Louisa Thomas on a Ballplayer’s Epic Final Game; Plus, Remembering the Composer of “Annie”

About this episode

<p>In honor of <i>The</i> <i>New Yorker’s</i> centennial this year, the magazine’s staff writers are pulling out some classics from the long history of the publication. <a href="https://www.newyorker.com/contributors/louisa-thomas">Louisa Thomas</a>, <i>The</i> <i>New Yorker’s</i> sports correspondent, naturally gravitated to a story about baseball with a title only comprehensible to baseball aficionados: “<a href="https://www.newyorker.com/magazine/takes/louisa-thomas-on-john-updikes-hub-fans-bid-kid-adieu">Hub Fans Bid Kid Adieu</a>.” The essay was by no less a writer than the author John Updike, and the “Kid” of the title was Ted Williams, the Hall of Fame hitter who spent nineteen years on the Boston Red Sox. By happenstance, Updike joined the crowd at Fenway Park for Williams’s last game before his retirement, in 1960. Thomas, looking at subtle word changes that Updike made as he was working on the piece, reflects on the writer’s craft and the ballplayer’s. “Marginal differences really matter,” she says. “And it’s those marginal differences that are the difference between a pop-up, a long fly, and a home run. Updike really understood that, and so did Williams.”</p><p>Plus, a visit with one of the great modern practitioners of the earworm, Charles Strouse, who wrote music for “Bye Bye Birdie” and “Annie,” and the theme to “All in the Family.” Strouse died this month at ninety-six. In one of his last interviews he gave, in 2023, he spoke with the Radio Hour’s Jeffrey Masters about his rivalry with Stephen Sondheim. “Stephen and I were friendly enemies. He didn’t like me much. I didn’t like him less.” </p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>