Jim Bouton, whose classic book Ball Four details his efforts to develop the knuckler when his other pitches faltered.

Knuckleball! also features the only other active knuckleball pitcher during the 2011 season: R.A. Dickey of the New York Mets.
Enlarge Break Thru Films

Knuckleball! also features the only other active knuckleball pitcher during the 2011 season: R.A. Dickey of the New York Mets.

Break Thru Films

Knuckleball! also features the only other active knuckleball pitcher during the 2011 season: R.A. Dickey of the New York Mets.

Other than Niekro, nobody enters the league as a knuckleballer; the common denominator is desperation, a last-ditch effort to stay in the majors when all else has failed.

Stern and Sundberg focus on Tim Wakefield and R.A. Dickey, the only two active knuckleball pitchers during the 2011 season. The two men are on opposing career paths: Wakefield, still well-preserved after 19 years and two championships with the Boston Red Sox, intends to retire at the end of the season, which he hopes will include his 200th victory. Dickey, a journeyman pitcher who was kicked around to dozens of major and minor league squads, had refined the knuckler to devastating effect for the New York Mets and was expected to be the staff ace — if, of course, the pitch didn't betray him.

Wakefield and Dickey are great stories and endearing subjects, and their meetings with Niekro and Hough reveal a secret society of pitchers who openly trade bits of wisdom and commiserate over the times when the breakers didn't break. For managers, having a knuckleball pitcher on staff is an ulcerous condition: Even when the pitch works, the catcher can't always catch it, there are many passed balls and walks, and base-stealers have an extra step toward second. For this exclusive fraternity, winning the faith of managers, teammates and fans was and is a near-constant battle, requiring patience and indulgence in the worst of times.

Knuckleball! looks and feels like a standard ESPN documentary, slickly packaged and a little bloodless, and Stern and Sundberg lean a little heavily on music to goose up the excitement. It's better when they simply follow Wakefield's and Dickey's dramatic and circuitous paths to glory — and best when Niekro and Hough stop by to tell stories and pore over the mechanics of arm motion and grip. Together, they're stewards of a junk pitch, masters of a sandlot special, and they don't want its glorious mysteries to die with them.

20 Sep, 2012


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Source: http://www.npr.org/2012/09/19/161266664/the-elusive-endangered-knuckleball?ft=1&f=1008
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Debunking The 'Myth Of The Muslim Tide'

Audio for this story from Fresh Air from WHYY will be available at approx. 5:00 p.m. ET

September 19, 2012

The violent protests that erupted in the Middle East over a video insulting the Prophet Muhammad were in part a reflection of conflicting values — Islamic strictures on images of the prophet versus the Western principle of respect for free speech.

But journalist Doug Saunders says that the video itself reflects a troubling current in Western political discourse — an irrational fear of Muslim communities in Europe and the United States.

"The guy who made it was a bit obscure, but the people who've promoted it and circulated it are part of a very well-organized and very, very well-funded network of activists who've received funding from mainstream conservative foundations," Saunders tells Fresh Air's Dave Davies.

In his new book, The Myth of the Muslim Tide, Saunders says an increasingly influential group of writers and activists believes immigration and high birth rates will make Muslims a majority in Europe in coming decades — and that their hostility to Western values makes them a threat to Western culture, democracy and security.

Saunders argues that these fears are based on inaccurate assertions of fact, and he says the fear of Muslim immigration in the U.S. is similar to past chapters in American history about other immigrant groups.

Saunders is the London-based European bureau chief for The Globe and Mail. He's also the author of Arrival City: The Final Migration and Our Next World.


Interview Highlights

On the Muslim tide in the United States

"During the years after George W. Bush ceased to be president, there [was] a power vacuum in the Republican Party. He was careful to keep anti-Muslim out of his party, probably because while waging a war in Iraq and another in Afghanistan, the more sane minds in the Republican Party realized it made sense not to be demonizing American Muslims.

Doug Saunders is the author of Arrival City and London-based European bureau chief at The Globe and Mail. He is a four-time recipient of Canada's National Newspaper Award.
Enlarge Randy Quan/Vintage

Doug Saunders is the author of Arrival City and London-based European bureau chief at The Globe and Mail. He is a four-time recipient of Canada's National Newspaper Award.

Randy Quan/Vintage

Doug Saunders is the author of Arrival City and London-based European bureau chief at The Globe and Mail. He is a four-time recipient of Canada's National Newspaper Award.

"But then, in the years after 2008, a group of people stepped in to many corners of Congress and Republican leadership who were adherents to these ideas about Muslims, had become almost single-ssue believers. ...

"And by the time the Republican leadership race took place in 2011, early 2012, four or five leading candidates including people like Newt Gingrich were willing to say things like, 'There is a stealth Sharia, there's a stealth plot among Muslim immigrants and their offspring in the United States to impose religious law upon the country.' This suddenly had become something that you could say in polite society, in political circles and so on, in Congress in the United States. And I should say that Mitt Romney has never apparently subscribed to or spoken of these ideas, so luckily, perhaps because he's himself from a religious minority."

On whether Muslims regard Islam as a spiritual matter or as an ideology

"We can measure this both by looking at what they say and looking at what they do. Because if members of a religious minority were really believing this, that were believing that religion is a guiding ideology that should control their actions, then they would be doing things — they would be ignoring the laws, they would be going to the mosque very often. ...

"What we find is the level of religiosity of religious observance among Muslims when they come to the West tends to fall fairly quickly to approximately the level of religious observance of the people around them. So when Muslims come to France from the Arab countries of North Africa, they tend to become not very religiously observant. About a fifth of them become outright atheist, which is similar to the rate of French Christians, and only about maybe 5 percent of them attend a mosque regularly. When they move to the United States, they become about as religious as American Christians are, which is fairly religious.

