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How grief taught award-winning producer Jack Antonoff to be less cynical

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How grief taught award-winning producer Jack Antonoff to be less cynical

Jack Antonoff says grief can be almost like an emotional lens through which to view the world.

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Angela Weiss/Getty

A note from Wild Card host Rachel Martin: I’ve noticed something about the current cultural moment. Regrets is a bad word. Nobody has them anymore. Instead, the emotionally enlightened among us look back and see only “experiences and choices that made me who I am today.”

And I get that. We understand that obsessing over things we’ve done wrong in the past isn’t a particularly healthy thing to do. But I think we lose something when we don’t reckon with our bad choices. Somehow dismissing those things as just “part of my journey” feels like a cop out. There’s no accountability in that.

I talked about this with music producer Jack Antonoff. I told him that the biggest regret in my life was not being at my mom’s bedside when she died. At the time, I convinced myself that I could only be away from work so long — that my siblings could stay and I’d be the one to come back and be with my dad after she died.

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Antonoff shared something similar. One of his biggest regrets was being gone on tour so much when his sister was dying of cancer. He felt like if he started turning opportunities down, they wouldn’t come back. We all justify the choices we make in the moment. It’s OK to regret those things. To wish we had made different choices. The key is to absorb the consequences of the choices and move beyond them.

Antonoff’s life is not defined by regret, but he told me that it is defined by grief. He didn’t say it in a sad way. Just as a matter of fact. It frames his songwriting, how he interacts with people and how he sees the world.

The grief, he says, makes things feel more precious. And he has much to feel grateful for. His band Bleachers released a new album earlier this year. He’s got a bunch of Grammy awards and has produced for some of the biggest names in pop music, including Taylor Swift. He also got married last year to actress Margaret Qualley. He’s made peace with any regrets he has and is taking nothing for granted.

This Wild Card interview has been edited for length and clarity. Host Rachel Martin asks guests randomly-selected questions from a deck of cards. Tap play above to listen to the full podcast, or read an excerpt below.

Question 1: What is something about your hometown you’ve come to appreciate over time?

Jack Antonoff: The slowness of my hometown. I grew up in New Milford, New Jersey. That’s where I was until I was like eight and I just stared at the walls.

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All I wanted to do was break out, I wanted to go everywhere and do everything and tour the world and, you know, make my mark. And that slow, slow, slow boredom of where I grew up made my imagination run wild.

I can’t recreate it and I can’t change it and I never would. I’m just happy I got to have it. My life existed in cars waiting for my mom to do whatever she was doing.

Question 2: What is proof that somebody really knows you?

Antonoff: Proof that somebody really knows me is if they understand my rituals around feeling clean.

Martin: Oh, so many follow ups to ask here.

Antonoff: It’s not basic. It’s not like, “He’s a germaphobe.” It’s very specific of my definition of what is and isn’t clean.

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Martin: OK. Tell me an example of what that looks like for you.

Antonoff: My only concern with cleanliness is around my face. I haven’t touched my eyes, nose, mouth, or ears with my hands, unwashed, in probably 20 years. So it’s very specific.

Martin: But how is that even possible? I realized as you were talking, I was rubbing underneath my eyes.

Antonoff: That’s how you get sick. That’s how germs spread. I go play in front of people, but I have no need to rub my eyes, my nose, my mouth and my hands if they’re not washed.

Question 3: How has grief shaped your life?

Antonoff: Entirely.

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Martin: Entirely?

Antonoff: I almost see it as an emotional lens. It’s not like a thing that happened that you sometimes feel. It’s how you see things now. My sister died when I was 18, but she was sick since I was five. So it was a big part of my life.

Martin: So how does that manifest in how you see the world?

Antonoff: The thing about sick people, people who are unsure how long they’ll get to live, especially kids in that position, is the lack of cynicism. The obsession with creation, joy, love, family. When you might not have a lot of time on earth, you don’t define yourself by the things you hate, put very simply. And so that just lives in me.

I’m not really doing a bit, you know, I feel very sincere about the things I’m doing and saying. And I think a big part of that is just being confronted with time and fragility and that was always on the table.

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Martin: How do you feel most connected to her?

Antonoff: Probably through my family. I think when you have a great loss, people either run or glue themselves to each other. We definitely did the glue method.

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How does the Kennedy Center board make decisions? This legal filing sheds some light

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How does the Kennedy Center board make decisions? This legal filing sheds some light

The Kennedy Center, the facade of which remains covered with a tarp, is seen in Washington, DC, on June 28, 2026. A US federal judge asked on June 24 for an explanation for why a tarpaulin continues to cover the facade of the Kennedy Center where President Donald Trump’s name was recently removed. District Judge Christopher Cooper gave the board of trustees of the performing arts venue until the end of July to explain “the purpose for and status of the tarp and scaffolding that Defendants have erected on the front portico of the Center.”

