Podcast appearances and mentions of Terry Gross

Michael Shannon understands he's associated with some intense, menacing characters he's played, like Agent Nelson Van Alden in ‘Boardwalk Empire.' “I'm a big fella, and I got this giant head, and it's not too difficult for me to seem intimidating I suppose, but it couldn't be further from what I'm actually like,” he tells Dave Davies. In two new projects, though, Shannon plays good guys. He's President James Garfield in the new series ‘Death by Lightning' and he's a prosecutor trying Nazi leaders for war crimes in the new film ‘Nuremberg.'Also, we hear from Rhea Seehorn, star of Apple TV's ‘Pluribus.' The series has a sci-fi premise, but the themes of the show are more existential. Like, what is happiness? What is the importance of individuality? She spoke with Terry Gross. Maureen Corrigan shares her list of the best books of the year.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

In this special Saturday edition, Mike sits down with Daniel Oppenheimer of Eminent Americans to tackle a high-stakes question: Who is worthy of the Fresh Air throne? They dissect the craft of interviewing, critique the "unprepared celebrity" podcast trend, and evaluate potential successors ranging from Colin McEnroe to Jon Ronson. Produced by Corey Wara Email us at ⁠⁠⁠⁠thegist@mikepesca.com⁠⁠⁠⁠ To advertise on the show, contact ⁠⁠⁠⁠ad-sales@libsyn.com⁠⁠⁠⁠ or visit ⁠⁠⁠⁠https://advertising.libsyn.com/TheGist⁠⁠⁠⁠ Subscribe to The Gist: ⁠⁠⁠⁠https://subscribe.mikepesca.com/⁠⁠⁠⁠ Subscribe to The Gist Youtube Page: ⁠⁠⁠⁠https://www.youtube.com/channel/UC4_bh0wHgk2YfpKf4rg40_g⁠⁠⁠⁠ Subscribe to The Gist Instagram Page: ⁠⁠⁠⁠GIST INSTAGRAM⁠⁠⁠⁠ Follow The Gist List at: ⁠⁠⁠⁠Pesca⁠⁠⁠⁠ ⁠⁠⁠⁠Profundities | Mike Pesca | Substack⁠⁠⁠⁠

Frank Gehry, whose steel and titanium curved structures seemed more like sculptures than buildings, died last week at age 96. His masterpiece was the Guggenheim museum in Bilbao, Spain. He spoke with Terry Gross in 2004 about finding his design voice.  Also, we remember Raul Malo, the lead singer and songwriter of The Mavericks, the country band with rock and roll roots. Justin Chang reviews ‘Wake Up Dead Man,' the newest ‘Knives Out' mystery movie starring Daniel Craig.  Follow Fresh Air on instagram @nprfreshair, and subscribe to our weekly newsletter for gems from the Fresh Air archive, staff recommendations, and a peek behind the scenes.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Also on Arizona Spotlight: Live Theatre Workshop invites you to spend "A Year with Frog and Toad"; and Saguaro City Music Theatre brings optimism personified to the stage with "Annie".

The new Apple TV+ series was created by Vince Gilligan, who also created ‘Breaking Bad' and co-created ‘Better Call Saul.' He liked her work in ‘Saul' so much, he wrote the lead in ‘Pluribus' for her. The story has a sci-fi premise, but the themes of the show are more existential – like what is happiness? What is the importance of individuality? Seehorn spoke with Terry Gross about the show, her secretive father who worked in counter intelligence, and her memories of Bob Odenkirk's nearly fatal heart attack on set. Also, critic Ken Tucker shares Christmas music from Brad Paisley, Mickey Guyton, Leon Bridges, and Old Crow Medicine Show. Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

We remember guitarist, songwriter, and producer Steve Cropper, who helped create the Memphis soul sound of the ‘60s and ‘70s. He died this week at age 84. Stax Records produced soul hits by Booker T. & the M.G.s, Sam & Dave, Isaac Hayes, and more. Cropper spoke with Terry Gross in 1990 about how he became part of the house rhythm section, and went on to help write hits for Otis Redding and Wilson Pickett.  Also, we remember the celebrated English playwright Tom Stoppard, who was considered a giant of theatre. He died at age 88. Stoppard wrote ‘Rosencrantz and Guildenstern Are Dead' and ‘The Real Thing,' and the screenplays for ‘Empire of the Sun' and ‘Shakespeare in Love.'Jazz historian Kevin Whitehead pays tribute to jazz organist Jimmy Smith, and John Powers reviews the new Brazilian film ‘The Secret Agent.'Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