"So, yeah, about 47 percent of American Muslims will say, 'I think of myself as Muslim first and American second,' but that's almost exactly the same rate that non-Muslim Americans say, that American Christians say. Just shy of half of American Christians will say, 'I think of myself as Christian first, and American second.' So they tend to be loyal to their faith at about the same rate as Christians do in whatever country they arrive in."

On Muslim immigrants and integration

"In Europe, where they're coming from very poor rural areas — like the Rif Mountains of Morocco or the Anatolian Plain of Turkey or more remote parts of Pakistan or Bangladesh — you have a phenomenon where the parents strive in their sort of blue-collar industries that brought them in. And the daughters are often successful, but there's a propensity for the sons to drop out of secondary school at 16 and so on, and fall into troubled circles. Not necessarily into terrorism or anything like that — that tends to be a middle class thing that's isolated from mainstream immigrant communities — but they become economically unsuccessful and ghetto-ized because they drop out of school. ...

"And that's partly because nobody's paid any attention, partly because continental European education systems are very poor at mixtures of classes containing immigrants and non-immigrants, and partly because there are citizenship laws and various other laws that make it difficult — or sometimes impossible — for their parents to buy a house or put their kids in university that discourages people from becoming a part of the community. And one thing I've become very convinced of in working on this book is that culture is something that follows economic and educational integration. People become culturally integrated when they're a part of the economy and a part of the education system, and with every group of religious minority immigrants, this has been the case."

15 Sep, 2012


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Source: http://www.npr.org/2012/09/19/161168231/debunking-the-myth-of-the-muslim-tide?ft=1&f=1008
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'Life Of Objects' Tells A Cautionary WWII Fairy Tale

Audio for this story from Fresh Air from WHYY will be available at approx. 5:00 p.m. ET

September 19, 2012

Susanna Moore's latest novel, The Life of Objects, is a slim World War II saga that reads like a cautionary fairy tale: It's packed with descriptions of ornate furniture and paintings, lavish banquets, demons and diamonds. At the center of the story is a young girl bewitched by her own desire to live a larger life, a wish that's granted with grim exactitude. Clearly, The Life of Objects is not your father's standard-issue World War II novel; although, Moore's narrative angle on the war does remind me of Edmund de Waal's extraordinary 2010 memoir, The Hare With Amber Eyes. In both books, the capricious nature of war — to obliterate or overlook — is explored through the fate of an aristocratic family's collection of fine art.

Our heroine and narrator in this novel is Beatrice Palmer, the only child of Protestant shopkeepers in the west of Ireland. The word Beatrice repeatedly uses to describe herself is "greedy" — greedy, not for money, but for something to happen. When the story opens in 1938, Beatrice, out of boredom, has taught herself how to make lace while she stands behind the counter of her family's shop. Beatrice explains that she's not allowed to read there, "lest it appear that I gave myself airs."

Soon enough, Beatrice's yearning for adventure is answered: A European countess, who's visiting the local landed gentry, sweeps into the shop, surveys the lacework, and whisks Beatrice off to Berlin, where she's to make tablecloths and the like for a wealthy couple, Felix and Dorothea Metzenburg. There's a Jane Eyre feel to Beatrice's arrival at the fabulous Metzenburg mansion, which is eerily near-empty of staff because of the coming war.

Instead of making lace, Beatrice is put to work packing up the Metzenburgs' array of priceless tchotchkes: "turned ivory" sculptures that are to be crated in barley; Old Master paintings rolled up pencil tight; and the Empress Josephine's yellow diamond sewn into a coat hem. Most of this treasure will be buried on the grounds of the Metzenburgs' country estate outside Berlin, where the family retreats for the duration. Felix, an otherwise good enough German, is on the outs, politically, with the Fuhrer; besides, as Beatrice tells us, Felix would much rather pursue his quaint connoisseur's life, satisfying "his compulsion to limit the world to the exquisite."

Susanna Moore is the author of several books, including a memoir, I Myself Have Seen It: The Myth of Hawai'i.
Enlarge Denise Applewhite/Knopf

Susanna Moore is the author of several books, including a memoir, I Myself Have Seen It: The Myth of Hawai'i.

Denise Applewhite/Knopf

Susanna Moore is the author of several books, including a memoir, I Myself Have Seen It: The Myth of Hawai'i.

Fat chance, not with those tanks ready to roll into Poland. The tension of this novel arises out of that disjunction between the static, gorgeously adorned life of the Metzenburgs and the depravity of war roiling just outside their gates. Moore is rightly celebrated for her lithe style as a writer and, in so many passages here, she nimbly jumps back and forth over the boundaries of the Metzenburg estate to give readers a sense of the chaos that's inevitably seeping through their charmed defenses. Here's Beatrice skittishly recalling the year 1943, a season of losses, outside the great house and in, as well as cosmic instability:

The butcher in the village disappeared that winter with his wife and twin sons ... An object left momentarily on a table — an inkwell or a branch of witch hazel carried from the woods — was gone when I returned for it, and an apple or a dish of almonds disappeared even if I hadn't left the room.

One night, ... I thought that I could hear thunder, but I decided that it was only the hundreds of military transports on their way to the Eastern Front. When the ... earth began to shake, I knew that it wasn't the lorries but the hum of hundreds of planes.

By war's end, Beatrice and her employers will be excavating that treasure she buried to barter for coffee made of roasted acorns, while marauding Russian troops violate their enchanted zone of neutrality. Moore doesn't exactly tell a "new" war story here; but, through Beatrice, she speaks of all-too-familiar atrocities in such a spellbinding way that she once again compels readers to, once again, listen. If the Brothers Grimm had tackled the rise and fall of the Third Reich, they might well have produced a tale that reads like The Life of Objects.

