Podcast appearances and mentions of Jon Caramanica

As 2024 comes to a close, critics, reporters and editors at The New York Times are reflecting on the year in arts and culture, including music.Today, The Times's pop music critics Jon Pareles, Lindsay Zoladz and Jon Caramanica talk with Melissa Kirsch, the deputy editor of Culture and Lifestyle, about a new generation of women in pop, how the rapper Kendrick Lamar beat Drake in their feud, and why so many pop stars went country.Guest: Melissa Kirsch, the deputy editor of Culture and Lifestyle for The New York Times.Jon Pareles, the chief pop music critic for The New York Times.Jon Caramanica, a pop music critic and host of the “Popcast” podcast for The New York Times.Lindsay Zoladz, a pop music critic and writer of The Amplifier newsletter for The New York Times.Background reading: Best Albums of 2024Best Songs of 2024For more information on today's episode, visit nytimes.com/thedaily. Transcripts of each episode will be made available by the next workday. Unlock full access to New York Times podcasts and explore everything from politics to pop culture. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify.

Sean is joined by Chris Ryan to break down ‘Saturday Night,' Jason Reitman's quasi-historical exploration of the beginnings of 'Saturday Night Live' (10:00). They discuss the disbelief that needs to be suspended, as well as the more or less knockout cast, before launching into their top five “backstage” movies and discussion of why it's so interesting to pull back the curtain in cinema (44:00). Then, Sean is joined by New York Times pop critic and ‘Popcast' host Jon Caramanica to review ‘Piece by Piece,' the Pharrell Williams biopic told through Lego animation (1:07:00). They discuss the format, the content, the interviews, and how effectively it does or doesn't capture the totemic career of Williams and his lasting impact on pop music. Host: Sean Fennessey Guests: Chris Ryan and Jon Caramanica Senior Producer: Bobby Wagner Video Producer: Jack Sanders Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this episode, we investigate the cultural landscape of the 1990s with the help of a most legendary guest: NYT pop music critic and Popcast host Jon Caramanica. We discuss slackerism and authenticity discourse, the rise of alternative and independent media, the intricacies of subcultural style, the twin flames of rock and hip-hop, the surprising parallels between Gen X and Gen Z, white rappers, child rappers, Tommy Hilfiger grails, and much more.Links:Listen to PopcastJon on InstagramLady Gaga on the Doritos #BoldStage at SXSW, 2014How SoundScan Changed Music Charts – BillboardPop Music's Middle Class by Shaad D'Souza – New York TimesIce Spice vs. Cleopatra Drama Explained – Rolling Stone  This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.nymphetalumni.com/subscribe

In this episode, we investigate the cultural landscape of the 1990s with the help of a most legendary guest: NYT pop music critic and Popcast host Jon Caramanica. We discuss slackerism and authenticity discourse, the rise of alternative and independent media, the intricacies of subcultural style, the twin flames of rock and hip-hop, the surprising parallels between Gen X and Gen Z, white rappers, child rappers, Tommy Hilfiger grails, and much more. Links: Listen to PopcastJon on InstagramLady Gaga on the Doritos #BoldStage at SXSW, 2014How SoundScan Changed Music Charts – BillboardPop Music's Middle Class by Shaad D'Souza – New York TimesIce Spice vs. Cleopatra Drama Explained – Rolling Stone 

Watch on:Youtube: http://tinyurl.com/putf-youtubeMeriem Bennani (b. 1988 in Rabat, Morocco) lives and works in Brooklyn, New York. Juxtaposing and mixing the language of reality TV, documentaries, phone footage, animation, and high production aesthetics, she explores the potential of storytelling while amplifying reality through a strategy of magical realism and humour. She has been developing a shape-shifting practice of films, sculptures and immersive installations, composed with a subtle agility to question our contemporary society and its fractured identities, gender issues and ubiquitous dominance of digital technologies. Bennani's work has been shown at the Whitney Biennale, MoMA PS1, Art Dubai, The Vuitton Foundation in Paris, Public Art Fund, CLEARING and The Kitchen in New York. Her animated series, 2 Lizards, a collaboration with director Orian Barki, premiered on Instagram during Spring 2020 and was described by The New York Times as “hypnotic…deploying a blend of documentary structure and animation surrealism…both poignantly grounded in actual events and also soothingly fantastical” and its animated protagonists “art stars.” (Jon Caramanica, April 2020) https://www.instagram.com/meriembennani/http://meriembennani.comMeriem Bennani - Life on the CAPS (book): https://store.renaissancesociety.org/products/meriem-bennai-life-on-the-capsWe also requested Meriem to share with us some of her favorite things.Catch them all in our newsletter: https://putf.substack.com/The PUTF show is an interview series, dedicated to showcasing inspiring creatives from the PUTF community and beyond. Guests are invited to share their unique career journeys, stories, and visions.The PUTF show is produced by WAVDWGS, a video production company based in NYC.https://wavdwgs.com/Pick Up The Flow, is an online resource based in NYC striving to democratize access to opportunities. Opportunities are shared daily on this page and website, and weekly via our newsletter.Listen to this episode on audio platforms:Spotify: https://tinyurl.com/spotify-putfApple: https://tinyurl.com/putf-applepodcast Hosted on Acast. See acast.com/privacy for more information.

AI is causing chaos and confusion in pop music. Drake and Kendrick Lamar are feuding through diss tracks, but people can't seem to tell if these songs are real or artificially generated. Taylor Lorenz brings in New York Times pop music critic Jon Caramanica to get to the bottom of it all. Plus, how Chappell Roan broke through the algorithm and Taylor Swift's return to TikTok. Later, Taylor Lorenz weighs in on an upcoming AI-generated beauty pageant, Elon's plan to rid X of bots by forcing new users to pay, an open letter from TikTok creators to President Biden, and Marques Brownlee's scathing review of the Humane AI Pin. Full video of this episode will be available on Taylor's YouTube channel. Learn more about your ad choices. Visit podcastchoices.com/adchoices

AI is causing chaos and confusion in pop music. Drake and Kendrick Lamar are feuding through diss tracks, but people can't seem to tell if these songs are real or artificially generated. Taylor Lorenz brings in New York Times pop music critic Jon Caramanica to get to the bottom of it all. Plus, how Chappell Roan broke through the algorithm and Taylor Swift's return to TikTok. Later, Taylor Lorenz weighs in on an upcoming AI-generated beauty pageant, Elon's plan to rid X of bots by forcing new users to pay, an open letter from TikTok creators to President Biden, and Marques Brownlee's scathing review of the Humane AI Pin. Full video of this episode will be available on Taylor's YouTube channel. Learn more about your ad choices. Visit podcastchoices.com/adchoices

On our new weekly lightning round mini ep with with Jon Caramanica, we're fucking around with never seeing live music again, fruits and veggies, dressing like Bloody Osiris, waking up at 7am, airplane headphones, Larry's hairline, Jesus is King, Laffy Taffy, Amiri jeans, Papoose style fitteds, Drake's IG caption prose, firing Joe Coscarelli, Kanye West, shrinking a foot and much more. For more Throwing Fits, check us out on Patreon: www.patreon.com/throwingfits.

This week's interview with Jon Caramanica is a marathon we're sprinting all the way through. Jon, our old pal and The New York Times pop music critic, finally made his highly-anticipated TF debut to go deep on sober drink champs, voice activated plausible deniability, Virgil LV grails, vamp hours, screen time, new music discovery on TikTok, vintage shopping across this great nation, big soda talk, misunderstanding the critical mind, what's up with his Kanye book and some recent necessary rethinking and pivoting, Ye drip check 2K23, an off the cuff and unprepared peek into his best music of the year, getting vertigo in the Las Vegas Sphere, where music is headed next year, how Popcast Deluxe is going, numbies going dumbski at Fanelli, advice from Throwing Fits Creative Agency LLC, snack recon, the best and worst things about podding with his bestie and friend of the show Joe Coscarelli, when will the Critical Shopper return plus some shopping memories, is NYC retail so back, spending 2 years imbedded in the ALD trenches, menswear thought leaders, ethics preventing becoming boys with your subjects and even just getting a free meal, his new One Step Ahead column and its inaugural subject Been Slackin, personal style going deeper not wider, an impromptu rundown of his shopping list, how hoarding and taking risks changes with age, the jawnz he'll never part with Throwing Fits Friends & Family Bazaar be damned, 100 T-shirt rotations, his wild ‘90s grooming or lack thereof phase, an extremely sincere conversation on dating and making friends as an adult, why he's not abusing his privilege of commenting on Drake's IG, making less money than us and much more on this instant classic episode of The Only Podcast That Matters™. For more Throwing Fits, check us out on Patreon: www.patreon.com/throwingfits.

A cosa serve la critica musicale? Ne parlano Jon Caramanica e Jaime Brooks su Popcast, e anche Ted Gioia nella sua newsletter. Tre dischi usciti questo venerdì: Helena Deland, L'Rain e Jamila Woods. I singoli della settimana sono quelli di Marika Hackman, The Libertines e Colapesce e Dimartino. Nuovo EP per le Boygenius, tornano gli American Analog Set e in Italia Calcutta e Subsonica. La notizia #cosacaz della settimana, un brevetto di Spotify e il concerto di Caroline Polachek per NPR Tiny Desk. --- Send in a voice message: https://podcasters.spotify.com/pod/show/friday-podcast/message

Chris Ryan, Rob Harvilla, and Jon Caramanica join Yasi in the Thunderdome to pick their favorite songs and moments from the year that started the 90's: the last year of the 80's.  Can someone's own take also be their draft pick? And who ultimately emerged as the winner of the draft? Listen and decide for yourself, this week on Bandsplain.  You can follow Chris on Twitter @ChrisRyan77 You can follow Rob on Twitter @Harvilla You can follow Jon on Twitter @joncaramanica Listen to songs we detail in the episode here: https://open.spotify.com/playlist/0ho2aPo1GkGNl6dp9T8q4a?si=090c9d89921e4dfc&pt=9db3eff25f7e02d0d079b3de4cb4f7aa Host: Yasi Salek Guests: Chris Ryan, Rob Harvilla, and Jon Caramanica Producer: Jesse Miller-Gordon Audio Editor: Adrian Bridges Additional Production Supervision: Justin Sayles Theme Song: Bethany Cosentino Learn more about your ad choices. Visit podcastchoices.com/adchoices

Breaking breakup news!!! The #toe split — let's get into it.  Sidebars this week: Emily Henry, Lesley Gore, the Kravitz family, a new music video being filmed in Liverpool (??), the Barbie movie, Taylor as Christ, this TikTok, the locked Gaylor subreddit, Taylor's selective public allyship and (infuriating, disappointing) silence on anti-trans legislation, Tree and the publicist machine, boygenius, this outfit, Taylor's wardrobe, Jon Caramanica, and the Eras Tour setlist.

Episode 36 is with journalist and pop music critic, for the New York Times, Jon Caramanica. Long time interview extraordinaire, for publications such as XXL and Vibe, Jon offers insight into interviews he's conducted over the years. From the likes of Pimp C to Taylor Swift, we talk about what it takes to give a good interview and many of the aspects that come along with it. Jon pivoted from a degree at Harvard with teaching aspirations, writing hip-hop articles on the side, to strong-arming his way into a nationally syndicated publication. We also chat about his years actively working on a book about Ye, journalistic integrity, how hip-hop journalism has changed, and more.I literally only needed to make 3 cuts in this whole recording...natural talkers over here XDEnjoy 

Reading Rick Rubin's production discography is like taking a tour through the commanding heights of American music over the past few decades. Jay-Z. Run-DMC. Beastie Boys. Slayer. The Red Hot Chili Peppers. Johnny Cash. Kanye West. Neil Diamond. Brandi Carlile. Eminem. Adele. And it's not just his production credits: Rubin co-founded Def Jam Recordings and was a co-chairman of Columbia Records. What's allowed him to work with so many different kinds of artists, across such a stunning range of genres, so successfully?In his new book, “The Creative Act: A Way of Being,” Rubin turns his philosophy of creativity into a manual for living. It is not, to be honest, the book I was expecting. It is less about music than mind states: awareness, openness, discernment, attunement to nature, nonjudgmental listening, trust in your own taste. It is at once mystical and practical, alive to the tensions of creation but intent on holding them gently. I found it unexpectedly moving.We discuss how Rubin listens to new music, the importance of staying open to the natural world, the difficulty of appreciating art that's different from what you already like, the rituals that artists like Carlos Santana have when recording, why minimalist composers like Steve Reich are just as “extreme” as heavy metal bands, how Rubin helped Johnny Cash strip down his sound and revive his career, what it takes to level up your taste, the difficulty and gifts of awareness, the relationship between speed and art, how streaming culture is changing our taste, the kind of music that makes Rubin stop and pay attention and oh so much more. This one's a delight.Mentioned:The Tao Te-Ching by Lao Tzu, translated by Stephen MitchellAmerican Recordings by Johnny Cash"Pulses" by Steve Reich and Erik HallMusic for Wobbling. Music Versus Gravity. by F.S. Blumm and Nils FrahmAlbum Recommendations:Forever Changes by LoveThe Beatles by The BeatlesRamones by RamonesThoughts? Guest suggestions? Email us at ezrakleinshow@nytimes.com.You can find transcripts (posted midday) and more episodes of “The Ezra Klein Show” at nytimes.com/ezra-klein-podcast, and you can find Ezra on Twitter @ezraklein. Book recommendations from all our guests are listed at https://www.nytimes.com/article/ezra-klein-show-book-recs.“The Ezra Klein Show” is produced by Emefa Agawu, Annie Galvin, Jeff Geld, Rogé Karma and Kristin Lin. Fact-checking by Michelle Harris. Mixing by Sonia Herrero. Original music by Isaac Jones. Audience strategy by Shannon Busta. The executive producer of New York Times Opinion Audio is Annie-Rose Strasser. Special thanks to Jon Caramanica, Dan Charnas, Jack Hamilton, Felix Grimm, Carole Sabouraud and Kristina Samulewski.

