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TERRY GROSS, HOST:

This is FRESH AIR. I'm Terry Gross. I drive a compact car, so I was interested in hearing about life driving a 70,000-pound truck whose trailer is 53 feet long. My guest, Finn Murphy, has written a new memoir called "The Long Haul" about his experiences logging over a million miles. His cargo includes the furniture, dishes, clothing, pianos, heirlooms and artwork of corporate executives and their families moving across the country to new homes for their new jobs. Murphy typically packs and unpacks the possessions as well.

His memoir is filled with insights about life on the road and the subculture of truckers as well as about the attachments people have to their possessions when they're transitioning to a new home and having to decide what to keep and what to ask Murphy to throw in the dumpster. He's been driving a truck off and on since the late 1970s. He dropped out of college to become a truck driver.

Finn Murphy, welcome to FRESH AIR. I want to start with a reading from the book, a short paragraph from the introduction.

FINN MURPHY: (Reading) To the casual observer, all trucks probably look similar. And I suppose people figure all truckers do pretty much the same job. Neither is true. There's a strict hierarchy of drivers depending on what they haul, how they're paid. The most common are the freight haulers. They're the guys who pull box trailers with any kind of commodity inside. We movers are called bedbuggers, and our trucks are called roach coaches. Other specialties are car haulers - we call them parking lot attendants; flatbedders, skateboarders; animal transporters, chicken chokers; refrigerated food haulers, reefers; chemical haulers, thermos bottle holders; and hazmat haulers, suicide jockeys.

Bedbuggers are shunned by other truckers. We will generally not be included in conversations around the truck stop coffee counter or in the drivers' lounge. In fact, I pointedly avoid coffee counters when there is one mostly because I don't have time to waste but also because I don't buy into the trucker myth that most drivers espouse.

I don't wear a cowboy hat, Tony Lama snakeskin boots or a belt buckle doing free advertising for Peterbilt or Harley-Davidson. My driving uniform is a 3-button company polo shirt, lightweight black cotton pants, black sneakers, black socks and a cloth belt. My moving uniform is a black cotton jumpsuit.

GROSS: Well, thanks for reading that. And apparently you don't wear jeans or belts 'cause they can scratch the furniture.

MURPHY: Yes, that's correct.

GROSS: (Laughter) So why are long-haul furniture movers at the bottom of the trucker hierarchy?

MURPHY: Because we have to load and unload our trucks, first. Second, we have to deal with customers. So as a mover who works for a van line, I'm managing this move and this transition for this family. And that takes a certain amount of diplomacy and tact and social lubrication skills that a lot of drivers don't want to do. And then the third one is we get paid a lot of money to do this. So we're at the top of the earnings pyramid, which puts us sort of at the bottom of the coffee-counter trucker pyramid.

GROSS: So you're not, like, part of the brotherhood so much.

MURPHY: Not so much because of the - as I just read in the introduction there, we don't drive - you know, I don't drive 200,000 miles a year. I'm not doing 3,000 miles a week, 52 weeks a year from New Jersey to San Diego. A lot of my time is actually spent loading, unloading, interacting with the customers and then driving. So they don't - part of the fraternity is, you know, how many miles a year do you do? And we don't do that - as many miles as a freight-hauling trucker.

GROSS: So does that translate to being treated by other truckers in a certain way?

MURPHY: It does. Once they see the van line shirt - and it doesn't happen just with truckers, either. It happens with waitresses. It happens in the service bays, at the truck washes. The bedbuggers are - yeah, we are looked down upon in a certain kind of a way.

GROSS: So describe your truck.

MURPHY: My truck - I have a brand-new Freightliner Cascadia with a 435 Detroit Diesel engine. It's a Class 8 truck, which means the big tractor-trailers. I picked it up in Indianapolis in November. It had 42 miles on it.

GROSS: Whoa.

MURPHY: Yep.

GROSS: Right out of the showroom (laughter).

MURPHY: Brand-spanking new. I drove it right out of - (laughter) yep, I drove it right out of the lot. It's got a walk-in sleeper with a double bed in the back. It's got a bunk bed up above, a microwave oven, refrigerator, navigation system, a custom air ride seat that ergonomically fits to my body, cruise control. It's just a wonderful machine.

GROSS: And you own...

MURPHY: It cost me...

GROSS: You own it.

MURPHY: No, (laughter) yeah, I was just getting to that. I don't own it. I lease it, and it's $4,700 a month - is my truck payment. So it's like a big mortgage.

GROSS: Yeah, bigger than some mortgages (laughter). So how does this truck compare to the truck you started driving back in - around 1980?