20 Sep, 2012


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Source: http://www.npr.org/2012/09/19/161173818/life-of-objects-tells-a-cautionary-wwii-fairy-tale?ft=1&f=1008
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'The Black Count' Cuts A Fascinating Figure

The novelist Alexandre Dumas — the one known for penning The Count of Monte Cristo and The Three Musketeers — is often referred to as "Alexandre Dumas, pere." This is to distinguish him from his son, also a writer, who is identified as "Alexandre Dumas, fils." The thing is, there is an even older Alex Dumas who, while not a professional writer, made quite a name for himself in Revolutionary France. For the father of Alexandre Dumas, pere, the sword was mightier than the pen, and this larger-than-life figure's story heavily influenced the fiction of his literary offspring.

Historian Tom Reiss went to France specifically to uncover the papers and tell the story of this forgotten Dumas, the titular "Black Count" of Reiss' fascinating new book. Thomas-Alexandre (later, simply Alex) Dumas was born in 1762 in Saint-Domingue to a blackguard French aristocrat named Alexandre Antoine Davy de la Pailleterie and one of his black mistresses. According to Reiss, the island colony — known as the "pearl of the West Indies" — accounted for two-thirds of France's overseas trade in the late 18th century. As such, Saint-Domingue was, in the author's words, "a vast infernal factory where labor never ceased and slaves regularly worked from sunup to past sundown in conditions rivaling the concentration camps and gulags of the twentieth century." It was from this Caribbean charnel house that Davy de la Pailleterie took his mixed-race young son to France for a free life and gentleman's education.

Tom Reiss' previous books include The Orientalist and Fuhrer-Ex; Memoirs of a Former Neo-Nazi.
Enlarge Aventurina King/Crown

Tom Reiss' previous books include The Orientalist and Fuhrer-Ex; Memoirs of a Former Neo-Nazi.

Aventurina King/Crown

Tom Reiss' previous books include The Orientalist and Fuhrer-Ex; Memoirs of a Former Neo-Nazi.

Thomas-Alexandre enjoyed a period of relative equality in pre-Revolutionary France, and Reiss never ceases to remind the reader what a great looking young paragon he was: "His proportions were those of a Greek hero ... and his strength would be compared to Hercules's, though his hands and feet were said to be as delicate as those of the ladies he escorted into town." Thomas-Alexandre came of age at a time when his race was viewed by many in Paris as pleasantly exotic, and his encounters with the period's virulent racism were relatively few.

Thomas-Alexandre's enlistment in the Sixth Regiment of the Queen's Dragoons under the new name of "Alexandre Dumas" signaled a turning point in his life. His new moniker and army career clearly agreed with him, as Dumas rose quickly from lowly private to a heroic general leading an army of 50,000 men. His meteoric and profoundly unlikely rise through the ranks is stranger than fiction, and indeed Dumas, pere mined his father's life for much of his literary material. The son understandably idolized the father, who died when the boy was 4 years old.

What's slightly stranger is the historian Reiss' fawning over his subject. While Alex Dumas is an unquestionably fascinating figure, parts of the book read like an extended fan letter rather than objective, analytical work. It occasionally borders on the hyperbolic, akin to an American's idol worship of George Washington as a man who never lied and single-handedly won the American Revolution.

In Egypt, Dumas' fortunes — like those of The Count of Monte Cristo's Edmond Dantes — run afoul of a certain vindictive Corsican, and his life's story goes from adventure yarn to tragedy. While Napoleon goes on to power and glory, Dumas finds only imprisonment and early death. Throughout the book, Reiss argues that Alex Dumas is an important, criminally neglected historical figure quite apart from his relationship to his famous offspring. Despite Reiss' sometimes overblown regard, it's difficult to argue with him. That a former slave could rise on his merits so far, so fast some seven decades before Lincoln issued the Emancipation Proclamation is a truly amazing story, one that needs no literary embellishment.

19 Sep, 2012


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Source: http://www.npr.org/2012/09/19/161023945/the-black-count-cuts-a-fascinating-figure?ft=1&f=1008
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Claire Danes: Playing Bipolar Is Serious Business

Audio for this story from Morning Edition will be available at approx. 9:00 a.m. ET

September 19, 2012

Claire Danes plays Carrie Mathison in Showtime's Homeland. The second season premieres on Sept. 30.
Kent Smith/Showtime

Claire Danes plays Carrie Mathison in Showtime's Homeland. The second season premieres on Sept. 30.

The second season is about to start for the Showtime series Homeland, a show whose cast and crew are up for numerous honors at the Emmy Awards Sept. 23.

One of them is Claire Danes, who plays a CIA agent who's become obsessed with the idea that an American hero — a Marine returned home after years of captivity in Iraq — has secretly become an operative for al-Qaida. Danes spoke to NPR's Steve Inskeep about preparing for the part, finding the character's body language and being "a big fat ham."


Interview Highlights

On playing a bipolar character

"I had to do a lot of research for this role. And actually, I found great material on YouTube. There was a lot of footage of people who recorded themselves when they were in manic states. I think they were probably up in the middle of the night and lonely and, you know, needed to talk. So they talked to the camera. So I gorged on sort of manic confessionals on YouTube.

"They talk at a very fast clip. But, you know, it's not a strictly unpleasant phenomenon. A lot of people are reluctant to treat themselves because they're so protective of those manic highs."

On her on-camera physicality

"I focus on the intention of the character and whatever thoughts and feelings she's having, and they seem to kind of naturally communicate themselves on the face. But I have to say that my dad's face is very malleable. He's barely got any cartilage in his face. I think I maybe inherited that Play-Doh-like physicality from him."

Homeland's central conflict involves Mathison's suspicions about whether former POW Nicholas Brody (Damian Lewis) is secretly an al-Quaida mole.
Kent Smith/Showtime

Homeland's central conflict involves Mathison's suspicions about whether former POW Nicholas Brody (Damian Lewis) is secretly an al-Quaida mole.