The dominance of Atlanta's hip-hop scene has been discussed often, but not in the way Joe Coscarelli covered it in his new book, Rap Capital. Joe, a New York Times music reporter since 2015, spent four years and interviewed over 100 sources to get the contemporary story about Atlanta's culture-defining music scene.Characters are what move the story forward in Joe's book, not discography, record sales, or cultural relevance. Lil Baby is featured prominently, as is his mom. Joe's relationship with the hit rapper dates back to 2017 when Lil Baby was still a mixtape artist. Another recurring character is Quality Control Music's Kevin “Coach K” Lee, who has deep-rooted ties with the city's most well-known artists across eras.Joe came onto the show to take us through the book's journey — both for him to write it and the characters themselves. Here's what we covered:[2:40] How the book came together and finally clicked[6:42] Role of Quality Control's Coach K in Atlanta story[10:11] Lasting effects of pandemic on music industry[12:38] Which era of Atlanta hip-hop to focus on? [14:09] How streaming helped launch Atlanta rap into the mainstream[16:10] Building trust with his sources despite racial differences[18:10] Did Joe receive any pushback while reporting?[20:19] Evolution key to Atlanta rap's longevity [25:05] Adapting Rap Capital into a movie[29:45] The crumbling of mainstream culture Listen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Joe Coscarelli, @joecoscarelli  Sponsors: MoonPay is the leader in web3 infrastructure. They have partnered with Timbaland, Snoop Dogg, and many more. To learn more, visit moonpay.com/trapital Enjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapital Trapital is home for the business of hip-hop. Gain the latest insights from hip-hop's biggest players by reading Trapital's free weekly memo. TRANSCRIPTION[00:00:00] Joe Coscarelli:  I wanted to tell the story through characters, through people, not just, you know, you can run down the discography of all the amazing Atlanta musicians, right? You can go through the label history, read the reviews. But I always want to sort of pull back like, who's behind these people? Who's behind that person? So that's why I think, you know, mothers were huge, fathers, you know, friends, people who are around these artists growing up, I wanted them to be human characters, and I wanted the side characters to be as big of a part as the famous people 'cause I think they're as crucial to the equation. [00:00:30] Dan Runcie: Hey, welcome to the Trapital podcast. I'm your host and the founder of Trapital, Dan Runcie. This podcast is your place to gain insights from executives in music, media, entertainment, and more, who are taking hip hop culture to the next level.  [00:00:58] Dan Runcie: Today's guest is Joe Coscarelli. He's the author of Rap Capital: An Atlanta Story, and he's a culture reporter at The New York Times. And this book that he wrote, Rap Capital, I cannot recommend it enough. If you listen to this podcast, if you read the newsletter, if you watch any of the clips from our conversations or any of the posts on social media, this book is made for you. It's a street-level epic about the most consequential music culture today, Atlanta Rap. Joe put so much thought and care into how the book came together and tying everything from the Atlanta murders that happened decades ago and how that shaped the rap culture and the broader culture for black folks in Atlanta that we see today, and how that led to someone like Lil Baby, how that led to someone like Coach K having such an influence over hip hop music and the culture for decades now. This book was a great opportunity as well to have a trip down memory lane. A lot of us understand how influential Atlanta's been, but it was great to have it be told from a unique way. We also talked about broader trends happening in the streaming era right now in music, what a movie or film or TV show adaptation could look like for Rap Capital, and more. Here's our conversation. Hope you enjoy it. All right. Today we had Joe Coscarelli, the author of Rap Capital: An Atlanta story and read the book, really enjoyed it, and I got to ask because I was going through the synopsis and you said this was four years in the making, and I got to imagine with a book like this, there was some point when things started to click in that four-year process. When did you feel like things were coming together for you? [00:02:40] Joe Coscarelli: So I knew that there was a book in this stuff because I had done a handful of stories through my day job at The New York Times about Atlanta. I started this beat in late 2014. So., You know, my first couple years on the job, streaming was really taking over and specifically rap music and streaming. So I just found myself over and over again talking to the same group of people, right? I did a Migos Story, did a QC story that featured Lil Baby, one of his first interviews. I wrote about Drew Findling who's a lawyer in the book that's all over the news these days in various capacities. So I knew from those stories that there was something here. But I didn't know what it was going to be. I knew I wanted to not just tell a history, but follow characters in real-time as they tried to make it. That's something I always want to do in my work. You know, so my favorite art ever is like Hoop Dreams or a music documentary like Dig!, which follows two bands across a long period of time. One of them makes it, one of them doesn't make it. That's always what I want to bring to my reporting is this idea of a journey, right? And it doesn't even matter what the destination is, but following, specifically artists and musicians as they're trying to make something out of their lives, that to me, is just a timeless tale, right, of ambition and dreams, and so I knew I had a handful of characters that I wanted to go on this trip with, but I didn't really know how it tied into the broader story of Atlanta until a real marathon brunch interview with Lil Baby's mother, Lashawn. He was, you know, he and I had a rapport at that point. I'd interviewed him a few times. I did talk to a lot of people around him, and he was kind enough to set me up directly with his mom. And, you know, we sat down at a brunch place outside of Atlanta. And, you know, she said, I asked him, I asked Dominique, her son, we're like, what do I tell him? And he told her tell him everything. And she really did, her whole life story became part of the book, especially the foundation of the book, in the first part. And she had such an incredible life on her own. You know, I hope she writes a memoir someday. But when I learned really that she had been friends in school with an early victim of the Atlanta child murders, which were happening on the west side of Atlanta in the late seventies, early eighties, that she had a firsthand relationship to that historical event that I feel like really left its mark on the city. And she was open. She said it sort of affected the kind of mother that she became, and I think ultimately helped set Dominique, Lil Baby, on his path. And all of that could be traced to, like, something she went through as a kid that also spoke more broadly to Atlanta and the way it has developed socially, politically, culturally, especially Black Atlanta over the last 40, 50 years. So that was a real breakthrough moment for me, and I knew that I could start with her story, which in many ways was also the story of Atlanta in the last, you know, half a century. [00:05:30] Dan Runcie: And in reading that first piece, too, I could see how much care and thought was put into it from your perspective of going through what happened with those murders and then how that traces directly to someone like Lil Baby because it's hard to tell the story of Atlanta hip hop without doing all of that. And that's something that I think is often missing with so much of the discussion about Atlanta's run, which is why I feel like your book does stand as its own and is able to have a unique voice and perspective on this.[00:05:58] Joe Coscarelli: I appreciate that. Yeah, I wanted to tell the story through characters, right, through people, not just, you know, you can run down the discography of all the amazing Atlanta musicians, right? You can go through the label history, read the reviews. But I always want to sort of pull back like, who's behind these people? Who's behind that person, you know? So that's why I think, you know, mothers were huge, fathers, you know, friends, people who are around these artists growing up, I wanted them to be human characters, and I wanted the side characters to be as big of a part as the famous people 'cause I think they're as crucial to the equation. [00:06:31] Dan Runcie: And of course, Lil Baby is one of the central characters. Another one is Coach K, who's one of the folks leading up Quality Control Music. Why was it important for him to be a central character in this too? [00:06:42] Joe Coscarelli: So Coach K is amazing because you can tell basically the last 30 years of rap music only through his career, right? When I said I wanted to be able to trace characters back through the years to artists and eras, like, Coach has seen it all, right? This is a man who was passing out Church fans to promote Pastor Troy and the congregation in the mid-nineties. Then he goes from that to representing all these producers who were, you know, crucial to founding the trap sound, someone like Drama Boy. And then he's working with Young Jeezy, right, as the Snowman mythology takes over and, you know, Def Jam South and the explosion of trap music on a national scale. Coach is behind that, right? You know, there's a moment I talk about in the book where they put the commercial on the radio right, in Atlanta, when the Jeezy's mixtapes, Trap or Die are coming out, right, and it's All Traps Closed today, like National Holiday, you know, like these are the things that Coach was cooking up behind the scenes. Then he works with Gucci Mane, right, who was blood rivals with Jeezy. And then that brings you up to the present day, and in 2013, he and P, his partner Pierre Thomas, they founded Quality Control, and then they have Migos, right, and then they have a Lil Yachty, and then they have Lil Baby. And through Coach K, you could talk about every single one of those careers and so many more that he was on the periphery of, even if he wasn't the main executive or manager involved. So I just think, you know, there's nobody more crucial to that ecosystem at this moment and through the last couple of decades than Kevin Lee, Coach K. [00:08:14] Dan Runcie: Yeah, and I think one of the things that stands out about their run, too, is that it wasn't just one artist and they faded and rose with that artist. And I think that's what we've seen a lot in the streaming era, frankly, from a lot of the record labels that have rose up. They had the runs, and even when one star started to fade from a group that was the hottest group in the moment, they had others that came through, and you're seeing that infrastructure. I feel like that's one thing that sets them apart from a lot of the others at this moment. [00:08:42] Joe Coscarelli: Totally. For them, it's all about artist development, right? Like, I remember being around them in the office, you know, in late 2017 and they were talking about whether they should have gone after Bhad Bhabie, you know, the Cash Me Outside girl. And like they would see little things pop up and think like, oh, should we get in on that viral moment? And then they would be like, No, that's not what we do. We build artists, we build careers, we build brands. And something that's so special about Quality Control and why they were able to, you know, be the backbone of this book is because they are invested in that sort of old school Motown-esque record business thing of I'm going to pluck someone who might not even think they're a musician, and we're going to believe in them, and we're going to back them, and we're going to build it from the ground up, right, and we're going to build it Atlanta first. Whereas so much in the viral marketing, streaming world of today is going top-down, right? It's a TikTok hit, then it's a major label deal, and this person's probably never even played a show before. They're still very invested in the grassroots bottom-up approach, and I think that's worked for them so many times now that the playbook is, you know, you can't deny it.[00:09:48] Dan Runcie: Yeah, and I think that also that goes with something that I've seen you talk about even outside of the book as well, just some of the challenges that a lot of the artists and labels have right now in terms of now that the pandemic has, at least in this stage that we're in right now, there's still some lasting effects in terms of how that's shaping the charts, how that's shaping how music's released. What have you been seeing there from that perspective? [00:10:11] Joe Coscarelli: I mean, you know, a lot of people have been writing this year, yourself included, about the sort of stagnancy of the charts, how, you know, there aren't a lot of new breakout hits, especially in rap music, which had been so dominant for the last decade, essentially, as things started to move online and towards streaming. And I think you're right that a lot of that is pandemic hangover, right? Like, people were not outside like they used to be. Artists were not sort of feeling that energy, that creative energy. They were creating often, like, in a little bubble. I'm sure you get projects like a Beyoncé's RENAISSANCE that comes out of that pandemic moment and maybe speaks to some people's hopes and dreams for what the next few years will be, a little freer. But you don't have any chance for that sort of grassroots development, right? So we saw a lot of things come off of TikTok, but as I was getting at, like, those people, they haven't had the opportunity to touch their fans, right, to speak to the sort of ground swell of support. So you get a lot of things that feel fleeting and then you have something massive, right? Bad Bunny or like Morgan Wallen that's just like lodged up there at the top of the charts 'cause I think those guys had a fully formed thing going into the pandemic and were able to ride it through. You know, when you think about a lot of rap, especially regionally, that's bubbling now, there's a lot of drill, right? Like, you think of the stuff coming out of Brooklyn and the Bronx and that sound traveling all over the country. And I think, you know, since Pop Smoke, we haven't really had a sort of mainstream emissary for that sound. And it is such a local, such a hyper-local, such an underground phenomenon that you haven't really had someone translate it for the mainstream, you know, maybe that's going to be Ice Spice, maybe that's going to be Fivio Foreign, and like, you know, maybe it's going to be someone younger. But I think we're still waiting, right, for what that next wave, especially in rap, is going to be. You see the sort of sun may be setting on the trap era that's described in the book in the rise of drill as the default of what a rap song sounds like, but again, that hasn't really crossed over quite yet. [00:12:11] Dan Runcie: Yeah, it's been fascinating just to see how the streaming era has shaped things, specifically with how much you focused on it in the book. And with a topic like Atlanta hip hop, there are likely so many sectors that you could have dove in on, and of course, Lil Baby being a central figure did lend itself to the streaming era. But how did you decide which era to focus on? Because there's so many time spans that you probably could have done and equally deep dive on.[00:12:38] Joe Coscarelli: I always knew I wanted to tell a contemporary story, right? Like, I'm more of a reporter than I am a historian. So I'm not a musicologist, I'm not a music critic. You know, I've never really written criticism in terms of album reviews or show reviews, things like that. So I knew I wanted to be able to witness as much as I could firsthand and write about that because that's what I love to do in my work, getting back to this idea of, you know, being a fly on the wall for someone's journey, for someone's rise, for someone's fall even. So it was always going to be contemporary, right? And I feel like you have to tell a little bit of the history, right? You have to talk about Freaknik, you have to talk about OutKast, and the Dungeon Family, and LaFace Records, and So So Def to be able to get to this moment. But I think for me, like, I'm not someone who writes about music nostalgically. Sure, I love the stuff I grew up on, but I'd rather look forwards than backwards. And I think, character-wise, I just want to stay with the cutting edge, right? I want to see what's next. I want to see who's changing things, who's, you know, who's moving things forward. And that's just what I seek out in my life and in my job. So I think it was always going to be as contemporary as possible. [00:13:46] Dan Runcie: Yeah, that makes sense. I think that streaming also allowed us to see more growth from the areas that I think, in a lot of ways, were a bit held back from gatekeepers controlling everything. And I think Atlanta's a perfect example of that, even though they had the massive rise, you know, nineties, early 2000s, it went to another level this past decade. [00:14:09] Joe Coscarelli: Yeah. And I think you know that sort of in-between time, right, when you think about post-Napster and file sharing, post-CD crash in the early 2000s. But pre-streaming, like, a lot of what became the go-to playbook for streaming was happening in the underground mixtape scene, especially in Atlanta and in the South. And you think of things like DatPiff or you know, sites like that where free mix tapes were coming out and it was all about quantity, right, in a way that really set these artists for the streaming era, right? You think of Lil Wayne's mixtape run, Gucci's mixtape run, and then Future's mixtape run. It was just about music, music, music, music. And so Migos sort of got in at the tail end of that and they released, you know, whatever it is, 5, 7, 10 mixtapes before they put out a proper debut album. And then when they finally hit with something like Culture, their second proper full length, the world had finally caught up to them and the rest of the Atlanta artists. And yet there's this whole group in between that gets left behind, right? Like, I'd love to read a book about Travis Porter and Rich Kidz and you know, these Atlanta rappers who are really, like, laying the groundwork for a lot of this, even like Rocko or you know, early career Future. Like these guys, I think if they would've come out once Spotify was as big as it is now, they would've been huge national and international stars. And instead, they sort of get caught in this in-between zone. So, you know, I think, I love to see when art lines up with the technology of the moment, and I think these Atlanta rappers were in the perfect place at the perfect time to take advantage of that explosion. [00:15:39] Dan Runcie: Yeah, I agree. And then even reading it too, and thinking about this conversation we're having, so much of you framing this as you're a reporter, you're capturing what's happening contemporary, and given the insights and the things that people are sharing with you, the amount of trust that you were needed to develop with them, and we talked a lot about the aspect of race and how that plays in. How did you navigate that yourself as a white man and trying to tell this black story and making sure that you're capturing it in the best way possible? [00:16:10] Joe Coscarelli: Yeah. You know, obviously, I thought about this a lot in the reporting, in the conception of the book, and certainly in the writing and the editing. I think the job of any journalist, right, is to be like a respectful, humble, open-minded guest in other people's worlds, right, and to be well aware of what you know and what you don't know. Like, that goes for when I'm interviewing a female artist, a trans songwriter, reggaeton star. I think, like, to navigate spaces where you're not an insider, like, it's best to come prepared and engaged and curious. Like, I did my research, I knew what I was talking about to the extent that I could, but I also was eager to, like, defer to people who are the experts, right? I made sure that everyone from artists to managers, family members, like, they knew that I wanted to take whatever platform I had with the book and with my work at The New York Times, and sort of take their work seriously to shine a light on it, and recognize it as important as it is, right, this cultural product that has this immense influence and impact. So I wanted to really preserve these moments to the best of my ability for the history books. And I think that my subjects got that right away. You know, I don't think it took a lot of time for them to spend with me to see that I was really dedicated in that mission, that I was going to be respectful of their time and space, interested in the work that they were doing and the lives they were living. And then, like, your credibility travels, right? One person can vouch for you with another, you know, with a collaborator, with a family member. And I just wanted to just defer to them and their experiences. And I think I took that with me in the writing of the book. You know, of course, there's analysis, there's observation, but I really wanted people to speak for themselves. The book is very quote-heavy. I really wanted to capture people as they are, do an accurate portrayal of what it is they've been through. Hopefully, I think the quality speaks for itself. But I wanted to, you know, give these people whatever, spotlight, whatever platform I can offer. And then tell the truest version of how they relate it to me. [00:18:03] Dan Runcie: Yeah, I think that's the best and the most fair way to do it. Along the way though, did you receive any pushback or any type of challenge as you were doing this?