MURPHY: Oh, so that was an International TranStar back then, what we call a cab-over. So there's no hood to it. So you're - the windshield is sitting right over the road, and you're sitting actually right over the front left tire. So it was very - and then had a cramped little sleeper that I had to crawl into in the back. So it's much, much different in terms of comfort. So the new Freightliner I've got now is what we call a conventional, so it's got a long hood. So my seat sort of sits in the middle of the truck. I've got an air ride suspension. And it's quiet.

GROSS: Wow. If there's no hood in front, there's nothing to protect you from head-on crash.

MURPHY: No, there isn't. And so let's avoid that (laughter).

GROSS: (Laughter) Yeah, good idea. So that leads to, what are some of the roads or road conditions that you fear most?

MURPHY: Hills I fear most. Snow and ice I fear. I fear rain and big cities. In fact, I love this question because I'm not sure that people think when they see a truck driver - they sort of look up, and they see somebody there, probably has big arms and way up high - that fear is a component of what we do every day. It's not something that drivers talk about, and I don't think it's something that four-wheelers - people that drive cars, we call them four-wheelers. We've got - in fact, we've got a whole nomenclature for (laughter) people that don't drive trucks. If you drive an ambulance, it's called a bone box. A school bus is called a cheese wagon. Motorcycle riders are called organ donors.

GROSS: (Laughter) Oh, gee.

(LAUGHTER)

MURPHY: Yeah. And we call motorcycle - they're called murdercycles. Some - I mean, I can't even see motorcycles most of the time.

GROSS: So have you ever been - I hope not - in an accident?

MURPHY: Nothing serious. I've been in a few fender benders here and there, some - trying to make a tight urban turn. I got stuck in Boston once where the truck - in Cambridge, I was trying to make one of those turns, and the truck came right up against one of the lamppost things. And the cops came. And in Cambridge, they actually have a department in the police department. And this truck came out. They cut down the lamppost, got my truck out. Then they welded the lamppost back up. It took about 15 minutes.

GROSS: Wow, (laughter) OK. So when people hire you to move all their possessions - and mostly you have very high-end clients - they're leaving all their possessions in the world to a stranger. And no matter how, you know, nice and diplomatic and caring you are when you meet them, you're still a stranger. What do people say to you to try to convince you to be nice to their stuff and take (laughter) good care of it because I'm sure there's really, like, nice ways of doing that and really, like, threatening ways of doing that.

MURPHY: Yeah, so moving hits people right there in the - in that security spot. So on - when I show up on moving day, in fact, really what happens is what happens in the first five minutes of a move is almost going to dictate the tenor of how the day is going to go. So people are already - you know, it's very disruptive to a family. It's disruptive to children. It's disruptive to the parents. Usually there's a change in their jobs and so forth. So even before we get there, this is fraught with emotion.

And then, you know, you've got the reputation of the moving industry, which is - you know, I'm very aware of the dismal view that the general public has about movers. And I try to assuage that as much as possible early on and to let them know that we're professionals, that we care about their things. But that said, some of the crews that I work with - I mean, we're talking about, you know, very big people (laughter). There's a lot of tattoos. It's all immigrant laborers - wonderful, wonderful people. And I have crews all over the country I've been working with for decades. But it can be a kind of unnerving initial physical presence at the beginning.

GROSS: So you're entrusted with the possessions, and sometimes something goes wrong. And I think, like, the biggest example of that in your book is when you were moving a family, and the woman's baby grand piano was, like, the most prized possession of - was, like, a family heirloom in addition to being a piano. And it didn't really fit easily into the new home. And it was kind of a catastrophe. Would you describe what happened?

MURPHY: (Laughter) It was a catastrophe. The first - the three words that all movers live by is not my fault (laughter). And so we had to bring this up an outside staircase. It was a baby grand piano, weighed about 700 pounds. And we were bringing it up the incline just with brute force, which is one of the really attractive things about the work that I do and that we do as moving crews. And so we were just manhandling this thing up. And as we got to the top of the stairs which was being held by those two sort of metal joist hangers, the joist hangers gave away. The piano fell about 14 feet down onto the ground. All of my movers scattered in all directions. And when the piano hit, it made - you know - remember that chord at the end of the "Sgt. Pepper" album...

GROSS: Yes.

MURPHY: ...When it goes bong (ph)? So that's the noise that the piano made. That was its death flurry. And we were all just shocked and standing around. And the customer was there with a toddler in her hand. And then the thunderstorm came, and it just started to rain on everything.

GROSS: That's so horrible.

