Podcast appearances and mentions of John Seabrook

Join hosts Eric Knight and Ritch Esra as they sit down with renowned K-pop songwriter-producer JINBYJIN. With 65 number one hits and over 35 million physical copies sold, JINBYJIN shares his incredible journey from life engineering to music production, the intricacies of K-pop and J-pop, and the unique role of fan culture. Discover what makes a hit song in these genres and get inspired by JINBYJIN's advice for aspiring musicians. Don't miss this deep dive into the heart of the global music phenomenon!

Across five studio albums, Florence and the Machine has explored genres from pop to punk and soul. Florence Welch, the group's singer and main songwriter, is by turns introspective and theatrical, poetic and confessional. She sat down with John Seabrook at The New Yorker Festival in 2019 to reflect on her band's rapid rise to stardom. She also spoke about her turn toward sobriety after years of heavy drinking. “The first year that I stopped, I felt like I'd really lost a big part of who I was and how I understood myself,” she says. “What I understood is that that was rock and roll, and, if you couldn't go the hardest, you were letting rock and roll down.” But eventually getting sober let her connect more deeply with fans and with the music. “To be conscious and to be present and to really feel what's going on—even though it's painful, it feels like much more a truly reborn spirit of rock and roll,” she says.  Welch wrote the music and the lyrics for “Gatsby: An American Myth,” which opened in June at the American Repertory Theatre in Cambridge, Massachusetts.This segment originally aired on May 24, 2022. 

Chat GPT isn't going to top the Billboard Hot 100 any time soon, but something is happening with AI and music—something's BEEN happening. Unlike in entertainment and journalism, big music labels and even musicians like Drake and Grimes are cautiously embracing the latest in AI. And the results are not all bad! New Yorker writer John Seabrook sits down with Max to explain why the music industry has historically adopted new technologies, and how that Muddies the Waters around what is made by humans vs. what is made by machines. What does the future of songwriting look like with an AI Bob Dylan? Will a tide of lowbrow AI slop hurt artist payouts? And what's really behind the record industry standing with artists? For a closed-captioned version of this episode, click here. For a transcript of this episode, please email transcripts@crooked.com and include the name of the podcast.

Over 1000 papyrusruller bliver forkullet, begravet og glemt, da vulkanen Vesuv i år 79 udraderer flere byer ved Napoli-bugten. Små totusind år senere åbner sig en mulighed for at læse, hvad de gemmer på - og der er en million dollars på højkant. Tag med til det romerske ferieparadis Herculaneum og på skattejagt efter oldgræske skrifttegn i dette afsnit af Periodisk. Du kan læse meget mere om baggrunden, metoderne og forløbet i konkurrencen ‘Vesuvius Challenge' på www.scrollprize.org Selve scanningen i Diamond Light Source beskrives nærmere i denne Smithsonian-artikel fra 2018 af Jo Marchant: https://www.smithsonianmag.com/history/buried-ash-vesuvius-scrolls-are-being-read-new-xray-technique-180969358/ Nat Friedman beskriver sin vej ind i projektet i blandt andet dette podcast-interview af Dwarkesh Patel: https://www.dwarkeshpatel.com/p/nat-friedman Denne artikel af John Seabrook fortæller meget mere om både Philodemus, Epikur, papyrusrullernes historie og papyrologi, og de tidligere faser af Brent Seales' arbejde. Udgivet i The New Yorker i 2015: https://www.newyorker.com/magazine/2015/11/16/the-invisible-libraryPeriodisk - er en RAKKERPAK original produceret af Rakkerpak Productions.Historierne du hører bygger på journalistisk research og fakta. De kan indeholde fiktive elementer som for eksempel dialog.Hvis du kan lide min fortælling, så husk at gå ind og abonnér, give en anmeldelse og fortæl dine venner om Periodisk.Podcasten er blevet til med støtte fra Novo Nordisk Fonden. Hvis du vil vide mere kan du besøge vores website periodisk.dkAfsnittet er skrevet og tilrettelagt af Maya Zachariassen.Tor Arnbjørn og Dorte Palle er producere.Rene Slott står for lyddesign og mixSimon Bennebjerg er vært.

Welcome back to Theater Practice, Season 3!Susan Bernfield is back! Join the conversation as Miriam and Suan find unexpected depth and beauty in this joyful, uplifting Broadway musical.Listen to Susan on our LEOPOLDSTADT episode:https://www.buzzsprout.com/1880898/11525837-203-leopoldstadt-by-tom-stoppard-susan-bernfield.mp3?download=trueFind out more about & JULIET:https://andjulietbroadway.com/A link to the visuals that Susan references from BARBIE:https://www.barbie-themovie.com/Blank Space: What Kind of Genius Is Max Martin? by John Seabrook (2015)https://www.newyorker.com/culture/cultural-comment/blank-space-what-kind-of-genius-is-max-martin

Today Ledslie talks to Dianah Wynter. Wynter was born and raised in New York. She directed Intimate Betrayal (1999), HappySAD (2009), and Daddy's Girl (1996), for which she received an Emmy nomination. Her stage directing credits include the world premiere of The Interrogation of Nathan Hale at South Coast Rep, Mules at San Francisco's Magic Theatre and American Conservatory Theatre (ACT), the latter starring Anika Noni Rose. She was a regular director for the Mark Taper's New Work Fest, and NEA Director Fellow for The Goodman Theatre. At Princeton, she composed music for Triangle club comedy revues, collaborating with classmates such as Douglas McGrath, David E. Kelley, Eric Schlosser and John Seabrook.A graduate of the Yale school of drama. She was asst director for Lloyd Richards on the world premieres of Ma Rainey's Black Bottom and Fences. She mounted the second company of Fences at Seattle Rep starring Frances Foster and Samuel L. Jackson. Dianah is an author and co-editor of Referentiality and the Films of Woody Allen (Palgrave Macmillan). Her most recent book is The Post Soul Cinema of Kasi Lemmons.In 2019, she was elected Chair of the Cinema & Television Arts department at Cal State Northridge (CSUN), which consistently ranks in the Hollywood Reporters Top 25 film schools. She is the first black woman to head a Top film school. During her term as Chair, she initiated the virtual production initiative, with the support of strategic partner, Halon Entertainment; by 2021, CSUN made it into the top 20 of The Wraps Top 50 Film Schools, breaking in at #17.

The New Yorker's John Seabrook joins Pop Pantheon to discuss his recent exhaustive piece, "So You Want To Be a Tik Tok Star". John and Louie discuss how the social media vlogging app rose to dominance in the music space, why it's so well-suited to the pop music ecosystem, how artists both existing and new are utilizing it and rebelling against it, how the music industry is weaponizing it and how it's changing the very nature of both pop stardom and music as we know it... for better or worse. Join Pop Pantheon: All Access, Our New Patreon Channel, for Exclusive Content and More!Shop Merch in Pop Pantheon's StoreGrab Tickets to See Louie DJ at his Queer Pop Party, Gorgeous Gorgeous, 5/6 in Los AngelesFollow John Seabrook on TwitterFollow DJ Louie XIV on InstagramFollow DJ Louie XIV on TwitterFollow Pop Pantheon on InstagramFollow Pop Pantheon on Twitter

We are amidst a pop music revolution largely dictated by an algorithm. Should we be afraid? John Seabrook joins the show to discuss his latest article in The New Yorker, "So You Want to Be a TikTok Star?" TikTok now has over 1 billion users and the app is transforming how artists create and market their music and how we listen to songs — for better and worse. Seabrook has written for the venerable New Yorker for over 30 years, specializing in stories about music, culture, and technology. His book "The Song Machine" detailed how hits were manufactured in the early 2000s, and this article picks up where that story left off. 