[00:18:10] Joe Coscarelli: There's very little. I think I'm fortunate enough to, you know, have an institution like The New York Times behind me. I think, you know, people take that name seriously. It opens a lot of doors, whether or not I was a good reporter. And I think when you can open the door and then when you show up, and you're thorough, and you're accurate, you know, I'd written a lot about these people before the book, I think that the trust just grows and grows. And I was also finding people really at the beginning, right, of their careers in a lot of cases, like Lil Baby, like, you know, he may not be able to spell my last name, but he knows that I was that guy with him listening to his mixtape tracks as they were deciding what was going to be on, you know, his second, his third mixtape. And he's seen me for years along the way, supporting that journey, you know, engaging with the work, like I said. And, you know, meeting people at the beginnings of things, they remember, right, who was there with them and who was supportive and who got it. And I think that that went a long way for me with my subjects. I think the other thing is like, you know, in the music industry, whether it's rap, you know, southern rap, regional street rap, like, there's always a white guy around, you know. I talk about this in the book, whether it's a dj, a producer, a manager, you know, this is a trope, this is a tradition. And I think, you know, sometimes it goes well, sometimes it goes poorly. But I try to always be above board and respectful in my dealings. But I think, you know, when you're riding around in Atlanta, with a rapper and you look like I do, you know, someone's just going to assume that I'm either from the label or I'm from The FADER, you know, something like that.[00:19:41] Dan Runcie: Exactly. Exactly. But no, I think that, given this, as you mentioned, yeah, there's plenty of precedent for people having done this before. And yeah, I think the care that you bring into it with the book is clearly shown. And thinking about that, as you mentioned, just you driving around Atlanta, getting a feel for the vibe of the city and everything else, spending so much time there, how do you feel about the run that Atlanta's currently having and how this will continue? Because I think that like anything, people are always thinking of what is the next thing. How long does this last? We, of course, saw the east and west coast rise and fall. What do you feel, like, the next decade or so it looks like for Atlanta in hip hop? [00:20:19] Joe Coscarelli: I mean, the thing that's been so amazing about Atlanta, the reason it can be the subject of a book like this is because every time you would think it was over, they would just come up with a new thing, right? So like, you know, you think back to OutKast, you think back to So So Def, you know, you have the run of Ludacris, who becomes, you know, this crazy mainstream success story, you have Gucci, and Jeezy, and the rise of trap, and T.I., you know, becomes this huge crossover star. And then you think that that's over. And then you have crunk, and you have Lil Jon, and you think that's over. And then here's comes Waka Flocka Flame coming up from under Gucci, you know. Even someone like Gucci, he's helped birth three, four micro-generations of Atlanta rappers. And, you know, someone like Young Thug comes out and you're like, oh, like, this is too eccentric. This is never going to happen, right? Like, this is only for the real heads, only for people listening underground, and then all of a sudden he's on SNL, right? And he's in Vogue. And just over and over again, you have these guys sort of breakthrough with something that seems like it's too outre. It's too avant-garde. You know, even Migos and their sort of like punk repetition, you know, people heard Bando and said like, oh, this is annoying. Like, this is going nowhere, and then all of a sudden the whole radio sounds like that. So there's a part of me that does feel like, you know, this book is sort of capturing a contained era, right? The first 7, 8, 9, 10 years of streaming and the intensity and the tragedy of the YSL indictment. Like, maybe that's a hard stop to this era. But I think you can never count Atlanta out, right? So like, you might not know exactly what's coming next, but there's always more kids like this, like coming up with something new, taking what came before them, putting like a twist on it, and then all of a sudden it's on the radio, right? So like, even me, like, I see like a real post-Playboy Cardi, you know, sort of experimental streak in a lot of these rappers. I think there's some drill influence coming into Atlanta. And I don't think the next generation has really revealed itself yet, but I'm very confident that based on the infrastructure that's there, based on the amount of talent, the artists who call it home, both from there and not, like, I really think there'll be another wave, and there's just always another wave, in a way that even New York, you know, has struggled to bring the championship belt back that many times, you know? But I think, you know, Atlanta's regeneration has always been sort of its calling card. [00:22:41] Dan Runcie: Yeah, and I think one of the things that stands out about Atlanta too, and this is a bit of a sad way to frame it, but they've been able to withstand the jail time or the charges that happen for a lot of the rappers that are in their prime. Of course, we saw that happened with the West Coast in the nineties, Death Row, and you know, everything with Suge Knight and Tupac. I think we saw that a bit with the East Coast as well. But Atlanta, unfortunately, whether it's T.I., Gucci, like, a lot of them have served time, but the city still has been able to still thrive in hip hop because there was always someone else coming through. And I think even more recently now with Gunna and Thug, dealing with the RICO case and everything, who knows how that'll end up. But I think the difference for them and the city now as opposed to other areas is that even if you know, let's say that they may not be able to make music or this hinders their rise, there are other folks that can continue to have the city continue to rise up in the music around it.[00:23:38] Joe Coscarelli: Yeah, and I think so much of this music, right, the music that's come out of Atlanta in the last 30 years, like, it comes from struggle, right? It comes from necessity. And the things you're describing, whether it's, you know, violence, death, you know, the criminal justice, the weight of the state on these young black men, mostly. And they do tend to be men, especially in this scene, though that's changing too. You know, I think when people feel backed into a corner, like, art can come from that, right? So whether it's YSL directly or it's the people, they influence, the people from their neighborhood who are going to fill that void. I think, you know, the people hear the urgency in this music, right? They hear the, whether it's the joy or the pain, you know, there's a lot of feeling here. And I think, yeah, the tough times, people bounce back out of that. And trap is so much about that in general that I think it'll just continue to happen.[00:24:29] Dan Runcie: Definitely. And in the beginning of this conversation, you talked a little bit about how Hoop Dreams and that type of story was definitely an inspiration, and of course, that was nearly a three-hour long movie, if I remember correctly, the timeframe there. In terms of this book, already reading it, maybe through the first few chapters, I was like, oh, this is going to get turned into some type of TV or series or a movie or something like that. I could already see that happening. Was that in the back of your mind as you were thinking about what this could look like? Obviously, I'm sure you're so focused on the book, but were you, as you're thinking about the inspiration, were you thinking about multimedia adaptations? [00:25:05] Joe Coscarelli: You know, I wasn't as much as I should have been, right? Otherwise, I would've been recording my audio better to turn it into a podcast, to then turn it into a doc series or whatever it is. I'm very much like a print writer, right? Like, I'm a newspaper reporter. I don't even think about images really as much as I think about words. And yet, like, so much of my influence, like, you know, Hoop Dreams was always the sort of the north star of this, but, like, I'm a huge consumer of television and film and stories of all kinds. So I knew I wanted the scope of the story to at least have that potential, right, to feel grand, to feel cinematic, to feel like it was about a time and a place and characters, which I think, you know, is often easier to do in a visual medium. So I had it in mind. But I was really too focused on just getting the words down on the page and getting the material I needed. I hope you're right and that now that this thing exists, right, this big book, like you said, Hoop Dreams is a three-hour movie, and this is like the book equivalent of a three-hour movie. It's almost 400 pages, so it has that sort of epic quality. And I think there is, you know, hopefully, more to mine there, not necessarily in recreating the stories that I've already captured, but in that essence, in that spirit and the way that Atlanta sort of goes in waves and goes in cycles. I hope there's a way to be able to capture that visually as well. [00:26:23] Dan Runcie: If you could handpick any director you would want to lead a project on Rap Capital who'd you pick?[00:26:29] Joe Coscarelli: Oh, man. All time. I mean, that's a tough one. Look, I mean, what Donald Glover and Hiro Murai have done with their Atlanta series, you know, it's much more surreal than this. It's fictionalized, but the parts of it that are based, you know, more on earth and more in the music industry, like, are just captured so well. I think, Hiro, as a director specifically, was able to, you know, all the aerial shots, like the highways, the roads, the woods, like that version of Atlanta is really seared in my mind. And, you know, I know they've done their version, but I think there's more to do. But then there's like the younger generation, right, of video directors and stuff that I'm just waiting to be able to see their worlds on a larger scale, you know, someone like Spike Jordan or someone like Daps who have their hand in, or, you know, Keemotion, like people who have their hand in a lot of the visual representation of this music on YouTube. And I think I would love to see what they would do, right? I would love to see the present-day music video directors' version of Belly, right, in Atlanta. Like, Belly, one of my favorite, you know, top five favorite movies ever, and has that sort of that music video quality to it in a lot of ways, but then blown up for the big screen. Like, I want some of those guys to have a canvas like that to paint on. [00:27:42] Dan Runcie: Yeah, that's a good answer because I think that, especially the Hiro one, because I think that Atlanta, as a TV show, does capture so much of it. And you're right, the episodes that are set in earth and not the surreal, you know, messages. But yeah, the ones that are set in earth do capture a lot of the intricacies about the music industry and I think the reality, which is I think something you do in the book as well. I also think that some of the newer music video directors, too, just given the world that they're capturing, do so much of that well, too, and I think having that is key because, of course, some of the more established names have a picture of Atlanta, but it may be more relevant to that, you know, LaFace era of Atlanta, which, while very impactful, isn't what your book is about.[00:28:27] Joe Coscarelli: Yeah, I think there's a new wave, right, and the people who are responsible for the iconography of this wave. You know, even the crazy run of Young Thug videos, I think the director Be EL Be, is that his name? You know, just super, super surreal sort of dream world stuff. But I want to see what those guys can do with the present day, given the budgets, you know, if they were given a Hollywood-size budget instead of a rap video-size budget.[00:28:53] Dan Runcie: Well, I will definitely be keeping an eye out for that because I feel like it's one of these inevitable things and it'll be fun to watch for sure. [00:28:59] Joe Coscarelli: Fingers crossed. Yeah. [00:29:00] Dan Runcie: Yeah. All right. Well, before we wrap things up, I do want to go back to one thing about the music industry because you had tweeted something out, I forget how long ago it was, but Punch from TDE had, shoutout to Punch, he had asked a question about when did the personalities become bigger than the music, and you had responded and said, well, there's some nuance here. Look at someone like Rod Wave who is, you know, selling multiple times more than someone like Megan Thee Stallion. And I think Rod Wave is someone that, unless you know the music, you're not necessarily tapping in, versus Megan who's someone that's performing at all the big award shows and has a lot of the big features, how do you make sense of that dichotomy between those examples and maybe what it says about where we are in the industry and how to make sense of it?[00:29:45] Joe Coscarelli: I think there's just been a real crumbling of the monoculture, right? Like, before. You would expect, if somebody had a number one hit, if somebody had a number one album, everyone would know who they were, right? I would know, you would know, your mom would know, my grandma would know. They would at least have some vague idea, right, of who Shania Twain was, or you know, Katy Perry, whoever it may be, even Ed Sheeran, to name one of the last, I think, monoculture stars. Whereas today everything is so fragmented, right? You write about this in your newsletter, whether it's streaming TV or movies or music, like, everything finds its own little audience, and it's sometimes it's not even that little, you know. Jon Caramanica, the pop music critic here at the Times, and I collaborated on a piece, you know, I think probably almost four years ago at this point, saying like, your old idea of a pop star is dead. Your new idea of a pop star is, you know, it's Bad Bunny. It's BTS. It's Rosalía who's not selling a ton of albums, but can pack out two shows at Radio City Music Hall without saying a word of English, basically, you know. And people are finding these artists on their own, right? You think of NBA YoungBoy, another one who's like, basically, the biggest rap artist we've had over the last five years, and he gets no radio play. He's never been on television, he's never played SNL. He has, you know, maybe one magazine cover, national magazine cover in his past, that happened when he was, you know, 16, 17 years old. And yet, like the numbers on YouTube are bigger than Ariana Grande's, for instance, you know. So I think these audiences have just splintered. And there are a few people who permeate, right, personality-wise, you know, Megan Thee Stallion or whatever. But often the music is somehow divorced from that, right? Like, I think there's far more people who know these next-generation stars from being in commercials or, you know, Bad Bunny in a Corona commercial or whatever it is, then can sing one of their songs word for word. And I think that's fine. You know, I think that a lot of artists have found freedom in that, right? I keep coming back to artists who sing in Spanish primarily. Like, before I would be that to cross over, you had to change, right? You had to start singing in English, at least somewhat, like a Shakira or whatever it is. But now, that's no longer a prerequisite because your audience is going to find you on Spotify, they're going to come to your shows, they're going to buy merch. And even if you're not getting played on Z100 or, you know, Top 40 radio, you can still have as much of a footprint. It's just not in that same everybody knows the same 10 people way, you know? [00:32:10] Dan Runcie: Yeah. I think that the fact that someone like Bad Bunny has an album that's not in English, that has been on the top of the US charts for, what, 30%, 40% of the weeks of the year is incredible. [00:32:24] Joe Coscarelli: Yeah. Yeah. And you know, I think that he is a celebrity, right, he is in films, he's in Bullet Train, he's in commercials, whatever. But I still think if you, you know, maybe it's different in New York, but if you went on the street and you asked, you know, your average 42-year-old white woman who Bad Bunny was, or to name a Bad Bunny song, it might not happen. But he's still selling out Yankee Stadium, you know, so it's this weird give and take of, like, what makes a hit these days, what makes a superstar. I think, you know, to bring it back, like, Lil Baby is in this boat too. Like, he's as close to, we have, I think, in the new school as a mainstream superstar, right, headlining festivals, you know, he's performing at the World Cup. He is sponsored, you know, Budweiser sponsors him. He's in, you know, all sorts of commercials, and he is really moved into that upper echelon. But he is still not a celebrity, right, in the way that a 50 Cent or a Jay-Z is to everyone. But he is to a certain generation. So it'll be interesting to see if he can sort of push past that last barrier and become a household name. But he doesn't need it, right? He doesn't have to be a household name to be the biggest rapper in the country. [00:33:28] Dan Runcie: Right. I think the part that I'm really fascinated by, too, is how this separation of, yes, you can be someone that is more known for personality than music, how that will translate to the labels they're assigned to, which of course are in the business of people actually streaming and listening to your music, and they're not necessarily in the business of selling personality or selling brand deals, right? Like, they're not getting the Pepsi deals or they're not, like, that's Pepsi doing that, you know what I mean? So it'll be interesting to see what that looks like 'cause obviously I know that there are legal challenges and transgressions with maybe why someone like a Rod Wave or like an NBA YoungBoy may not be getting asked to perform at the Grammy's, right? Like, I think that's pretty easy to understand. Or even someone like a Summer Walker who I think that does very well from a streaming perspective, but I think, you know, personally, just isn't the personality type to want to be all out there, right? [00:34:21] Joe Coscarelli: Yeah, has no interest in being a celebrity, but I think it's almost healthier, right, for some of these artists to be able to say, like, I've seen what happens on the fame side, and I don't want that part. I just want to make my music and play for my fans. Like, I think that's becoming maybe more and more of a possibility, where you can speak directly to your fans and not have to play the game, right, with the gatekeepers that might not actually be turning into anything at this point other than mind share. So, yeah, there's a lot of different kinds of stardom right now, and I think, like, the cult star, the, like, mass cult star, Tyler, the Creator, you know, the way he built up his career. You've written about this over so many years. Like, he doesn't have a smash hit, he doesn't have an Old Town Road, you know, or a Call Me Maybe, or whatever it is. He doesn't have that defining record or pop cultural moment. He just has years and years and years of solid growth, and people respond to that, and that you can pack arenas on that just as easily as you, and maybe even more effectively than you can on the back of one or two massive hits.[00:35:25] Dan Runcie: Yeah, definitely. Yeah, definitely now, for sure. It'll be fascinating to watch and I'll be looking out for your continued reporting and thoughts on this, yeah, such a fascinating time in the industry. But Joe, it's been a pleasure, man. Hey, if anyone listening, if you are a fan of this podcast, believe me, this is a book. I can't recommend it enough. You'll enjoy it. But Joe, for the folks listening, where can they get Rap Capital? [00:35:47] Joe Coscarelli: Rap Capital: An Atlanta Story, out October 18th, available wherever books are sold, Amazon, Barnes & Noble. Get an audiobook, should be out soon at your local bookstore. Yeah, hopefully, you'll be able to find it. Rap Capital. Thanks so much for having me. [00:36:00] Dan Runcie: Awesome. Thanks for coming on and great work again. [00:36:02] Joe Coscarelli: It was really fun. Thanks. [00:36:03] Dan Runcie: Really good.[00:36:04] Dan Runcie: If you enjoyed this podcast, go ahead and share it with a friend. Copy the link, text it to a friend, post it in your group chat, post it in your Slack groups, wherever you and your people talk, spread the word. That's how Trapital continues to grow and continues to reach the right people. And while you're at it, if you use Apple podcast, go ahead, rate the podcast. Give it a high rating and leave a review. Tell people why you liked the podcast. That helps more people discover the show. Thank you in advance. Talk to you next week.Advertising Inquiries: https://redcircle.com/brands