In this Write Big session of the #amwriting podcast, host Jennie Nash welcomes Pulitzer Prize–winning journalist Jennifer Senior for a powerful conversation about finding, knowing, and claiming your voice.Jennifer shares how a medication once stripped away her ability to think in metaphor—the very heart of her writing—and what it was like to get that voice back. She and Jennie talk about how voice strengthens over time, why confidence and ruthless editing matter, and what it feels like when you're truly writing in flow.It's an inspiring reminder that your voice is your greatest strength—and worth honoring every time you sit down to write.TRANSCRIPT BELOW!THINGS MENTIONED IN THIS PODCAST:* Jennifer's Fresh Air interview with Terry Gross: Can't Sleep? You're Not Alone* Atlantic feature story: What Bobby McIlvaine Left Behind* Atlantic feature story: The Ones We Sent Away* Atlantic feature story: It's Your Friends Who Break Your Heart* The New York Times article: Happiness Won't Save You* Heavyweight the podcastSPONSORSHIP MESSAGEHey, it's Jennie Nash. And at Author Accelerator, we believe that the skills required to become a great book coach and build a successful book coaching business can be taught to people who come from all kinds of backgrounds and who bring all kinds of experiences to the work. But we also know that there are certain core characteristics that our most successful book coaches share. If you've been curious about becoming a book coach, and 2026 might be the year for you, come take our quiz to see how many of those core characteristics you have. You can find it at bookcoaches.com/characteristics-quiz.EPISODE TRANSCRIPTJennie NashHi, I'm Jennie Nash, and you're listening to the Hashtag AmWriting Podcast. This is a Write Big Session, where I'm bringing you short episodes about the mindset shifts that help you stop playing small and write like it matters. This one might not actually be that short, because today I'm talking to journalist Jennifer Senior about the idea of finding and knowing and claiming your voice—a rather big part of writing big. Jennifer Senior is a staff writer at The Atlantic. She won the Pulitzer Prize for feature writing in 2022 and was a finalist again in 2024. Before that, she spent five years at The New York Times as both a daily book critic and a columnist for the opinion page, and nearly two decades at New York Magazine. She's also the author of a bestselling parenting book, and frequently appears on NPR and other news shows. Welcome, Jennifer. Thanks for joining us.Jennifer SeniorThank you for having me. Hey, I got to clarify just one thing.Jennie NashOh, no.Jennifer SeniorAll Joy and No Fun is by no means a parenting book. I can't tell you the first thing about how to raise your kids. It is all about how kids change their parents. It's all like a sociological look at who we become and why we are—so our lives become so vexed. I like, I would do these book talks, and at the end, everybody would raise their hand and be like, “How do I get my kid into Harvard?” You know, like, the equivalent obviously—they wouldn't say it that way. I'd be like; I don't really have any idea, or how to get your kid to eat vegetables, or how to get your kid to, like, stop talking back. But anyway, I just have to clarify that, because every time...Jennie NashPlease, please—Jennifer SeniorSomeone says that, I'm like, “Noooo.” Anyway, it's a sociology book. Ah, it's an ethnography, you know. But anyway, it doesn't matter.Jennie NashAll right, like she said, you guys—not what I said.Jennifer SeniorI'm not correcting you. It came out 11 years ago. There were no iPads then, or social media. I mean, forget it. It's so dated anyway. But like, I just...Jennie NashThat's so funny. So the reason that we're speaking is that I heard you recently on Fresh Air with Terry Gross, where you were talking about an Atlantic feature story that you wrote called “Why Can't Americans Sleep?” And this was obviously a reported piece, but also a really personal piece and you're talking about your futile attempts to fall asleep and the latest research into insomnia and medication and therapy that you used to treat it, and we'll link to that article and interview in the show notes. But the reason that we're talking, and that in the middle of this conversation, which—which I'm listening to and I'm riveted by—you made this comment, and it was a little bit of a throwaway comment in the conversation, and, you know, then the conversation moved on. But you talked about how you were taking a particular antidepressant you'd been prescribed, and this was the quote you said: “It blew out all the circuitry that was responsible for generating metaphors, which is what I do as a writer. So it made my writing really flat.” And I was just like, hold up. What was that like? What happened? What—everything? So that's why we're talking. So… can we go back to the very beginning? If you can remember—Jess Lahey actually told me that when she was teaching fifth and sixth grade, that's around the time that kids begin to grasp this idea of figurative language and metaphor and such. Do you remember learning how to write like that, like write in metaphor and simile and all such things?Jennifer SeniorOh, that's funny. Do I remember it? I remember them starting to sort of come unbidden in my—like they would come unbidden in my head starting maybe in my—the minute I entered college, or maybe in my teens. Actually, I had that thing where some people have this—people who become writers have, like, a narrator's voice in their head where they're actually looking at things and describing them in the third person. They're writing them as they witness the world. That went away, that narrator's voice, which I also find sort of fascinating. But, like, I would say that it sort of emerged concurrently. I guess I was scribbling a little bit of, like, short story stuff, or I tried at least one when I was a senior in high school. So that was the first time maybe that, like, I started realizing that I had a flair for it. I also—once I noticed that, I know in college I would make, you know, when I started writing for the alternative weekly and I was reviewing things, particularly theater, I would make a conscientious effort to come up with good metaphors, and, like, 50% of them worked and 50% of them didn't, because if you ever labor over a metaphor, there's a much lower chance of it working. I mean, if you come—if you revisit it and go, oh, that's not—you know, that you can tell if it's too precious. But now if I labor over a metaphor, I don't bother. I stop. You know, it has to come instantaneously or...Jennie NashOr that reminds me of people who write with the thesaurus open, like that's going to be good, right? That's not going to work. So I want to stick with this, you know, so that they come into your head, you recognize that, and just this idea of knowing, back in the day, that you could write like that—you… this was a thing you had, like you used the word “flair,” like had a flair for this. Were there other signs or things that led you to the work, like knowing you were good, or knowing when something was on the page that it was right, like, what—what is that?Jennifer SeniorIt's that feeling of exhilaration, but it's also that feeling of total bewilderment, like you've been struck by something—something just blew through you and you had nothing to do with it. I mean, it's the cliché: here I am saying the metaphors are my superpower, which my editors were telling me, and I'm about to use a cliché, which is that you feel like you're a conduit for something and you have absolutely nothing to do with it. So I would have that sense that it had almost come without conscious thought. That was sort of when I knew it was working. It's also part of being in a flow state. It's when you're losing track of time and you're just in it. And the metaphors are—yeah, they're effortless. By the way, my brain is not entirely fogged in from long COVID, but I have noticed—and at first I didn't really notice any decrements in cognition—but recently, I have. So I'm wondering now if I'm having problems with spontaneous metaphor generation. It's a little bit disconcerting. And I do feel like all SSRIs—and I'm taking one now, just because, not just because long COVID is depressing, but because I have POTS, which is like a—it's Postural Orthostatic Tachycardia Syndrome, and that's a very common sequela from long COVID, and it wipes out your plasma serotonin. So we have to take one anyway, we POTS patients. So I found that nicotine often helped with my long COVID, which is a thing—like a nicotine patch—and that made up for it. It almost felt like I was doping [laughing]. It made my writing so much better. But it's been...Jennie NashWait, wait, wait, this is so interesting.Jennifer SeniorI know…it's really weird. I would never have guessed that so much of my writing would be dampened by Big Pharma. I mean—but now with the nicotine patches, I was like, oh, now I get why writers are smoking until into the night, writing. Like, I mean, and I always wished that I did, just because it looked cool, you know? I could have just been one of those people with their Gitanes, or however you pronounce it, but, yeah.Jennie NashWow. So I want to come—I want to circle back to this in a minute, but let's get to the first time—well, it sounds like the first time that happened where you were prescribed an antidepressant and—and you recognized that you lost the ability to write in metaphor. Can you talk about—well, first of all, can you tell us what the medication was?Jennifer SeniorYeah, it was Paxil, which is actually notorious for that. And at the top—which I only subsequently discovered—those were in the days where there were no such things as Reddit threads or anything like that. It was 1999… I guess, no, eight, but so really early. That was the bespoke antidepressant at the time, thought to be more nuanced. I think it's now fallen out of favor, because it's also a b***h to wean off of. But it was kind of awful, just—I would think, and nothing would come. It was the strangest thing. For—there's all this static electricity usually when you write, right? And there's a lot of free associating that goes on that, again, feels a little involuntary. You know, you start thinking—it's like you've pulled back the spring in the pinball machine, and suddenly the thing is just bouncing around everywhere, and the ball wasn't bouncing around. Nothing was lighting up. It was like a dis… it just was strange, to be able to summon nothing.Jennie NashWow. So you—you just used this killer metaphor to describe that.Jennifer SeniorYeah, that was spontaneous.Jennie NashRight? So—so you said first, you said static, static energy, which—which is interesting.Jennifer SeniorYeah, it's... [buzzing sound]Jennie NashYeah. Yeah. Because it's noisy. You're talking about...Jennie SeniorOh, but it's not disruptive noise. Sorry, that might seem like it's like unwanted crackling, like on your television. I didn't really—yeah, maybe that's the wrong metaphor, actually, maybe the pinball is sort of better, that all you need is to, you know, psych yourself up, sit down, have your caffeine, and then bam, you know? But I didn't mean static in that way.Jennie NashI understood what you meant. There's like a buzzy energy.Jennifer SeniorYeah, right. It's fizz.Jennie NashFizz... that's so good. So you—you recognized that this was gone.Jennifer SeniorSo gone! Like the TV was off, you know?Jennie NashAnd did you...?Jennifer SeniorOr the machine, you know, was unplugged? I mean, it's—Jennie NashYeah, and did you? I'm just so curious about the part of your brain that was watching another part of your brain.Jennifer Senior[Laughing] You know what? I think... oh, that's really interesting. But are you watching, or are you just despairing because there's nothing—I mean, I'm trying to think if that's the right...Jennie NashBut there's a part of your brain that's like, this part of my brain isn't working.Jennifer SeniorRight. I'm just thinking how much metacognition is involved in— I mean, if you forget a word, are you really, like, staring at that very hard, or are you just like, s**t, what's the word? If you're staring at Jack Nicholson on TV, and you're like, why can't I remember that dude's name?Multiple speakers[Both laughing]Jennifer SeniorWhich happens to me far more regularly now, [unintelligible]… than it used to, you know? I mean, I don't know. There is a part of you that's completely alarmed, but, like, I guess you're right. There did come a point where I—you're right, where I suddenly realized, oh, there's just been a total breakdown here. It's never happening. Like, what is going on? Also, you know what would happen? Every sentence was a grind, like...Jennie NashOkay, so—okay, so...Jennifer Senior[Unintelligible]... Why is this so effortful? When you can't hold the previous sentence in your head, suddenly there's been this lapse in voice, right? Because, like, if every sentence is an effort and you're starting from nothing again, there's no continuity in how you sound. So, I mean, it was really dreadful. And by the way, if I can just say one thing, sorry now that—Jennie NashNo, I love it!Jennifer SeniorYeah. Sorry. I'm just—now you really got me going. I'm just like, yeah, I know. I'm sort of on a tear and a partial rant, which is Prozac—there came a point where, like, every single SSRI was too activating for me to sleep. But it was, of course, a problem, because being sleepless makes you depressed, so you need something to get at your depression. And SNRIs, like the Effexor's and the Cymbalta's, are out of the question, because those are known to be activating. So I kept vainly searching for SSRIs, and Prozac was the only one that didn't—that wound up not being terribly activating, besides Paxil, but it, too, was somewhat deadening, and I wrote my whole book on it.Jennie NashWow!Jennifer SeniorIt's not all metaphor.Multiple Speakers[both laughing]Jennifer SeniorIt's not all me and no—nothing memorable, you know? I mean, it's—it's kind of a problem. It was—I can't really bear to go back and look at it.Jennie NashWow.Jennie NashSo—so the feeling...Jennifer SeniorI'm really giving my book the hard sell, like it's really a B plus in terms of its pro…—I mean, you know, it wasn't.Jennie NashSo you—you—you recognize its happening, and what you recognize is a lack of fizzy, buzzy energy and a lack of flow. So I just have to ask now, presumably—well, there's long COVID now, but when you don't have—when you're writing in your full powers, do you—is it always in a state of flow? Like, if you're not in a state of flow, do you get up and go do something else? Like, what—how does that function in the life of a writer on a deadline?Jennifer SeniorOK. Well, am I always in a state of flow? No! I mean, flow is not—I don't know anyone who's good at something who just immediately can be in flow every time.Jennie NashYeah.Jennifer SeniorIt's still magic when it happens. You know, when I was in flow almost out of the gate every day—the McIlvaine stories—like, I knew when I hit send, this thing is damn good. I knew when I hit send on a piece that was not as well read, but is like my second or third favorite story. I wrote something for The New York Times called “Happiness Wont Save You,” about a pioneer in—he wrote one of the foundational studies in positive psychology about lottery winners and paraplegics, and how lottery winners are pretty much no happier than random controls found in a phone book, and paraplegics are much less unhappy than you might think, compared to controls. It was really poorly designed. It would never withstand the scrutiny of peer review today. But anyway, this guy was, like, a very innovative thinker. His name was Philip Brickman, and in 1982 at 38 years old, he climbed—he got—went—he found his way to the roof of the tallest building in Ann Arbor and jumped, and took his own life. And I was in flow pretty much throughout writing that one too.Jennie NashWow. So the piece you're referring to, that you referred to previous to that, is What Bobby McIlvaine Left Behind, which was a feature story in The Atlantic. It's the one you won the—Pul…Pulitzer for? It's now made into a book. It has, like...Jennifer SeniorAlthough all it is like, you know, the story between...Jennie NashCovers, right?Jennifer SeniorYeah. Yeah. Because—yeah, yeah.Jennie NashBut—Jennifer SeniorWhich is great, because then people can have it, rather than look at it online, which—and it goes on forever—so yeah.Jennie NashSo this is a piece—the subtitle is Grief, Conspiracy Theories, and One Family's Search for Meaning in the Two Decades Since 9/11—and I actually pulled a couple of metaphors from that piece, because I re-read it knowing I was going to speak to you… and I mean, it was just so beautifully written. It's—it's so beautifully structured, everything, everything. But here's a couple of examples for our listeners. You're describing Bobby, who was a 26-year-old who died in 9/11, who was your brother's college roommate.Jennifer SeniorAnd at that young adult—they—you can't afford New York. They were living together for eight years. It was four in college, and four—Jennie NashWow.Jennifer SeniorIn New York City. They had a two-bedroom... yeah, in a cheaper part... well, to the extent that there are cheaper parts in...Jennie NashYeah.Jennifer SeniorThe way over near York Avenue, east side, yeah.Jennie NashSo you write, “When he smiled, it looked for all the world like he'd swallowed the moon.” And you wrote, “But for all Bobby's hunger and swagger, what he mainly exuded, even during his college years, was warmth, decency, a corkscrew quirkiness.” So just that kind of language—a corkscrew quirkiness, like he'd swallowed the moon—that, it's that the piece is full of that. So that's interesting, that you felt in flow with this other piece you described and this one. So how would you describe—so you describe metaphors as things that just come—it just—it just happens. You're not forcing it—you can't force it. Do you think that's true of whatever this ineffable thing of voice—voices—as well?Jennifer SeniorOh, that's a good question. My voice got more distinct as I got older—it gets better. I think a lot of people's—writers'—powers wax. Philip Roth is a great example of that. Colette? I mean, there are people whose powers really get better and better, and I've gotten better with more experience. But do you start with the voice? I think you do. I don't know if you can teach someone a voice.Jennie NashSo when you say you've gotten better, what does that mean to you?Jennifer SeniorYeah. Um, I'm trying to think, like, do I write with more swing? Do I—just with more confidence because I'm older? Being a columnist…which is the least creative medium…Jennie NashYeah.Jennifer SeniorSeven hundred and fifty words to fit onto—I had a dedicated space in print. When David Leonhardt left, I took over the Monday spot, during COVID. So it's really, really—but what it forces you to do is to be very—your writing