Electric cars, compared to cars with internal-combustion engines, are nearly silent, which can present a danger to cyclists and pedestrians. So car companies are turning to sound engineers to craft artificial soundtracks for things like backing up, or starting the engine. John Seabrook, who writes often about music, reported on the composers and designers who are building a new soundscape for the streets and highways of America. Plus, a visit with Ada Limón, who was recently named the twenty-fourth U.S. Poet Laureate. Limón lives in Kentucky, and in 2018 she took the Radio Hour to her favorite racetrack, and spoke about her lifelong love of horses.

Jason Isbell got into the music business early; he had a publishing deal when he was twenty-one. But he really came into his own as a songwriter around ten years ago, as he was getting sober from years of alcohol and drug use. His record “Southeastern,” which comes in the tradition of musicians like Guy Clark, swept the Americana Music Awards in 2014. Isbell spoke with John Seabrook at The New Yorker Festival in 2016, shortly after his record “Something More than Free” was released, and he played a live set of songs including “Different Days,” “How to Forget,” and “Speed Trap Town.”   This segment first aired December 30, 2016.

Thoughts on traveling and meeting people in person after the COVID-19 pandemic. Favorite quotes "You can do anything that you set your mind to, but you don't have time to do everything.” —Frank Harmon Links It's nice to see you, in person (post) Back from Atlanta (post) Nono's blog Nono's sketches and stories YouTube channel Kean Walmsley's blog post A.I. Artificial Intelligence by Steven Spielberg (movie) Has the Pandemic Transformed the Office Forever? by John Seabrook for The New Yorker Books Formulations by Andrew Witt People mentioned Andrew Witt Frank Harmon David Allen Satya Nadella Chapters 00:00 · Start 00:10 · It's Nice to See You, In Person 06:05 · Back from Atlanta 07:34 · Podcast updates Submit a question about this or previous episodes. I'd love to hear from you. Join the Discord community. Meet other curious minds. If you enjoy the show, would you please consider leaving a short review on Apple Podcasts/iTunes? It takes less than 60 seconds and really helps. Show notes, transcripts, and past episodes at gettingsimple.com/podcast. Theme song Sleep by Steve Combs under CC BY 4.0. Follow Nono Twitter.com/nonoesp Instagram.com/nonoesp Facebook.com/nonomartinezalonso YouTube.com/nonomartinezalonso

Across five studio albums, Florence and the Machine has explored genres from pop to punk and soul; the band's most recent record, “Dance Fever,” just came out. Florence Welch, the group's singer and main songwriter, is by turns introspective and theatrical, poetic and confessional. She sat down with John Seabrook at The New Yorker Festival in 2019 to reflect on her band's rapid rise to stardom. She also spoke about her turn toward sobriety after years of heavy drinking. “The first year that I stopped, I felt like I'd really lost a big part of who I was and how I understood myself,” she says. “What I understood is that that was rock and roll, and, if you couldn't go the hardest, you were letting rock and roll down.” But eventually getting sober let her connect more deeply with fans and with the music. “To be conscious and to be present and to really feel what's going on—even though it's painful, it feels like much more a truly reborn spirit of rock and roll,” she says.

DJ Louie is joined by author of The Song Machine and New Yorker staff writer John Seabrook to discuss the greatest pop producer auteur of the modern era, Max Martin. Louie and John discuss Max's roots in Sweden and why the country is such a historical breeding ground for world-class pop music. They then discuss Max's initial run a hitmaker in the late ‘90s, crafting the sound of the teen pop boom with Britney Spears, Backstreet Boys, and *NSYNC, his reinvention in the mid 2000s with his protege Dr. Luke on pop-punk hits like Kelly Clarkson's “Since U Been Gone”, the duo's continued, chameleonic radio dominance in the early 2010s with Katy Perry, Britney, and Kesha, and Max's latest wave of success adding his glisten to the work of already-established superstars like Taylor Swift and The Weeknd. Finally, Louie and John debate the secret to Max's unparalleled success and what his future looks like now that new stars prize authenticity over his patented brand of airtight pop perfection. Check out Louie's Playlist of Max Martin Essentials on Spotify: https://open.spotify.com/playlist/0TnSOt8jOfuWsmMDDspWML?si=3b6a260a796247df Follow Pop Pantheon on Instagram: https://www.instagram.com/poppantheonpod/ Follow Pop Pantheon on Twitter: https://twitter.com/PopPantheonPod Follow DJ Louie XIV on Instagram: https://www.instagram.com/djlouiexiv/ Follow DJ Louie XIV on Twitter: https://twitter.com/djlouiexiv Follow John Seabrook on Twitter: https://twitter.com/jmseabrook

The Written Word by Tala Ramadan Episode 1 - Tala discusses predictive text technology, its impact on journalism and how wider issues surrounding AI affect Lebanon. The article referenced in this piece, 'The Next Work by John Seabrook' is accessible via the following link: https://www.newyorker.com/magazine/2019/10/14/can-a-machine-learn-to-write-for-the-new-yorker Available across audio podcast platforms. Simply search for The Beirut Banyan. From long-form analysis to in-depth essays and books covering wide terrain, Tala Ramadan shares her appreciation for the written word. Each episode will jump into a select work, reflecting on the topic at hand. Guests will include featured authors. Tala Ramadan is a Beirut-based journalist focusing on scientific, social, humanitarian and educational issues. Her articles have appeared in news outlets including Annahar, Al Arabiya, The New Arab, SMEX, and Beirut City Guide. Help support The Beirut Banyan by contributing via PayPal: https://www.paypal.me/walkbeirut Or donating through our Patreon page: https://www.patreon.com/thebeirutbanyan Subscribe to our podcast from your preferred platform. Follow us on Facebook, Instagram & Twitter: @thebeirutbanyan And check out our website: www.beirutbanyan.com Music by Marc Codsi. Graphics by Tala Ramadan and Sana Chaaban.

