In “Walden,” Henry David Thoreau helped shape the way we think about nature and our place in the world. An American Icons segment examines why many readers think that Thoreau was a genius while others think he’s a hypocrite. A second American Icons segment remembers Leonard Bernstein’s “Young People’s Concerts” with the New York Philharmonic, which not only captured the genius and wit of the conductor but also showed the power of the then-young medium of television. And 40 years ago, Gloria Gaynor’s label released “I Will Survive” as a B-side, but it managed to become a hit — and an anthem. 

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This month, the music world is celebrating what would’ve been Leonard Bernstein’s 100th birthday. As conductor of the New York Philharmonic, he changed the way audiences understood classical music. Five musicians from the Philharmonic remember playing under Bernstein’s baton.

This story was produced by WNYC’s Sara Fishko.

(Originally aired September 26, 2008. Violinist Oscar Ravina died in 2010.)

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Ken Jennings got famous for his record-breaking run on “Jeopardy!” But he stayed famous for his keen wit, and he joins Kurt Andersen to talk about his new book on the history and future of comedy, “Planet Funny.” Mira T. Lee explains how a Picasso painting, “Girl in a Mirror,” found its way into her debut novel. And the versatile 8-person vocal ensemble, Roomful of Teeth, performs their hauntingly beautiful music in our studio.

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Pressing play — stories about children and how recreation is a form of creation. Kurt Andersen takes a field trip to Governors Island with design critic Alexandra Lange to learn about the history of playgrounds — and see some extraordinary slides. Paola Antonelli tells us the humble beginnings of the Frisbee, its origins being in a pie-baking company whose pie plates — college students discovered — were impressively aerodynamic. Producer Jessica Benko talks to an 8-year-old about her imaginary friends, and to a psychology professor about how those invented characters reflect well on the imagination of the kids who conjure them. And the surprising — and controversial — history of Barbie, who has become an obsession both for the kids who play with her and the artists who feature the dolls in their work.  

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 It was 40 years ago when Steve Martin released the concert album, “A Wild and Crazy Guy.” 

These days Martin is known as an actor, a novelist, a playwright, an accomplished banjo player, a major art collector. But before all that, he was best known for wearing a stupid joke arrow on his head – or a pair of rabbit ears.

He wears those rabbit ears, and a white suit, on the cover of “A Wild and Crazy Guy,” his second stand-up comedy album. 

That record proved he had command of the full comic spectrum – high-concept surrealism, as well as broad comedy that simultaneously made fun of broad comedy.  

Forty years ago this summer, it was the singing voice of Martin that was bellowing out of many car windows He had debuted the novelty song, “King Tut,” in a hilarious performance on Saturday Night Live that spring, and then it was released as a single and peaked at 12 on the Billboard charts in August. 

And then that single was released on the comedy album,“A Wild and Crazy Guy.” The album went on to  win a Grammy, and hit Number 2 on the Billboard pop album chart. 

If you’re a fan of vintage Saturday Night Live, you know the name of the album is the punchline to a sketch he performed there. The Festrunk [FEH-strunk] Brothers – two very 70s Czech immigrants with tight plaid trousers looking to swing with American women.

This podcast was produced by Ben Manilla and BMP Audio.

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The coasts are not the only cultural centers in America: Kurt Andersen takes a trip to the FRONT International Cleveland Triennial for Contemporary Art. A musician pays the bills as a Mastering Quality Control Technician for movies and TV shows. And what we can learn about the Bible from Beyoncé.

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An ode to animals, read by the late poet Marianne Moore.

Plus, since the dawn of humanity, more or less, people have used representations of animals to tell stories. But some artists have wanted to buck that trend, depicting animal stories from the animals’ point of view. Laline Paull is one of these artists. Her novel The Bees was dubbed "Watership Down for the Hunger Games generation,” but it might be more accurate to call it 1984 in a beehive.

And Chicago filmmaker Jim Trainor thinks that authentic animal behavior provides all the plot an artist needs. In his short, hand-drawn films, Trainor supplies narration from the animals’ perspective. But instead of the high drama of Laline Paull’s work, Trainor’s protagonists are utterly deadpan, even in grim situations.  In one film, a lion taking over a pride remarks drily, "I killed my girlfriend's children — which is to say, I killed all the children of all of my girlfriends."  Both Paull and Trainor get most of their facts right, but that’s not what’s important about their work. The artist’s role is to imagine how others feel — other people, other creatures — and try to share that empathy. 

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Biologist Roger Payne discovered whale song when he started studying a mysterious recording in 1966. The recording came from a sound designer doing military research, Frank Watlington, who was trying to record undersea dynamite explosions.Payne became obsessed with the recording, and made a startling discovery: the sounds were repeating. That means that they were scientifically classified as songs. Over the following years, Payne pressed the recordings on musicians, composers, and singers, including Judy Collins.

In 1970, Collins used the recordings on her album Whales and Nightingales, which went gold and introduced millions to whale song. Collins devoted the royalties of those songs to Payne’s conservation work.  Just as Payne hoped, these strange, evocative sounds inspired the growing Save the Whales movement, and by 1972 the US had banned whaling and whale products. Plus, “seasons” of whale songs. Researchers looking at how the songs of whales change over time have learned that a new song can catch on and spread across populations of thousands whales in a matter of months, in much the same way that a hit song spreads across a country. Biologist Ellen Garland joins us in the studio to tell us more about that. 

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Laurel Braitman is a historian of science and the author of Animal Madness: How Anxious Dogs, Compulsive Parrots, and Elephants in Recovery Help Us Understand Ourselves. She’s particularly interested in animals held in captivity. “If their minds aren’t stimulated and challenged they can end up with all sorts of disturbing behaviors,” she explains. Braitman wondered if music could help counter animal anxiety and depression? This question led Braitman to arrange a series of concerts for all-animal audiences.

Plus, we hear from Richard Prum, an ornithologist at Yale University, who discusses his latest work — the philosophy of aesthetics. It stems from his earliest research studying small South American birds called Manakins. Manakins are known for outlandish mating displays in which males perform an elaborate dance and to Prum’s eye, the diversity and complexity of these dances could only be explained as an appeal to the birds’ aesthetic preferences. In other words, it’s art. “My hypothesis,” he explains to Kurt Andersen, “is that ornament in manakins evolves merely because it’s popular, or merely beautiful.”

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Kurt Andersen talks with comic artist Aline Kominsky-Crumb about her trailblazing work. In 1965, Wilson Pickett went to Stax Records in Memphis to record “In the Midnight Hour” — and nothing was the same after. And “Luke Cage” showrunner Cheo Hodari Coker breaks down how his love of hip-hop and other music shapes his show. 

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