becomes lean, and it becomes—and structure is everything. So this does not relate to voice, but my—I was always pretty good at structure anyway. I think if you—I think movies and radio, podcasts, are, like, great for structure. Storytelling podcasts are the best thing to—I think I unconsciously emulate them. The McIlvaine story has a three-act structure. There's also—I think the podcast Heavyweight is sublime in that way.Jennie NashIs that Roxane Gay?Jennifer SeniorNo, no, no, no.Jennie NashOh, it's, um—Jennifer SeniorIt's Jonathan Goldstein.Jennie NashYes, got it. I'm going to write that down and link to that in our show notes.Jennifer SeniorIt's... I'm trying to think of—because, you know, his is, like, narratives, and it's—it's got a very unusual premise. But voice, voice, voice—well, I, you know, I worked on making my metaphors better in the beginning. I worked on noticing things, you know, and I worked on—I have the—I'm the least visual person alive. I mean, this is what's so interesting. Like, I failed to notice once that I had sat for an hour and a half with a woman who was missing an arm. I mean, I came back to the office and was talking—this is Barbara Epstein, who was a storied editor of The New York Review of Books, the story editor, along with Bob Silver. And I was talking to Mike Tomasky, who was our, like, city politic editor at the time. And I said to him, I just had this one—I knew she knew her. And he said, was it awkward? Was—you know, with her having one arm and everything? And I just stared at him and went one arm? I—I am really oblivious to stuff. And yet visual metaphors are no problem with me. Riddle me that, Batman. I don't know why that is. But I can, like, summon them in my head, and so I worked at it for a while, when my editors were responsive to it. Now they come more easily, so that seems to maybe just be a facility. I started noticing them in other people's writing. So Michael Ondaatje —in, I think it was In the Skin of a Lion, but maybe it was The English Patient. I've read, like, every book of his, like I've, you know— Running… was it Running in the Family? Running with the Family? I think it was Running in the—his memoir. And, I mean, doesn't—everything. Anil's Ghost—he— you know, that was it The Ballad of Billy the Kid? [The Collected Works of Billy the Kid] Anyway, I can go on and on. He had one metaphor talking about the evening being as serene as ink. And it was then that I realized that metaphors without effort often—and—or is that a simile? That's a simile.Jennie NashLike—or if it's “like” or “as,” it's a simile.Jennifer SeniorYeah. So I'm pretty good with similes, maybe more than metaphors. But... serene as ink. I realized that what made that work is that ink is one syllable. There is something about landing on a word with one syllable that sounds like you did not work particularly hard at it. You just look at it and keep going. And I know that I made a real effort to make my metaphors do that for a while, and I still do sometimes. Anything more than that can seem labored.Jennie NashOh, but that's so interesting. So you—you noticed in other people what worked and what you liked, and then tried to fold that into your own work.Jennifer SeniorYeah.Jennie NashSo does that mean you might noodle on—like, you have the structure of the metaphor or simile, but you might noodle on the word—Jennifer SeniorThe final word?Jennie NashThe final word.Jennifer SeniorYeah. Yeah, the actual simile, or whatever—yeah, I guess it's a simile—yeah, sometimes. Sometimes they—like I said, they come unbidden. I think I have enough experience now—which may make my voice better—to know what's crap. And I also, by the way, I'll tell you what makes your voice better: just being very willing to hit Select Alt, Delete. You know, there's more where that came from. I am a monster of self-editing. I just—I have no problem doing it. I like to do it. I like to be told when things are s**t. I think that improves your voice, because you can see it on the page.Jennie NashYeah.Jennifer SeniorAnd also, I think paying attention to other people's writing, you know, I did more and more of that, you know, reverse engineering stuff, looking at how they did stuff as I got older, so...Jennie NashSo I was going to ask a question, which now maybe you already answered, but the question was going to be… you said that you're—you feel like you're getting better as a writer as you got older. And you—you said that was due to experience. And I was going to ask, is it, or is it due to getting older? You know, is there something about literally living more years that makes you better, or, you know, like, is wisdom something that you just get, or is it something you work for? But I think what I'm hearing is you're saying you have worked to become the kind of writer who knows, you know, what you just said—you delete stuff, it comes again. But tell me if—you know, you welcome the kind of tough feedback, because you know that makes you better. You know, this sort of real effort to become better, it sounds like that's a practice you have. Is that—is that right?Jennifer SeniorOh yeah. I mean, well, let's do two things on that, please. I so easily lose my juju these days that, like, you've got to—if you can put a, you know, oh God, I'm going to use a cliché again—if you can put a pin in or bookmark that, the observation about, you know, harsh feedback. I want to come back to that. But yes, one of the things that I was going to keep—when I said that I have the confidence now, I also was going to say that I have the wisdom, but I had too many kind of competing—Jennie NashYeah. Yeah.Jennifer SeniorYou know, were running at once, and I, you know, many trains on many tracks—Jennie NashYeah, yeah.Jennifer Senior…about to leave, so…, Like, I had to sort of hop on one. But, like, the—the confidence and wisdom, yes, and also, like, I'll tell you something: in the McIlvaine piece, it may have been the first time I did, like, a narrative nonfiction. I told a story. There was a time when I would have hid behind research on that one.Jennie NashOoh, and did you tell a story. It was the—I remember reading that piece when it first came out, and there you're introducing, you know, this—the situation. And then there's a moment, and it comes very quickly at the top of the piece, where you explain your relationship to the protagonist of the story. And there's a—there's just a moment of like, oh, we're—we're really in something different here. There's really—is that feel of, this is not a reported story, this is a lived story, and that there's so many layers of power, I mean, to the story itself, but obviously the way that you—you present it, so I know exactly what you're talking about.Jennifer SeniorYeah, and by the way, I think writing in the first person, which I've been doing a lot of lately, is not something I would have done until now. Probably because I am older and I feel like I've earned it. I have more to say. I've been through more stuff. It's not, like, with the same kind of narcissism or adolescent—like, I want to get this out, you know. It's more searching, I think, and because I've seen more, and also because I've had these pent up stories that I've wanted to tell for a long time. And also I just don't think I would have had the balls, you know.Jennie NashRight.Jennifer SeniorSo some of it is—and I think that that's part of—you can write better in your own voice. If it's you writing about you, you're—there's no better authority, you know? So your voice comes out.Jennie NashRight.Jennifer SeniorBut I'm trying to think of also—I would have hid behind research and talked about theories of grief. And when I wrote, “It's the damnedest thing, the dead abandon you, and then you abandon the dead,” I had blurted that out loud when I was talking to, actually, not Bobby's brother, which is the context in which I wrote it, but to Bobby's—I said that, it's, like, right there on the tape—to his former almost fiancée. And I was thinking about that line, that I let it stand. I didn't actually then rush off and see if there was a body of literature that talked about the guilt that the living feel about letting go of their memories. But I would have done that at one point. I would have turned it into this... because I was too afraid to just let my own observations stand. But you get older and you're like, you know what? I'm smart enough to just let that be mine. Like, assume...Jennie NashRight.Jennifer SeniorIt's got to be right. But can we go back, also, before I forget?Jennie NashYeah, we're going to go back to harsh, but—but I would just want to use your cliché, put a pin in what you said, because you've said so many important things— that there's actual practice of getting better, and then there's also wisdom of—of just owning, growing into, embracing, which are two different things, both so important. So I just wanted to highlight that you've gone through those two things. So yes, let's go back to—I said harsh, and maybe I miss—can...misrepresenting what you meant.Jennifer SeniorYou may not have said that. I don't know what you said.Jennie NashNo, I did, I did.Jennifer SeniorYou did, okay, yeah, because I just know that it was processed as a harsh—oh no, totally. Like, I was going to say to you that—so there was a part of my book, my book, eventually, I just gave one chapter to each person in my life whom I thought could, like, assess it best, and one of them, so this friend—I did it on paper. He circled three paragraphs, and he wrote, and I quote, “Is this just a shitty way of saying...?” And then I was like, thank God someone caught it, if it was shitty. Oh my God. And then—and I was totally old enough to handle it, you know, I was like 44, whatever, 43. And then, who was it? Someone else—oh, I think I gave my husband the intro, and he wrote—he circled a paragraph and just wrote, “Ugh.” Okay, Select Alt, Delete, redo. You know, like, what are you going to do with that? That's so unambiguous. It's like, you know—and also, I mean, when you're younger, you argue. When you're older, you never quarrel with Ugh. Or Is this...Jennie NashRight, you're just like, okay, yep.Jennifer SeniorYeah. And again, you—you've done it enough that, you know, there's so much more where that came from.Jennie NashYeah.Jennifer SeniorWhy cling to anything that someone just, I don't know, had this totally allergic reaction to? Like, you know, if my husband broke out in a hive.Jennie NashYeah. So, circling back to the—the storyline of—you took this medication, you lost your ability to write in this way, you changed medications, presumably, you got it back. What did it feel like to get it back? Did you—do you remember that?Jennifer SeniorOh God, yes, it was glorious.Jennie NashReally?!Jennifer SeniorOh, you don't feel like yourself. I think that—I mean, I think there are many professions that are intertwined with identity. They may be the more professional—I'm sorry, the more creative professions. But not always, you know. And so if your writing voice is gone, and it's—I mean, so much of writing is an expression of your interior, if not life, then, I don't know some kind of thought process and something that you're working out. To have that drained out of you, for someone to just decant all the life out of your—or something to decant all the life out of your writing, it's—it's, I wouldn't say it's traumatic, that's totally overstating it, but it's—it's a huge bummer. It's, you know, it's depressing.Jennie NashWell, the word glorious, that's so cool. So to feel that you got back your—the you-ness of your voice was—was glorious. I mean, that's—that's amazing.Jennifer SeniorWhat—if I can just say, I wrote a feature, right, that then, like, I remember coming off of it, and then I wrote a feature that won the News Women's Club of New York story for best feature that year. Like, I didn't realize that those are kind of hard to win, and not like I won... I think I've won one since. But, like, that was in, like, 99 or something. I mean, like, you know, I don't write a whole lot of things that win stuff, until recently, you know. There was, like, a real kind of blackout period where, you know, I mean, but like—which I think, it probably didn't have to do with the quality of my writing. I mean, there was—but, I mean, you know, I wasn't writing any of the stuff that floated to the tippy top, and, like, I think that there was some kind of explosion thereof, like, all the, again, stuff that was just desperate to come out. I think there was just this volcanic outpouring.Jennie NashSo you're saying now you are winning things, which is indeed true. I mean, Pulitzer Prizes among them. Do you think that that has to do with this getting better? The wisdom, the practice, the glorious having of your abilities? Or, I guess what I'm asking is, like, is luck a part of—a part of all that? Is it just, it just happens? Or do you think there's some reason that it's happening? You feel that your writing is that powerful now?Jennifer SeniorWell, luck is definitely a part of it, because The Atlantic is the greatest place to showcase your feature writing. It gets so much attention, even though I think fewer people probably read that piece about Bobby McIlvaine than would have read any of my columns on any given day. The kind of attention was just so different. And it makes sense in a funny way, because it was 13,600 words or something. I mean, it was so long, and columns are 750 words. But, like, I think that I just lucked out in terms of the showcase. So that's definitely a part of it. And The Atlantic has the machinery to, you know, and all these dedicated, wonderful publicity people who will make it possible for people to read it, blah, blah, blah. So there's that. If you're older, you know everyone in the business, so you have people amplifying your work, they're suddenly reading it and saying, hey, everybody read it. It was before Twitter turned to garbage. Media was still a way to amplify it. It's much harder now, so passing things along through social media has become a real problem. But at that moment, it was not—Jennie NashYeah.Jennifer SeniorSo that was totally luck. Also, I wonder if it was because I was suddenly writing something from in the first person, and my voice was just better that way. And I wouldn't have had, like, the courage, you know?Jennie NashYeah.Jennifer SeniorAnd also, you're a book critic, which is what I was at The Times. And you certainly are not writing from the first person. And as a columnist, you're not either.Jennie NashYeah.Jennifer SeniorSo, you know, those are very kind of constricted forms, and they're also not—there are certainly critics who win Pulitzers. I don't think I was good enough at it. I was good, but it was not good enough. I could name off the top of my head, like, so many critics who were—who are—who haven't even won anything yet. Like Dwight Garner really deserves one. Why has he not won a Pulitzer? He's, I think, the best writer—him and Sophie Gilbert, who keeps coming close. I don't get it, like, what the hell?Jennie NashDo you—as a—as a reader of other people's work, I know you—you mentioned Michael Ondaatje that you'd studied—study him. But do you just recognize when somebody else is on their game? Like, do you recognize the voice or the gloriousness of somebody else's work? Can you just be like, yeah, that...?Jennifer SeniorWell, Philip Roth, sentence for sentence. Martin Amis, even more so—I cannot get over the originality of each of his sentences and the wide vocabulary from which he recruits his words, and, like, maybe some of that is just being English. I think they just get better, kind of more comprehensive. They read more comprehensively. And I always tell people, if they want to improve their voice, they should read the Victorians, like that [unintelligible]. His also facility with metaphor, I don't think, is without equal. The thing is, I can't stand his fiction. I just find it repellent. But his criticism is bangers and his memoirs are great, so I love them.Jennie NashYeah.Jennifer SeniorSo I really—I read him very attentively, trying to think of, like, other people whose kind of...Jennie NashI guess I was—I was getting at more... like, genius recognizes genius, that con... that concept, like, when you know you can do this and write in this way from time to time anyway, you can pull it off.Jennifer SeniorYeah, genius as in—I wouldn't—we can't go there.Jennie NashWell, that's the—that's the cliché, right? But, like...Jennifer SeniorOh no, I know, I know. Game—game, game recognizes game.Jennie NashGame recognizes game is a better way of saying it. Like, do you see—that's actually what the phrase is. I don't know where I came up with genius, but...Jennifer SeniorNo, it's fine. You can stick anything in that template, you know—evil recognizes evil, I mean, you know, it's like a...Jennie NashYeah. Do you see it? Do you see it? Like, you can see it in other people?Jennifer SeniorSure. Oh yeah, I see it.Jennie NashYeah.Jennifer SeniorI mean, you're just talking about among my contemporaries, or just as it...Jennie NashJust like anything, like when you pick up a book or you read an article or even listen to a storytelling pack podcast, that sense of being in the hands of somebody who's on it.Jennifer SeniorYeah, I think that Jonathan Goldstein—I mean, I think that the—the Heavyweight Podcast, for sure, is something—and more than that, it's—it's storytelling structure, it's just that—I think that anybody who's a master at structure would just look at that show and be like, yeah, that show nails it each and every time.Jennie NashI've not listened, but I feel like I should end our time together. I would talk to you forever about this, but I always like to leave our listeners with something specific to reflect or practice or do. And is there anything related to metaphor or practicing, finding your voice, owning your voice, that you would suggest for—for folks? You've already suggested a lot.Jennifer SeniorRead the Victorians.Jennie NashAwesome. Any particular one that you would say start with?Jennifer SeniorYeah, you know what? I find Dickens rough sledding. I like his, you know, dear friend Wilkie Collins. I think No Name is one of the greatest books ever. I would read No Name.Jennie NashAmazing. And I will add, go read Jennifer's work. We'll link to a bunch of it in the show notes. Study her and—and watch what she does and learn what she does—that there it is, a master at work, and that's what I would suggest. So thank you for joining us and having this amazing discussion.Jennifer SeniorThis has been super fun.Jennie NashAnd for our listeners, until next time, stop playing small and write like it matters.NarratorThe Hashtag AmWriting Podcast is produced by Andrew Perrella. Our intro music, aptly titled Unemployed Monday, was written and played by Max Cohen. Andrew and Max were paid for their time and their creative output, because everyone deserves to be paid for their work. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amwriting.substack.com/subscribe

