Faith is a regular contributor to CBS Sunday Morning and NPR’s Wait Wait...Don’t Tell Me!
She’s also a panelist on the BBC America series, “Would You Rather…?” with Graham Norton. She was the host of Bravo’s The Approval Matrix and of the Planet Green series Treehugger TV. She’s appeared on The Oprah Winfrey Show, The O’Reilly Factor, Anderson, CNN, HLN, Bravo, VH1, and she’s written for Slate.com, O, The Oprah Magazine, and CNN.com. She hosted PRI's Fair Game with Faith Salie for its 300-episode run.
She’s probably the only Rhodes scholar who does stand-up comedy. Faith is on a Star Trek: Deep Space Nine collectable trading card that is worth hundreds of cents.
In this second installment of our musical mysteries series, Soundcheck contributor Faith Salie attempts to discern rap from hip hop. She talks with Duke University professor Mark Anthony Neal about the difference between the two terms -- which, as it turns out, is fairly complex.
"When we talk about hip hop, we're talking about a larger cultural experience," says Neal. "Rap music is part of that larger aspect of hip hop culture, but it's also the part of the culture that's perhaps most visible and most well known to the average person."
Salie and Neal discuss the origins of the terms and how they've evolved over time. And, Neal tells us which categories artists like Will Smith, KRS-One, Nas and Eminem fall into.
How do you define the terms "rap" and "hip hop"? Leave a comment below.
Inspired by contributor Faith Salie's discovery about the music she listened to as a child, we ask our listeners to call up their folks to find out how they chose music they grew up with.
In this episode: As the popular sitcom The Office comes to a close, we talk with actor and musician Creed Bratton, who portrays the delightfully creepy character Creed on the show — and in real life is a former member of the ‘60s band The Grass Roots.
Plus: Singers Terri Walker and Nicole Wray front the new classically soulful band Lady. The duo joins us to sing a stripped down set in the studio.
And: Contributor Faith Salie delves into a puzzling musical mystery: Why accents seem to disappear in song.
Contributor Faith Salie volunteers to get to the bottom of your unanswered musical questions. Such as: Why do accents seem to disappear in song?
We hear from three experts: Bill Beeman, professor of linguistics at the University of Minnesota; Andy Gibson, researcher at the Auckland University of New Zealand; and Sasha Frere-Jones, music writer for the New Yorker.
Contributor Faith Salie finds out the truth about the music she listened to as a kid.
Recently, our regular contributor Faith Salie took to the Soundcheck blog to air her grievances about bad grammar in music. From Paula Cole to Eric Clapton to Leonard Cohen, it turns out that musicians can be rather careless when it comes to grammatical rules and their song lyrics. We talk with Faith, as well as Mignon Fogerty -- founder of the Grammar Girl website and podcast -- about examples of poor grammar in music. Plus, our listeners chime in with their favorite... er, least favorite... examples as well.
We each have songs that, to our particular ear, sound like nails on a chalkboard. And some songs should be deconstructed on a chalkboard…for bad grammar. I’m not talking about slang, colloquialisms, or innovative language. I’m not being punctilious about making sure you don’t end a lyric line with a preposition. In fact, the first dance song at my wedding reception was “You’d Be So Nice To Come Home To.” I think it would have lost a little something if it were “To You It’d Be So Nice To Come Home.” Nobody wants to sound sort of like Yoda.
What I’m talking about is crappy syntax. Artistic license is one thing, language mangling is another. Bad grammar is jarring; it takes me out of the flow of the song.
Here’s how I define unnecessarily bad grammar in a song: when it wouldn’t change the rhyme scheme to use the correct word or when the syntax results from being lyrically lazy.
Like this, from the Paula Cole song “I Don’t Wanna Wait”:
"So open up your morning light / And say a little prayer for I"
That lyric makes me say a prayer for the objective case.
"I honestly don’t remember watching Saturday morning cartoons when I was kid," Faith Salie says, "but I do remember Schoolhouse Rock. Conduct a poll of 35-45 year-olds, and I guarantee you that a vast majority of them will tell you they learned the meaning of "suffrage" and the Preamble to the Constitution from Schoolhouse Rock."
With Schoolhouse Rock turning 40 this month, Soundcheck contributor reflects on the lasting impact and charm of the beloved children's cartoon. Have you used lessons learned from Schoolhouse Rock in your everyday life?
Has this ever happened to you? Things are going great in a relationship. And then, you find out that your significant other loves music that you hate. Or doesn't understand your taste in music at all. Or is really critical of the music that you enjoy. And suddenly, dating that person just doesn't seem like such a good idea anymore.
Have you ever heard music that your significant other loved but you hated? Or that they couldn't stand, but meant something to you? Tell us your musical "red flags" that may send up a big flashing warning sign about that person.
contributor Faith Salie joins us to share her own feelings about creepy holiday classics that deserve a perhaps more scrutinous listen.
Today on Soundcheck, creepy Christmas songs with Faith Salie, electronic pop from Matthew Dear and a bit of whiskey.
Part two of our three-part series on "Free to Be... You and Me" looks at the album's gender-neutral messaging and its limitations.
Songs that mention you by name have a funny way of sticking around. Contributor Faith Salie talks about songs that mention her by name (actually, by noun) -- plus, we hear from the person who literally wrote the book on rock and roll baby names.
Over the next few weeks, Soundcheck is looking for our first Musician In Chief. Special guests nominate musicians and make a case for why that artist should become commander in chief. So far, Keith Richards and Patti Smith have been nominated. Today, we turn to CBS Sunday Morning contributor Faith Salie for her pick, Dolly Parton.
START THE CONVERSATION: Who do you think should become the first "Musician In Chief"? Fill out THIS questionnaire into our comments section, or email your response to firstname.lastname@example.org
Soundcheck bullpen contributor Faith Salie recounts her time as a singing mutant on Star Trek.
In the era of Glee and Smash, musical TV shows are seemingly all over the airwaves. But when shows that are usually dialogue-filled -- like Psych or Grey's Anatomy -- break format and go "musical" for just one episode, the results can be mixed. Soundcheck bullpen contributor, Faith Salie, and Eric Deggans, media critic for the Tampa Bay Times, join us to talk about when shows turn in their scripts for sheet music.
What are your favorite shows that have done a "musical" episode? Which shows could use one to shake things up? Tell us in the comments section.
Tonight on Soundcheck, we consider the recently announced MacArthur Foundation "Genius" Grants, where musicians, writers, scientists, neurosurgeons and even string bow makers are awarded $500,000, no strings attached. Among the winners this year are mandolinist Chris Thile and writer Junot Diaz. But it got us thinking, "What would you do with the money if you won?"
Billboard editor and regular contributor Joe Levy weighs in on that question -- and discusses the success of folk rockers Mumford & Sons, whose new release is expected to top the charts this week.
Then, Faith Salie on television shows that do special "musical" episodes. What are the best ones?
And Cate Le Bon and her band drop by the studio to perform songs from her album and EP, CYRK and CYRK II, and sample a little cider.