John Seabrook is a staff writer for The New Yorker. His books include "Flash of Genius, and Other True Stories of Invention" and "The Song Machine: Inside the Hit Factory"

Merriam-Webster's Word of the Day for May 11, 2021 is: importunate • im-POR-chuh-nut • adjective 1 : troublesomely urgent : overly persistent in request or demand 2 : troublesome Examples: "It seems apt that in the play's first scene, set at 6 a.m. in Lagos, Nigeria, an importunate young customer asks the barber he's so rudely awakened to give him an 'aerodynamic' cut." — Ben Brantley, The New York Times, 4 Dec. 2019 "But when I spoke to Nadella he allowed that when you see people in their homes, with their noisy children and importunate pets, struggling to stay focussed and upbeat, 'you have a different kind of empathy for your co-workers.'" — John Seabrook, The New Yorker, 1 Feb. 2021 Did you know? Importunate has been part of the English language since the 16th century, and the synonymous importune arrived even earlier, in the 15th century. The seemingly superfluous inclusion of the suffix -ate in importunate is a bit mysterious; one theory is that English speakers modeled the adjective after words like obstinate. Importune and importunate come from Latin importunus. The prefix im- means "not," and importunus can be contrasted with Latin opportunus, which shares its meaning with and is the ancestor of our opportune, meaning "suitable or timely." The connection is obscure now, but opportunus itself harks back to the Latin phrase ob portum, meaning "[coming] to harbor." Importune, and later importunate, once meant "inopportune, untimely," but that sense is now obsolete.

"Melodic math" describes an extremely analytical approach to songwriting. Martin shares how he developed his own method of melodic math and incorporated it into his melody-writing process, to varying degrees of success. ..... The two books discussed in this episode are "The Song Machine: Inside The Hit Factory" by John Seabrook and "The Sense of Music" by Victor Zuckerkandl. ..... Everyone's Special and No One Is is a podcast about obscure, misunderstood, and/or controversial topics related to music.

Learn more about SongTown and get 10 free videos to see what the fuss is all about! CLICK HERE SongTown Press Books:Mastering Melody Writing : BUY NOWThe Songwriter's Guide To Mastering Co-Writing : BUY NOWSongbuilding: Mastering Lyric Writing : BUY NOW Guest:John Seabrook : Website Books : The Song Machine: Inside the Hit Factory : BUY NOWFlash of Genius : And Other True Stories of Invention : BUY NOW Hosts: Marty Dodson :   Facebook   :   InstagramClay Mills :   Facebook  :  Instagram Featured Song: "Leaving Home"Matt Burke : Website Brian Allison : Website 

This episode of 'The New Abnormal' features Brooklyn-based John Seabrook, a staff writer at The New Yorker since the 90's as well as being the author of a range of superb books including 'The Song Machine: Inside the Hit Factory' / 'Nobrow: The Culture of Marketing—The Marketing of Culture' / 'Deeper: My Two-Year Odyssey in Cyberspace / 'Flash of Genius, and Other True Stories of Invention' . In the interview we discuss his views on all of the above, along with a range of his other recent articles for the New Yorker. Therefore, his viewpoints take us on a fascinating path as we discuss issues inc artificial intelligence & smart composition, counter-surveillance strategies & fashion innovation, a robopop perspective on the record label of the future, social hierarchies in a commercialised culture, and social fragmentation in the post-digital / post-Covid age. Plus, of course, his take on 'Hope  / Community / Resilience' which link all of #TheNewAbnormal podcasts...