In 2013, Kanye West released Yeezus, his sixth studio album. It sounded like nothing the rapper had ever produced. Fans recoiled at the album's experimental sound. Critics began to wonder if Ye, who seemed to be at the height of his career, might finally be losing his touch. But, then, something strange happened. Over time, the world Kanye constructed on Yeezus — full of guttural and chaotic emotion, combined with so much noise — started to feel and sound like the world around us. Kanye's collaborators on the album, from indie electronic musicians like Arca and Hudson Mohawke to icons like Daft Punk and Rick Rubin, helped him construct a blueprint for where popular music was heading.In this episode of our Amazon Original podcast Rolling Stone's 500 Greatest Albums, collaborators on Yeezus (including producer Hudson Mohawke), and New York Times critic and Kanye expert Jon Caramanica join RS Senior Editor Jeff Ihaza to tell the story of how Kanye West took a sledgehammer to the norms of rap and pop culture to create one of the most fiercely innovative and prescient records of all time.Listen to Rolling Stone's 500 Greatest Albums on Amazon Music: amazon.com/RS500.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Mediaite editor in chief Aidan McLaughlin speaks to New York Times music critic Jon Caramanica. They discuss the life and legacy of Virgil Abloh, interviewing Kanye West in Wyoming, covering the music industry through a pandemic, and whether Drake has a good album left in him. Caramanica, who hails from Brooklyn, cut his teeth in journalism writing for rap magazines. He now wears a few enviable hats at the Times: pop music critic, author of the Critical Shopper column, and host of the Popcast podcast.