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ALEX WROBLEWSKI/AFP via Getty Images

More than two weeks ago, President Trump’s name was removed from the Kennedy Center facade though it is still covered by a tarp and the legal battle continues.

On Monday, a U.S. Department of Justice filing on behalf of the Kennedy Center included some surprises. The document was submitted in response to issues raised by lawyers for ex-officio board member Rep. Joyce Beatty of Ohio who is suing to remove President Trump’s name from the center and stop its closure for renovations.

Among the revelations, the Kennedy Center admitted that, during a board meeting on December 18, 2025, Beatty had been “muted and prevented from speaking.” It was at that meeting that the board voted to add President Trump’s name to the center. The filing later acknowledges the congresswoman was “prevented from voicing her opposition.”

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The John F. Kennedy Center for the Performing Arts is a living memorial to its namesake. The guidelines for how the theatre complex spends federal dollars are very specific. Among other rules, it states that “no additional memorials or plaques shall be designated or installed.” Beatty argues adding Trump’s name runs afoul of those rules and that any change requires approval from Congress.

According to one of Beatty’s filings, “There was no advance notice in the agenda that the Board would be considering a name change,” a statement the Kennedy Center now does not deny. The center admits that, prior to voting, there was “no discussion about potential risks or downsides of the vote to adopt a secondary name for the Center.” Nor was there a board discussion “about any potential conflict of interest that might result from the vote.”

The center’s lawyers previously contended that if Trump’s name were to be removed, it would “lose money from donors who support” him and “impede the Center’s fundraising efforts.”

Closing for renovations

Earlier this year, Trump announced on social media that the Kennedy Center would close for two years for renovations. He wrote that he made the decision after “a one year review” with “Contractors, Musical Experts, Art Institutions, and other Advisors and Consultants.”

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ICICLE: Capturing Interest in Chinese Brands

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ICICLE: Capturing Interest in Chinese Brands
Executive president, Louise Xu, explains in our latest report ‘Face to Face With Luxury Clients’ how the Shanghai-based quiet luxury label is tapping rising interest in Chinese brands, the differences between Chinese and Western consumers and the logic behind a novel retail concept that includes a garden, art gallery and restaurant.
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‘Dead but Dreaming of Electric Sheep’ is full of beautifully written grotesqueries

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‘Dead but Dreaming of Electric Sheep’ is full of beautifully written grotesqueries

Paul Tremblay has made a career of pushing the horror genre – and the novel format – in strange and exciting new directions.

In his latest, Dead but Dreaming of Electric Sheep, the author offers an amalgamation of genre elements that can be best described as psychological-dystopian-science-fiction horror. It’s a mouthful, but the narrative does all of that and more in a way that defies categorization.

Julia Flang is a former semiprofessional gamer working two mediocre jobs she dislikes and living in a modest ranch house in a San Fernando Valley suburb with her retired uncle, whom she calls Uncle Fun. Julia likes movies and gaming but there’s little else going on in her life, so when her estranged mother, the CFO of a large tech company, contacts her with a possible job offer – a “once-in-a-lifetime thing” that pays handsomely just for doing the interview – she hesitantly agrees.

The job is relatively simple and perfect for someone with gaming skills: using a controller built into a phone to get a man, who is stuck in a vegetative state, from California to the East Coast. It will require her to learn how to control his body – walking, moving, sitting, standing, using his arms – so she can maneuver him out of the facility where he is located and into cars and planes and through crowded airports. A fan of movies, Julia decides to call the man Bernie – after the movie Weekend at Bernie’s. When the ethics of the job start to bother her, Julia realizes it’s too late and she must go through with it. However, she’s soon contacted by people interested in sabotaging the whole thing, people who, like her, don’t align with the shady interests of conglomerates and those set to make “gobs of money” from this new, somewhat inhuman technology.

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As with every Tremblay novel, any synopsis barely scratches the surface. The novel’s chapters alternate between Julia and you (yes, you). Julia’s chapters are “normal” in the sense that they obey a chronological order and have action, basic descriptions of movement and places, and dialogue. The chapters in second person are like fever dreams from a shadow world; the desperate experiences of a man trapped inside his own body with no control of it, no clue what’s happening to him, and only a few fragmented memories of his life. Also, Tremblay uses a similarly fragmented style of storytelling (including words and sentences trapped in boxes and/or “moving” on the page) to keep things interesting but also confusing and creepy.

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