This is part two of my two-part episode on Terry Gross. In part one, which was a paid episode, I talked to Sarah Hepola, Jason Thurlkill, and Meghan Daum about Terry Gross, what makes her great, and who should replace her whenever she chooses to retire. On this episode, which is a freebie, I talk to Mark Oppenheimer, Mike Pesca, and Jesse Adams/The Ivy Exile.Aside from being my brother, Mark Oppenheimer is host of his own podcast, the Arc podcast, or Arc with Mark, which is the flagship podcast of the magazine he edits. He is also the author of Judy Blume: A Life, the forthcoming biography of Judy Blume, which drops in March of next year. Mike Pesca is the host of The Gist, the longest running daily news podcast in history, and its affiliated Substack, The Gist List. He has two other, non-daily podcasts: Funny You Should Mention, in which he talks to stand up comedians, and Not Even Mad, which is dedicated to “joyful disagreement.” He is the author of Upon Further Review: The Greatest What-Ifs in Sports History, which came out in 2018. Jesse Adams is the author of The Ivy Exile Substack, and a writer for, among other publications, the Washington Examiner and the New York Post. Thanks to all my guests, and listeners, for joining me in this endeavor. I have no immediate plans to do another special episode, but this felt like a success to me, so I'm sure at some point I'll do it again. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit danieloppenheimer.substack.com/subscribe