On starting her career at a young age

"I got an agent when I was 12, and I started working in more amateur productions well before that. But even as a kid, I never felt like a kid actor, you know? I always took myself kind of absurdly seriously. My first offer was when I was 12, and it was for a soap opera. And I turned it down because I knew that I was an unformed actor, and I didn't want to develop bad habits."

On taking herself seriously

"I've been performing since I was about 6. No, with real artists. I worked with people who took their work seriously, so I really cared about that stuff.

"Yeah, well, I mean, gosh, everything seemed so important as a teenager. So frickin' serious, are you kidding? I mean, that's why teenagers especially are so funny. But I mean, I have to be clear, too, when we talk about my being serious, I was also a big fat ham.

"And, you know, what we do is to play professionally, and I think I knew that. I didn't know how much I knew that as a kid. And I had to learn that there is real honor in being a total goofball."

19 Sep, 2012


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Source: http://www.npr.org/2012/09/19/161346960/claire-danes-playing-bipolar-is-serious-business?ft=1&f=1008
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How To Upset The Apple Cart, Deliciously

Written By Unknown on Selasa, 18 September 2012 | 15.18

Apples are the onions of the fruit world: abundant, versatile and a friend to almost any flavor. Apples and onions even go well together.

The apple is a natural savory. In a soup or puree it adds complexity to butternut squash or parsnips. In sandwiches — my, oh my, oh my, can you say 'warm gooey grilled cheddar layered with slices of cold, crisp apple'?

As we enter the thick of fall, apples will tumble from their bins, a harmony of flavors, textures and hues — reds, yellows, browns and greens — that capture the very essence of the season. But when was the last time you thought of using an apple for anything besides pie, applesauce or cider? Maybe you tossed one into a salad. Maybe.

Americans eat 2.4 million tons of apples each year — or 15 pounds per person — second only to bananas (though the Virginia-based U.S. Apple Association is quick to point out that apples are the most often consumed domestic fruit). Which means we really should do more than stick them in a lunch box or sprinkle them with cinnamon.

Look at the Shakers. The late 18th-century religious sect had 49 ways to prepare apples — 49! Their recipes ranged from the standard pies and cakes to sausage-stuffed apples, apple "omelets" (a bit like souffle) and switchel, a tonic made of cider vinegar and used to chase their farmers' thirst during the harvest. They also invented the apple peeler, apple corer and that thingy that cuts them into quarters. To be fair, the Shakers often kept orchards with hundreds of apple trees, so they had a lot of incentive to use them inventively (and to be efficient about peeling and preparing them).

Michele Kayal is a food writer specializing in the intersection of food, culture and identity. Her work has appeared in The New York Times, the late great Gourmet, Bon Appetit, Conde Nast Traveler and many other national outlets. She writes regularly for The Associated Press and on her blog, The Hyphenated Chef.

These days, most Americans also have an abundance of apples at their disposal. Alongside the old McIntosh and Red Delicious, newer varieties such as the crunchy, big-juice Honey Crisp and candy-sweet Fuji can be found in nearly any supermarket. Heirlooms like the tartly complex Esopus Spitzenburg and the sweet, purple-skinned Black Oxford pop up at farmers markets. And apples with glamorous names like Jazz and Pink Lady — both "club varieties," that is, apples licensed only to certain growers and marketers — have become commonplace.

Of course, not all apples are created equal. Flavors can range from "floral" to "cherry or berry flavors," says Amy Traverso, author of The Apple Lover's Cookbook. They can taste "nutty" or "spicy" or have flavors of "pear or vanilla." Traverso says her favorite apple, the heirloom Ashmead's Kernel, "tastes like champagne with honey stirred in."

A friend to pork, where it mingles with sage and other fragrant herbs, and to duck, where its acid offsets the richness of the meat, the apple is a natural savory. In a soup or puree it adds complexity to butternut squash or parsnips. In sandwiches — my, oh my, oh my, can you say "warm gooey grilled cheddar layered with slices of cold, crisp apple"?

There's a reason Eve went for an apple and not an orange or a persimmon. Besides being tempting, apples are elemental. Adaptable. Basic. You can always count on the apple.

"If you don't know what to do," says James Haller, a New England chef and author of Cooking in the Shaker Spirit, "grab an apple."


Apple Tips

Because of the variety of flavors and textures now available, choosing the right apple for the right purpose is more difficult than ever. Some general notes:

  • A baking or cooking apple is anything that will keep its shape. The Braeburn and Honey Crisp, Jazz and Jonagold are good examples, as are the more tart Rome, Stayman and Granny Smith.
  • Softer, less resilient apples, such as McIntosh, Fuji, gala and empire dissolve in the heat, and therefore make great sauce.
  • Sweet apples pair nicely with salty items such as cheese and peanut butter. Think Honey Crisp or Fuji.

Recipe: Pork And Apple Pie With Cheddar Sage Crust

Whoa. Pork, apples and cheddar all snuggled together under a warm blanket of crust. This dish, adapted from Amy Traverso's The Apple Lover's Cookbook (Norton 2011), looks stunning on the table and tastes just as good. An absolutely perfect fall meal and a great party trick.

