The New Yorker Radio Hour, Episode 29: The Missing Boater, and Robert Glasper

Date: May 6, 2016
Host: David Remnick
Featured Guests: Emily Nussbaum, Lindy West, Robert Glasper, Ben McGrath
Main Themes: Representation of sexual violence on TV, the evolution and future of jazz, the life and disappearance of canoeist Dick Conant

Episode Overview

This episode of The New Yorker Radio Hour weaves together three core segments:

1. A reflective conversation on how contemporary TV series address sexual violence, featuring The New Yorker’s Emily Nussbaum and writer Lindy West.
2. An intimate interview and live piano session with jazz pianist Robert Glasper about his craft, influences, and mission to keep jazz vital.
3. Ben McGrath’s poignant profile of Dick Conant, an enigmatic modern-day adventurer whose life was devoted to marathon canoe journeys, and who vanished mysteriously in 2014.

1. Representation of Sexual Violence on Television

Guests: Emily Nussbaum and Lindy West
Timestamps: 00:53–14:12

Key Discussion Points

• Jessica Jones and Trauma (00:53–03:26)

  • Explores how Jessica Jones confronts sexual violence and its psychological aftermath.
  • The uniqueness lies in making the survivor (Jessica) central, “not just about sexual violence, but a much broader, richer metaphor that has to do with consent, coercion, abuse…” — David Remnick (02:30)

• Landmark Moments in TV (03:26–04:52)

  • The Sopranos' Dr. Melfi rape storyline discussed as a turning point in how sexual violence is portrayed—shocking not just for its content but for the raw depiction of aftermath.

• Comedy as Catharsis (05:09–08:49)

  • Unbreakable Kimmy Schmidt and Inside Amy Schumer use humor to address trauma and rape culture.
  • “People use humor as a coping mechanism for really, really dark things... Survivors use comedy as catharsis.” — Lindy West (07:19)
  • Amy Schumer’s “no raping” sketch as “so accurate” about how society looks for exceptions in issues of consent.

• Diversity of Female Voices (08:49–09:57)

  • More women-led shows mean a wider range of perspectives on sexual violence.
  • “The more you have women running shows... the more each show doesn't have to be the representative for this…” — David Remnick (09:16)

• Game of Thrones and Sexual Violence (09:57–11:24)

  • Lindy West voices complex feelings: sexual violence as both honest in-world and sometimes gratuitous titillation.
  • “...if the female characters in Game of Thrones were not constantly in peril, it would be a lie.” — Lindy West (10:22)

• Law & Order: SVU and Victim Diversity (11:24–13:18)

  • SVU offers a spectrum of victim portrayals and, despite exploitative elements, can feel cathartic.
  • “It’s nice to see justice done once in a while in a world where justice is quite often not done.” — Lindy West (12:00)

• TV as Serial Storytelling (13:18–14:12)

  • The advantage: complex, whole characters can emerge, whose trauma is part of them but not their sole defining trait.

2. Interview with Jazz Pianist Robert Glasper

Interviewer: David Remnick
Timestamps: 16:30–35:00

Key Discussion Points

• Modernizing Jazz and Glasper’s Mission (18:17–19:55)

  • Glasper insists jazz must evolve: “If you're not putting you in it, then it's already been done.” — Robert Glasper (18:35)
  • Critiques jazz’s museum-like preservation: “The jazz world... is on autopilot... stuck in history...” (19:39).
  • Advocates for innovation—citing Miles Davis as a pioneering force once criticized for electrifying jazz.

• Jazz and Hip Hop: Cross-Pollination (21:14–21:42)

  • Glasper acknowledges hip hop’s vitality is maintained through youth and business infrastructure, reducing the risk of stagnation seen in jazz.

• Introducing Jazz to New Audiences (22:00–22:29)

  • Glasper bridges generational and genre gaps by interpreting pop and hip hop artists within a jazz trio format.