Regular listeners to our afternoon programming will immediately recognize the voice of Terry Gross. She has been the host of Fresh Air for 50 years – well before it became a national staple. News Director Eric Douglas spoke with Gross recently about her career, her style and the uniqueness of public radio. The post Terry Gross Talks With WVPB About Public Radio, This West Virginia Morning appeared first on West Virginia Public Broadcasting.

We mark the 100th anniversary of The Grand Ole Opry, country music's biggest stage, and feature interviews with two of its members. First up, bluegrass banjo player Earl Scruggs. He and guitarist Lester Flatt had a hit with “Foggy Mountain Breakdown.” Scruggs told Terry Gross how he developed his famous three-finger picking style while absent-mindedly playing the banjo one day. Also, we listen back to Terry's interview with country music star, “Honky Tonk Girl” Loretta Lynn. Film critic Justin Chang reviews a new documentary about Russia's crackdown on independent journalists. It's called ‘My Undesirable Friends: Part I — Last Air in Moscow.'Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

We mark the 100th anniversary of The Grand Ole Opry, country music's biggest stage, and feature interviews with two of its members. First up, bluegrass banjo player Earl Scruggs. He and guitarist Lester Flatt had a hit with “Foggy Mountain Breakdown.” Scruggs told Terry Gross how he developed his famous three-finger picking style while absent-mindedly playing the banjo one day. Also, we listen back to Terry's interview with country music star, “Honky Tonk Girl” Loretta Lynn. Film critic Justin Chang reviews a new documentary about Russia's crackdown on independent journalists. It's called ‘My Undesirable Friends: Part I — Last Air in Moscow.'Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

This is a free preview of a paid episode. To hear more, visit danieloppenheimer.substack.comThis is episode one of my long-awaited Terry Gross Project, where I tackle the question of who Terry Gross's successor should be on Fresh Air and what we can learn, by playing around with that question, about the magic of Terry Gross, the cultural meaning and trajectory of NPR, the art of the interview, and various other related topics.