Pork And Apple Pie With Cheddar Sage Crust

Michele Kayal for NPR

Makes 8 to 10 servings

Crust

2 1/2 cups all-purpose flour

2 teaspoons dried sage, finely crumbled

1/2 teaspoon kosher salt

16 tablespoons (2 sticks) chilled unsalted butter, cut into small cubes

3 ounces sharp cheddar cheese, finely grated

6 to 8 tablespoons ice water

Filling

1 1/2 pounds (about 3 large) firm-sweet apples (such as Braeburn, Honey Crisp, Pink Lady), unpeeled, cored and cut into 1/4-inch thick wedges

1 1/2 pounds (about 3 large) firm-tart apples (such as Granny Smith, Rome or Winesap), unpeeled, cored and cut into 1/4-inch thick wedges

2 tablespoons vegetable oil

1 small onion, very finely chopped

2 pounds ground pork (preferably 15 percent to 17 percent fat)

1 tablespoon firmly packed brown sugar

1 teaspoon kosher salt

1/2 teaspoon ground cinnamon

1/2 teaspoon ground ginger

1/2 teaspoon ground cloves

1/2 teaspoon ground allspice

3 1/2 tablespoons plain breadcrumbs

1 egg blended with 1 tablespoon water

Fresh sage leaves for garnish

To make the crust, in a medium bowl, whisk together the flour, sage and salt. Sprinkle the butter over the mixture and use your fingers to rub it in, rubbing your thumb against your fingertips to smear the butter as you go. Do this until the mixture looks like cornmeal with some pea-sized bits of butter remaining. Stir in the cheese with a fork until evenly distributed. Sprinkle 6 tablespoons ice water over the mixture and stir with a fork until the dough begins to come together. If needed, add an additional tablespoon or 2 of ice water (it should not need more than that).

Turn the dough out onto a lightly floured surface and knead 3 times. Gather the dough into a ball, then divide into two portions, one slightly bigger than the other. Press each portion into a disk and wrap in plastic wrap. Refrigerate at least 30 minutes.

To make the filling, in a skillet over medium-low heat, cook the apples without any oil, stirring gently until they just begin to soften, 5 to 7 minutes. Transfer to a dish and set aside. Add oil to the pan and increase the heat to medium-high. Add the onion, pork, brown sugar, salt and spices. Cook, using a wooden spoon to break up the meat, until it is lightly browned, about 10 minutes. Let the meat mixture cool for 10 minutes, then transfer to a food processor. Add the breadcrumbs and pulse 5 times until the mixture has the texture of coarse sand. Set aside. NOTE: You can prepare the recipe through this step a day or two before.

Preheat oven to 425 degrees.

To prepare the crust, unwrap the larger disk of dough and put it in the center of a large sheet of parchment paper. Cover the dough with a second piece of parchment. Roll out, working from the center, to a 13-inch circle. Peel off the top piece of parchment and transfer the dough to a 9-inch, deep-dish pie plate, preferably glass or ceramic, draping any excess over the edge. Unwrap the smaller disk of dough and roll out as above, this time to an 11-inch circle. Set aside.

Pour the meat mixture into the bottom crust and gently smooth with a spatula. Arrange the cooked apple slices over the meat, pressing down to make the whole construction as smooth and neat as possible, mounding the apples if needed. Peel the top sheet of parchment off the top crust. Transfer, peeled side down, to the pie, then peel off the remaining parchment. Using a sharp knife, make two 3-inch slashes in the crust to allow steam to escape. Fold the edges of the bottom crust up over the top and crimp the edges to seal. Brush the crust with egg wash and decorate with sage leaves. Dab the leaves with a bit more egg wash to keep them from curling and burning.

Bake at 425 degrees for 10 minutes, then reduce the heat to 375 and bake until the crust is golden brown, 25 to 35 minutes more. Remove from oven and let cool 25 minutes before serving.


Recipe: Roasted Apple And Squash Soup

Apple and butternut squash is a common combination, but this soup, adapted from Jamie Oliver's Great Britain (Hyperion 2012), achieves unusually complex flavors by roasting the ingredients before they hit the blender. Delicious hot or cold.

Roasted Apple And Squash Soup

Michele Kayal for NPR

Makes 4 to 6 servings

1 butternut squash, about 2 pounds, peeled, seeded and cut into 1-inch chunks

3 firm, sweet apples, such as Braeburn, Pink Lady or Jazz, peeled, cored and quartered

1 large onion, peeled and roughly chopped

1 fresh hot red chili, seeded and finely chopped

4 cloves of garlic, unpeeled and crushed

1 teaspoon kosher salt

1 teaspoon freshly ground black pepper

1/2 teaspoon coriander seeds

2 teaspoons finely chopped fresh rosemary

1/4 cup olive oil plus 1 teaspoon olive oil, separated

1/4 cup pumpkin seeds (the shelled kernels, sometimes called pepitas)

3 1/4 cups vegetable or chicken stock

2/3 cup light cream

Pumpkin seed oil, for garnish

Preheat oven to 400 degrees.

Spread the squash, apples, onion, chili and garlic on a baking sheet. Sprinkle with the salt, pepper, coriander and rosemary. Drizzle with 1/4 cup olive oil and toss until well coated. Roast for 45 minutes to 1 hour, or until all the vegetables are cooked through and golden.

Spread the pumpkin seeds on a small baking sheet and toss with 1 teaspoon olive oil. Sprinkle with salt. Roast alongside the vegetables for 10 to 15 minutes until toasted. Set aside.

Remove the vegetables from the oven. When they are cool enough to handle, squeeze the garlic from the peel. If you have an immersion blender, scrape the vegetables into a large pot. Deglaze the baking sheet with 1/4 cup boiling water, scraping at the burned-on bits to capture them. Add the water to the pot. Add the stock to the pot and puree, using the immersion blender.

If you are using a countertop blender, deglaze the pan as above and pour into the blender. Add roughly 1/3 of the vegetables from the baking sheet and puree. Transfer puree to a large pot. Continue this process with the rest of the vegetables, using the stock.

Once the vegetables are pureed in the pot, add the cream and bring to a simmer over medium-low heat. Simmer until the soup is warmed through and reaches your preferred consistency.

To serve, divide into bowls. Drizzle with pumpkin seed oil. Top with toasted pumpkin seeds.


Recipe: Spinach, Apple, Pickled Onion And Bacon Salad With Cider Vinaigrette

This fresh twist on the wilted spinach salad combines apples and bacon to create a sweet-salt-smoke sensation. This recipe is adapted from Amy Traverso's The Apple Lover's Cookbook (Norton 2011).