The Whole Earth ‘lectronic Link, or WELL, was started by Stewart Brand and Larry Brilliant in 1985, and is still available at well.com. We did an episode on Stewart Brand: Godfather of the Interwebs and he was a larger than life presence amongst many of the 1980s former hippies that were shaping our digital age. From his assistance producing The Mother Of All Demos to the Whole Earth Catalog inspiring Steve Jobs and many others to his work with Ted Nelson, there's probably only a few degrees separating him from anyone else in computing.  Larry Brilliant is another counter-culture hero. He did work as a medical professional for the World Health Organization to eradicate smallpox and came home to teach at the University of Michigan. The University of Michigan had been working on networked conferencing since the 70s when Bob Parnes wrote CONFER, which would be used at Wayne State where Brilliant got his MD. But CONFER was a bit of a resource hog. PicoSpan was written by Marcus Watts in 1983. Pico is a small text editor in many a UNIX variant and network is network. Why small, well, modems that dialed into bulletin boards were pretty slow back then.  Marcus worked at NETI, who then bought the rights for PicoSpan to take to market. So Brilliant was the chairman of NETI at the time and approached Brand about starting up a bulletin-board system (BBS). Brilliant proposed NETI would supply the gear and software and that Brand would use his, uh, brand - and Whole Earth following, to fill the ranks. Brand's non-profit The Point Foundation would own half and NETI would own the other half.  It became an early online community outside of academia, and an important part of the rise of the splinter-nets and a holdout to the Internet. For a time, at least.  PicoSpan gave users conferences. These were similar to PLATO Notes files, where a user could create a conversation thread and people could respond. These were (and still are) linear and threaded conversations. Rather than call them Notes like PLATO did, PicSpan referred to them as “conferences” as “online conferencing” was a common term used to describe meeting online for discussions at the time. EIES had been around going back to the 1970s, so Brand had some ideas abut what an online community could be - having used it. Given the sharp drop in the cost of storage there was something new PicoSpan could give people: the posts could last forever. Keep in mind, the Mac still didn't ship with a hard drive in 1984. But they were on the rise.  And those bits that were preserved were manifested in words. Brand brought a simple mantra: You Own Your Own Words. This kept the hands of the organization clean and devoid of liability for what was said on The WELL - but also harkened back to an almost libertarian bent that many in technology had at the time. Part of me feels like libertarianism meant something different in that era. But that's a digression. Whole Earth Review editor Art Kleiner flew up to Michigan to get the specifics drawn up. NETI's investment had about a quarter million dollar cash value. Brand stayed home and came up with a name. The Whole Earth ‘lectronic Link, or WELL.  The WELL was not the best technology, even at the time. The VAX was woefully underpowered for as many users as The WELL would grow to, and other services to dial into and have discussions were springing up. But it was one of the most influential of the time. And not because they recreated the extremely influential Whole Earth catalog in digital form like Brilliant wanted, which would have been similar to what Amazon reviews are like now probably. But instead, the draw was the people.  The community was fostered first by Matthew McClure, the initial director who was a former typesetter for the Whole Earth Catalog. He'd spent 12 years on a commune called The Farm and was just getting back to society. They worked out that they needed to charge $8 a month and another couple bucks an hour to make minimal a profit.  So McClure worked with NETI to get the Fax up and they created the first conference, General. Kevin Kelly from the Whole Earth Review and Brand would start discussions and Brand mentioned The WELL in some of his writings. A few people joined, and then a few more.  Others from The Farm would join him. Cliff Figallo, known as Cliff, was user 19 and John Coate, who went by Tex, came in to run marketing. In those first few years they started to build up a base of users. It started with hackers and journalists, who got free accounts. And from there great thinkers joined up. People like Tom Mandel from Stanford Research Institute, or SRI. He would go on to become the editor of Time Online. His partner Nana. Howard Rheingold, who would go on to write a book called The Virtual Community. And they attracted more. Especially Dead Heads, who helped spread the word across the country during the heyday of the Grateful Dead.  Plenty of UNIX hackers also joined. After all, the community was finding a nexus in the Bay Area at the time. They added email in 1987 and it was one of those places you could get on at least one part of this whole new internet thing. And need help with your modem? There's a conference for that. Need to talk about calling your birth mom who you've never met because you were adopted? There's a conference for that as well. Want to talk sexuality with a minister? Yup, there's a community for that. It was one of the first times that anyone could just reach out and talk to people. And the community that was forming also met in person from time to time at office parties, furthering the cohesion.  We take Facebook groups, Slack channels, and message boards for granted today. We can be us or make up a whole new version of us. We can be anonymous and just there to stir up conflict like on 4Chan or we can network with people in our industry like on LinkedIn. We can chat real time, which is similar to the Send option on The WELL. Or we can post threaded responses to other comments. But the social norms and trends were proving as true then as now. Communities grow, they fragment, people create problems, people come, people go. And sometimes, as we grow, we inspire.  Those early adopters of The WELL inspired Craig Newmark of Craigslist to the growing power of the Internet. And future developers of Apple. Hippies versus nerds but not really versus, but coming to terms with going from “computers are part of the military industrial complex keeping us down” philosophy to more of a free libertarian information superhighway that persisted for decades. The thought that the computer would set us free and connect the world into a new nation, as John Perry Barlow would sum up perfectly in “A Declaration of the Independence of Cyberspace”. By 1990 people like Barlow could make a post on The WELL from Wyoming and have Mitch Kapor, the founder of Lotus, makers of Lotus 1-2-3 show up at his house after reading the post - and they could join forces with the 5th employee of Sun Microsystems and GNU Debugging Cypherpunk John Gilmore to found the Electronic Foundation. And as a sign of the times that's the same year The WELL got fully connected to the Internet. By 1991 they had grown to 5,000 subscribers. That was the year Bruce Katz bought NETI's half of the well for $175,000. Katz had pioneered the casual shoe market, changing the name of his families shoe business to Rockport and selling it to Reebok for over $118 million.  The WELL had posted a profit a couple of times but by and large was growing slower than competitors. Although I'm not sure any o the members cared about that. It was a smaller community than many others but they could meet in person and they seemed to congeal in ways that other communities didn't. But they would keep increasing in size over the next few years. In that time Fig replaced himself with Maurice Weitman, or Mo - who had been the first person to sign up for the service. And Tex soon left as well.  Tex would go to become an early webmaster of The Gate, the community from the San Francisco Chronicle. Fig joined AOL's GNN and then became director of community at Salon. But AOL. You see, AOL was founded in the same year. And by 1994 AOL was up to 1.25 million subscribers with over a million logging in every day. CompuServe, Prodigy, Genie, Dephi were on the rise as well. And The WELL had thousands of posts a day by then but was losing money and not growing like the others. But I think the users of the service were just fine with that. The WELL was still growing slowly and yet for many, it was too big. Some of those left. Some stayed. Other communities, like The River, fragmented off. By then, The Point Foundation wanted out so sold their half of The WELL to Katz for $750,000 - leaving Katz as the first full owner of The WELL.  I mean, they were an influential community because of some of the members, sure, but more because the quality of the discussions. Academics, drugs, and deeply personal information. And they had always complained about figtex or whomever was in charge - you know, the counter-culture is always mad at “The Management.” But Katz was not one of them. He honestly seems to have tried to improve things - but it seems like everything he tried blew up in his face.  So Katz further alienated the members and fired Mo and brought on Maria Wilhelm, but they still weren't hitting that hyper-growth, with membership getting up to around 10,000 - but by then AOL was jumping from 5,000,000 to 10,000,000. But again, I've not found anyone who felt like The WELL should have been going down that same path. The subscribers at The WELL were looking for an experience of a completely different sort. By 1995 Gail Williams allowed users to create their own topics and the unruly bunch just kinda' ruled themselves in a way. There was staff and drama and emotions and hurt feelings and outrage and love and kindness and, well, community. By the late 90s, the buzz word at many a company were all about building communities, and there were indeed plenty of communities growing. But none like The WELL. And given that some of the founders of Salon had been users of The WELL, Salon bought The WELL in 1999 and just kinda' let it fly under the radar. The influence continued with various journalists as members.  The web came. And the members of The WELL continued their community. Award winning but a snapshot in time in a way. Living in an increasingly secluded corner of cyberspace, a term that first began life in a present tense on The WELL, if you got it, you got it. In 2012, after trying to sell The WELL to another company, Salon finally sold The WELL to a group of members who had put together enough money to buy it. And The WELL moved into the current, more modern form of existence. To quote the site: Welcome to a gathering that's like no other. The WELL, launched back in 1985 as the Whole Earth ‘Lectronic Link, continues to provide a cherished watering hole for articulate and playful thinkers from all walks of life. For more about why conversation is so treasured on The WELL, and why members of the community banded together to buy the site in 2012, check out the story of The WELL. If you like what you see, join us! It sounds pretty inviting. And it's member supported. Like National Public Radio kinda'. In what seems like an antiquated business model, it's $15 per month to access the community. And make no mistake, it's a community.  You Own Your Own Words. If you pay to access a community, you don't sign the ownership of your words away in a EULA. You don't sign away rights to sell your data to advertisers along with having ads shown to you in increasing numbers in a hunt for ever more revenue. You own more than your words, you own your experience. You are sovereign.  This episode doesn't really have a lot of depth to it. Just as most online forums lack the kind of depth that could be found on the WELL. I am a child of a different generation, I suppose. Through researching each episode of the podcast, I often read books, conduct interviews (a special thanks to Help A Reporter Out), lurk in conferences, and try to think about the connections, the evolution, and what the most important aspects of each are. There is a great little book from Katie Hafner called The Well: A Story Of Love, Death, & Real Life. I recommend it. There's also Howard Rheingold's The Virtual Community and John Seabrook's Deeper: Adventures on the Net. Oh, and From Counterculture to Cyberculture: Stewart Brand, the Whole Earth Network, And the Rise of Digital Utopianism from Fred Turner and Siberia by Douglas Rushkoff. At a minimum, I recommend reading Katie Hafner's wired article and then her most excellent book! Oh, and to hear about other ways the 60s Counterculture helped to shape the burgeoning technology industry, check out What the Dormouse Said by John Markoff.  And The WELL comes up in nearly every book as one of the early commercial digital communities. It's been written about in Wired, in The Atlantic, makes appearances in books like Broad Band by Claire Evans, and The Internet A Historical Encyclopedia.  The business models out there to build and run  and grow a company have seemingly been reduced to a select few. Practically every online community has become free with advertising and data being the currency we parlay in exchange for a sense of engagement with others.  As network effects set in and billionaires are created, others own our words. They think the lifestyle business is quaint - that if you aren't outgrowing a market segment that you are shrinking. And a subscription site that charges a monthly access fee to cgi code with a user experience that predates the UX field on the outside might affirm that philosophy -especially since anyone can see your real name. But if we look deeper we see a far greater truth: that these barriers keep a small corner of cyberspace special - free from Russian troll farms and election stealing and spam bots. And without those distractions we find true engagement. We find real connections that go past the surface. We find depth. It's not lost after all.  Thank you for being part of this little community. We are so lucky to have you. Have a great day.

