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Submit ReviewTheo Baker is the investigations editor at The Stanford Daily. The first college student ever to win a George Polk Award, Baker received a special recognition for uncovering allegations that pioneering research co-authored by Stanford President Marc Tessier-Lavigne, a renowned neuroscientist, was supported in part by manipulated imagery.
“It’s useful to intellectualize it because when you actually get going, this is something that keeps me up at night. … It’s the last thing I think about when I go to sleep, and the first thing on my mind when I wake up.”
This is the first in a week-long series of conversations with winners of this year's George Polk Awards in Journalism.
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David Grann is a staff writer for The New Yorker. His new book is The Wager: A Tale of Shipwreck, Mutiny and Murder.
“I became very haunted by the stories that [nations] don't tell. Nations and empires preserve their powers not only by the stories they tell, but also by the stories they leave out. … Early in my career, if I came across the silences in a story, I might not have highlighted them, because I thought, Well, there's nothing to tell there. And now I try to let the silences speak.”
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Vann Newkirk II is a senior editor at The Atlantic and the host of Floodlines: The Story of an Unnatural Disaster. His new podcast is Holy Week: The Story of a Revolution Undone.
“I’m often toggling between environmental justice, between the history of race and racial organization in America. And to me, they’re all one story, and I’m trying to tell the story about how the conditions of marginalization in America have made and shaped the present. That’s it. That’s one story.”
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Liz Hoffman, a former The Wall Street Journal reporter, is now the business and finance editor for Semafor. Her new book is Crash Landing: The Inside Story of How the World's Biggest Companies Survived an Economy on the Brink.
“I think these systems are hugely important and are wielded by people who are not that accessible. If you can sort of open the aperture a little bit and unpack that and explain to people what’s going on and leave them to sort of, you know, come away with their own conclusions about the morality of the whole thing — that's where I’m most comfortable.”
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Roxanna Asgarian is the law and courts reporter for the Texas Tribune. Her new book is We Were Once a Family: A Story of Love, Death, and Child Removal in America.
“Every once in a while, I'll have someone just freak out at me. And it keeps you honest, in a way, because they don't owe you anything. People don't owe you anything as a journalist.… But everyone reacts to trauma differently and some people really do want to talk about it. And I think the families in this book really wanted to talk about it and it felt like no one was even paying attention to them.”
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Mary Childs is a co-host of the podcast Planet Money and the author of The Bond King: How One Man Made a Market, Built an Empire, and Lost It All.
“I love aberrations. I love when things go wrong. You get a high stress situation, you get all of the manifestations of personality. We're our most selves, if not our best selves, at those times. I like the [stories] that have embedded in them all of those conduits of power and that reveal the greater system.”
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Laurel Braitman is a science writer, the author of Animal Madness: Inside Their Minds, and the founder of Writing Medicine. Her new book is What Looks Like Bravery: An Epic Journey Through Loss to Love.
“My life was becoming unmanageable, in a way. I was using success in many ways like a drug, and I’d say like an analgesic on the sorts of difficult feelings I hadn’t wanted to face truly since childhood. And we are rewarded in this culture for these kinds of outward forms of success that often have nothing to do with what’s going on inside of you.”
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Sam Fragoso is a writer, filmmaker, and the host of the podcast Talk Easy with Sam Fragoso.
“We have an hour together. We may not have another. We're here for a brief moment and then, you know, we die. And I want this thing to be as good as it can be. If if it's anything less than that, I'm just not interested. … And that, to me, is why you keep doing it: because that feeling when you really feel like you've put someone's life on the record in a way that is beautiful and painful and idiosyncratic and triumphant … when it goes well, it's like I lost 20 pounds. I am never a nicer or happier person than immediately after a taping. I'm kind of goofy and silly and delirious and grateful to be doing this. Like, so fucking grateful.”
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Eric Lach is a staff writer at The New Yorker, where he covers New York. His latest article is “The Mayor and the Con Man.”
“I think about my own trajectory, my little generation of journalists—it was easier to get jobs reporting on national politics than to get a job reporting on something that you could see and go to and that is a really strange thing, the relief and the joy that I feel like when I can just take the subway twenty minutes to go see something interesting for a story or talk to somebody interesting or explore physically and not just feel like I’m making phone calls and Googling. It’s a very different kind of work, but it’s just not something that was super available.”
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Willa Paskin, a former TV critic, is the host of the podcast Decoder Ring.
“I want it to feel like a trap door. When you push on a trap door, there’s like a little spring. If it’s the right idea, you start to look into it, and you’re like, Oh, it’s giving a little.”
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