Spinach, Apple, Pickled Onion And Bacon Salad With Cider Vinaigrette

Michele Kayal for NPR

Makes 6 to 8 servings

Vinaigrette

1/3 cup cider vinegar

1 tablespoon honey

1/2 teaspoon kosher salt

1/2 medium red onion, cut crosswise into very thin slices

2 teaspoons Dijon mustard

1 tablespoon olive oil

Salad

6 slices bacon

5 to 6 ounces baby spinach leaves

1 large salad-friendly apple, such as Cortland, Ginger Gold or Fuji, unpeeled, cored and cut into 1/8-inch thick slices

In a small bowl, whisk together the vinegar, honey and salt until the salt dissolves. Add the onion and let sit while you prepare the rest of the salad.

In a skillet over medium heat, cook the bacon until brown and very crisp, about 10 minutes. Crumble and set aside. Reserve 2 tablespoons of bacon drippings in a small bowl. Discard the rest.

Using tongs or a fork, remove the onion from the vinegar mixture and set aside. To finish the vinaigrette, add mustard to the vinegar mixture and whisk to combine. Slowly drizzle in the bacon drippings and the olive oil, whisking constantly.

In a large salad bowl, toss the spinach, onions and apple slices. Just before serving, add the vinaigrette to taste. Toss well. Top with the crumbled bacon and serve at room temperature.


Recipe: Grilled Cabbage And Apple Slaw

This has become a fall favorite in our house. Warm and crunchy, with tangy, sweet and savory all working together, it's a perfect side dish for any hearty meat. Metal skewers work best.

Grilled Cabbage And Apple Slaw

Michele Kayal for NPR

Makes 6 servings

1/2 medium head of green cabbage, sliced into 1/2-inch thick disks

2 large onions, peeled and sliced into 1/2-inch thick disks

1/2 cup olive oil

3/4 teaspoon kosher salt

1 cup diced firm apple, like Fuji, Empire or Granny Smith

1 teaspoon celery seed

1/4 cup Dijon mustard

1/4 cup rice vinegar

Heat the grill to medium. Run skewers through the cabbage and onion disks (go from edge to edge, not through the middle). Rub disks with olive oil on all sides and sprinkle with salt.

Place the disks on the grill, flat side down. Grill for 5 to 8 minutes, then turn. Grill for 5 more minutes or until the vegetables are charred and tender, but still hold their shape.

Slide the cabbage and onions from the skewers into a serving dish.* Chop roughly using kitchen shears.

Add the apple and toss well. In a small bowl, whisk together the celery seed, mustard and rice vinegar. Pour over the salad and stir until well mixed. Season to taste with more salt and pepper if needed. Serve warm.

*To save a step, use the serving bowl to carry your cabbage and onions to the grill — fewer items to wash.


Recipe: Spicy, Salty Apple Snack

Do you have one of those relatives who sprinkles salt on watermelon? Same principle at work here. Indians pepper fresh fruit with a spice mixture called chaat, and in Mexico many people like chili, salt and lime on their fruit or on vegetables such as jicama. This combination of salt-sweet-sour-spice gets your whole mouth going.

Spicy, Salty Apple Snack

Michele Kayal for NPR

Makes 1 snack (or 2 smaller snacks, if you're sharing)

1 crunchy, sweet apple, such as Honey Crisp

1/8 teaspoon sea salt

1/8 teaspoon cayenne, chipotle powder or smoked paprika

Lime wedge

Core and cut the apple into thick slices. Squeeze the lime over the apple. Sprinkle with the salt and the chili.

19 Sep, 2012


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Source: http://www.npr.org/2012/09/18/161353759/how-to-upset-the-apple-cart-deliciously?ft=1&f=1008
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What 'The Influencing Machine' Teaches College Kids

Several colleges and universities have adopted a common read program, in which first year students read the same book during the summer, then discuss it when they get to campus.

NPR'S Neal Conan talks with Brooke Gladstone, co-host of On The Media, about her book, The Influencing Machine, a graphic novel that tries to decipher the rapidly changing media business and the ways people interact with it.


Interview Highlights

On why her book works as a freshman read

"I wanted to write a comic book ... before I wanted to write a book. And ultimately, I wrote a 2,000-year history of the media and a manifesto as to why it is the way it is and what one needs to do to make it be the way we want it to be — all in panels, about 160 pages, 2,000 years and tons and tons and tons of end notes. And I think it's because it's so compressed. It's a useful book, because every chapter, rather than completing the discussion, is kind of a launch for discussion, because you really have to say things in very, very few words."

On the process of writing a graphic novel

"The difference between a comic book and an illustrated book is in an illustrated book, the pictures support the text, but in a comic book the pictures replace the text. And as a result, I had to come up with every single image, and there's about a thousand of them. And I would write a panel in words and then I would cut it in half, and then I would figure out what could I indicate with the image, and then I would cut it in half again. So ... every panel went through three written revisions before they even went through the three stages of drafting, penciling and inking. That's pretty intensive."

On misinformation and the media

"It has been ever thus. We've always had a wide range of media choices. And stories have always been made up in the paper. I mean, Edgar Allan Poe made up a story about a balloon launch, and there are other stories about people landing — a telescope seeing people on the moon and so forth. ...

"[And] they are among the biggest sellers. But here's the thing is, you know, we buy that stuff. It's a business. We don't want it to be government owned. And I think my principal argument is that the sooner we take responsibility for that consumption the better, because there is every bit as much excellent, complete, thorough, contextual news out there as there is the load of crap."

18 Sep, 2012


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Source: http://www.npr.org/2012/09/17/161294597/what-the-influencing-machine-teaches-college-kids?ft=1&f=1008
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Exploring 'Hidden' Jobs, From Coal Miner To Cowboy

Cowboys get the cows lined up in a chute to administer shots to prepare them for artificial insemination.
Enlarge Jeanne Marie Laskas

Cowboys get the cows lined up in a chute to administer shots to prepare them for artificial insemination.