MURPHY: And myself and my crew - we just looked over at the shipper. We call the customer the shipper. And one of my men, this big giant of a man, went over and put his arm around the customer, the shipper. And then the two of us went over, and we all just sort of put our arms around each other, watched the piano get soaking wet in the rain.

GROSS: So you write that that truckers like you aren't sentimental about objects. I'll kind of leave a baby grand out of that because that's an instrument. That's different than (laughter) an object in my opinion. But so you write you're not sentimental about objects. You don't own much. I could easily see it being the other way around. Watching how meaningful possessions are to people, I could see you becoming more attached, not less attached to things in your life. So why are you less attached?

MURPHY: Because we see objects or stuff in a continuum of the way people live. For example, in your 20s and 30s, most Americans are accumulating things. And then in the 40s and 50s, that sort of levels off. And then in the 60s and 70s, then they're dis-accumulating things or eradicating things. So we get to watch the whole continuum. So we see, for example, that the kids' kindergarten drawings that are on the refrigerator or the high school yearbook or Aunt Tilley's (ph) antique vanity - we see that those things are going to be put into storage at some point. And then when somebody is tired of paying the storage fees, then we're paid to take it and get rid of it.

So movers are kind of Buddhist in a way. We sort of understand the transitory nature of manmade things because we're there at the point when it gets thrown away. So even if you can't bring yourself to get rid of your stuff, your heirs or descendants will have no such qualms at all.

GROSS: Do you ever pick out things that you want for yourself when you're supposed to be putting everything in the dumpster?

MURPHY: No (Laughter). But we get - movers get offered things all the time. In fact, so here are the - here's the four things that movers get offered most commonly - pianos, hot tubs...

GROSS: (Laughter).

MURPHY: ...backyard trampolines and pool tables.

GROSS: Why?

MURPHY: Every mover I know could have six or seven of these things if they wanted to have them.

GROSS: Why are those the things?

MURPHY: Because they're big and bulky. And depending on where they're moving to, they may or may not have room. They put it on Craigslist. They priced it wrong. And on moving day, it's still there. And then at that point, they just want to get rid of it.

GROSS: They don't say, I'll leave it for the next family; they'll love having it?

MURPHY: (Laughter) We do that, too because usually we're not taking the hot tub or the backyard trampoline.

GROSS: Right, OK. Let me introduce you here. If you're just joining us, my guest is Finn Murphy, and he's a long-haul trucker. He moves people long distances and moves all their possessions to their new home. Now he's written a memoir about it called "The Long Haul: A Trucker's Tales Of Life On The Road." We're going to take a short break, then we'll be right back. This is FRESH AIR.

(SOUNDBITE OF RHIANNON GIDDENS' "THAT LONESOME ROAD")

GROSS: This is FRESH AIR. And if you're just joining us, my guest is Finn Murphy. He's written a new memoir about being a long-haul trucker. Basically it's like a huge moving van. He deals with high-end customers who are moving to distant locations. His memoir is called "The Long Haul: A Trucker's Tales Of Life On The Road."

What's one of the strangest things that you've had to move?

MURPHY: Probably a collection of Chinese gravestones. This gentleman that I was moving - he had eight of them, and he had purchased them somewhere. Each one was worth $80,000. He had a gallery set up in the center of this giant house - this 16,000-square-foot house in Aspen, Colo. And he had pedestals custom made. And it was our job to put the gravestones on each of the pedestals. And each one weighed 600 pounds or so. And this shipper - he treated us so badly. He - this is a house with 11 bathrooms, and he had gotten a port-a-potty for us to use during the move that was outside.

GROSS: Wow.

MURPHY: And he kept going...

GROSS: He's entrusting you with this, you know, fortune's worth of stuff, and he won't even let you use his bathroom or one of his bathrooms.

MURPHY: Right, yeah. That's how it works sometimes.

GROSS: But if he's disrespecting you that way, how are you supposed to respect his possessions?

MURPHY: Well, fortunately, movers and restaurant workers have some sort of retaliatory measures at hand.

(LAUGHTER)

GROSS: Uh-oh. Here we go.

MURPHY: So we didn't say anything to him. And he kept going down into town and bringing back food for himself and his wife and people and - anyway, we were starving, and we were using the port-a-potty. And we were putting - uncrating these gravestones. And one of the things that I had done in my not-so-stellar college career was I had taken a semester of Chinese. So I knew the orientation of the Chinese characters, and I was pretty sure that my shipper didn't. So when we installed his gravestones, we put them in upside down.

GROSS: (Laughter).

