Studio 360 with Kurt Andersen

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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The music documentary podcast Pitch, produced by Alex Kapelman and Whitney Jones, is returning after a three-year hiatus.

Nine new episodes immerse in subjects including the music of ISIS, the hip-swaying, female-empowerment dance songs of Carnival, and blacklisted 1950s jazz musician Hazel Scott.

“Her story is amazing,” Whitney Jones tells Kurt Andersen about Hazel Scott. “She grew up with jazz legends just in her house. They were friends of her mom — Billie Holiday, Art Tatum, Lester Young — these were people she was just around as a kid and learned to play piano from.”

Kurt talks with Jones about the making of the new season, their partnership with Audible, and the interplay between politics and music. 

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Monticello is home renovation run amok. Thomas Jefferson was as passionate about building his house as he was about founding the United States; he designed Monticello to the fraction of an inch and never stopped changing it. Yet Monticello was also a plantation worked by slaves, some of them Jefferson’s own children. Today his white and black descendants still battle over who can be buried at Monticello. It was trashed by college students, saved by a Jewish family and celebrated by FDR. With Stephen Colbert, filmmaker James Ivory and artist Maira Kalman.

(Originally aired October 22, 2010)

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When is humor appropriate in the medical field? Bioethicist Katie Watson, an Assistant Professor in the Medical Humanities & Bioethics Program of Feinberg School of Medicine at Northwestern University, has thought a lot about this issue. She moonlights as faculty at the Second City Training Center in Chicago, the teaching side of the famous improv comedy club.She has written about gallows humor in medicine, spoken about it at the Chicago Humanities Festival, and used the intersection of her interests to develop a workshop in “Medical Improv.”  Later, WNYC’s Health Reporter Marry Harris and Kurt Andersen return to Laughter Yoga to give us the scoop on their experience. 

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Sophie Scott is fascinated by laughter—and she thinks that cognitive science and psychology are missing out by ignoring it. A cognitive neuroscientist at University College London, Scott studies and teaches us how to distinguish between “social” or “voluntary” laughter (the way you politely laugh at a co-worker’s jokes) and “authentic” or “involuntary” laughter (the kind that causes you to gasp for breath).

Chris Gethard, the host of “The Chris Gethard Show” on Fusion and the podcast Beautiful/Anonymous, talks a lot on his shows and in his standup about his own struggles with addiction and depression. He talks with Kurt Andersen about why it’s so important for him to discuss those issues openly, and how mental illness has affected his comedy.

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The practice of laughter yoga began in 1995, when it was invented by Madan Kataria, a doctor in Mumbai, India. Today, its practitioners attend thousands of classes offered all over the world. They say they gain health benefits, including stress reduction and an improved immune system.

Kurt Andersen and Mary Harris, a health reporter at WNYC, were curious so they decided to attend a class in New York to find out - and tell us - what it’s all about.

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Filth in all its forms: whimsical and mundane, literal and figurative. Kurt talks to America’s auteur of the scatological, filmmaker John Waters. Writer Henry Alford and comedian Dave Hill visit a museum exhibit where all the art is made of dirt or trash. Who’s selling and who’s reading the smutty bestseller, “Fifty Shades of Grey”? We get to the bottom of the the shockingly complex world of diaper design. And indie rock band Dirty Projectors performs live in our studio. 

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On Luke Cage, the Marvel series on Netflix, music is almost everything. “I’m a hip-hop showrunner,” says showrunner Cheo Hodari Coker. “It just permeates every decision we make on the show because we’re not just making decisions about plot. The whole thing has to feel a certain way.”

If the first season of Luke Cage introduced the Marvel universe to hip-hop, the second season expands the musical education across the entire spectrum of African American music, Coker says. Episodes in this season will feature jazz, reggae, R&B, and neo soul music, with a mix of old and new releases.

“We’re just showing how it’s like Harlem itself,” Coker says. “When you’re walking down the street, when you’re walking down Lenox Avenue, you will hear all different types of music coming out of cars or coming out of store windows or coming out apartments. And we have that same approach, the same eclectic approach to music on the show.” Because music is so integral to Luke Cage, we asked Coker to break down exactly how music is used in a few scenes in the first episode of the brand new second season, which is available now on Netflix.

This podcast was produced by Studio 360’s Lauren Hansen.

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Thirty years ago, Public Enemy brought the revolution to hip-hop with “It Takes a Nation of Millions to Hold Us Back.” Kurt Andersen talks with the graphic designer Bonnie Siegler about the history of protest art. And the newspaper comic “Nancy” gets a reboot and its first female cartoonist. 

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Fiction, fantasy and reality in the Sunshine State. Lauren Groff talks about writing — and surviving — in Florida. The writer Carl Hiaasen tells Kurt Andersen how he turns sleaze into sunshine noir. In Celebration, Florida, fantasy meets reality. How the Florida wilderness helped create Jeff VanderMeer’s apocalyptic landscape. And Judy Blume tours her old stomping grounds in Miami Beach.

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