Jeanne Marie Laskas

Cowboys get the cows lined up in a chute to administer shots to prepare them for artificial insemination.

Jeanne Marie Laskas first came across "hidden America" 500 feet underground, traveling with miners through a narrow, dark coal mine in Ohio. There, she realized how dependent Americans are on the work of miners, yet most people know very little about their world or their work.

In a new book, Laskas chronicles her weeks spent following the lives of those whose jobs are nearly invisible to most of us, from air traffic controllers and truck drivers, to migrant workers and professional football cheerleaders.

NPR's Neal Conan talks with Laskas about the people she met while researching her book, Hidden America: From Coal Miners to Cowboys, An Extraordinary Exploration of the Unseen People Who Make This Country Work.


Interview Highlights

On air traffic controllers at LaGuardia Airport

"The working conditions were not so easy. It was quite dilapidated. But those workers, in particular, regarded themselves really as public servants. They guide our airplanes, make sure they get up in the air at the right time and land without bashing into each other. And they found it to be work that mattered, and that mattered to them. ...

"We have to be really thankful that there are people like Brian and Lars and some of the other characters I introduce in that book who are in those towers. The problem is that they're overworked, and there aren't enough of them, and there are not enough of them in the pipeline coming up to be trained. And this is a bit of a crisis.

"In fact, it's been recognized for several years. Now, we need to talk to the FAA about that, not our controllers who are, you know, they're doing it. They're doing the job and doing it, you know, heroically."

On cowboys at R.A. Brown Ranch in Throckmorton, Texas

"[The cowboys' work is] extremely high-tech ... I mean, literally down to the marbling, looking at ultrasound of living cows to calibrate the amount of back fat for the precise level of marbling, that they have worked with the genes of the cows to create that. I mean, it is unbelievable. And they are these guys in ... you know, cowboy hats."

On migrant workers picking blueberries in Maine

"The beautiful blueberry festival in Machias, Maine ... happens every summer. You know, it's happened for generations, and it still goes on today. And they have a tour. You can get on a bus and take a tour to the actual blueberry barrens. You get on that bus, you go out, who are you seeing? You're seeing these migrant workers who don't go to the festival, who don't have time to go to the festival.

"They're the ones who are laboring right there under the noses of, you know, everyone — the consumer. We don't think about that. ... It's really easy to sort of get romantic about this or to romanticize this situation and think, 'Yeah, community, what's the matter? How come you don't come out to those fields anymore?' You know, it's sort of like a dying culture, and isn't that sad?

"But then you go, 'OK, well, wait a minute? How much are these people getting paid to pick these blueberries? And who has time? And what's the matter with that farmer who's not paying enough money to pick the blueberries?' Well, take it the next step: Where does that cost translate? That translates to us, the consumer. Are we really willing to pay $30 a pound for blueberries? No, we want them affordable. So that's who's eating the cost — the worker."

18 Sep, 2012


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Source: http://www.npr.org/2012/09/17/161290309/exploring-hidden-jobs-from-coal-miner-to-cowboy?ft=1&f=1008
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The Sophistication Problem: James Bond, Gene Kelly, And The Limbs We Live On

A film projected on a traditional projector.

iStockphoto.com

In an excellent piece at the Press Play blog at Indiewire, Matt Zoller Seitz writes of a screening of From Russia With Love, where he found that much of the audience was too busy guffawing at the elements it found dated to engage the film on its own terms. While he writes eloquently and angrily about the phenomenon of ironic distance, the killer line is this one: "It's up to the individual viewer to decide to connect or not connect with a creative work. By 'connect,' I mean connect emotionally and imaginatively — giving yourself to the movie for as long as you can, and trying to see the world through its eyes and feel things on its wavelength."

As someone who prizes the opportunity to attend screenings of old movies myself from time to time, I've certainly felt this frustration acutely. The universe of work that can only be enjoyed ironically seems to be growing, past what was always camp to what was never good to what was never great, and has now swallowed what is of its time and what is simply unfamiliar. There is, to be sure, a brand of filmgoer whose internal programming says, "If you don't recognize it, it's weird, and if it's weird, it's funny, and if it's funny, your reactions should be at it and not to it."

Seitz goes on to tell a story from a film class he took in college in which the professor showed Singin' In The Rain, which a good part of the class chuckled at, finding it corny and unbelievable. After delivering a lecture on the importance of deciding to engage with a film as it is, the professor in the story delivered the admonition that offered Seitz his headline: "This movie is not unsophisticated. You are."

It should alarm no one if beginning film students were unsophisticated in their approach; after all, they were beginning film students. If we truly believe that film is art that can be studied like anything else, then we can't be surprised that everyone doesn't waltz into an introductory class with a sophisticated understanding of the material; they're there to be educated. They're there to develop a nuanced approach.

But a nuanced approach is a tricky thing. Ironic distancing from the unfamiliar is certainly fatal to any effort to learn anything at all; if you considered every equation you'd never seen before to be strange-funny rather than strange-new, you wouldn't learn any math, either.

On the other hand, just as a nuanced approach to film might require you to engage the film, perhaps it also requires us to engage the disengagement and wonder why it's there. Perhaps it's just laziness, but what if it's not? Why are some old movies that bear the stamps of their eras chuckled at and others aren't? I suspect that if you showed many of those James Bond chucklers and Gene Kelly snorters Bonnie And Clyde or The French Connection, they would probably know they weren't supposed to laugh at what was dated or melodramatic.

James Bond pictures have something in common with Singin' In The Rain, after all: their pleasures are sensual and accessible, rather than intellectual. When Seitz talks about From Russia With Love, he acknowledges its appeal is not as a piece of art, but as a "cheeky erotic daydream." Similarly — and ironically, really — it requires no particular sophistication at all to enjoy Singin' In The Rain other than avoiding a specifically unsophisticated mindset that makes you reject it. (I fell in love with it as a 15-year-old high school girl whose other favorite movie was The Sure Thing. Sophistication had nothing to do with it.)