After the deaths of his parents, comedians Jerry Stiller and Anne Meara, Ben found a stash of their audio recordings. Those tapes are at the center of a new documentary, ‘Stiller & Meara: Nothing Is Lost.' He spoke with Terry Gross about growing up in the spotlight, his father's life-changing role on ‘Seinfeld,' and the connection between his family life and ‘Severance.' Follow Fresh Air on instagram @nprfreshair, and subscribe to our weekly newsletter for gems from the Fresh Air archive, staff recommendations, and a peek behind the scenes. Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

After the deaths of his parents, comedians Jerry Stiller and Anne Meara, Ben found a stash of their audio recordings. Those tapes are at the center of a new documentary, ‘Stiller & Meara: Nothing Is Lost.' He spoke with Terry Gross about growing up in the spotlight, his father's life-changing role on ‘Seinfeld,' and the connection between his family life and ‘Severance.' Follow Fresh Air on instagram @nprfreshair, and subscribe to our weekly newsletter for gems from the Fresh Air archive, staff recommendations, and a peek behind the scenes. Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Ethan Hawke stars in the new movie ‘Blue Moon,' about lyricist Lorenz Hart, half of the Broadway duo Rodgers and Hart. It's his ninth collaboration with director Richard Linklater. He's also in the new noir-inspired streaming series ‘The Lowdown.' He tells Terry Gross while playing Hart pushed him to the edge of his ability, he totally related to his character in ‘The Lowdown.' Also, we hear from actor and director Tim Robbins. He reflects on 30 years of making films and why he believes live theater can sometimes speak to us in more profound ways than film can. He spoke with Tonya Mosley.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Ethan Hawke stars in the new movie ‘Blue Moon,' about lyricist Lorenz Hart, half of the Broadway duo Rodgers and Hart. It's his ninth collaboration with director Richard Linklater. He's also in the new noir-inspired streaming series ‘The Lowdown.' He tells Terry Gross while playing Hart pushed him to the edge of his ability, he totally related to his character in ‘The Lowdown.' Also, we hear from actor and director Tim Robbins. He reflects on 30 years of making films and why he believes live theater can sometimes speak to us in more profound ways than film can. He spoke with Tonya Mosley.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

What happens to the body in the deep sea? You need oxygen to survive, but too much oxygen can be deadly. If you rise to the surface too quickly, nitrogen bubbles can form in your body and kill you. Terry Gross spoke with author and scientist Rachel Lance last year about her research for the military. She used a hyperbaric chamber that mimics what divers and submarines are exposed to. Her book, ‘Chamber Divers,' is about the scientists whose dangerous experiments about underwater pressure and injury were critical to the success of D-Day.Also, Justin Chang reviews ‘Sirat,' which he calls one of the most gripping movies of the year. Follow Fresh Air on instagram @nprfreshair, and subscribe to our weekly newsletter for gems from the Fresh Air archive, staff recommendations, and a peek behind the scenes. Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

What happens to the body in the deep sea? You need oxygen to survive, but too much oxygen can be deadly. If you rise to the surface too quickly, nitrogen bubbles can form in your body and kill you. Terry Gross spoke with author and scientist Rachel Lance last year about her research for the military. She used a hyperbaric chamber that mimics what divers and submarines are exposed to. Her book, ‘Chamber Divers,' is about the scientists whose dangerous experiments about underwater pressure and injury were critical to the success of D-Day.Also, Justin Chang reviews ‘Sirat,' which he calls one of the most gripping movies of the year. Follow Fresh Air on instagram @nprfreshair, and subscribe to our weekly newsletter for gems from the Fresh Air archive, staff recommendations, and a peek behind the scenes. Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

"Every now and then you bump up against a part that presses you to the wall of your ability," Hawke says of playing lyricist Lorenz Hart in ‘Blue Moon.' Hawke spoke with Terry Gross about collaborating with Richard Linklater, 'The Lowdown,' and his thoughts on aging. Follow Fresh Air on instagram @nprfreshair, and subscribe to our weekly newsletter for gems from the Fresh Air archive, staff recommendations, and a peek behind the scenes. Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

"Every now and then you bump up against a part that presses you to the wall of your ability," Hawke says of playing lyricist Lorenz Hart in ‘Blue Moon.' Hawke spoke with Terry Gross about collaborating with Richard Linklater, 'The Lowdown,' and his thoughts on aging. Follow Fresh Air on instagram @nprfreshair, and subscribe to our weekly newsletter for gems from the Fresh Air archive, staff recommendations, and a peek behind the scenes. Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Filmmaker Richard Linklater doesn't speak French, but that didn't stop him from directing a movie that's almost entirely in French. ‘Nouvelle Vague' focuses on the beginning of the New Wave of cinema, specifically Jean-Luc Godard and his landmark 1960 movie ‘Breathless.' "I know that sounds insane," Linklater says, "but me not having the language wasn't even in my top 10 concerns about if I could pull off the movie." Linklater spoke with Terry Gross about the impact of the French New Wave, and his other new film, ‘Blue Moon.' It's about Broadway lyricist Lorenz Hart, the former creative partner of Richard Rodgers.Also, Maureen Corrigan reviews the novel Heart the Lover by Lily King. Follow Fresh Air on instagram @nprfreshair, and subscribe to our weekly newsletter for gems from the Fresh Air archive, staff recommendations, and a peek behind the scenes. Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

The great filmmaker Guillermo Del Toro has a new adaptation of Frankenstein. He saw the 1931 film when he was 7. “I realized I understood my faith better through Frankenstein than through Sunday Mass,” he tells Terry Gross. “And I decided at age seven that the creature of Frankenstein was gonna be my personal avatar and my personal messiah.” His other films include Pan's Labyrinth and The Shape of Water. Also, we hear from Cameron Crowe, who wrote and directed Jerry Maguire, Say Anything and the semi-autobiographical film Almost Famous, about writing for Rolling Stone starting at age 15. His new memoir is about being a naive teen, exposed to the excesses of rock musicians.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

The filmmaker's new memoir, 'The Uncool,' is about his teen years in the '70s as a rock journalist for 'Rolling Stone.' His unconventional story was dramatized in the 2000 movie 'Almost Famous.' Crowe spoke with Terry Gross about getting access to rockstars before he could drink, being mentored by Lester Bangs, and his interviews with David Bowie. |Also, David Bianculli reviews the new season of 'The Diplomat.' Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Most people don't realize that what happens in the mouth can ripple through the whole body. The balance of the oral microbiome—the community of bacteria living in our mouths—can either protect us or trigger widespread inflammation that affects the heart, joints, and brain. Hidden dental infections or mercury fillings can quietly drive fatigue, autoimmune issues, or dementia—and fixing the mouth often helps the rest of the body heal, too. The good news is that with simple steps like eating whole foods (often removing gluten), cleaning the mouth well, and breathing through the nose, we can protect both our smile and our overall health. When we care for the mouth as part of the body, lasting wellness becomes possible from the inside out. In this episode, Dr. Todd LePine, Dr. Elizabeth Boham, James Nestor, and I talk about how a healthy mouth microbiome is a key to whole-body wellness. Dr. Todd LePine graduated from Dartmouth Medical School and is Board Certified in Internal Medicine, specializing in Integrative Functional Medicine. He is an Institute for Functional Medicine Certified Practitioner. Prior to joining The UltraWellness Center, he worked as a physician at Canyon Ranch in Lenox, MA, for 10 years. Dr. LePine's focus at The UltraWellness Center is to help his patients achieve optimal health and vitality by restoring the natural balance to both the mind and the body. His areas of interest include optimal aging, bio-detoxification, functional gastrointestinal health, systemic inflammation, autoimmune disorders, and the neurobiology of mood and cognitive disorders. Dr. Elizabeth Boham is Board Certified in Family Medicine from Albany Medical School, and she is an Institute for Functional Medicine Certified Practitioner and the Medical Director of The UltraWellness Center. Dr. Boham lectures on a variety of topics, including Women's Health and Breast Cancer Prevention, insulin resistance, heart health, weight control and allergies. She is on the faculty for the Institute for Functional Medicine. James Nestor is an author and journalist who has written for Scientific American, Outside, The New York Times, and more. His book, Breath: The New Science of a Lost Art, was an instant New York Times and London Sunday Times bestseller. Breath explores how the human species has lost the ability to breathe properly—and how to get it back. Breath spent 18 weeks on the New York Times bestseller list in the first year of release, and will be translated into more than 30 languages. Breath was awarded the Best General Nonfiction Book of 2020 by the American Society of Journalists and Authors, and was nominated for Best Science Book of 2021 by the Royal Society. Nestor has spoken at Stanford Medical School, Yale School of Medicine, Harvard Medical School, The United Nations, Global Classroom, and appeared on more than 60 radio and television shows, including Fresh Air with Terry Gross, the Joe Rogan Show, and more. He lives and breathes in San Francisco. This episode is brought to you by BIOptimizers. Head to bioptimizers.com/hyman and use code HYMAN to save 15%. Full-length episodes can be found here:The Functional Medicine Approach To Oral Health Getting Rid of Cold Sores and Canker Sores The Power Of Breath As Medicine