For most of the twentieth century, the office was one of the centers of American life, and the joys and annoyances of life there have inspired works of art, from Melville’s “Bartleby, the Scrivener” to NBC’s “The Office.” But, last spring, in an effort to curb the spread of the coronavirus, several businesses closed their offices and asked employees to work from home. Nearly a year later, many companies’ spaces remain closed to their staffs; it is unclear when they’ll be able to reopen, and how many workers can expect to return when they do. John Seabrook joins Dorothy Wickenden to discuss the past and future of office life—and the personal, economic, and demographic ramifications of remote work.

Since the pandemic hit, millions of office workers shifted to working remotely. John Seabrook, staff writer for The New Yorker, talks about whether this shift has transformed office life forever.

John Seabrook is a staff writer for The New Yorker. His most recent book The Song Machine does to the pop music industry what Upton Sinclair's The Jungle did for the meat packing industry. It tells the reader how their favorite product is really made. Many of the top pop songs of the last 30 years or so were written by the same small group of people. Mostly men, and mostly Scandinavian. It's truly a fascinating tale of how the soundtracks of our lives have been very deliberately crafted by algorithms and mathematical precision (hooks every seven seconds etc.) John talks to Billy about his experiences writing the book, ABBA's influence on The Sex Pistols, Telehealth, ISIS and their interest in pop music, stepping into the minds of song creators and much more. Read more of John's work at: https://www.newyorker.com/magazine/2020/06/29/the-promise-and-the-peril-of-virtual-health-carehttps://www.newyorker.com/magazine/2020/03/16/dressing-for-the-surveillance-age

The thirty-year-old British singer/songwriter Laura Marling has produced seven albums of dense but delicate folk music, starting when she was only eighteen. After several years touring on the road, she tells John Seabrook, she found herself in Los Angeles. Speaking at The New Yorker Festival in October, 2017, she explained how, growing up, her father played her a lot of Joni Mitchell, and the influence stuck. In Los Angeles, she felt that many of the musicians she had long idolized were still “there in the hills, looking down on the city.” Marling performed her songs “Daisy,” and “Wild Once,” accompanying herself on guitar.   This story originally aired January 26, 2018.

Nodey a pris l'apéro chez son pote Mehdi Maïzi, l'étoile montante de nos industries culturelles francophones. Les deux compères sont revenus rapidement sur le parcours de Mehdi avant l’Abcdrduson, le webzine rap de référence qui l’a initié, formé et révélé dans la rédaction rap (01:30), avant d’évoquer sa mutation professionnelle de consultant-auditeur en costard à journaliste-animateur dans le domaine des médias et du divertissement (03:59). Puis Nodey a demandé l’impact de son héritage familial, avec son père qui a été présentateur du journal télévisé en Algérie, dans sa reconversion (07:07). Après être revenu sur ses multiples projets récents (l’émission de l’Abcdrduson sur Dailymotion, La Sauce sur OKLM, NoFun sur Binge Audio, son passage sur France 4, et son livre “Rap français : une exploration en 100 albums”) (16:35), Mehdi a expliqué son métier de programmateur musical chez Deezer, poste qu’il a occupé pendant presque trois ans jusqu’en octobre 2019 (17:22). Il nous a éclairé sur des enjeux importants d’une entreprise de streaming comme Deezer : la loi mondiale “ 31 secondes d’écoute = 1 stream” et le taux stream/skip qui redéfinissent certaines règles du jeu dans l’industrie musicale (22:55), comment ses performances professionnelles de programmateur musical sont évaluées (30:59), l’impact de l'Intelligence Artificielle dans sa mission de playlisting (35:12), ou encore la part écrasante des sujets technologiques au sein des équipes (37:06). Enfin la conversation se ponctue sur un petit débat sur les effets de l’intelligence artificielle dans notre rapport à la musique (38:49). Les recommandations de Mehdi : le livre “Boulevard du stream: du mp3 à Deezer, la musique libérée” de Sophian Fanen, la revue “Audimat', et le livre “Hits ! Enquête sur la fabrique des tubes planétaires” de John Seabrook (45:06). Crédits photo : Terence Bikoumou ** Mutation est un podcast indépendant produit par Société Ecran. Animation et réalisation : Dôn "Nodey" Nguyen Ngoc. Production exécutive : Pierre Tâm-Anh Le Khac. Direction artistique : Jérome Tham (Agence xxs) **

Data analytics, artificial intelligence, and algorithms are in the news, but what are they really? And how do healthcare companies use these technologies to more meaningfully connect with patients? On this episode of the Wellcast, we look at how companies like Saatchi Wellness use data analytics every day. We cover issues like working securely with sensitive health data, how data helps companies speak with more empathy, and why every organization needs a good data champion. We explore it all with help from Robin Paley and Liz Barrows from the pioneering analytics firm Epsilon, and Saatchi Wellness’ own Kevin Troyanos and Andrew Ghosh. Curious for more? Biotech experts discussed whether machine learning will produce new drug discoveries by 2022 (https://bit.ly/2OAZoQG). And in October 2019, John Seabrook asks if AI can learn to write for the New Yorker in “The Next Word” (https://bit.ly/2reQ0dw).

Andy and Dave discuss the AI-related supplemental report to the President’s Budget Request. The California governor signs a bill banning facial recognition use by the state’s law enforcement agencies. The 2019 Association of the US Army meeting focuses on AI. A DoD panel discussion explores the Promise and Risk of the AI Revolution. And the 3rd Annual DoD AI Industry Day will be 13 November in Silver Spring, MD. Researchers at the University of Edinburgh, the University of Cambridge, and Leiden University announce using a deep neural network to solve the chaotic 3-body problem, providing accurate solutions up to 100 million times faster than a state-of-the-art solver. Research from MIT uses a convolutional neural network to recover or recreate probable ensembles of dimensionally collapsed information (such as a video collapsing to one single image). Kate Crawford and Meredith Whittaker take a look at 2019 and the Growing Pushback Against Harmful AI. Air University Press releases AI, China, Russia, and the Global Order, edited by Nicholas Wright, with contributions from numerous authors, including Elsa Kania and Sam Bendett. Michael Stumborg from CNA pens a response to the National Security Commission’s request for ideas, on AI’s Long Data Tail. Deisenroth, Faisal, and Ong make their Mathematics for Machine Learning available. Melanie Mitchell pens AI: A Guide for Thinking Humans. An article in the New Yorker by John Seabrook examines the role of AI/ML in writing, with The Next Word. And the Allen Institute for AI updates its Semantic Scholar with now more than 175 million scientific papers across even more fields of research. Click here to visit our website and explore the links mentioned in the episode. 

