Fresh Air with Terry Gross is weekday magazine of contemporary arts and issues with intimate conversations and unusual insights.
Sarah Hepola once got so drunk that she gave a presentation to 300 people — and didn't remember a thing the next day. She wrestles with her reasons for drinking in the memoir 'Blackout.' Film critic David Edelstein reviews 'The End of the Tour.'
Animal trainer Teresa Ann Miller is used to working with furry performers, but she says the Hungarian film 'White God' was especially challenging. "This wasn't necessarily a film with an animal in it," Miller tells Fresh Air's Terry Gross. "It was a dog leading the film and telling the story." Ken Tucker reviews Ashley Monroe's album 'Blade.'
In his new book, 'The Man Who Wasn't There,' Anil Ananthaswamy examines the ways people think of themselves — and how those perceptions can be distorted by certain brain conditions. For instance, a patient with Cotard's Syndrome is utterly convinced that they are already dead, and a patient with Body Integrity Identity Disorder perceives that a body part is not their own. Also, rock historian Ed Ward shares blues musician Slim Harpo's story.
Barry Crimmins mentored Bobcat Goldthwait when they were up-and-coming comics in the '80s. 'Call Me Lucky,' directed by Goldthwait, details their relationship — and the sexual abuse Crimmins suffered as a child. Kevin Whitehead reviews a reissue from jazz flutist Sam Most.
In 'Southpaw,' Gyllenhaal plays a boxer who grew up in foster care and is struggling to be a father to his daughter. He also discusses his roles in 'Donnie Darko,' 'Nightcrawler,' and working with Heath Ledger. Director Sean Baker wanted to make a film about L.A.'s transgender sex workers, but first he needed to find someone who knew that world well. Then he met Mya Taylor, and together they made 'Tangerine.'
We remember historical fiction author E. L. Doctorow and broadcast news pioneer Marlene Sanders, who was the first woman to anchor a network TV evening newscast. Also, Lloyd Schwartz discusses the timeless appeal of the late choreographer George Balanchine. Film critic David Edelstein reviews 'Phoenix.'