As longtime co-host of All Things Considered, Stamberg was the first woman to anchor a national news program in the U.S. People weren't used to hearing women's voices on the radio. "We were imitating men, so I was lowering my voice to sound as authoritative as I could," she said. Stamberg died Oct. 16. She spoke with Terry Gross in 1982, 1993, and 2021. Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

When Oscar-winning filmmaker Guillermo del Toro was a kid growing up in Guadalajara, Mexico, he would draw monsters all day. His deeply Catholic grandmother even had him exorcised because of it. But when del Toro saw the 1931 film Frankenstein, his life changed. "I realized I understood my faith or my dogmas better through Frankenstein than through Sunday mass." His new adaptation of Mary Shelley's classic book drops on Netflix Nov. 7. He spoke with Terry Gross about getting over his fear of death, the design of Frankenstein's creature, and his opinion on generative AI. Also, Justin Chang reviews the Palme d'Or-winning film It Was Just An Accident. Follow Fresh Air on instagram @nprfreshair, and subscribe to our weekly newsletter for gems from the Fresh Air archive, staff recommendations, and a peek behind the scenes. Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

The new movie Fairyland, produced by Sofia Coppola, is adapted from the memoir by Alysia Abbott. She wrote about being the child of a gay single father at the dawn of the gay liberation movement. He raised her in 1970's San Francisco, after her mother died. He later died from complications from AIDS. Abbott spoke with Terry Gross in 2013. John Powers reviews the new film Blue Moon, directed by Richard Linklater.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Filmmaker and writer Julian Brave NoiseCat is the son of an Indigenous Canadian father and white mother. After a cultural genocide, he says, living your life becomes an existential question. "To live a life in an Indigenous way is a kind of profound thing, and it has been really beautiful to get to make art and tell stories from that position." NoiseCat spoke with Terry Gross about his father's origin story, dancing at powwows, and the bonds of kinship. His new memoir, We Survived the Night, takes its name from a translation of the Secwépemc morning greeting. His Oscar-nominated documentary Sugarcane is on Hulu/Disney+.Also, Maureen Corrigan reviews Daphne Du Maurier's collection of short stories, After Midnight. Follow Fresh Air on instagram @nprfreshair, and subscribe to our weekly newsletter for gems from the Fresh Air archive, staff recommendations, and a peek behind the scenes. Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Saturday is the second No Kings Day – it should be the biggest single day of protest in American history, with more than 2,500 events planned. Leah Greenberg will explain the preparations – she's co-founder of Indivisible, the group that called the first No Kings day, June 14 – five million people participated in that one, held the same day as Trump's birthday parade – the one no one came to.Also: there's “a forthrightly antifascist film” that critics call “wild and thrilling” -- of course, that's “One Battle After Another,” the Paul Thomas Anderson movie starring Leonardo di Caprio as a burnt out left wing bomber, targeted by an ICE captain played by Sean Penn. John Powers will comment—he's critic at large on Fresh Air with Terry Gross.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The incomparable Diane Keaton died last week at age 79. Her career spanned more than five decades and 60 film and TV roles, including standout performances in Marvin's Room, Reds, The First Wives Club and Something's Gotta Give. But it was her starring role in the Woody Allen classic Annie Hall that made Keaton an American film icon. The Oscar-winning actor spoke with Terry Gross in 1997 about finding the character's voice, her audition for The Godfather, and what she wants in a director. Also, TV critic David Bianculli reviews a new documentary about SCTV and Spaceballs star John Candy. Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

WWE superstar Dwayne Johnson plays MMA fighter Mark Kerr in Benny Safdie's The Smashing Machine. "The Rock" spoke with Terry Gross about the role, his many injuries, and his wrestling personas.For the first seven years of her life, Cristela Alonzo lived in an abandoned diner in a south Texas border town. She spoke with Terry Gross about the culture shock of having money after growing up so poor and the recent ICE raids in L.A. Her new Netflix stand-up special is called Upper Classy.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Today we're remembering renowned primatologist Jane Goodall, known for her work researching the behavior of chimpanzees and protecting their habitats. She died last week at the age of 91. "Every time somebody discovers an animal doing something that we used to think was unique to us, there is this scientific uproar, because we [humans] have to keep our uniqueness. And of course the chimps have challenged this belief again and again and again," Goodall told Terry Gross in 1999. John Powers reviews the Netflix thriller film A House of Dynamite, directed by Kathryn Bigelow. Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Icelandic jazz-pop star Laufey spoke with Terry Gross about her classical training in cello, breaking out online during COVID, and her first arena tour. "I've been inspired by Golden Age films, the va-va-voom of it all," the Grammy-winning artist says. Laufey sings and plays in the studio throughout the conversation. Her new album is A Matter of Time. Also, Ken Tucker reviews Taylor Swift's The Life of a Showgirl. Follow Fresh Air on instagram @nprfreshair, and subscribe to our weekly newsletter for gems from the Fresh Air archive, staff recommendations, and a peek behind the scenes. Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

A film about a man trying to fund a gender-affirming operation by robbing a bank sounds like a modern-day plot. But 50 years ago, that was the scenario for the classic film Dog Day Afternoon. We're featuring our interviews with director Sidney Lumet and with Al Pacino, who starred as the bank robber. Lumet gave his lead license to take the role as far as he wanted, and then pushed Pacino to do more. "It's really one of the best pieces of movie acting I've ever seen. It was blinding in its intensity, agonizingly painful," he told Terry Gross in 1988.Also, Maureen Corrigan reviews The Loneliness of Sonia and Sunny by Kiran Desai which has been shortlisted for the Booker Prize.  Follow Fresh Air on instagram @nprfreshair, and subscribe to our weekly newsletter for gems from the Fresh Air archive, staff recommendations, and a peek behind the scenes.  Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

This week, we're sharing something we loved. An interview with Fresh Air's Terry Gross about a life made out of conversation. Check out Talk Easy Check out Fresh Air To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

The WWE superstar considered pursuing a career in mixed martial arts before realizing, "I don't like getting punched in the face." Johnson plays MMA fighter Mark Kerr in Benny Safdie's The Smashing Machine. He spoke with Terry Gross about his many injuries, his relationship with his late father, and his wrestling personas. Follow Fresh Air on instagram @nprfreshair, and subscribe to our weekly newsletter for gems from the Fresh Air archive, staff recommendations, and a peek behind the scenes. Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Welcome back to the Create Podcast. Just in time for the fall season, I am joined by Pam Grossman, a writer, curator, teacher, and practicing witch whose work beautifully bridges creativity, culture, and magic. Pam is the host of The Witch Wave podcast (called “the Terry Gross of witches” by Vulture), the author of Waking the Witch: Reflections on Women, Magic, and Power, and co-editor of Taschen's Witchcraft volume in the Library of Esoterica series. Her essays have appeared in The New York Times, The Atlantic, TIME, and more. She has also organized exhibitions such as Language of the Birds: Occult and Art at NYU and spoken at institutions including MoMA and Columbia University. Her brand-new book, Magic Maker: The Enchanted Path to Creativity (Penguin Life & Hay House UK, October 14, 2025), is a guide to connecting with the creative force through ritual, history, and practice. It explores how artists and visionaries such as Hilma af Klint, David Bowie, Octavia E. Butler, and Leonora Carrington have used magic as part of their creative process, and how you can do the same in your own life. In This Episode, We Discuss Pam's creative roots and how she began merging her artistic and magical practices Misconceptions about witchcraft and how the archetype of the witch has evolved How Magic Maker links art and magic, showing that creativity itself can be a spiritual practice Practical rituals to protect your studio time and invite inspiration, from lighting candles to leaving offerings or simply asking for guidance The idea of “low frequency” and “high frequency” desires in art and business, and how to balance material needs with higher intentions Pam's experiences speaking at institutions like MoMA and casting a love spell on stage at Carnegie Hall with Jinkx Monsoon The role of research, fascination, and intuition when writing a book Artists who inspire her including Leonora Carrington, Remedios Varo, Hilma af Klint, Max Ernst, and Kurt Seligmann Resources and Mentions Books by Pam Grossman Magic Maker: The Enchanted Path to Creativity (Penguin Life & Hay House UK, 2025) → Pre-order here Waking the Witch: Reflections on Women, Magic, and Power (Simon & Schuster, 2019) What Is a Witch (Tin Can Forest Press, 2016) Witchcraft (Taschen's Library of Esoterica series, co-edited with Jessica Hundley, 2020) Podcast The Witch Wave – Pam's long-running podcast on art, culture, and magic Exhibitions and Projects Language of the Birds: Occult and Art (NYU, 2016) → languageofthebirds.org Art of the Occult by S. Elizabeth (recommended resource) The Spiritual in Art: Abstract Painting 1890–1985 (Los Angeles County Museum of Art, 1986) Artists Mentioned Hilma af Klint David Bowie Octavia E. Butler Leonora Carrington Remedios Varo Max Ernst Kurt Seligmann Create! Magazine Open Call We are now accepting submissions for our fall curated exhibition and catalog: The Spirit World. This virtual show explores the mystical, eerie, and uncanny, making it the perfect theme for the season. Deadline: October 31, 2025 What selected artists receive: inclusion in the curated online exhibition, a feature in the professionally designed print and digital catalog, a blog post on Create! Magazine, and a spotlight across our international platforms.