Our Thought Leader for today is John Seabrook, Journalist for the New Yorker.The Stories You Need to Know:•New UN Agriculture Agency Report says “Disaster Resilient” Farming can Reduce agriculture Risks and yield Economic Gain•Atlanta creates the first “Food Forest” in Georgia•Humans in my Food Supply Chain?Today's Farmer is Geoff Ruth, a Nebraska Farmer who uses drones to monitor yield and productivity

In this podcast, music educator/guitarist, Brian Jump speaks to bassist/singer, Jonny Southern about contemporary hits radio (CHR). They examine the banal, often offensive music inhabiting Billboard’s Hot 100, and they critique the top ten songs occupying the list for the week of October 6, 2018. For context, the thesis of John Seabrook's book, The Hit Factory, is covered. This book declares that hits are still what matters in the music industry despite the virtual annihilation of the record business. Moreover, Seabrook explains that the same few writers and producers are responsible for a significant number of hits and a disproportionately large share of the revenue. To perform this dark magic, Seabrook explains, the hitmakers rely on two principle types of hit: one descended from Europop, which have long-ish melodies and clear verse/chorus structure; and another descended from R&B, which have melodic hooks repeated over rhythmic grooves. To make these two forms of music, producers today rely on the track-and-hook approach, which features one musician writing the beat and the chord progression and another musician writing the melodies and the hooks. Essentially, today’s hit songs are constructed by teams of experts who know how to pack their music full of irresistible ear candy. Please consider supporting this podcast: brianjump.net/support/

Special guest John Seabrook of the New Yorker to talk about his recent piece on Jose and Irad Ortiz. Plus, JK and PTF go over the stakes racing action from Aqueduct over the weekend. This podcast is powered by ZenCast.fm

Today's podcast is brought to you by audible.com — get a FREE audiobook download and 30 day free trial at www.audibletrial.com/TheRobBurgessShow. Over 250,000 titles to choose from for your iPhone, Android, Kindle or mp3 player. Hello and welcome to The Rob Burgess Show. I am, of course, your host, Rob Burgess. On this, our 28th episode, our guest is John Seabrook. But, before we get to that, I need to take a moment to tell you about our sponsor. For you, the listeners of The Rob Burgess Show podcast, Audible is offering a free audiobook download with a free 30-day trial to give you the opportunity to check out their service. A book which pertains to this episode is “The Song Machine,” by today's guest, John Seabrook. Whatever book you pick, you can exchange it at any time. You can cancel at any time and the books are yours to keep. To download your free audiobook today go to audibletrial.com/TheRobBurgessShow. Again, that's audibletrial.com/TheRobBurgessShow for your free audiobook. Also please make sure to comment, follow, like, subscribe, share, rate and review everywhere the podcast is available. Whether it's iTunes, YouTube, SoundCloud, Stitcher, Google Play Music, Facebook, Twitter, Internet Archive, TuneIn or RSS you can find links to everything on the official website, www.therobburgessshow.com. You can also find out more about me by visiting my website, www.thisburgess.com. Back to today's show. John Seabrook is the author “The Song Machine: Inside the Hit Factory,” published in hardback by Norton in October 2015. The paperback edition comes out Oct. 18. He is also the author of “Nobrow: The Culture of Marketing — The Marketing of Culture,” which was published in 2000, and “Deeper: My Two-Year Odyssey in Cyberspace,” which was published in 1997, and “Flash of Genius, and Other True Stories of Invention,” published in 2008. He has been a contributor to The New Yorker since 1989 and became a staff writer in 1993. He explores the intersection between creativity and commerce in the fields of technology, design, and music. He lives in Brooklyn with his wife and two children and a dog and a cat. And now, on to the show.

John Seabrook, a reporter for The New Yorker, joins us today to talk about his new book! Titled The Song Machine, it explains, among other things, why that darn Drake song is still stuck in your head. From Katy Perry to Spotify, John Seabrook explains the music industry like you've never seen it before in S3:E2 of Crescendo Podcast. Lumi - Underruns https://soundcloud.com/delta-sigma-records/lumi-underruns The Song Machine: https://www.amazon.com/Song-Machine-Inside-Hit-Factory/dp/0393241920/ref=sr_1_1?ie=UTF8&qid=1473474375&sr=8-1&keywords=The+Song+Machine

This week on Missaligned, we discuss our August Missaligned Reads pick, The Song Machine by John Seabrook. Find Us On Twitter @deeechap / @meghin_ /  @missalignedpod You can also email us at missalignedpod@gmail.com. Want to sponsor the podcast? If you’d like to sponsor the podcast, you can contact us at advertising@modern-vinyl.com. It’s very affordable and you get numerous mentions throughout the podcast.

Music Biz 101 & More is the only radio show in America that focuses on the business side of the music & entertainment worlds. Hosted by William Paterson University's Dr. Stephen Marcone & Professor David Philp, the show airs live each Wednesday at 8pm on WPSC-FM, Brave New Radio. In this interview, conducted by SiriusXM's Steve Leeds, author John Seabrook talks about his book, "The Song Machine," and how today's hits are crafted. You can tell he's a great writer. How? He doesn't waste one word when he talks. Listen and agree. It's simply brilliant. Like what you hear? Tweet us anytime: @MusicBiz101wp Engage and Adore us on The Facebook, The Twitter & Instagram: www.facebook.com/MusicBiz101wp twitter.com/MusicBiz101WP instagram.com/musicbiz101wp/​

On today's show I talk to the American journalist John Seabrook. John Seabrook is a longtime staff writer at The New Yorker magazine, as well as the author of one of my favourite music books of 2015, The Song Machine: Inside the Hit Factory. In The Song Machine, Seabrook delves into the weird, sometimes wild world of modern […] The post Ep. 2: The Weird World of Modern Pop Songwriting with New Yorker staff writer John Seabrook appeared first on Zachary Stockill.

On today’s show I talk to the American journalist John Seabrook. John Seabrook is a longtime staff writer at The New Yorker magazine, as well as the author of one of my favourite music books of 2015, The Song Machine: Inside the Hit Factory. In The Song Machine, Seabrook delves into the weird, sometimes wild world of modern […] The post Ep. 2: The Weird World of Modern Pop Songwriting with New Yorker staff writer John Seabrook appeared first on Travels in Music.

Highlight is a new series under the Biz Please empire that will feature one-on-one conversations with experts on particular topics. This week, John Seabrook of The New Yorker drops by to talk about his new book "The Song Machine" and some of the bizarre ins and outs of the modern music industry.

John Seabrook discusses the modern hit factory of super producers like Max Martin who are responsible for a huge number of hit songs by Rihanna, Katy Perry and others. #songwriters #MaxMartin #superproducers

John Seabrook has been a contributor to The New Yorker since 1989 and became a staff writer in 1993. Seabrook explores the intersection between creativity and commerce in the fields of technology, design, and music Seabrook was a contributing editor at Vanity Fair and a senior writer at Manhattan Inc. magazine. “The Song Machine,” published by Norton in October, 2015. Before joining the magazine, Seabrook was a contributing editor at Vanity Fair and a senior writer at Manhattan Inc. magazine.

John Seabrook has been a contributor to The New Yorker since 1989 and became a staff writer in 1993. Seabrook explores the intersection between creativity and commerce in the fields of technology, design, and music Seabrook was a contributing editor at Vanity Fair and a senior writer at Manhattan Inc. magazine. “The Song Machine,” published by Norton in October, 2015. Before joining the magazine, Seabrook was a contributing editor at Vanity Fair and a senior writer at Manhattan Inc. magazine.