We tend to associate sophistication with the ability to think in an advanced, critical, analytical way, but in fact, in both of these cases, what seems to be missing from the ironically detached is the sophistication to allow themselves sensory pleasure, not cerebral enrichment, from film. Singin' In The Rain is a glorious accomplishment, brilliant and beautiful and perfect in my big beating heart, but it is nothing as much as it is distilled joy.

Similarly, a James Bond film — and not being a James Bond person, I might perhaps substitute something like Die Hard on a similar principle, admittedly with less eroticism and less indelible iconography — may be artfully done (the Die Hard DVD commentary is one of my favorites ever, revealing as it does the amount of creative care that went into such a populist piece), but mostly wants to be a pleasure delivery vehicle.

What is actually unsophisticated in the approach of the perpetually distanced viewer is precisely the effort to be theoretically sophisticated: to appreciate only what is serious and important and canonical, to favor anything dark over anything light because that's what makes you smart. These are often the mental workings of people who mistake reflexive skepticism for discernment, which it isn't — it is definitionally no more discerning than reflexive boosterism.

What is also problematic is the influence of the crowd. I suspect that few of those chucklers are in it alone; most are very conscious of the people around them. Particularly in a film class, I suspect they're very conscious of how their reactions will be perceived in terms of defining their scholarship and placing them on an emerging map of who is serious and who is not. What's crippling them isn't just a shortage of sophistication but an abundance of cultural orthodoxy.

Cultural orthodoxy for a mainstream audience might mean embracing superhero movies or feel-good dramas, but when you're a beginning film student and your peers are your point of reference, it might well consist of aggressive disdain itself, of thinking everything is crap except maybe the French New Wave, Quentin Tarantino, and a few obscure horror movies everybody else probably hasn't heard of. Disdain is easier than enthusiasm because you can do it with a hand wave, and quite unfairly, it has a better intellectual reputation.

The great risk, though, is that if you grasp a person by the shoulders and tell him he's unsophisticated for his response — as the film teacher did at the closing of the Singin' In The Rain showing — he won't learn the lesson you mean to teach. He won't learn that he needs to think in a nuanced way about the pleasure and the art and the cultural commentary of film. What he will learn is, "Don't react incorrectly, or people will ridicule you."

That's the mindset I actually fear more than ironic distancing: the refusal to react at all until you know how your reaction will be received. That goes hand in hand with the insidious practice of using what you like and dislike to define not just your taste but your place. It's a quieter, less conspicuous, but just as destructive failure to engage. It's how people learn to substitute what they should think for what they actually think, to the point where they don't trust their own reactions. (Thus the exploding popularity of the term "guilty pleasure," which is designed to allow you to acknowledge what you actually like without making it appear that you don't know what it's correct to like.)

When I was at the Toronto International Film Festival last week, one of the things that struck me was the hesitation to react that I heard over and over in overheard conversations. I heard so much "Weeeeell, it was okay," and so much "Weeeeell, I didn't like it and I didn't hate it," and so much "Weeeeeell, I thought, you know, it was fine," that I began to realize that while some of those reactions grew out of legitimate ambivalence, some of them came from a desire to figure out which way the wind was blowing before they bent in any direction. It's a cautious reaction, but not a particularly nuanced one. In its way, it works: they may not have learned to be unsophisticated, but they have learned how not to be called unsophisticated.

That's why critics, I think, have to be mindful of the role we play in creating not just the notion of sophistication that says only the sad and serious can be good and meaningful and can deserve your buy-in, but also the notion of sophistication that says there is only one right answer, and your sophistication depends on your ability to reach that single answer. The film-student orthodoxy of James Bond Is Silly And Old Stuff Isn't Cool is one problem, but so are the self-sealing orthodoxies of If You Didn't Like It, You Didn't Get It and I Guess It's Okay If You Have Low Standards. We are sometimes careful to couch these things in different terms — the review that diplomatically starts out, "This film isn't for everyone," only to later slip in a comment suggesting that those the film is not "for" are those whose powers of perception are lacking, or the review that explains a film's potential appeal by explaining away its audience.

What has to be preserved in film aficionados and film students and film critics is not just the ability to appreciate James Bond or Singin' In The Rain. What has to be preserved is the ability to show a kind of open-minded assertiveness, where what you learn and what you hear informs your reaction but doesn't define it.

I'm happy to smack the back of the head of anyone who — as Seitz's friend puts it — comes to a movie just to "feel superior to it." But it's possible that someone might sit through Singin' In The Rain with an open mind and still find it corny, or that the eroticism that so entices Seitz in the title sequence of From Russia With Love might play to someone else as an unpleasant reduction of women to disembodied parts. (And I don't think he'd disagree that that reaction would be valid.) What matters is that a reaction to a piece of art — or even just entertainment — be considered, not that it reach a final conclusion that is correct. It really is the journey, not the destination. It really is about how much you can show your work.

No one owes it to anyone else, or to the abstract art of film, to like The Master or Citizen Kane just because of the lists they appear on or the awards they win. But we do perhaps owe it to a film to, as Seitz says, try to "connect emotionally and imaginatively."

Sometimes, make no mistake, you'll do that and someone will take you by the shoulders and tell you you're unsophisticated anyway. The challenge isn't to avoid that admonition, because even if you revert to strict obedience to what everybody supposedly knows, you can't. The challenge is to rigorously interrogate your own responses again and again, whether you're reacting to James Bond or Terrence Malick, and live comfortably in whatever critical space that leaves for you.

18 Sep, 2012


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Source: http://www.npr.org/blogs/monkeysee/2012/09/18/161341698/the-sophistication-problem-james-bond-gene-kelly-and-the-limbs-we-live-on?ft=1&f=1008
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