MURPHY: And he couldn't tell the difference. So we were really looking forward to the day when he was going to have a cocktail party and show off his gravestones. And somebody who was - understood Chinese would tell the philistine that he had them all wrong.

GROSS: How does a house even support so many 600-pound gravestones?

MURPHY: Well, he had an Olympic pool in the basement, so I imagine it was made...

GROSS: Oh, my gosh, OK (laughter).

MURPHY: Oh, yeah, this - I get to see some pretty amazing places.

GROSS: Yeah, OK. So what's the view like when you're riding high up in the cab of a truck and all the other cars, especially the compact cars like me, are so far below you?

MURPHY: So what people don't seem to understand is that I can see everything. And people tend to think that their automobile is anonymous. And I find that really amusing. So you've got this vehicle with windows all around it and a license plate on it. And you're out in public. It's, like, the least anonymous thing that you could be doing. But the behavior that people perform...

GROSS: (Laughter).

MURPHY: ...Inside their vehicles makes it look like they don't think anybody can see. Well, I can see everything. So I know what everybody's doing in their cars. And, you know, Americans - we're pretty good drivers in general. The worst drivers are in - around D.C. And the best drivers for some reason are in Michigan. I'm not quite sure what that is. But if Americans would just drive while they're driving instead of doing something else and driving, that would be a lot better for everybody.

And here's - so here's what most people are doing in their cars that I can see. They're eating. They're drinking, either a legal or an illegal beverage. They're putting on makeup, texting obviously, disciplining kids in the back seat. That's a big one. But most of the time that I can see through the body language is people are working on their relationship with the person in the passenger seat. And sometimes that could be romantic and sweet, which is a nice little treat. And then most of the time it's conflict.

GROSS: I thought you were going to say people are picking their noses.

(LAUGHTER)

GROSS: I honestly thought that. And I thought something else you were going to say that has to do with body fluids. So, you know...

MURPHY: This is a family show, Terry.

(LAUGHTER)

GROSS: I know. So you've seen that, too. You're just not mentioning it.

MURPHY: I haven't seen anybody actually eliminating fluids in a car, no.

GROSS: All right.

MURPHY: I haven't seen that. I have seen some romantic moments.

GROSS: Yes, OK.

My guest is Finn Murphy, author of the new memoir "The Long Haul: A Trucker's Tale Of Life On The Road." We'll talk more, and Ken Tucker will review the new "Black Panther" soundtrack featuring Kendrick Lamar after we take a short break. I'm Terry Gross, and this is FRESH AIR.

(SOUNDBITE OF JULIAN LAGE'S "THE RAMBLE")

GROSS: This is FRESH AIR. I'm Terry Gross back with Finn Murphy, author of the new memoir "The Long Haul: A Trucker's Tale Of Life On The Road." His specialty now is hauling the possessions of corporate executives and their families moving to new homes for their new jobs. He's been driving a truck since the late 1970s. He grew up in suburban Connecticut and dropped out of college, much to his parents' dismay, to become a truck driver.

So you write that you've worked with people who are suspicious of your diction and demeanor. And white-collar people wonder what a guy like you who looks and sounds like them is doing driving a truck and moving furniture for a living. So people are suspicious of you or surprised on both ends. The truck drivers are suspicious of your diction and demeanor. And the people who you're moving wonder, like, what an educated guy like you is doing moving furniture for a living. So how does it feel to have both - what's my question?

MURPHY: I'll toss in if you want.

GROSS: What's my question, Finn?

MURPHY: I think your question is...

GROSS: (Laughter) You tell me.

MURPHY: ...Is how - I love being an enigma like that. It's very satisfying to me. I'm sort of a typical, middle child, black sheep of the family kind of guy. So if I'm confusing people, I like that a lot. And I do confuse people because when I go into the truck stop or something like that, I don't speak with a Southern accent. And, you know, I don't change the way that - the kind of person that I am.

GROSS: So you were - grew up in a suburb of Connecticut. You write, I was raised by conscientious parents, educated by the Catholic Church and fine-tuned by the sensibilities of a prestigious New England liberal arts college. None of it stuck. So you dropped out of Colby College after three years to be a long-distance trucker. What was the attraction of the work?

MURPHY: Freedom - freedom first. So I had done - I had worked for a moving company in the summers between college. Remember when we had summer jobs instead of internships?

(LAUGHTER)

MURPHY: My parents always thought - but my parents thought it would be great for all of us. I have seven brothers and sisters. I come from this huge Irish Catholic family. My parents - we had to work summer jobs. And they wanted us to work laboring jobs so that we could see what the laboring world was like and then hopefully then stay in college and not become (laughter) one of those people, which I think they're probably - they probably rethought that since then. So I - that was my summer job - worked for a local moving company.

