Studio 360 with Kurt Andersen

Garry Winogrand was a master of street photography, even though he disavowed that label. He photographed across the United States, including Texas and California, but his hometown, New York City, remained his greatest inspiration. His 1967 Central Park Zoo photo, of a white woman and a black man holding chimpanzees dressed in human clothes, is one of his most widely exhibited — and controversial — images. Despite its popularity, its ultimate success as a photograph was always an open question for Winogrand. Learn more about your ad choices. Visit megaphone.fm/adchoices

A half century later, Stanley Kubrick’s “2001: A Space Odyssey” is still shaping our future. With no help from CGI, the movie predicted private space travel, artificial intelligence and much of Apple’s product line. It showed the promise and perils of technology and explored life’s biggest mystery: Are we alone in the universe? In Part Two of our look at the movie in our American Icons series, we visit the same IBM research lab that helped inspire HAL. We meet CIMON, a real-life AI robot on the International Space Station and Garrett Reisman, a former NASA astronaut who blasted the “Blue Danube” in the space shuttle. Plus we speak to New York Times critic Wesley Morris, filmmakers Christopher Nolan and Tom Hanks, artist James Turrell and former U.S. poet laureate Tracy K. Smith. American Icons is made possible by a grant from the National Endowment for the Humanities. Learn more about your ad choices. Visit megaphone.fm/adchoices

A half century later, Stanley Kubrick’s “2001: A Space Odyssey” is still shaping our future. With no help from CGI, the movie predicted private space travel, artificial intelligence and half of Apple’s product line. It showed the promise and perils of technology and explored life’s biggest mystery: Are we alone in the universe? In Part One, we look at the movie’s origins in 1960s New York and how it went from opening night bomb to counterculture icon. We’ll hear from effects wizard Doug Trumbull, actor Keir Dullea and superfan Tom Hanks, who has seen the movie more than 200 times. American Icons is made possible by a grant from the National Endowment for the Humanities. Learn more about your ad choices. Visit megaphone.fm/adchoices

Kurt Andersen’s version of a Christmas story doesn’t have your typical talking snowman or mistletoe. Instead, this holiday tale involves extraterrestrial surveillance and melting polar ice caps. Learn more about your ad choices. Visit megaphone.fm/adchoices

Our latest New York Icons segment is about Midtown Manhattan’s Brill Building era, when songwriters like Carole King, Ellie Greenwich and Cynthia Weil churned out hit after hit for artists like The Shirelles, The Crystals and Little Eva. And producer Evan Chung investigates the strange story of a song from that era about a craze that was most definitely not a craze, “Mugmates.” Learn more about your ad choices. Visit megaphone.fm/adchoices

To celebrate the 75th anniversary of Tennessee Williams’ classic play, “The Glass Menagerie,” Studio 360 is devoting a whole hour to the art of glass. Kurt Andersen and architect Frances Bronet tour the glass towers of Midtown Manhattan to see firsthand the architectural legacy of the Bauhaus. After Hillary Clinton failed to break the glass ceiling in 2016, artist Bunny Burson found a use for her unused victory confetti. And Philip Glass shares how he went from taxi driver to star composer overnight. Learn more about your ad choices. Visit megaphone.fm/adchoices

For a few years in the late 1950s and early ‘60s, the heart of the music industry was an 11-story structure in midtown Manhattan: The Brill Building. There, and at the nearby 1650 Broadway, a group of very young songwriters including Carole King, Ellie Greenwich, and Cynthia Weil crafted their own take on rock and roll that was heavily influenced by their New York City setting. They churned out hit after hit for artists like The Shirelles, The Crystals, and Little Eva. But when the British Invasion hit in the mid-1960s, the Brill Building songwriters’ moment was over almost as soon as it began. Learn more about your ad choices. Visit megaphone.fm/adchoices

Our latest American Icons feature explores Patricia Highsmith’s series that began with “The Talented Mr. Ripley,” and how Tom Ripley fits into an American tradition of protagonists struggling with identity and morality. Kurt Andersen visits perfumer Tanwi Nandini Islam as she concocts a fragrance based on Toni Morrison’s “Beloved.” And a favorite from our Guilty Pleasures series: Writer Sadie Stein on the word that so many find icky but that she really likes: “moist.” American Icons is made possible by a grant from the National Endowment for the Humanities. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this Studio 360 extra, we’re sharing a podcast called “Aria Code.” Produced by WQXR and the Metropolitan Opera, it features singers and opera observers revealing the magic of a single song from an opera, followed by the aria uninterrupted. In this episode, host Rhiannon Giddens and her guests explore the power of hope in Puccini's tragic “Madama Butterfly,” as well as in a real-world Butterfly story. Then, you'll hear Ana María Martínez sing the complete “Un bel dì vedremo” aria onstage at the Metropolitan Opera. Learn more about your ad choices. Visit megaphone.fm/adchoices

Kurt Andersen talks with director Jennifer Reeder about her path from making short arthouse films in the 1990s to her new film, “Knives and Skin.” Producer Sam Kim has the story of erotic potboiler “Naked Came the Stranger,” which climbed The New York Times bestseller list in 1969 but, it turns out, was meant to be a parody of the very bodice-rippers it was outselling. And Richard Curtis’ 2003 movie “Love Actually” is much parodied for its cheesy gimmicks and accelerated marriage proposals, but screenwriter Oliver Butcher makes a case for why it is actually a deft work of screenwriting and direction. Learn more about your ad choices. Visit megaphone.fm/adchoices

Wynton Marsalis is a jazz icon — a renowned trumpet player and composer, he is also the music director of the Jazz at Lincoln Center Orchestra. But since the very beginning, classical music has been a part of his musical makeup. Marsalis tells Kurt Andersen about how a chance encounter on a New Orleans streetcar began his love of classical music and guides us through the composition of his “Swing Symphony.” Learn more about your ad choices. Visit megaphone.fm/adchoices

Cartoonist Lynda Barry is famous for drawing the darkly funny strip “Ernie Pook’s Comeek” that appeared in alternative newsweeklies for three decades, but for the latest installment in our Guilty Pleasure series, she makes a case for why she loves perhaps the most mainstream and most mocked comic of all: “The Family Circus.” Our latest American Icon installment is about “My Ántonia” by Willa Cather, and why that novel — and author — have never really gotten their due. And Kurt Andersen talks with Oscar-winning cinematographer Roger Deakins about working on so many Coen brothers films, why he still operates the camera himself and more. Learn more about your ad choices. Visit megaphone.fm/adchoices

West Side Story, the tragic musical about star-crossed lovers from two rival gangs, was a hit on Broadway in the 1950s and then exploded across the country when it came to the silver screen. At the time, New York City’s demographics and landscape were rapidly changing, and choreographer Jerome Robbins, composer Leonard Bernstein, author Arthur Laurents, and lyricist Stephen Sondheim wanted an updated Romeo and Juliet that wrestled with what that meant. Who could belong in this new America? Learn more about your ad choices. Visit megaphone.fm/adchoices

Studio 360’s American Icon series has explored dozens of influential works of art and entertainment that have shaped who we are as Americans. Now we turn to our hometown of New York for a new batch of Icons stories about works of art that were born in the city and impacted the lives of people everywhere. This hour: the 1963 book “The Bell Jar” by Sylvia Plath, and the 1978 salsa album “Siembra” by Ruben Blades and Willie Colón. Learn more about your ad choices. Visit megaphone.fm/adchoices

The childlike, cartoonish typeface Comic Sans is the most hated font in the world. Twenty-five years after its release, it's become notorious for showing up in seemingly inappropriate contexts, from office memos to newspapers and government documents. But librarian and technology educator Jessamyn West argues that hating on Comic Sans is elitist. Learn more about your ad choices. Visit megaphone.fm/adchoices