New Yorker staff writer John Seabrook recently published The Song Machine, a look at how today's Top 40 gets made. We discuss the future of Spotify, why death metal is more relevant than classic rock, and what the Backstreet Boys and Dylan have in common.

章节（时:分:秒）： 00:00:00 前戏 00:03:03 开场，《IT 公论》会员计划 00:04:29 听众反馈 00:23:36 下一代 iPhone 取消 3.5mm 耳机口？ 00:34:45 UI 设计软件 Sketch 退出 Mac App Store 00:49:50 Adobe 呼吁用户停用 Flash，以及 Adobe 在 UI 设计时代的作为 01:02:46 三星的 VR 浏览器 01:07:32 美国过去十年流行金曲背后的王牌制作人 Max Martin 01:11:46 从 iPad Pro 本位的视角看 MacBook Pro 01:32:45 尾声 本期会员通讯将于稍后发至各位会员邮箱。每月三十元，支持不鸟万如一和 Rio 把《IT 公论》做成最好的科技播客。请访问 itgonglun.com/member。若您无意入会，但喜欢某一期节目，也欢迎用支付宝或 PayPal 支付小费至 hi@itgonglun.com，支付宝用户亦可扫描下方二维码： 相关链接 《IT 公论》博客 IPN 播客网络 Telegram 听众群列表 ReadQuick 下一代 iPhone 可能取消 3.5mm 耳机口？ FireWire Thunderbolt Desk Sketch 宣布离开 Mac App Store 不在 Mac App Store 里的重要软件列表 乔布斯：Thoughts on Flash Adobe Comp CC （节目中误说成 Adobe Slate） Adobe 的网站和 app UI 原型设计工具 Project Comet MozVR Second Life John Seabrook: The Song Machine: Inside the Hit Factory Don Norman Bruce Tognazzini How Apple is Giving Design a Bad Name GTD 哲学 Can the MacBook Pro Replace Your iPad? IPN 播客网络常见问题解答 人物简介 不鸟万如一：字节社创始人 Rio: Apple4us 程序员

The most omnipresent figure in pop music is also the most elusive: Karl Sandberg, AKA Max Martin, the mad Swedish genius who’s ruled the charts for 20 years. With the help of New Yorker writer John Seabrook, author of The Song Machine, and comedian Chris Duffy, host of You’re The Expert, we go deep into a 21st century pop classic to try and locate the secret formula behind Max Martin’s success. FEATURING Taylor Swift – Blank Space The Weeknd – Can’t Feel My Face Backstreet Boys – I Want It That Way Kelly Clarkson – Since You Been Gone Yeah Yeah Yeahs – Maps Kelly Clarkson – My Life Would Suck Without You Katy Perry – California Girls Taylor Swift – We Are Never Getting Back Together Ariana Grande – Problem N’Sync – It’s Gonna Be Me Britney Spears – Oops I Did It Again Taylor Swift – Bad Blood Icona Pop (ft. Charlie XCX) – I Love It Tove Lo – Talking Body Backstreet Boys – We’ve Got It Going On  Learn more about your ad choices. Visit megaphone.fm/adchoices

David Hepworth and Mark Ellen talk bout Tracey Thorn's Naked At The Albert Hall: The Inside Story Of Singing and John Seabrook's The Song Machine: Inside The Hit Factory via the miracle of Skype. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

David Hepworth and Mark Ellen talk bout Tracey Thorn's Naked At The Albert Hall: The Inside Story Of Singing and John Seabrook's The Song Machine: Inside The Hit Factory via the miracle of Skype. Get bonus content on Patreon See acast.com/privacy for privacy and opt-out information.

David Hepworth and Mark Ellen talk bout Tracey Thorn’s Naked At The Albert Hall: The Inside Story Of Singing and John Seabrook’s The Song Machine: Inside The Hit Factory via the miracle of Skype.

John Seabrook is a journalist who writes about technology and popular culture. He has been a staff writer at The New Yorker since 1993 and is the author of Deeper: My Two-Year Odyssey in Cyberspace, Nobrow: The Culture of Marketing and the Marketing of Culture, and Flash of Genius and Other True Stories of Invention. A feature film based on Flash of Genius was released in 2008, starring Greg Kinnear and Lauren Graham. His newest book is The Song Machine: Inside the Hit Factory. John Seabrook was in Seattle to speak at Elliott Bay Books.

Meet Dan and Dan! Dan Reed, Music Director and Afternoon Host at WXPN/Philadelphia and Dan DeLuca, Music Critic and Columnist for the Philadelphia Inquirer sit down on a bi-weekly basis to talk MUSIC! This week, the guys have a conversation with author John Seabrook. John has a new book called The Song Machine. It's a fascinating read and a detailed look at the current state of music recording. Dan and Dan ask John about the inspiration for the book and take a look at the formula for creating a hit! Also, Dan and Dan pick their Top 5 acts from this year's Hall of Fall nominees, tell us their favorite SAD songs, and offer up their Songs of the Week!

John Seabrook is a New Yorker staff writer and the author of The Song Machine: Inside the Hit Factory. “Whether or not the piece succeeds or fails is not going to depend on whether I’m up to the minute on the latest social media spot to hang out or the latest slang words that are thrown around. It’s going to be the old eternal verities of structural integrity. So much of it is narrative and figuring out the tricks—and they are tricks, really—that make it go as a narrative. And that’s really the most interesting thing. Because you never ultimately have a formula that goes from piece to piece; it’s always going to have to be rediscovered every time you work on a long piece. And that’s kind of fun.” Thanks to MailChimp and MasterClass for sponsoring this week's episode. Show Notes: @jmseabrook Seabrook on Longform Seabrook's New Yorker archive [3:00] The Song Machine: Inside the Hit Factory (W. W. Norton • 2015) [11:00] "The Doctor Is In" (New Yorker • Oct 2013) [20:00] "Blank Space: What Kind of Genius is Max Martin?" (New Yorker • Sept 2015) [31:00] "E-mail from Bill" (New Yorker • Jan 1994) [45:00] Nobrow: The Culture of Marketing, The Marketing of Culture (Vintage • 2001) [46:00] "Crush Point" (New Yorker • Feb 2011) [46:00] "The Flash of Genius" (New Yorker • Jan 1993) [55:00] "Factory Girls" (New Yorker • Oct 2012) [56:00] "The Song Machine" (New Yorker • Mar 2012)

