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"A fiasco with a great first half" is what I called Kenneth Lonergan's Margaret when it was dumped in one New York theater last fall, five years after it was shot, amid a legal battle between Lonergan and a producer.

Lots of people know Woody Guthrie's classic 1940 ballad "This Land Is Your Land," but the story behind the tune may not be as familiar.

Guthrie, who would have turned 100 this week, wrote "This Land" as a response to Irving Berlin's "God Bless America," a song he felt was overly patriotic and not directed at ordinary Americans like himself.

Kenneth Lonergan's critically acclaimed film Margaret was completed in 2006, but because of several lawsuits, it wasn't released until last year.

Called "nothing short of a masterwork" by The New Yorker, the film stars Anna Paquin as Lisa, a Manhattan teenager who tries to make sense of a bus accident she may have caused — one that resulted in a woman's death. Lonergan tells Terry Gross that he wrote the film because he was interested in how teenagers transition into an adult world.

Many of the key scenes in David McGlynn's striking new memoir, A Door in the Ocean, take place at the beach or in swimming pools. McGlynn was a surfer and competitive swimmer in his school days and still squeezes into his Speedos for races like the annual 5K "Gatorman" off the coast of La Jolla, Calif. Ocean swimming, in particular, transports McGlynn to another realm, and he does a terrific job of dramatizing the allure of solitary swims in open water. Midway through his book, he writes:

Facing Bach's St. Matthew Passion, I often feel a combination of anticipation and dread. It's a great work, profound in its humanity and spirituality, with sublimely beautiful music. But it's a long haul, and if it's not a good performance, well, I'm stuck. And it can be not-good in various ways: either too solemnly pious or too much an exercise in musical style rather than emotional drama. A new DVD recorded in 2010 at Berlin's great concert hall, the Philharmonie, would be of major interest under any circumstances.

Big K.R.I.T.'s distinction as a rapper is the way he spreads his vowels out over his beats like gravy. There's little that's harsh in his phrasing, even as his lyrics can be tart or tough. In general, though, his tone over the course of Live From the Underground is a voice of coolness, of relaxation or resignation, even occasionally serenity.