On this freewheeling episode we host Jon Caramanica, the New York Times pop-music critic and “critical shopper” columnist. We talk about forming our style journeys in parts of Brooklyn you've never heard of, discuss our favorite stores, New York shopping, the demise of Barney's, death of directional retail, argue about hip-hop and pop culture and much, much more.Support the show (https://www.patreon.com/stylezeitgeist)

26 de mayo | Nueva YorkHola, maricoper. 1 año, 9 minutos y 29 segundos.El podcast de La Wikly también está disponible en iTunes, Spotify y iVoox.Añade el podcast a tu plataforma favorita haciendo click en el botón “Listen in podcast app” que aparece justo debajo del reproductor.Tenemos NUEVA suscripción premium. A partir de ahora, La Wikly pasará a tener cinco entregas a la semana:Lunes (gratuita): tres titulares rápidos del fin de semana.Martes (premium): una minicolumna de actualidad y dos titulares rápidos.Miércoles (premium): una minicolumna de actualidad y dos titulares rápidos.Jueves (premium): una minicolumna de actualidad y dos titulares rápidos.Viernes (gratuita): La Wikly que ya conoces y que estás leyendo ahora mismo.Para celebrar el lanzamiento, ofrecemos la suscripción anual de La Wikly a un precio reducido de 35 euros para el primer año. La oferta solo estará disponible a lo largo de la próxima semana:Leer esta newsletter te llevará 11 minutos y 18 segundos.No va a volver, bro. Bienvenido a La Wikly.Lo importante: El 25 de mayo de 2020, hace un año, George Floyd fue a comprar un paquete de cigarrillos. Horas después, era declarado muerto mientras un vídeo en el que se veía a un policía ahogándole con su rodilla se hacía viral en redes sociales.En los días posteriores, millones de personas salieron a las calles de cientos de otras ciudades estadounidenses como Nueva York, Los Ángeles, Minneapolis o Norfolk, una ciudad de apenas 24.000 personas en Nebraska.A gritos de ‘No puedo respirar’ y ‘Sin justicia, no hay paz’, el país demandaba un cambio ante la discriminación racial policial.¿Pero qué ha cambiado?A un año vista, hemos creído adecuado pegar un vistazo a los cambios que se han puesto en marcha o que siguen en la sala de espera conforme la administración de Biden deja el foco en las crisis pandémica y económica.¿Qué medidas, pues?En EE.UU., la mayoría de los departamentos policiales dependen de localidades y estados, con lo que las medidas que se pueden tomar a nivel federal suelen estar ligadas a incentivos presupuestarios y programas públicos.Por ejemplo, una de las promesas incumplidas de Biden tiene que ver con una comisión de supervisión policial nacional que su administración aparcó en abril.Según la Casa Blanca, querían centrar sus esfuerzos en las más ambiciosas iniciativas legislativas del Capitolio.Una de ellas es la Ley de Justicia en la Policía de 2020 (Justice in Policing Act of 2020), que preveía medidas para combatir la mala conducta policial, el uso excesivo de la fuerza y los prejuicios raciales en la actividad policial.También incluía una serie de disposiciones para mejorar la supervisión, la rendición de cuentas, la capacitación y la documentación e imponer restricciones a técnicas como el estrangulamiento y el uso de fuerza letal.El proyecto fue aprobado en la Cámara de Representantes, pero fue bloqueado en el Senado, entonces controlado por los republicanos.Otra es una versión apenas modificada de la anterior propuesta bajo el nombre de Ley George Floyd para la Justicia en la Policía de 2021 (George Floyd Justice in Policing Act of 2021). Se aprobó en la Cámara de Representantes el pasado marzo.En un discurso de la sesión conjunta del Congreso en abril, Biden marcó la fecha del aniversario de la muerte de George Floyd como límite para que una nueva legislación de reforma policial llegara a su escritorio.Pero senadores como el demócrata Cory Booker y el republicano Tim Scott siguen ultimando detalles para una versión bastante más moderada de la ley que pueda recibir 60 votos en el Senado.El último proyecto que se ha presentado a nivel federal es el de la Ley para el Fin de la Inmunidad Calificada (Ending Qualified Immunity Act) que tiene como objetivo terminar con la inmunidad cualificada en los cuerpos de policía.¿La qué? La inmunidad cualificada es una doctrina que protege a los agentes de policía y otros funcionarios gubernamentales de ser considerados personalmente responsables por acciones discrecionales realizadas dentro de sus funciones incluso si esas acciones violan los derechos civiles de los afectados. La excepción: que las acciones vulneren una ley federal "claramente establecida".Ese precedente exige necesariamente el cumplimiento de dos requisitos: 1) que esas acciones violan la ley escrita; y 2) que exista un precedente judicial que establece que tales acciones son ilegales.De momento, este proyecto no ha sido votado por el Congreso porque incluso algunos demócratas moderados están en contra de terminar con la inmunidad cualificada.Por otro lado, Donald Trump firmó en junio de 2020 la Orden ejecutiva sobre vigilancia policial segura para comunidades seguras (Executive Order on Safe Policing for Safe Communities).Esa orden ejecutiva estableció una serie de estándares que los departamentos policiales debían cumplir para recibir financiación federal. Para que un departamento fuera certificado debía cumplir dos requisitos:Que las políticas de uso de fuerza del departamento prohibieran los estrangulamientos, excepto en situaciones en las que la ley permita el uso de fuerza letal;Que las políticas de uso de la fuerza del departamento se adhirieran a todas las leyes federales, estatales y locales aplicables.A nivel estatal y local también se han aprobado e implementado, con mayor éxito, distintas medidas dirigidas a regular el uso de la fuerza por parte de la policía y a aumentar los mecanismos de revisión y control de sus actuaciones.A nivel estatal:Massachusetts, New Mexico y otros dos estados han sacado adelante reformas para limitar la inmunidad de los agentes.Kentucky, Maryland y otros tres estados han restringido las órdenes de registro sin aviso que permiten a los agentes entrar en una propiedad sin notificar a los residentes.Virginia, Colorado y otros ocho estados han aprobado mandatos para obligar y/o financiar el uso policial de cámaras corporales.California, Minnesota y otros 14 estados han restringido el uso de ciertas técnicas de estrangulamiento.A nivel local:Austin y Seattle han reducido los presupuestos de sus departamentos policiales locales.Los Ángeles y Baltimore han redirigido dinero de la policía a otros programas públicos que atajen las raíces del crimen.Reformas más ambiciosas como mejorar el entrenamiento de los agentes de policía están yendo más lentas con motivo del estancamiento político en D.C.El pueblo opinaLas numerosas protestas por la muerte de George Floyd pusieron en el centro del escrutinio público el desempeño de los cuerpos policiales y cómo el racismo sistémico subyace en muchos casos de abuso policial.Emilio explicó la correlación entre algunos de los datos estadísticos más complejos con respecto a la desigualdad racial del trato policial en este video.Una encuesta reciente de Axios-Ipsos encontró que casi siete de cada diez afroamericanos dicen que el trato policial ha empeorado en el último año. Y aproximadamente el mismo porcentaje cree que los tiroteos policiales contra jóvenes de color han empeorado en ese tiempo.El 42 por ciento de los encuestados hispanos y el 37 por ciento de los asiáticos coincidieron en que el tratamiento policial de los afroamericanos ha empeorado.Lejos de ver el papel de la policía como el de proteger y servir, la mayoría de los afroamericanos dice que llamar al 911 a menudo hace más daño que bien.Esa desconfianza está respaldada por la experiencia personal. Al ser detenidos por la policía:El 14 por ciento de los encuestados negros y el 9 por ciento de los hispanos dijeron que un oficial sacó una pistola o arma de electrochoque de su funda.Entre blancos, solo un 4 por ciento dicen lo mismo.La mayoría de los estadounidenses todavía tiene una visión positiva de la policía y las fuerzas del orden, pero todavía no es una realidad entre los afroamericanos:Solo cuatro de cada 10 afroamericanos encuestados dijo tener opiniones favorables sobre los cuerpos policiales, contrastando con el apoyo del 75 por ciento de los encuestados blancos.¿Entonces?A este problema estructural se suman los recientes repuntes de violencia condicionados por la ansiedad social producto de la pandemia y la escalada en las tensiones de índole partidaria. Ahí, las fuerzas del orden juegan un papel incuestionable:En 2020, EE.UU. registró un récord en las solicitudes de antecedentes para adquirir armas de fuego.Y en numerosos estados, sobre todo aquellos con mayoría republicana en sus legislaturas, se han estado impulsando proyectos de ley que buscan quitar restricciones a la libre portación de armas.Este año, como contamos hace poco en esta entrega de La Wikly, la violencia social sigue en escalada y las cifras disparadas de crímenes violentos no hacen más que aumentar la necesidad de la presencia policial.En ese contexto, se hace difícil justificar reformas policiales ambiciosas a nivel local, mientras que en Washington D.C. seguimos ante el mismo estancamiento político del que Emilio habló aquí.¿Desea saber más? The New York Times publicó en abril un fantástico vistazo a las reformas policiales que se han llevado a cabo a nivel estatal. Y Axios cuenta con un repaso de las reformas locales en multitud de ciudades, aunque el artículo es de octubre del año pasado.🎬 Una recomendaciónCon la colaboración de FilminDetroit es una película estadounidense de 2017 dirigida por Kathryn Bigelow. Está ambientada en los disturbios de la ciudad de Detroit durante “el largo y cálido verano de 1967”. Aquel año, durante la presidencia de Lyndon B. Johnson, se produjeron protestas raciales a gran escala en todo Estados Unidos.El filme recrea el conocido como incidente del Motel Algiers en el que la policía mató a tres adolescentes negros.Uso la palabra recrea porque Detroit es una recreación intensísima de aquel trascendental momento histórico. Y todo gracias a la exactitud del guion de Mark Boal, periodista y ya curtido en labores de documentación desafiantes como la que supuso Zero Dark Thirty, sobre la caza de Osama Bin Laden.Netflix lo fichó en enero para escribir el guion sobre el boom en bolsa de la compañía de videojuegos Gamestop.La película merece la pena solo por la dirección de Bigelow, que ya demostró en The Hurt Locker y especialmente en Zero Dark Thirty un increíble virtuosismo técnico en los espacios pequeños. El montaje de William Goldenberg y Harry Yoon ayuda.La guinda la ponen John Boyega, Will Poulter y sobre todo Algee Smith, que tiene ya una buena filmografía por detrás.Sin duda, el pero es el foco tan marcado en el incidente del Motel Algiers porque dificulta ver las implicaciones de lo que aconteció en Detroit y el resto de EE.UU. en ese verano sangriento, pero la decisión es al mismo tiempo valiente.Al centrar esfuerzos en la concreción de la brutalidad policial, Boal y Bigelow exponen la versión más descarnada y violenta de un sistema que siempre ha jugado en contra de los negros.Detroit está disponible en Filmin.🌟 Un vídeo para conocer a una nueva estrellaOlivia Rodrigo es el fenómeno pop del 2021 en Estados Unidos gracias al estreno de su primer single el pasado enero y de su primer álbum de estudio este mes de mayo. Las críticas son estupendas y los videoclips, megatop.¿Pero de dónde sale esta chica? Rodrigo es una chica Disney que empezó a hacer sus pinillos en la cadena de cable de la compañía allá por 2016 con la serie Bizaardvark en la que interpretaba a una guitarrista.Cabe recordar que estrellas del nivel de Ariana Grande, Selena Gomez, Miley Cyrus, Justin Timberlake o Britney Spears empezaron en series o programas de Disney Channel.No one cares about Demi Lovato, guys.HSM. Pero es con su papel como Nini Salazar-Roberts en la serie High School Musical: The Musical: The Series de Disney+ donde Rodrigo de verdad ha pegado el petardazo.Por si no lo sabes, la serie sigue a unos estudiantes de instituto que hacen un musical sobre la película-musical High School Musical que Disney estrenó con rotundo éxito en tres entregas.Rodrigo interpreta a Nini que en el musical de la serie hace el papel de Gabriella Montez, en su momento encarnada por Vanessa Hudgens.Rodrigo ha escrito canciones originales para la serie de HSM —y se ha llevado aplausos por ellas—. Y ese éxito la llevó a firmar en 2020 con Interscope Records y Geffen Records para su primer intento al salto a la fama global.Y joder si lo ha conseguido. Su single debut ‘driver’s license’ estuvo ocho semanas en lo más alto de la Billboard y generó TikToks tan molones como este.El álbum se llama ‘SOUR’ y tiene retazos del pop de Taylor Swift y del punk de Paramore. Sus letras hablan de rupturas, identidad y de encontrarse a uno mismo. Jon Caramanica lo explica bien en su crítica para The New York Times:“La propia Rodrigo está equilibrando varias vidas al mismo tiempo —nueva celebrity, nueva superestrella, vestigio de actriz infantil y más. Y ‘SOUR’ es el primer paso en el camino a insistir que la mirada que importa es la que uno se devuelve en el espejo, sin importar quién más esté mirando”.Mis canciones favoritas tras cuatro escuchas: ‘traitor’, ‘deja vu’, ‘enough for you’ y ‘jealousy jealousy’.Aunque los temazos del disco son ‘driver’s license’ y ‘good 4 u’.😆 Quitándole la graciaA Apu se le caen los tendies es un meme que se popularizó en 4chan el pasado marzo cuando un usuario publicó la imagen que encabeza este párrafo. Antes de seguir, un vistazo a los conceptos mitológicos clave de esta imagen:4chan es uno de los vertederos de internet donde nacen la mayoría de los memes que después disfrutamos los normies como tú y como yo.Apu Apustaja es una versión mal dibujada de Pepe the Frog y es también conocido como Helper, Pepo o Peppo. Según Pepe Wiki:“Apu es un pepe ambigable que destaca por su tendencia a ayudar a los demás. A Apu le gusta hacer amiguis (frens, en inglés), es muchas veces inmaduro, pero inocente y amigabluchi (frenly, en inglés). Y se le puede ver regularmente haciendo todo tipo de tareas”.Tendies son tenders de pollo, aunque el concepto como tal refiere a las llamadas historietas tendies, relatos de veinteañeros que siguen viviendo con sus padres y que consiguen tendies de su madre a cambio de puntos de buen chico que ganan haciendo tareas del hogar o logrando algo en la vida.Ahora entenderás mejor quién es Apu y por qué es tan dramático que un matón representado por la sombra del dibujo lo haya tirado al suelo y haya echado a perder sus tendies. Algunos de los matones cabrones que han hecho pupa a Pepo:Y para terminar, un buen uso de titular en una noticia sobre distritos congresuales:Hasta la semana que viene, This is a public episode. Get access to private episodes at www.lawikly.com/subscribe

Merriam-Webster's Word of the Day for January 16, 2021 is: effusive • ih-FYOO-siv • adjective 1 : marked by the expression of great or excessive emotion or enthusiasm 2 : characterized or formed by a nonexplosive outpouring of lava Examples: Lila's history teacher wrote an effusive letter of recommendation. "Lyrics like that are desolate, a little tragic; they necessitate a singing style that's not overly effusive." — Jon Caramanica, The New York Times, 8 Dec. 2020 Did you know? We've used effusive in English to describe excessive outpourings since the 17th century. In the 1800s, geologists adopted the specific sense related to flowing lava—or to hardened rock formed from flowing lava. Effusive can be traced, via the Medieval Latin adjective effūsīvus ("generating profusely, lavish"), to the Latin verb effundere ("to pour out"), which itself comes from fundere ("to pour") plus a modification of the prefix ex- ("out"). Our verb effuse has the same Latin ancestors. A person effuses when speaking effusively. Liquids can effuse as well, as in "water effusing from a pipe."