And then at the - in my junior year summer, I took a - my first road trip with a long-haul driver. And I went down to Virginia Beach, Va., from Connecticut and took U.S. 17 down through the - crossed the Chesapeake Bay Bridge-Tunnel into Virginia Beach. And it was just - I mean, I was completely seduced by the open road, by the freedom of that, by nobody looking over my shoulder and telling me what to do. And it was that - basically it was a reaction against the regimentation I think that I had been brought up in.

GROSS: You don't mention this in the book, but your father was John Cullen Murphy, who drew the popular newspaper comic strip "Prince Valiant." And you seemed to want to get as far away from his life as possible. But it sounds like being the son of a comic strip artist would be so great. And in fact I interviewed your brother recently who wrote a memoir about being the son (laughter) of a comic book strip artist. And it seemed to be great for him. So what were you rebelling against within your family?

MURPHY: So it was great having my father as a commercial illustrator. In fact, he had a studio behind our house, so my father was always home. When we came back from school or whatever, he was right there. My father was one of the most gentle and affable people anybody has ever - you know, would ever have encountered. On the other hand, my mother is very much of a Irish matriarch. And with eight children to keep into line and make sure that we all got fed and clothed and had - took care of our various activities, it was a very strict household from my mother's end. And she was the one who managed the day to day of keeping eight children in order.

And then I did 12 years of parochial school. So then that regimentation transferred into the school life as well. And then the social life was all around the church - St. Katherine of Siena Church. And those three power centers were in lockstep about what young children should be doing or adolescent children should be doing, and I didn't like that.

GROSS: So how did it go over with your parents when you told them you were dropping out of college at the end of your junior year to become a long-distance trucker?

MURPHY: So yeah, back to my father for a moment - probably the one regret of his life was that he was not able to go to college. His father died when he was 19. My father had to support his family. And all he ever wanted to do was to go to college. So for him, it was a huge thing to be able to have all eight of his children attend college, graduate from college and have some kind of a professional career.

So when I said I was going to go and work for North American Van Lines and not return back to school, that hit him in a place where he felt vulnerable and a place that he felt that I was being very ungrateful, which I was being very ungrateful. And, you know, I had brought - basically I was bringing the wisdom of a 21-year-old with a chip on his shoulder into a career choice. And I hurt my parents. I hurt my family, and we didn't speak for a couple of years. It was actually - it was a little over two years that I never - I didn't even speak to my parents.

GROSS: So you write, many young male neurotics find out early that hard labor is salve for an overactive mind. Running up and down staircases for hours on end, carrying dressers and refrigerators and pianos was to me a relief from stress. Hard work temporarily shut down the constant movie running in my brain that looped around in an endless cacophony of other people's expectations, obligations, guilt, anger and rebellion. So, like, you had to get out of your head through physical work?

MURPHY: Yes, I did. That's a really good sentence by the way, isn't it?

(LAUGHTER)

GROSS: Yeah. It's pretty good. Did you work on that a long time?

MURPHY: No, I didn't actually. It just rolled right off the page. I had - one of my nephews actually - when the book came out, he copied that particular sentence and sent it to me and said, you betcha. So...

(LAUGHTER)

MURPHY: And he was talking about himself. He wasn't talking about me. But yes, one of the great things about manual labor and especially for - if anyone who's done continual manual labor over a long period of time, there's a zone in there that is very, very satisfying. There's a zone about working with men. There's something tribal about it. There's something elemental about it. This is how I think we used to live for hundreds of thousands of years. And I really enjoy that part of it. Also, it's a meritocracy. You're - on a moving van, you're either doing the work and capable of doing the work, or you're not capable of doing the work.

So there's nothing about who you are, where you come from, what language you speak. All of that is gone on a moving van, and life is very simple. And the work is - has some specialized knowledge required to it, but the work is also very simple. And our days are, you know, 10 to 14 hours loading a truck or unloading a truck with a group of men and a few women now. There's a few women in the moving industry now, but it's still, you know, mostly men. It's still mostly immigrants. It's people who don't speak English in many, many cases. And you don't need language when you have work because the work is the language.

GROSS: OK, so I can get how physical work can take you out of your head even though I sit at a chair all day...

(LAUGHTER)

GROSS: ...On the computer. But I can understand that. But what I don't get is how being alone on the road would be good for you if you live in your head and you want to mute some of the tape loops that are constantly playing in your head 'cause you're alone on the road. Yeah, you can put on the radio. Yeah, you can listen to a book on tape. But being alone in a truck for long, long periods of time seems to me like a really good opportunity for personal demons to have their way with you.