• Live Performance: “Levels” (23:10–28:41)

  • Demonstrates his blend of structure and openness, leaving room for band members’ personalities.
  • On improvisation: “Sometimes songs are so beautiful that you don’t need that extra stuff in the middle.” (28:46)

• Musical Roots and Early Talent (29:39–31:44)

  • Raised in Houston with a singer mother who immersed him in diverse genres and church music.
  • Self-taught with minimal lessons, developed by playing along to records, lending to his eclectic style.
  • “I was an only child and all I did was play the piano … Once I started playing, that's what I loved to do.” (30:51)

• Political Engagement through Music (31:44–32:52)

  • His cover of Kendrick Lamar's “Dying of Thirst” features children reciting names of Black Americans killed by police.
  • “Unfortunately, even since we recorded, there's been so many more. You know, it's unfortunate that I might have to do a part two.”—Robert Glasper (32:35)

• Collaboration and Genre Fluidity (32:55–34:32)

  • Describes the spontaneity of working with Kendrick Lamar and how ease across genres may be commercially challenging but artistically necessary.
  • “All that music is in my blood. I don’t see where it should be a problem or where it should be like a mystery.” (34:15)

• Industry Demands vs. Artistic Freedom (34:23–35:00)

  • Glasper asserts, “People try to put demands on me, but I’m trying to knock those down, whether they like it or not.” (34:28)

3. The Life and Disappearance of Dick Conant

Narrative & Reporting: Ben McGrath
Timestamps: 36:38–54:52

Key Discussion Points

• Meeting Dick Conant (36:38–39:00)

  • McGrath recounts first encountering Conant, a large, eccentric man undertaking epic river expeditions by canoe.

• Conant's Background and Lifestyle (39:12–41:27)

  • An “epic adventurer” who drifted between jobs and never settled—railroad worker, navy man, ticketseller, janitor.
  • Conant was homeless by conventional standards but preferred the term “living outside.”
  • “One of the reasons I go on these trips is because... I don’t have an apartment.” — Dick Conant (41:13)

• Intellectual Life and Journals (41:27–43:25)

  • Prolific writer; kept detailed journals, sometimes in the form of unpublished books.
  • Excerpts reveal his poetic attention to the details of nature and daily life on the river.

• Personal Struggles and Identity on the Water (43:25–46:07)

  • On land, Conant stood out and was misunderstood; on the river, he was transformed and at peace.
  • “When I am out on the water in my canoe, I do call the shots. My time is my own.” — Conant’s journal, read by narrator (45:35)

• Disappearance and Search (46:07–48:04)

  • In 2014, hunters found his abandoned canoe—no sign of Conant. All his possessions were left behind; family alerted.
  • No activity ever observed beyond his social security deposit—strong indication he perished.

• Mental Health and “Barnacles” (48:04–51:18)

  • Friends and family discussed Conant’s extreme sensitivity, periodic delusions, and a history of mental health struggles.
  • Canoeing seen not as escapism but as a survival mechanism.
  • “He told her [his mother] that he’d been contending with mental barnacles.” — Ben McGrath (50:22)

• Reflections on His Life and Legacy (51:18–54:11)

  • Conant moved on quickly from place to place, often feeling he’d overstayed his welcome.
  • Rivers gave him dignity and self-possession otherwise denied.
  • “I repeat that I am not out here finding myself. I was never lost. What I am doing is paddling around, finding geography I have not seen … and having a jolly good time before I die.” — Conant’s journal, read by narrator (53:02)

Notable Quotes

• “If you're not putting you in it, then it's already been done.”
  — Robert Glasper on artistic originality (18:35)
• “The jazz world... is on autopilot... stuck in history.”
  — Robert Glasper on the need for jazz to evolve (19:39)
• “People use humor as a coping mechanism for really, really dark things... Survivors use comedy as catharsis.”
  — Lindy West on comedy’s role for trauma survivors (07:19)
• “I am not out here finding myself. I was never lost.”
  — Dick Conant, from his journal (53:02)
• “The more women you have running shows, the more each show doesn't have to be the representative for this.”
  — David Remnick on diversity among TV creators (09:16)

Memorable Moments

• The incisive, humorous exchange on artist lookalikes in the intro (00:26–00:54).
• Glasper’s live piano improvisation, demonstrating both his skill and his musical philosophy (23:10–28:41).
• The “closing doors” comedic segment, a New York subway ode (15:07–16:30).
• Powerful recitation of names in Glasper’s “Dying of Thirst” cover, linking art and activism (32:08–32:52).
• Excerpts from Dick Conant's journals, revealing both his poetry and struggles (42:08–53:02).

Additional Resources

• Emily Nussbaum’s Pulitzer Prize-winning writing: newyorkerradio.org
• Robert Glasper’s album, Everything’s Beautiful
• Ben McGrath’s writing on Dick Conant in The New Yorker