Happy New Year everyone. As the new year rolls in I take time to go over some of the top music released last year. The last episode of the finale features Laugh Now Cry Later and Pretty Toxic Revolver. Although this year was tough for all, I wanted to celebrate the great music that helped people get through it. Additionally, check out the bonus category of the podcast for an episode all about college football featuring a special guest This will be live by Monday night. A big thank you to everyone who helped my podcast by listening this year I appreciate it. I hope everyone enjoys this episode, feel free to reach out to me on Instagram @jd4unc and provide feedback, all feedback will be greatly appreciated. Thanks for listening, leave a like, a review, share with a friend. Music Credits For This Episode: Intro The Alan Parsons Project Sirius, Laugh Now Cry Later by Drake Ft. Lil Durk, and The Y: Pretty Toxic Revolver by Machine Gun Kelly. The outro Midsummer Madness Instrumental Prko. Apologies for pronouncing Lil Durk's name wrong. The Drake song is good but long just an FYI. Sources: Lyricfind.com, Musixmatch.com. NPR.org “Best Music Of 2020” by NPR Staff, NYTimes.com “Best Songs of 2020: tracks responding to real-time events and a spectrum of moods captured the hodgepodge feelings of life in lockdown” by John Pareles, Jon Caramanica, and Lindsay Zoladz, rollingstone.com “Year In Review: Rob Sheffield's Top 25 Songs of 2020” by Rob Sheffield, YouTube, and Genius.

La Tienda De Biblioteca Del Metal: Encontraras, Ropa, Accesorios,Decoracion, Ect... Todo Relacionado Al Podcats Biblioteca Del Metal Y Al Mundo Del Heavy Metal. Descubrela!!!!!! Ideal Para Llevarte O Regalar Productos Del Podcats De Ivoox. (Por Tiempo Limitado) https://teespring.com/es/stores/biblioteca-del-metal-1 Killswitch Engage es una banda estadounidense de metalcore fundada en 1999 en Westfield, Massachusetts. Ha publicado siete. álbum de estudio y un DVD. La banda ha vendido más de un millón de discos en los Estados Unidos. Han sido considerados ampliamente como «uno de los fundadores de metalcore»Killswitch Engage se formó cuando las dos bandas de metalcore, Overcast y Aftershock se disolvieron en la década de los años 1990.7 Tras la disolución de Overcast en el 1998, el bajista Mike D'Antonio agolpado con el guitarrista de Aftershock Adam Dutkiewicz. Dutkiewicz reclutó al guitarrista de Aftershock Joel Stroetzel, y el vocalista Jesse Leach de la banda Nothing Stays Gold (donde firmaron con un sello discográfico propiedad del hermano de Dutkiewicz Tobias Dutkiewicz, que era también el vocalista en Aftershock), para formar una nueva banda, Killswitch Engage.7 El nombre del grupo deriva de un episodio de la serie de televisión The X Files titulado "Kill Switch", escrito por William Gibson. Gibson llamó a su episodio después de un encuentro casual con la banda industrial Kill Switch...Klick. En 1999, Killswitch Engage registró un demo que contiene cuatro canciones, incluyendo «Soilborn», primera canción de Killswitch Engage.8 El demo fue lanzado por primera vez en el primer show de la banda, el acto apertura de la banda de Death metal melódico In Flames, en noviembre de 1999.Lanzaron su auto-titulado álbum debut en el año 2000. Aunque al principio el álbum no tuvo éxito financiero ni en las listas de música, atrajo el interés de Carl Severson, que trabajaba en Roadrunner Records en aquel entonces. Severson presentó a Killswitch Engage a varios representantes de Roadrunner. Mike Gitter, un agente de talentos de la compañía, en contacto con D'Antonio, al que asistieron varios de los espectáculos de la banda, y ofreció a la banda un contrato discográfico con Roadrunner. Al darse cuenta de Roadrunner tenía los recursos para promover y distribuir comunicados de Killswitch Engage, la banda aceptó su oferta, disminuyendo así varias propuestas de sellos más pequeños.Por un breve tiempo en 2000 y 2001, ex-guitarrista de Overcast Pete Cortese se unió Killlswitch Engage, pero dejó la banda en 2001 cuando se convirtió en padre.9 Killswitch Engage comenzó a escribir nuevo material para su segundo álbum en noviembre de 2001. Mezclado en enero en los estudios Backstage por el productor Andy Sneap,10 el álbum fue titulado Alive or Just Breathing por letra de la canción «Just Barely Breathing». Un video musical para el sencillo «My Last Serenade» aumentó la exposición de la banda, y el álbum alcanzó el puesto número 37 en la lista Top Heatseekers.Después del álbum Alive or Just Breathing, que fue escrita y grabada por dos guitarristas, la banda decidió expandirse y convertirse en un quinteto; Dutkiewicz se trasladó a la guitarra y el ex-baterista de Aftershock Tom Gomes tomó la posición del baterista. Después Leach se casó el 20 de abril del 2002 y comenzó a viajar, y otra vez cayó en una depresión. Leach abandonó la banda unos días antes que la banda pretendía tocar en un show y envió a los miembros de la banda un correo electrónico diciéndoles que lo había dejado (la banda). D'Antonio, dijo en una entrevista que: "Después de tres años de salir con el tío, y teniendo en cuenta lo de un hermano, para obtener sólo un correo electrónico fue un poco duro".12 La banda inmediatamente comenzó a buscar un vocalista de reemplazo y que se encuentran Howard Jones de la banda Blood Has Been Shed. Jones no le gustaba el sonido de la banda cuando lo escuchó por primera vez. Él comentó: "Yo estaba como, Meh. Vengo del hardcore y metal más sucio, y Killswitch sonó tan limpio. Pero cuanto más lo escuché, me di cuenta de que hay algunas canciones de aquí son muy buenas ".13 Después de escuchar acerca de los problemas vocales de Leach, Jones en contacto con la banda y fue aceptado como el reemplazo. Philip Labonte de All That Remains fue a prueba de voz principal, pero perdió con el actual vocalista Howard Jones. Sin escuchar a todo el disco homónimo o Alive or Just Breathing, Jones tuvo que memorizar siete canciones para su debut en el Hellfest 2002.13 La nueva formación tocaron en la gira "Road Rage" en el Reino Unido y los Países Bajos en 2002 con 36 Crazyfists y Five Pointe O. Gira continuó hasta el Día de Año Nuevo, y en 2003 la primera canción que cuentan con Jones, «When Darkness Falls», apareció en la banda sonora de la película de terror de 2003 Freddy contra Jason.14 Después del Ozzfest de 2003, el baterista Gomes dejó la banda porque quería pasar más tiempo con su esposa, para seguir en su banda Something of a Silhouette, y porque estaba cansado de viajar.15 Fue reemplazado por el Justin Foley de Blood Has Been Shed, y la primera gira de Foley con la banda fue en MTV2 Headbangers Ball en 2003.The End of Heartache fue lanzado el 11 de mayo de 2004, y alcanzó el número 21 en el Billboard 200 con 38.000 ventas en su primera semana,18 y también alcanzó el puesto número 39 en la lista de álbumes de Australia.19 El álbum llegó a vender más de 500.000 copias en los EE.UU. y fue certificado Gold el 7 de diciembre de 2007.20 El álbum recibió críticas positivas, con Jon Caramanica de Rolling Stone llamando al álbum un "impresionante colección, que conserva gran parte de su brutalidad de la sistonía musical".21 Eduardo Rivadavia de Allmusic comentó: Riff a riff se amontonan por las nubes en cada número que sigue, son los cambios impredecibles rítmicos utilizados para construir y aliviar la presión interna que alimentan la fuente de energía de Killswitch Engage.22 «The End of Heartache» se convirtió en el tema principal de la película Resident Evil: Apocalypse, y en 2005 la canción fue nominada en la Best Metal Performance en la 47° anual de los Grammy Awards. A finales de 2004, The End of Heartache fue re-lanzado como un álbum de edición especial, con un segundo disco con varias presentaciones en vivo, un bonus track japonés, y una versión re-grabada de «Irreversal». Durante el verano de 2005, la banda regresó para el Ozzfest, y el 1 de noviembre de 2005, Alive or Just Breathing fue re-lanzado en el marco del 25.ª aniversario de Roadrunner Records. El 22 de noviembre de 2005, el DVD en vivo (Set This) World Ablaze fue lanzado, el cuál contenía un concierto en vivo en el Palladium de Worcester, Massachusetts, un documental de una hora de duración, y todos los videos musicales de la banda. El DVD fue certificado "Gold" en los EE.UU. el 8 de abril 2006.Killswitch Engage tocó en el Festival de Reading y Leeds en agosto de 2006, habiendo ya tocado en Australia sin Dutkiewicz, quien sufría de problemas de espalda y necesitaba una cirugía correctiva.23 El 23 de mayo de 2006, la canción «This Fire Burns» fue publicado en el álbum WWE Wreckless Intent.24 La pista estaba destinado a ser el nuevo tema de la superestrella de la WWE Randy Orton, sin embargo, fue desechado y más tarde se convirtió en el tema de el PPV WWE Judgment Day. «This Fire Burns» se utilizó como tema de entrada para la superestrella de la WWE CM Punk hasta el 25 de julio de 2011 siendo cambiada por Cult Of Personality de Living Colour y más tarde fue re-editado como «This Fire» en la edición especial de As Daylight Dies. Grabado en tres meses, As Daylight Dies fue lanzado el 21 de noviembre de 2006 y alcanzó el puesto número 32 en los álbumes Billboard Top 200 con 60.000 ventas en su primera semana. As Daylight Dies ha demostrado ser uno de los más grandes álbumes.25 También entró en la lista de álbumes de Australia en el número 2919 las mezclas fueron por Dutkiewicz, el álbum recibió en su mayoría comentarios positivos, Thom Jurek de Allmusic lo llama "los cinco primeros candidatos de metal para el año 2006 con seguridad".26 el contribuyente de Decibel Magazine Terry Nick dijo: "Para llamar adictiva a As Daylight Dies sería un eufemismo. Eso supera a su predecesor ya bastante impresionante casi podría ser evidente.27 Cosmo Lee de Stylus Magazine comentó: "El álbum es increíblemente mal secuenciado", aunque elogió el álbum como "menos emocional de mano dura, y mucho más divertido".28 Como de 27 de noviembre de 2007, As Daylight Dies ha vendido más de 500.000 unidades en los Estados Unidos.29 El primer sencillo del álbum, «My Curse», alcanzó el puesto número 21 en la lista Hot Mainstream Rock, y aparece en los videojuegos Guitar Hero III: Legends of Rock y Burnout Paradise y está disponible como contenido descargable para Rock Band y Rock Band 2. «The Arms of Sorrow» alcanzó el puesto número 31 en el misma lista. El cover de la banda de Dio «Holy Diver», originalmente había sido grabada por un álbum recopilatorio titulado Kerrang! de High Voltage,30 alcanzó el puesto número 12 en la lista Mainstream Rock.31 A principios de 2007, la banda tuvo que cancelar tres de sus fechas de gira por Europa con The Haunted debido a problemas de espalda de Dutkiewicz. Él requerio una cirugía en la espalda y fue sustituido en la gira por el guitarrista de Soilwork Peter Wichers.32 Debido a los problemas de espalda Dutkiewicz a principios de 2007, fue reemplazado por el líder de Damageplan y The Mercy Clinic Patrick Lachman durante el «No Fear Tour»33 Dutkiewicz se recuperó y fue capaz de terminar la gira «No Fear», y la banda comenzó a filmar el video para el segundo sencillo de As Daylight Dies, «The Arms of Sorrow». El 6 de agosto de 2007, Dutkiewicz se vio obligado a abandonar el Warped Tour por lo que pudo recuperarse plenamente de su cirugía de la espalda y continuar con la terapia física diaria. Fue reemplazado por el guitarrista técnico de Killswitch Josh Mihlek para elegir las canciones, hasta su regreso el 14 de agosto de 2007.Killswitch Engage entró en el estudio en octubre de 2008 para comenzar a grabar su próximo álbum con Dutkiewicz y Brendan O'Brien co-produciendo el álbum.35 A mediados de febrero, el bajista Mike D'Antonio confirmó en una entrevista con Metal Hammer que "la batería estaba terminada", y que él había "Terminado las correcciones últimas del bajo". También señaló que Howard [Jones] se encuentra en Atlanta, terminando las voces y que "no debe ser demasiado largas ahora".36 De marzo a mayo, Killswitch Engage era una parte de «Music as a Weapon IV festival» de Disturbed junto con Lacuna Coil, Chimaira, Suicide Silence, Bury Your Dead y mucho más. El 14 de abril, la banda anunció el nombre de su álbum como Killswitch Engage, la segunda vez que la banda ha autotitulado el nombre de su álbum. El álbum fue lanzado el 30 de junio de 2009,37 debutando en el # 7 en el Billboard 200, marcando la banda más alta posición de la tabla para un álbum.38 En julio y agosto, Killswitch Engage participó en el Festival Mayhem con estelares como Marilyn Manson, Slayer, Bullet for My Valentine y otros. En febrero de 2010, Killswitch Engage, anunció que el vocalista Howard Jones no estaría realizando con Killswitch Engage durante su gira de invierno con The Devil Wears Prada y Dark Tranquillity; durante el tiempo, el vocalista de All That Remains, Philip Labonte fue la sustitución de Jones hasta que él pudo regresar.39 Al menos una fuente especula que la salida de Jones fue debido a un dolor de espalda.40 El 18 de marzo de 2010, el vocalista original Jesse Leach vuelve a la banda para una serie de canciones. A partir de entonces, Leach y Labonte llevan a cabo como vocalistas sustitutos para el resto de la gira.41 En el año 2010, contribuyeron con la canción «My Obsession» para la banda sonora God of War: Blood & Metal.42 La banda se añadió más tarde como reemplazo de último momento a Download Festival 2010 en junio, después que el original sub-estelar, Wolfmother no pudiera asistir como estaba previsto.Los miembros de Killswitch Engage han seguido otros intereses desde el lanzamiento de Killswitch Engage. Adam Dutkiewicz formó la banda Times of Grace con el ex vocalista de Killswitch Engage Jesse Leach y lanzaron el álbum debut The Hymn of a Broken Man" el 18 de enero 2011.44 Junto con Dutkiewicz y Leach, Times of Grace agregó Joel Stroetzel a su formación del tour.45 Justin Foley proporcionó el seguimiento de batería para la banda Unearth en su nuevo álbum Darkness in the Light, publicado el 5 de julio de 2011. Foley también viajará con la banda durante su gira de verano 2011.46 D'Antonio comenzó la banda hardcore Death Ray Vision, con el vocalista de Shadows Fall Brian Fair y el ex guitarrista de Killswitch Engage Pete Cortese. En una entrevista con "Gun Shy Assassin", Mike D'Antonio ha declarado que la banda se encuentra actualmente en el trabajo para un sexto álbum. D'Antonio dijo: "En la actualidad, todos están escribiendo de forma individual demos para el próximo disco de Killswitch Engage. Todavía no hay fecha de lanzamiento, pero supongo que será a principios de 2012".47 El 26 de agosto 2011 Adam Dutkiewicz anunció en el Facebook de Killswitch Engage que había comenzado a escribir por su 6.º álbum, y agradeció a todos sus fans por ser tan paciente. Él escribió: "YO! Su Adam D!, Estamos a punto de comenzar a escribir nuestro nuevo disco. Gracias a todos nuestros fans por esperar tanto jodida paciencia... ahora vamos a activar el "grifo riff" y Rage!".48 El 1 de diciembre, Mike D'Antonio publicó en línea que Killswitch Engage se debe de entrar al estudio alrededor de febrero / marzo de 2012 para grabar su sexto álbum de espera alrededor de verano de 2012. También afirmó que la banda había terminado ocho demos para el nuevo álbum.49 El 4 de enero de 2012, la banda anunció que Howard Jones había dejado la banda después de sus nueve años de membresía.50 Así lo ha anunciado a través del sitio oficial de la banda junto con sus otras fuentes oficiales. En esta declaración, la banda no reveló el motivo de esta decisión, manteniendo los motivos personales.50 La nota, de la banda decía: Para nuestra familia, amigos y fans: Hemos decidido continuar sin Howard Jones como el cantante de Killswitch Engage. Nos encanta Howard y estamos agradecidos por los nueve años que lo hemos tenido en la banda. Por respeto a todos los involucrados no vamos a estar discutiendo las razones específicas de esta decisión. Howard es una parte de nuestra familia y siempre lo será, y le deseamos lo mejor. Ha dejado zapatos grandes que llenar, por lo que sin duda que nuestro trabajo cortar para nosotros para encontrar el próximo cantante de Killswitch, algo que nosotros planeamos hacer la prioridad # 1 en el futuro. Lo más importante, gracias a todos ustedes por todo el apoyo durante todo el año y por permanecer para nosotros durante todo este tiempo. Realmente lo aprecio mucho y esperamos poder contar con un nuevo álbum para todos ustedes en un futuro no muy lejano que todos podemos estar orgullosos. Sinceramente, Adam, Joel, Mike y Justin.51 Poco después del anuncio de la salida de Jones, los rumores comenzaron de que Philip Labonte (de All That Remains) oficialmente asumiría la voz principal, debido a sus antecedentes con la banda, no sólo tener una estrecha amistad con los miembros, sino también debido a su sustituciones de Jones en el pasado.Labonte rápidamente, hizo caso omiso del rumor.52 Finalmente, la banda anuncia el retorno de Jesse Leach como cantante Después de mucha deliberación y cuidadosa consideración, tenemos el placer de anunciar que Jesse Leach se ha reincorporado a Killswitch Engage. Nuestro trabajo consistía en encontrar a la mejor persona para ocupar el lugar de Howard: una decisión basada en el talento y no en la familiaridad.53 A punto de comenzar su nueva gira, todos los ojos se centran en la "nueva" incorporación. Sobre el nuevo álbum Jesse Leach dijo en una entrevista con "Blabbermouth": "Este es sin duda el mejor récord de Killswitch Engage. Es muy pesado, pero todavía mantiene el estilo de Killswitch, hay material melódico allí, también. No es definitivamente melódico, pero he agregado algunos nuevos estilos vocales, gritando, gruñendo, las capas, y esto sueno masivo".[cita requerida] Y se refirió acerca de la canción "No End In Sight": "Esta canción es la canción más débil en todo el disco", esa es mi opinión. De hecho no me importaría si ni siquiera estuviera en el disco, porque creo que lo demás es mucho mejor, pero probablemente desde que la tocamos y ya los aficionados lo saben, pero en mi opinión, esa es sin duda la canción más débil. Ahora que el álbum está terminado, en retrospectiva, esta no era la canción que debíamos tocar en vivo".[cita requerida] Otra de las cosas que dijo Jesse en otra entrevista fue: "No esperen un Alive Or Just Breathing parte 2".[cita requerida] Killswitch Engage celebra el 10º aniversario de "Alive Or Just Breathing" mediante la realización de todo el álbum durante su gira por los EE.UU. como cabeza de cartel: en noviembre / diciembre. El primer sencillo, "In Due Time" estará hará disponible en formato digital el 5 de febrero. Las pre-órdenes del álbum iniciará a principios de febrero. Disarm The Descent fue seleccionado por la revista Alternative Press en "Los álbumes más esperados del 2013", y saldrá a la luz el 2 de abril, vía Roadrunner Records.

This week on A Waste of Time with ItsTheReal we're celebrating the 10th Anniversary of Rick Ross' classic album Teflon Don by reliving the making-of with Rozay and his collaborators Jadakiss, Styles P, Lex Luger, Spiff TV and Chris Atlas as well as analysis from The New York Times pop critic Jon Caramanica! See acast.com/privacy for privacy and opt-out information.

Legendary rapper, college professor, one half of the mighty UGK, and Sama'an's personal mentor, Bun B joins the campfire to tell the story of his career (and his marriage) through five of his songs. [00:01:50] Chapter 0: Trill Foreword by Jon Caramanica [00:11:20] Chapter 1: Findin' Love While Ridin' Dirty [00:23:10] Chapter 2: It's Dark and DMX Knows My Lyrics [00:35:56] Chapter 3: Tupac and UGK, The Collab That Almost Was [00:40:25] Chapter 4: Sometimes A Knowles Checks on *You* [00:51:02] Chapter 5: Losing My Shit Wiv Da Mandem At Glastonbury Read along with the annotated transcript at: http://thenostalgiamixtape.com/creative/the-bun-b-episode/ Donate to The Nostalgia Mixtape if you're feelin lucky: http://thenostalgiamixtape.com/donate/

Today we welcome Jon Caramanica on the pod. In addition to being the pop music critic for The New York Times, he's also the host of their excellent podcast about the same. Chris and Jason open with some quar tales from suburbia, then straight into more beat battles from instagram, some actually insightful takes on Tiger King, and then Chris and Jon have a hearty debate about Fiona Apple’s new mixtape, sweatpants, tracksuits, and the cursed intersection of country and rap music. twitter.com/joncaramanica twitter.com/themjeans twitter.com/donetodeath --- This episode is sponsored by · Ever With Jaleel White Show Promotion: In his debut podcast Ever After, Jaleel White most famous for his portrayal of the irksome 90’s uber-nerd Steve Urkel, on ABC’s smash hit Family Matters, deconstructs child stardom with rare insight and empathy https://open.spotify.com/show/505LmqAFfiFIcVVQ1VF7RX?si=8BVv4gsdS3KnJvFNPD27JA --- Send in a voice message: https://anchor.fm/howlonggone/message Support this podcast: https://anchor.fm/howlonggone/support

SUMMARY In this episode, after a long hiatus, we decided to tackle a New York Times article about Drake. The article is titled "Rappers Are Singers Now. Thank Drake" and written by Jon Caramanica. It got a LOT of attention in multiple hip hop circles due to the audacity of the statement. We had no choice but to talk about this. We dive into the article and ask does the author make a good pernt? We ask what other artists were signing before Drake? And we also consider what the next decade might bring us. SHOUTS The 1619 Podcast hosted by Nikole Hannah Jones - Therm said this shit is fucking FIRE! Specifically, he thinks the first roughly 20 mins of episode 3 was some of the best audio storytelling he's ever heard in podcasting. Rozay said peep Yaw Geez's album because you won't be disapernted. Big Therm agreed. He also gave a shout to Full Tilt Brewery because he fux with what they're doing over there. #YOTY (Yams of the Year)Therm chose RaychielRozay said he loves Tabria MajorsOTHER LINKS MENTIONED RIP Juice WrldWebbie doing the Breakfast Club drop - Brace yourself, this shit is fucking hilarious"Same time a man is murdered, the beginning and end" - sadly, Big Therm couldn't recite these lyrics properly during the showPop Out - One of the Big Therm's favorite songs right nowMeek interview with Charlamange - Rozay mentioned this interview. Ja Rule crying during a video - haha! This man is trying to step out and be vulnerable in hip hop, but we still ridiculed him at the time. DaBaby had shorty shaking her ass on the SNL stage - This reminded Big Therm of how hip hop used to push the envelope back in the day because so many people were upset about this. Cam and Dame on Bill O Reilly - JokesRozay asked Therm what his Top 3 albums of the year were. He could only come up with two. The Jim Jones album and the Wale. Therm mentioned Hot97 rating Wale Top 3 love song rappers. Here's the debate.Rozay mentioned his favorite albums of the year (Revenge of the Dreamers, YBN Cordae shit, Boogie, Chixtape and Dave East joint) Therm said he didn't like the Jeezy or Ross Rozay gave honorable mention to Rapsody's Album, Summer Walker's album, DaBaby's album, Kanye's gospel joint and 2 Chainz shit.INSTRUMENTALS USED Nas - Made You LookPost Malone & Swae Lee - SunflowerLil Baby - WhoaLil Tecca - RansomJuice WRLD - Day 1Shy Glizzy ft Tory Lanez & Gunna - Do You UnderstandDipset - I Really Mean ItTrippie Red ft. DaBaby - DeathNLE Choppa - SideYFN Lucci - Date NightNipsey Hussle - U See UsDrake - Nice For WhatPlayboi Carti - Arm & LegDrake - Duppy freestyleSocialsEMA Twitter @emaradio1, IG@emaradio, FB Big Therm Twitter, IG, J-Boss Twitter @ema_jboss, IG Rozay - No real socials (because he's a prick)Remember to use #emaradio to keep the convo going on social.For detailed show notes, visit emaradio.comThis podcast is powered by Pinecast.