MURPHY: Yes, that's very true. And what you just enumerated there are various forms of distraction that I use or maybe you use or other people use in order not to face those kinds of demons. That's what a lot of us struggle with. That's what a lot of us work with.

GROSS: Well let's, take a short break here, and then we'll talk some more. If you're just joining us, my guest is Finn Murphy. He's a longtime long-haul trucker, and now he's written a new memoir called "The Long Haul: A Trucker's Tales Of Life On The Road." We'll be right back. This is FRESH AIR.

(SOUNDBITE OF DEEP BLUE ORGAN TRIO'S "TELL ME SOMETHING GOOD")

GROSS: This is FRESH AIR. And if you're just joining us, my guest is Finn Murphy, who's written a new memoir about his life as a long-haul trucker. It's called "The Long Haul." And basically he has a really, really large 18-wheeler moving van and moves families who need to relocate often across the country.

You stopped driving for about 10 years. You don't say in the book what you did during those 10 years. Can you give us a sense of what your life was like in the 10 years that you stopped driving?

MURPHY: Yes. That was in an original draft of the book. Actually, that's going to be my next book, Terry - about what I did. But I will tell you what I did. So I was working for North American Van Lines, and I was getting basically burnt out. And one of the things that I had always intended to do when I left college was to save some money and go into business for myself. And that was really one of the goals. I didn't just quit college and just, you know, sort of flip the bird to everybody. I actually had some kind of a plan. And back then, you could - I could make a lot of money. I was making a hundred thousand dollars a year in 1981 as a mover.

So I saved a bunch of money. I bought an import company importing - you know those beautiful fisherman's sweaters from Ireland? I used to import those into the United States from the west of Ireland. And I got into the other parts of the textile business and then started importing cashmere sweaters from Scotland and had a very successful business on Nantucket Island in Massachusetts.

GROSS: And then you went back into trucking again.

MURPHY: (Laughter).

GROSS: So what happened?

MURPHY: So I was on - living on Nantucket Island as a high-profile businessman and citizen and community activist. I was actually chairman of the county commissioners on Nantucket. I was a police commissioner. I was the airport commissioner. I was on the board of the chamber of commerce. I was a successful person, married, living in a small town. And, well, what happened is I got into a relationship with a woman who wasn't my wife. And my life exploded. Or probably more accurately, I took a match to my life and blew it to pieces. And so Nantucket is not a place where that kind of thing is going to be unnoticed or uncommented upon.

And I moved to Colorado, and I called up an old driver friend of mine who started his own trucking moving company. And I said, I don't know what I'm supposed to be doing now with my life. But I had always kept my commercial driver's license just because. And so then I went back out on the road because I didn't know what to do - completely lost. And you know what? There's a lot of us out there - a lot of drivers who are like that. And I knew I'd have plenty of company.

GROSS: Well, changing the subject for a second, I have to say a paragraph I particularly enjoyed in your memoir has to do with how you listen to a lot of public radio when you're driving in your truck (laughter) and that you know a lot of other truckers who listen to public radio, too - and so my personal thanks for that and for a very nice mention of me and our show. But I love that one Klan member from Georgia calls NPR U.S. Jews and girls report.

(LAUGHTER)

GROSS: That's pretty funny. And as you said, yeah, he might say that, but he listens.

MURPHY: Yeah. He probably doesn't have the mug, though.

(LAUGHTER)

GROSS: We don't know for sure, though, do we?

MURPHY: I don't.

GROSS: (Laughter) That would great if he did. So just a couple of questions before we wrap up - you can't just pull into any parking lot when you're driving an 18-wheeler. So it's kind of personal. (Laughter) It's kind of private, but what do you do for pit stops, like, when you need the bathroom? Do you have one of those jars, one of those bottles for truckers?

(LAUGHTER)

GROSS: Is that OK for me to ask you that?

MURPHY: (Laughter) That's fine. So here's - so the trucker staple here is an empty Gatorade bottle. And if you go into a truck stop parking lot on a summer afternoon...

GROSS: Oh, no (laughter).

MURPHY: ...You'll see legions of flattened Gatorade bottles all over the parking lot, and that will provide an interesting olfactory experience. So yeah, there's that. I try to get out and be a little more civilized about it, which I can do most of the time. But you're right about trucks.