For the first seven years of her life, Cristela Alonzo lived in an abandoned diner in a south Texas border town. She spoke with Terry Gross about ICE raids, being mentored by labor activist Dolores Huerta, and the culture shock of having money after growing up so poor. Her new Netflix stand-up special is called Upper Classy. Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

With Jimmy Kimmel Live! at the center of a free speech debate, we're revisiting Kimmel's 2013 interview with Terry Gross. The late night host talked about his David Letterman obsession as a teen and the pressure of putting on a late night show. Also, TV critic David Bianculli reviews House of Guinness, the new Netflix series by Stephen Knight, who brought us the shows Peaky Blinders and A Thousand Blows. Film critic Justin Chang reviews the new action-thriller One Battle After Another, by director Paul Thomas Anderson, starring Leonardo DiCaprio.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

The legendary actor died Tuesday at age 89. He spoke with Terry Gross about his movies, creating the Sundance Film Festival and Institute, and why he couldn't wait to leave school and Southern California. "I wasn't learning the way I was supposed to learn. I realized that my education was going to happen when I got out in the world." Interviews are from 1998 and 2013. Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

In the wake of Charlie Kirk's assassination on Sept. 10, NYT reporter Robert Draper talks with Terry Gross about the conservative activist's rise and legacy. Draper profiled Kirk earlier this year and stayed in touch up to the day before his death. We also discuss right-wing extremist Nick Fuentes, a rival of Kirk's with a large following.  Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Science writer Mary Roach is fascinated by the human body, especially, she says, the "gooey bits and pieces of us that are performing miracles on a daily basis. Roach has done deep dives on human cadavers, the digestive system and the science of sex. Now, in Replaceable You, she chronicles both the history of body part replacement (including prosthetic noses that date back to the 1500s), and more recent medical breakthroughs in regenerative medicine. Roach spoke with Terry Gross. This month marks Terry's 50th anniversary as host of Fresh Air. To commemorate the milestone, Sam Fragoso interviewed Terry for his podcast Talk Easy. In this excerpt, Gross shares her life motto and tells a story about writing song lyrics in high school. Listen to the full episode of Terry Gross on Talk Easy with Sam Fragoso.Follow Fresh Air on instagram @nprfreshair, and Talk Easy @talkeasypod. The video version will be on YouTube this week. Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

This month marks 50 years of Terry Gross as the host of Fresh Air. What began in 1975 as a local experiment at WHYY in Philadelphia has since grown into a national institution—one that not only transformed public radio, but laid the groundwork for the world of podcasting.To commemorate a half-century on the air, Terry Gross joins us for a rare appearance in the interview seat. At the top, we discuss her Brooklyn upbringing (11:39), early memories of writing (14:13), and her improbable road to public radio (30:51). Then, Terry walks us through the formative years of Fresh Air (34:50) and its seminal conversations with Kurt Vonnegut (41:34), John Updike (47:43), Monica Lewinsky (50:43), Joan Didion (1:02:08), and more.On the back-half, Gross reflects on forty-seven years of partnership with her late husband, jazz writer Francis Davis (1:04:37), their shared affinity for reading and music (1:07:10), the future of public media (1:20:29), and why she continues to have faith in (and love for) the long-form interview (1:32:48).Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Rob Reiner talks with Terry Gross about directing the new sequel to Spinal Tap, the mockumentary about a heavy metal band.  He'll  also talk about his remarkable life and career, like directing When Harry Met Sally and starring in All in the Family. Also, singer songwriter and guitarist Billy Strings is one of the rare bluegrass musicians who can fill arenas with tens of thousands of fans. He's been working to get to where he is for a long time. "I slept with my guitar when I was four or five years old, I'd put it right under the blankets with me, and I used to kiss it good night." Strings spoke with Fresh Air's Sam Briger and brought his guitar to the studio. Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Veteran Air Force linguist Reality Winner was working at the NSA in 2017 when she leaked a classified document to the press about Russian election interference. Soon after, the FBI showed up at her door. She was sentenced to five years in prison and was released in 2021. Winner's new memoir is I Am Not Your Enemy. She spoke with Terry Gross.Also, John Powers reviews the MUBI series Mussolini: Son of the Century about the ferocious rise of the Italian dictator. Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Reiner's 1984 mockumentary This Is Spinal Tap sparked a new genre of satire. Now, more than 40 years later, the band is back in a new sequel, Spinal Tap II: The End Continues. "They have grown neither emotionally or musically," Reiner says. The filmmaker spoke with Terry Gross about When Harry Met Sally, growing up around comedy legends, and starring in Norman Lear's seminal sitcom All in the Family. Also, David Bianculli reviews the new comedy series The Paper. Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

CNN Chief Medical Correspondent Dr. Sanjay Gupta's new book examines the world of pain — why we feel it, and how we can treat it. He says distraction and meditation can be useful tools for managing pain. He spoke with Terry Gross about how the brain gets pain signals wrong, alternatives to painkillers, and how a family of circus performers inspired a new drug. Gupta's book is It Doesn't Have to Hurt.Also, TV critic David Bianculli reviews the HBO series Task, by the creator of Mare of Easttown, starring Mark Ruffalo.  Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

All week we're revisiting archival interviews with key figures in early rock and roll, rockabilly and R&B. Soul singer Ben E. King began his career in the ‘50s with The Drifters but it was the '61 hit "Stand by Me" that sealed his musical legacy. He spoke to Fresh Air in 1988. We also listen back to a 1991 interview with lyricist Jerry Leiber and composer Mike Stoller, who wrote and produced music for King. Plus, we'll revisit Terry Gross' 1993 interview with Jerry Wexler, the hitmaker who coined the term "rhythm and blues."Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

All week we're revisiting archival interviews with key figures in early rock and roll, rockabilly and R&B. We're kicking it off with Terry Gross's interviews with Elvis Presley's guitarist Scotty Moore, who tells stories about playing with the King and recording "Blue Suede Shoes." That song was written by rockabilly musician Carl Perkins, who also spoke with Terry about his career. Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

We remember British actor Terence Stamp, who died last week at age 87. He starred in the film The Limey, as an ex-con out for revenge, and in The Adventures of Priscilla, Queen of the Desert as a transgender performer on the road with a lip-synch club act. Stamp got his start in the '60s, starring in the films Billy Budd, Far From the Madding Crowd and The Collector. Stamp grew up in a working class cockney neighborhood and as a teenager, when he let it be known he wanted to be an actor, his father told him, "People like us don't do things like that." He spoke with Terry Gross in 2002.Also, film critic Justin Chang reviews the new hit horror film Weapons.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy