The New Yorker Radio Hour

After years of languishing far down the list of voters’ priorities, climate change has moved to the top of many voters’ concerns, according to a new CNN poll. Now Presidential candidates are competing to establish themselves as leaders on the issue, and children are making headlines for striking from school over the issue. Bill McKibben, whose book “The End of Nature” brought the idea of global warming to public consciousness thirty years ago, tells David Remnick that the accumulation of weather catastrophes—droughts, wildfires, floods—may have finally made an impact. “You watch as a California city literally called Paradise literally turns into hell inside half an hour,” McKibben reflects. “Once people have seen pictures like that, it’s no wonder we begin to see a real uptick in the response.” McKibben joined the New Yorker writer Elizabeth Kolbert in a conversation about the U.N.’s new report on biodiversity. It finds that a million species could become extinct within a few decades and that human life itself may be imperilled. Although the political tide could be turning, both worry that it is too late. “The problem with climate change is that it’s a timed test,” McKibben notes. “If you don’t solve it fast, then you don’t solve it. No one’s got a plan for refreezing the Arctic once it’s melted. . . . We’re not playing for stopping climate change. We’re playing—maybe—for being able to slow it down to the point where it doesn’t make civilizations impossible.”  And Karen Russell, whose books are inspired by her native Florida, finds a new sense of enchantment after relocating to the Oregon coast, where the big trees are like characters out of Jim Henson.

Senator Kirsten Gillibrand been fierce on the issue of sexual assault and harassment, especially in the military and government; as a champion of the MeToo movement, she was among the first Democrats to call for Senator Al Franken to step down. Some in the Party, she has claimed, are still angry with her over it, and have withheld donating to her campaign. Gillibrand tells David Remnick that her experience as a female politician will be a strength if she were to face Trump in the general election. “My first two opponents were in a 2-to-1 Republican district, who demeaned me, and name-called me, and tried to dismiss me. And not only did it make my candidacy relevant, but it made it got a lot of people deeply offended, and they wanted to know who I was and why I was running.” Trump’s “Achilles heel,” she says, “is a mother with young children who’s running on issues that . . . families care about. His kryptonite is a woman who stands up for what she believes in and doesn’t back down.” Plus, a visit to “Interfaith Alley” at New York’s Kennedy Airport with the comedian Pete Holmes, who lost his evangelical faith but not his passion for the way religions give life meaning.

By the standards of any musician, Rhiannon Giddens has a twisting and complex path. Trained as an operatic soprano at the prestigious Oberlin Conservatory, Giddens fell almost by chance into the study of American folk music. Alongside two like-minded musicians, she formed the Carolina Chocolate Drops, in which she plays banjo and sings. The group is focussed on reviving the nearly forgotten repertoire of black Southern string bands, but the audience for acoustic music remains largely white. Giddens tells David Remnick she was heartbroken that her largest black audience was at a prison concert. “The gatekeepers of black culture are not interested in what I’m doing,” she says. “This is a complaint I’ve heard from many, many people of color who do music that’s not considered black—hip-hop, R&B.” Her view of black music is more expansive: “There’s been black people singing opera and writing classical music forever.” As a solo artist, Giddens is moving increasingly far afield from African-American or American music; her new album, “There Is No Other,” recorded in Dublin in collaboration with the musician Francesco Turrisi, explores folk styles from the Middle East, Europe, and Brazil, as well as early America. She and Turrisi perform “Wayfaring Stranger,” the ancient ballad “Little Margaret,” and the tarantella “Pizzica di San Vito.”

In the field of memory care, there is a fierce debate around the question of honesty. Lying can, under certain circumstances, alleviate or avert distress in patients who are suffering from memory loss. But, on principle, many providers, patients, and family members don’t like the idea of deceiving patients who are in such a vulnerable position. Some care homes have strict no-lying policies. But the New Yorker staff writer Larissa McFarquhar recently spent some time at a different kind of assisted-living facility that takes the opposite approach—The facility is one of only a few of its kind in the United States." The Lantern, in Chagrin Falls, Ohio, is home to about forty patients who suffer from dementia and Alzheimer’s disease. The care staff at the Lantern are taught that, in some cases, lying to patients is kinder than telling them the truth. McFarquhar talks with Andrea Paratto, who helps train the Lantern’s staff. In a previous job, at a facility where lying to patients was against the rules, she had to remind a ninety-year-old woman that her mother was long dead. “She just started crying,” she tells McFarquhar. “I stopped right then and there and said I’m never doing that again. I cannot put somebody through that ever again.” Some people argue that lying to patients undermines their dignity. But when it comes to patients struggling with dementia, McFarquhar says, there are other factors to consider. “Maybe something else should be the goal—I don’t know. Happiness? Autonomy? Or living your life as you want to, insofar as that’s possible.”

In a crowded Democratic field, the candidate Julián Castro is eager to stand out. One way he’s tried to do that is by taking on the issue of immigration—a favorite topic of President Donald Trump, and one that’s important to his base. In a wide-ranging conversation with the New Yorker editor David Remnick, Castro lays out his plan. And Taylor Mac, a performance artist and playwright who made a name for himself in New York City’s downtown theater scene, makes the leap to Broadway.

The Green New Deal is coming to the table during the one of the most divisive periods Washington has ever seen. Two advocates of the environmental plan—a young activist championing the cause, and a veteran of climate politics in Washington—consider what it would take to actually pass such legislation. And The New Yorker’s Patty Marx learns firsthand that conducting an orchestra can’t be mastered overnight.

Last March, Wayne LaPierre sent a fund-raising letter to his members—an urgent plea for money. LaPierre described an attack on the Second Amendment that is unprecedented in the history of the country. But, in reality, what is endangering the N.R.A. isn’t constitutional law; it’s destructive business relationships that have damaged the organization financially, and have put it in legal jeopardy. Searching through N.R.A. tax forms, charity records, contracts, and internal communications, the reporter Mike Spies discovered that “a small group of N.R.A executives, contractors, and venders have extracted hundreds of millions of dollars from the nonprofit’s budget, enriching themselves in the process.” While the organization is quick to lay blame on its political opponents, Spies says, it’s its questionable financial practices that have weakened it from the inside. Central to the story of the N.R.A’s financial problems is an Oklahoma-based P.R. firm called Ackerman McQueen. Ack-Mac didn’t just write press releases: for decades, it has steered the N.R.A.’s imaging on all platforms, and its executives routinely took positions within the N.R.A. In 2017, the N.R.A. paid Ackerman and affiliates almost forty-one million dollars, which totalled about twelve per cent of the N.R.A.’s total expenses that year. Ostensibly just a contractor, Ackerman influenced N.R.A. decision-making from inside, and the for-profit company seems to have used the nonprofit company as a vast source of funds to enrich itself. Spies interviewed Aaron Davis, who worked in the N.R.A.’s fund-raising operation for a decade. “I think there is an inherent conflict of interest,” Davis says. “And it just doesn’t seem like N.R.A. leadership is all that concerned about this.”   (After this interview took place, the N.R.A. sued Ackerman McQueen, claiming that the contractor had hidden important documentation from it that detailed the business relationships.)

Christine Baranski was a successful theatre actor who would never stoop to do television in the old days. But when she got the pilot script for “Cybill,” and had two daughters to put through school, she took the role of Marianne, the tough-talking best friend of Cybill Shepherd’s character. “Who goes to Hollywood at forty-two and becomes an overnight star?” Baranski asks the critic Emily Nussbaum. What made her such a sensation? “No one had seen that woman on American television” before, she notes, of her character, a badass with a Martini and an attitude. “Sex and the City” came later. Playing strong women seems to come naturally to Baranski; since 2009, she’s portrayed the capable, elegant Diane Lockhart, in “The Good Wife” and then “The Good Fight.” She talked with Nussbaum in a live conversation at the 2018 New Yorker Festival. Plus, Amanda Petrusich talks with the musician Kurt Vile, who performs his song “Pretty Pimpin” live.

Masha Gessen and Keith Gessen have, taken together, written more than a dozen books and a thousand articles. Keith Gessen is a founder of n+1, an influential literary journal; Masha has written for major newspapers and journals as well as, since 2014, The New Yorker. Their parents emigrated from the Soviet Union in its latter days. Keith has spent most of his life in America, but Masha, who is older, returned to Russia as an adult and worked there as a reporter. In a conversation at the 2018 New Yorker Festival, the siblings discussed their different perspectives on the U.S.-Russia relationship. All through the Mueller investigation, Masha warned people not to expect a smoking gun to prove collusion between Putin and Trump, and then, somehow, this fierce critic of Putin was branded an apologist for his regime. Masha’s most recent book is “The Future Is History”; Keith’s is a novel, called “A Terrible Country.”

Most of us have biases and prejudices we don’t acknowledge—or aren’t even aware of. Admitting those biases is a baseline of political “wokeness.” But measuring and proving bias, and showing how it works, is another matter. Jennifer Eberhardt is a social psychologist at Stanford University who studies these issues through neuroimaging and other experiments. Bias, in her view, is not merely a learned phenomenon but one that involves neurological patterns that are “tuned” by cultural experience. And it may operate most prominently in situations where people have the least time for reflection. Eberhardt says that intervening on a policy level to reduce the consequences of bias involves slowing down decision-making in critical situations such as policing. She spoke with David Remnick about her new book, “Biased.” Plus, Briana Younger, a music editor at The New Yorker, visits with the bassist and producer who helped make Kendrick Lamar’s album “To Pimp a Butterfly.” He goes by Thundercat.