So my truck is 73 feet long with a 53-foot trailer. So I cannot go many, many places. And this brings up an ambivalence for me because I talk in the book about how much I dislike suburban sprawl and auto-dependent development and all those kinds of things. But with a 73-foot truck, I actually rely on that kind of sprawl. I need to be in the Walmart parking lot or in the truck stop. So it's kind of difficult.

GROSS: What do you do when you're starting to fall asleep at the wheel?

MURPHY: It's really easy for me. So for you four-wheeler drivers out there, if you start getting that fluttering-of-the-eyelid thing, then you're - it's really time - it's actually past time to pull over. So see if you can remember that. And when I get that, I pull over. But the easy thing for me is I've got a double-bed in the back with 600-count sheets and a feather duvet, and it's tucked in with hospital corners. And I've got a climate control system. And I can take a 15- or 20-minute nap. And actually, I sleep better in the sleeper than I sleep anywhere.

I can also pull my truck over and probably - if you pull a car over on the side of the highway, you're probably going to get hassled, or somebody's going to wonder what you're doing. But trucks - they just get completely left alone. So I'll take a 20-minute trucker nap right back in my comfy little bed and get back on the road.

GROSS: All right. Good luck to you with your writing and your driving, and thank you so much for talking with us. It's really been fun.

MURPHY: Thank you, Terry. I'm thrilled to be here.

GROSS: Finn Murphy's new memoir is called "The Long Haul: A Trucker's Tale Of Life On The Road." After a break, Ken Tucker will review the new "Black Panther" soundtrack featuring Kendrick Lamar. Ken calls Lamar's performance on the album almost ridiculously entertaining. This is FRESH AIR.

(SOUNDBITE OF JIMMY AMADIE'S "YOU'D BE SO NICE TO COME HOME TO")
TERRY GROSS, HOST:

This is FRESH AIR. The new movie "Black Panther" has a new soundtrack album on which rapper Kendrick Lamar plays a prominent role. His album "DAMN." was our rock critic Ken Tucker's No. 1 album of 2017. Here's Ken's review of the "Black Panther" soundtrack.

(SOUNDBITE OF SONG, "PRAY FOR ME")

THE WEEKND: (Singing) I'm always ready for a war again, go down that road again. It's all the same. I'm always ready to take a life again. You know I'll ride again. It's all the same. Tell me who's going to save me from myself when this life is all I know. Tell me who's going to save me from this hell. Without you, I'm all alone. Who going to pray for me?

KEN TUCKER, BYLINE: That song, "Pray For Me," is a collaboration between Kendrick Lamar and The Weeknd. That's The Weeknd supplying the vocal you just heard. It's the most conventional movie music on this soundtrack album - a big, dramatic ballad to set the mood. Compare that to the opening cut on the album, which Lamar delivers from the point of view of the Black Panther himself.

(SOUNDBITE OF SONG, "BLACK PANTHER")

KENDRICK LAMAR: (Rapping) All hail the king. I dropped a million tears. I know several responsibilities put me here. I don't pedal backwards, but I live old-fashioned. The lens that I'm looking through won't prescribe me the right glasses. The masses are now free - ashes I'm dumping out 'bout to spread all across seas. Sisters and brothers in unison not because of me - because we don't glue with the opposition. We glue with peace but still (expletive) up your organization if any beef.

(Rapping) What do you stand for? Are you an activist? What are city plans for? Are you an accident? Are you just in the way, your native tongue contradicting what your body language say? Are you a king, or you joking? Are you a king, or you posing? Are you a king, or your smoking (expletive) to keep you open because the king don't cry. King don't die. King don't lie. King give heart. King get by. King don't fall. Kingdom come when I come - you know why. I am T'Challa.

TUCKER: That lonely-sounding, repeated piano figure suggests the isolation of a besieged hero. The build intention as Lamar's voice echoes off the sides of the melody introduces more drama. It's Lamar's original take on how to illustrate a comic book movie through music. Like so many soundtrack albums, this one aims to include some hit singles that will help promote the movie. Lamar has already scored a big one with this duet with the singer SZA called "All The Stars."

(SOUNDBITE OF SONG, "ALL THE STARS")

SZA: (Singing) This may be the night that my dreams might let me know all the stars are closer. All the stars are closer. All the stars are closer. This may be the night that my dreams might let me know all the stars are closer. All the stars are closer. All the stars are closer.

LAMAR: (Rapping) Tell me what you going to do to me. Confrontation ain't nothing new to me. You could bring a bullet, bring a sword, bring a morgue, but you can't bring the truth to me. You and all your expectations - I don't even want your congratulations. I recognize your false confidence and calculated promises all in your conversation. I hate people that feel entitled.