Validation d’une nouvelle étape dans la stratégie de conquête du monde par Stromae, qui a fait salle comble au Madison Square Garden à New York. Il rejoint ainsi le club très fermé des stars francophones certifiées conformes à l’export, qui fait ici l’objet d’un examen détaillé par nos invités. Animé par Mehdi Maizi avec Jean-Baptiste Vieille (Abcdr du Son) et Nicolas Pellion (Tsugi / Rinse France). Invité : Étienne Menu (Audimat).ARTISTES CITÉS DANS L’ÉMISSION :Cheese (Stromae, 2010), Kerry James, Urban Peace Festival, Racine Carrée (Stromae, 2013), Jacques Brel, Helmut Fritz, Crookers, Calvin Harris, Pharrell Williams, Norman, Ryan Leslie, mosaert, Princesse Anies, Tony Parker, Kid Cudi, Kanye West, Drake, Teki Latex, Oxmo Puccino, Edith Piaf, Janelle Monae, Aznavour, Yves Montand, Maurice Chevalier, Kamini, Gilbere Forte, M.I.A, La Roux, Dizzee Rascal, Lorde, Diplo, Christine and The Queens, Beyonce, Chaleur Humaine (Christine and The Queens, 2013), FKA Twigs, Jean Dujardin, Marion Cotillard, Apple Music, Beats One, Zane Lowe, Kwabs, Fader, Rick Ross, Charles Hamilton, Pitchfork, Ace of Base, Britney Spears, Justin Timberlake, Katy PerryCOUPS DE COEUR DE LA SEMAINE :Jean-Baptiste Vieille : Kwabs, Love + War (2015) https://open.spotify.com/album/5W5oxg0Z2aFfbudPakSHqH Nicolas Pellion : The Fader, le magazine de musique http://www.thefader.com/Étienne Menu : livre de John Seabrook, The Song Machine (2015) http://www.johnseabrook.com/ Mehdi Maizi : livre de Julia Beverly, Sweet Jones: Pimp C's Trill Life Story (2015) http://www.amazon.com/Sweet-Jones-Pimp-Trill-Story/dp/0692461272 RETROUVEZ NOFUN SUR LES INTERNETS :www.facebook.com/NoFunShowtwitter.com/NoFunShow www.dailymotion.com/nogameshowwww.youtube.com/channel/UCOQc7plmG6-MlPq7-CD3T7Awww.mixcloud.com/NoFunShow/www.deezer.com/show/13867www.stitcher.com/podcast/nofun/PLAYLIST DE L'ÉMISSIONhttps://www.youtube.com/playlist?list=PLGt4caHD8Xas2hdvlkuQAuOZIoOzIvJ6Shttps://open.spotify.com/user/nofunpodcast/playlist/6jY7Xl6sjDgC4nwTJibX1YCRÉDITS :Enregistré le 29 septembre 2015 au Tank à Paris (11ème). Moyens techniques : Le Tank. Production : Joël Ronez - Iris Ollivault / TempsMachine.NET. Réalisation : Sébastien Salis. Générique : extrait de "Tyra Banks" de Nodey (Atrahasis EP) réalisé par Nodey. Image : extrait de "Stromae Takes America - "Papaoutai" in New York City" (Pitchfork) See acast.com/privacy for privacy and opt-out information.

Show notes: http://bit.ly/1PjaVyU Two-Week Catch-Up: Darrell embarks upon a spectacular staycation, watches all seven Fast + Frustrating films, & "plays Diablo III until my fingers hurt" Darrell enjoys the "reconstructive cars" in 2 Fast 2 Furious, Jermaine's bedazzled by the "Dodge Chargers + Safes" in Fast Five, & Robert loves the "infinite runways" of FF6 + "glorious parachuting cars" in Furious 7 Robert tries Japanese acupuncture & donates his childhood to the local library Jermaine visits Wisconsin's Cheese Castle, tries the "triple-bypass burger" in Pittsburgh, plays more Diablo III, & gives Mario Maker a whirl Nerdy News: Robert thinks Microsoft's new "Surface Book" looks mighty impressive Darrell wants to believe with the X-Files series revival Jermaine keeps the American Dream alive & reminds us capitalism's alive + well Robert wonders, "Why can't America be more like Germany wrt vocational trades?" Darrell adds, "Don't forget VW!" Trailer Talk: Jessica Jones (Netflix original series) Darrell: "Superheroes, Hell's Kitchen, private investigator-- all things I like! Three stars." Robert: "Mr. Hastings, I hope this show does bonkers money & inspires Netflix to embark upon more Showtime/Cinemax-esque programming! Widen that demographic & take our money! 4.5 stars." Jermaine: "WHAT is happening to this world? We're AGREEING ON EVERYTHING. Four stars." Review of Blindspot pilot: Darrell: "I'm in!" Robert: "Man. Everyone's favorite American. . . . is actually Australian! Anyway. Isn't this just Prison Break meets Bourne Identity? Unimpressed. Three stars. (As I said weeks ago! Consistent as a rock.)" "Also: Damien Scott scores 23 million compared to Stonebridge's 4 million. Ugh. Wished those numbers were reversed!" Jermaine: "I don't know what I should do! I feel like I should disagree with you! But I don't! It's a 'solid meh.' Perfectly average." Review of The Player pilot: Robert: "It's Montana's favorite cultural export! Philip Winchester! Yes!" Jermaine: "Based on the pilot, most terrible show ever. . . . but after episode two? I'M IN! But oh man, the pilot. . . . SO overstuffed!" Darrell: "I like how the audience is right there with the character for the ride. So great." Recommendations: Robert worships The Song Machine in John Seabrook's insider tour of the Swedish pop-hit factory Jermaine can't get enough of Episodes-- the story of what happens in translation when a British television hit crosses the pond & arrives stateside. . . . Darrell recommends Netflix's Longmire-- a cowboy from Wyoming living in this modern era

For this week's Please Explain, the veil is lifted on hit-making! New Yorker staff writer John Seabrook spills the secrets of how to produce industrial-strength hits in his new book, The Song Machine: Inside the Hit Factory. The story of modern pop music today starts with Denniz PoP, a Swedish DJ who produced the band Ace of Base, and was responsible for their smash hit "The Sign." Remember that one? This was an age of dance music, of big soaring choruses, and Denniz PoP knew exactly how to tailor music for the clubs. Swedish musicians were able to combine R&B and Europop because they didn't have to contend with the racial legacy of R&B, says Seabrook. Even the fact that English was not their native language was an asset to these Swedish songwriters. They wrote songs based on the sounds of syllables, not the meaning of words. Gone were the songs with heavy metaphors, double entendre, and symbolism.  The Swedes industrialized a form of song-making that started with Hip-Hop, says Seabrook, the track-and-hook approach. Despite the fact that hit machines don't last long, Denniz PoP's disciples continued to churn out hits. Max Martin is responsible for many Backstreet Boys hits, and Britney Spears' infamous "Baby One More Time" (though the song was originally pitched to and rejected by TLC).  But as the backlash against pure-pop music emerged and Napster ate into CD sales, many of these hitmakers began to lose work. Until a little show came along called American Idol. Kelly Clarkson worked with Max Martin and his protege, Dr. Luke, on her first smash hit.   When Clarkson broke away from Martin and Dr. Luke and released an album of original music, it tanked. Max Martin, Dr. Luke, and their music machine continue to churn out hits.  EVENT: On Monday, October 5th, John Seabrook will be at Greenlight Bookstore, 686 Fulton Street, Brooklyn, NY 11217 at 7:30 P.M. 

Linda Portnoff from Musiksverige, asks about what makes Sweden so successful when it comes to music? What is the international view on the Swedish music phenomenon? The panel includes Fred Bronson, Billboard journalist and author, John Seabrook, author and writer for The New Yorker and Phil Manzanera, guitarist, producer and member of Roxy Music. See acast.com/privacy for privacy and opt-out information.