TUCKER: The "Black Panther" comic books I've read as a kid featured T'Challa, who was king of the African nation of Wakanda as well as being the masked hero Black Panther. He's both a dignified leader of people and a cool, costumed superhero torn between these two responsibilities. Kendrick Lamar has clearly thought about the internal strife of T'Challa as he helped to compose the moody ruminations in "Bloody Waters," a track featuring the vocals of Anderson .Paak.

(SOUNDBITE OF SONG, "BLOODY WATERS")

YHUNG TO: (Rapping) Meet the man in the mask. Meet the man in the mask.

JAMES BLAKE: (Singing) All those days and all that stays, and I don't keep it. I won't be here for it. All those days and all that stays. And I don't keep it, though I won't be here for it.

ANDERSON .PAAK: (Singing) Yes, Lord, Hail Mary's in the sky. False prophets get buried alive - head on the throne 'cause that's where I reside. Ways of the world - the weak won't survive. Something's in the water. Hey, my (expletive), we lawless. Please move with caution. Who set the fairway? Damn, right, I need all this. Yeah, Jack, I need all this.

AB-SOUL: (Rapping) Hitters acquitted with fingerprints on the (expletive), screaming, we going to make it like two-thirds of The Lox.

LAMAR: (Rapping) Yeah, yeah, yeah, yeah.

AB-SOUL: (Rapping) Blah, blah becomes blah, blah.

TUCKER: There's a wide range of music on this album. Lamar invites other musicians from his record label Top Dawg Entertainment to contribute music to which he adds vocals, hooks and rhymes. In addition, there's Vince Staples, who continues the sonic experiments he started on last year's album "Big Fish Theory" with a new song called "Opps." And the up-and-coming British vocalist Jorja Smith sounds great singing against the strange, draggingly slow beat of the song "I Am."

(SOUNDBITE OF SONG, "I AM")

JORJA SMITH: (Singing) I'm trying. I'm just - yeah, I'm just - yeah. I been out here trying to see homecoming. And of course somebody's always going to say something. Try and shoot to me for voicing my own opinion, triggering a part of me that's always been indifferent. And I know that we have asked for change. Don't be scared to put the fears to shame. When you know what you got...

TUCKER: The level on which Kendrick Lamar connects to a superhero like Black Panther is in identifying with the struggle of a protagonist who faces not only enemies trying to oppress him but also internal struggles, conflicting emotions and temptations. And with almost super-heroic strength - musical strength, that is - he turns all of this into sounds that are shrewd, passionate and almost ridiculously entertaining.

GROSS: Ken Tucker is critic-at-large for Yahoo TV. He reviewed the soundtrack album for the new movie "Black Panther," which opens on Friday.

Tomorrow on FRESH AIR...

(SOUNDBITE OF ARCHIVE RECORDING)

PRESIDENT DONALD TRUMP: The bloodthirsty cartel known as MS-13 has infiltrated our schools.

GROSS: We'll look at President Trump's anti-immigration policies and how he's used the gang MS-13 to justify them. And we'll discuss what MS-13 is and how it was originally formed. My guest will be Jonathan Blitzer, a New Yorker staff writer who covers immigration. I hope you'll join us.

FRESH AIR's executive producer is Danny Miller. Our technical director and engineers Audrey Bentham. Our associate producer for digital media is Molly Seavy-Nesper. Roberta Shorrock directs the show. I'm Terry Gross.

(SOUNDBITE OF SONG, "PARAMEDIC!")

LAMAR: I am Killmonger.

ZACARI: (Singing) No one's perfect. But no one's worthless. We ain't deserving of everything heaven and Earth is. But word is good.

LAMAR: This is my home.

ZACARI: (Singing) No one's perfect, but no one's worthless. We ain't deserving of everything heaven and Earth is. But word is good.

LAMAR: Northern California. (Rapping) Aye, they better call a paramedic is the street. I got leverage in the street. I'm a California (expletive), and I'm heavy in the streets.

SLIMMY B: (Rapping) Twenty-two or .23 - I'm heavy with the heat - hit you with this chop. Paramedics can't save you. Really in the field - come on, bro. I know that ain't you. 2018 - hell, no, I ain't going to (expletive) you. TDE and SOB - can't lose. Man, that's just something I can't relate to. Turn on the gang - that's just something that I can't do. That's just something that I can't do. Rip every beat I get on - I was made to, get to growling something like a Black Panther - trying to touch a mil - (expletive) get your bands up. (Expletive) with the gang, yeah I had to man up - one fist in the air. I ain't finna put my hands up.

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