How "Old Town Road" gave us hope without making us cringe, and became our song of the year.Discussed this week: Joe Coscarelli, Alexandra Eaton, Will Lloyd, Eden Weingart, Antonio de Luca and Alicia DeSantis. "Diary of a Song — ‘Old Town Road’: See How Memes and Controversy Took Lil Nas X to the Top of the Charts" (The New York Times, May 10, 2019)Jon Caramanica. "The Short Rise and Long Tail of Lil Nas X" (The New York Times, Jun. 26, 2019)Jade Jolie"Shut Up & Sing" (directed by Barbara Kopple and Cecilia Peck, 2006)BriMalandro.tumblr.com

Remember that beer test? It’s not enough. That’s why this election season, we bring you: Still Processing’s Rubric for Leadership and Democratic Excellence.Discussed this week:Astead Herndon, Jon Caramanica and Jon Pareles. "What Do Rally Playlists Say About the Candidates?" (The New York Times, Aug. 19, 2019)Clara Guibourg and Helen Briggs. "Climate change: Which vegan milk is best?" (BBC News, Feb. 22, 2019)The AP reporter Alexandra Jaffe’s post on Twitter that Senator Kamala Harris drinks oat milkMatt Flegenheimer and Sydney Ember. "How Amy Klobuchar Treats Her Staff" (The New York Times, Feb. 22, 2019)Carl Zimmer. "Elizabeth Warren Has a Native American Ancestor. Does That Make Her Native American?" (The New York Times, Oct. 15, 2018)Adrienne Keene, Rebecca Nagle and Joseph M. Pierce. "Syllabus: Elizabeth Warren, Cherokee Citizenship, and DNA Testing" (Critical Ethnic Studies, Dec. 19, 2018)Thomas Kaplan. "Elizabeth Warren Apologizes at Native American Forum: ‘I Have Listened and I Have Learned.’" (The New York Times, Aug. 19, 2019)Matt Stieb. "Where Does Marianne Williamson Actually Stand on Vaccines?" (NYMag, Aug. 4, 2019)Glenn Thrush. "Obama and Biden’s Relationship Looks Rosy. It Wasn’t Always That Simple." (The New York Times, Aug. 16, 2019)

It's another FU Creative Agency LLC original baby! This week, the boys are bringing you Fuck With/Not Fuck With (Working Title): The Zoovie™, a compilation ep of our guests' favorite things, featuring prestige personas Rachel Tashjian, Sam Lerner, Brock Korsan, Hank Lockwood, Sam Hine, Jon Caramanica, and Caleb Pressley.

Jon Caramanica is a New York Times music writer

The boys are shaking things up this week with the first ever bicoastal Failing Upwards™ original, Fit Check: The Movie. Chef Shyammy's cooked up an episode of some of FU's biggest and best Fit Check moments featuring Jon Caramanica, Ben Roazen, Chris Wallace, Rachel Tashjian, and John Feitelberg.

My guest this week is the Pop Music Critic for The New York Times, Jon Caramanica.From Eminem to Taylor Swift, Jon has written about, interviewed, and in some cases, even been the first in the industry to break.He’s the guy who writes like it's a "hot take" but knows so much and is such an expert on his subject it's not.We talk about music, fashion, the contrast in their businesses, and how criticism is art and an art form unto itself.Follow Jon on Twitter NOTESTaylor Swift ArticleJon's pieces from The NYTNYT Pop Cast**This episode is sponsored by Away Travel -- Save $20 off your purchase with promo code BLAMO**Follow Blamo! on Instagram and Facebook 

The Grammy-nominated ladies of King are Anita Bias alongside sisters Amber and Paris Strother and it seems only right to have a super-sized guest talk about a super-sized album: Outkast's massive double LP from 2003: Speakerboxxx/The Love Below. Amongst other topics, we talked about how each of the three women first crossed paths with Outkast, what the group meant for the rise of the South in the 1990s, and revisited the endless debate over whether this as an Outkast album or a pair of Big Boi/Andre 3000 solo albums packaged together. More on Outkast and Speakerboxxx/The Love Below MTV"s "making of" story of the album. Jon Caramanica's original review of the album for Rolling Stone. Oliver's original review of the album for the San Jose Metro More on King King on NPR's Music Field Recordings Okayplayer interview Band Website | Twitter | Instagram | Facebook | Soundcloud Show Tracklisting (all songs from Speakerboxxx/The Love Below unless indicated otherwise): “Ghetto Musick” KING: The Story “The Story” KING: The Story “Supernatural” Outkast: ATLiens “Elevators (Me & You)” “My Favorite Things” “Reset” “Where Are My Panties” Outkast: Aquemini “Spottieottiedopalicious” Dungeon Family: Even In Darkness “Trans DF Express” “Pink & Blue” “Prototype” “Unhappy” “Tomb of the Boom” “Church” “Knowing” “The Rooster” “She Live In My Lap” “Draculas Wedding” “Hey Ya!” “Love Hater” “Happy Valentines Day” “Take Off Your Cool” “A Day IN The Life of Benjamin Andre (Incomplete)” “Spread” If you're not already subscribed to Heat Rocks in Apple Podcasts, do it here!

James and Lawrence fall apart at the seams as Failing Upwards' weekly schedule destroys their friendship and professional partnership. Then, New York Times pop music critic, Critical Shopper, and friend of the pod, Jon Caramanica, joins FU to talk sleeping in the studio with Kanye, riding in Cam'ron's pink Range Rover, and being addicted to shopping. Plus, "Captain's Log/Letters to Home" asks the Fail Gang to weigh in on some big questions regarding the future of the pod.

Late but still great. No BBQ invite? Our favorite cultural agitator and friend of the show, Marcus K. Dowling joins us for an impromptu discussion on Jay Z's latest release. With critics and fans alike calling this his best work, it's also his most polarizing. Social media has been abuzz (read: a mess) since Friday. We break down the most discussed opinions on the album - #MenAreTrash, what Black Empowerment means to black nationalists & black socialists (and everyone in between), Apathy leading to Catharsis leading to Vulnerability, and the metaphorical death of Jay Z. You'll also hear a woman's point-of-view from one of our studio visitors (Peace to Arielle). Let us know what you think in the comments or on social media. Spread the word and follow us. All The Fly Kids on everything. Follow Marcus K. Dowling on social media and Medium [at]marcuskdowling Read “4:44,” Jay-Z FINALLY Eclipses B.I.G. As The “King Of New York” by Marcus K. Dowling - https://medium.com/@marcuskdowling/on-4-44-jay-z-finally-eclipses-b-i-g-as-the-king-of-new-york-e56e31047ce2 Read "Jay-Z Revels in the Catharsis of Confession on ‘4:44'" by The New York Times' Jon Caramanica - https://www.nytimes.com/2017/07/02/arts/music/jay-z-4-44-review.html

After a series of bizarre shows, Kanye West canceled the remainder of his "Saint Pablo" tour last week. This weekend, we're listening back to the conversation Jon Caramanica led at the time of the album's release.

This week, Jon Caramanica and guests discuss club music.

Jon Caramanica explains how Gucci Mane, Lil Yachty and 21 Savage are all part of the same long line.

Chris Ryan and Andy Greenwald tackle the leaked season premiere of USA's 'Mr. Robot.' Then, Sean Fennessey joins Chris to discuss Schoolboy Q's new album, 'Blank Face.' Jon Caramanica of The New York Times comes on to make sense of Desiigner's XXL freestyle and disappointing 'New English' release. Finally, The Ringer's Alison Herman hops on to break down HBO's 'The Night Of' and the current shows on her radar.

After a fatal shooting at a T.I. concert, Jon Caramanica and Joe Coscarelli discuss rap, race and security with Minya Oh, a.k.a. Miss Info, and Joie Manda of Interscope Records.

Tonight, we’re talking about creating healthy morning routines related to diabetes wellness with musical inspiration from Rachel Platten.  What's your morning routine? Does it consist of getting up, brushing your teeth, listening to music and a quick check your blood sugar?  The way you start the morning can have a big impact on the rest of your day. Don't let your diabetes get the best of you.  Learn how to improve your diabetes morning routine with expert advice from our Diabetes Late Nite cast members including the Charlie’s Angels of Outreach (Patricia Addie-Gentle RN, CDE, Kathy Gold RN, MSN, CDE, MaryAnn Nicolay BA, DTR), Catherine Schuller AICI, CIP, Poet Lorraine Brooks,Soara Joye and Mama Rose Marie. Our musical inspiration, Rachel Platten is an acclaimed singer/songwriter who wrote the platinum-selling inspirational hit single “Fight Song.” New York Times music reviewer, Jon Caramanica said,” Ms. Platten in the company of a set of rising female singers, including Tori Kelly and Alessia Cara, who prioritize sincerity and self-empowerment over flash.” Throughout the podcast we will be spotlighting music from Rachel Platten’s “Wildfire’ albums courtesy of SONY MUSIC.  Diabetes Late Nite is a fast-paced, full-filled hour of diabetes education and wellness advice that encourages listeners to “laugh a little, learn a lot.”  Every month the show’s theme is inspired by a different celebrity to help listeners to stay happy and healthy. Show segments include Diabetes Health Hot Topics discussions, Which Shoe Do You Do? style quizzes, Sweet Inspiration poems (by Lorraine Brooks), and Mother Your Diabetes commentaries.  

Jon Caramanica chats with the rapper about the role of music in creating change.

Jon Caramanica and Jon Pareles discuss her new album, “25.”

Jon Caramanica and Mr. Miranda discuss the songs and rappers that inspired him and his work.

Listener discretion is advised, and spoilers ahead! The season 2 premiere of Empire was lit! We got Cookie in a gorilla suit, Cookie in a peacock suit, Lucious in jail, Lucious Skyping from jail, Marisa Tomei hitting on women, and Chris Rock playing a hard-ass dude with skinny-ass arms.  The only thing more fire than the show was watching the show at our live viewing party in The Greene Space, and then going deep with our all-star panel on questions like, Is the music actually any good? How does one mail a severed head from inside prison? And what do we make of the opening scene's comments on the criminal justice system? Our guests include Ebony editor Jamilah Lemieux, New York Times pop music critic Jon Caramanica, and 30 Rock's Kevin Brown. A scene from the live taping of Empire Afterparty from WNYC. (Kyle Smith/WNYC) From L to R: Kevin Brown, Empire Afterparty host Jozen Cummings, Jamilah Lemieux, and Jon Caramanica. (Kyle Smith/WNYC)   Remember to follow Empire Afterparty, host Jozen Cummings, and all of our guests on Twitter for vital supplementary content like this: I want Chris Rock to bulk up for me like Drake did Serena — jamilah (@JamilahLemieux) September 24, 2015 In case you all need it: some background on Tammy Faye Baker https://t.co/r2t0bLpsm5 — Jozen C. (@jozenc) September 24, 2015 Anyone else remember Marisa Tomei from 'A Different World'? #EmpireSeason2 #Empire #throwback pic.twitter.com/FJd5r7HtHi — Empire Afterparty (@EmpirePodcast) September 24, 2015

Jon Caramanica and Reginald C. Dennis, a founding editor of XXL magazine, discuss N.W.A and the film.

Jon Caramanica, Minya Oh and Rawiya Kameir discuss Drake and OVO Fest.

Ben Ratliff, Jon Caramanica and Julianne Escobedo Shepherd discuss international and multilingual pop.

Jon Caramanica and Ben Ratliff discuss the women of country music.

Ben Ratliff and Jon Caramanica discuss Jason Derulo’s new album.

Ben Ratliff and Jon Caramanica discuss ASAP Rocky’s new album.

Ben Ratliff and Jon Caramanica discuss the singer’s blend of different genres.

Joe Coscarelli and Jon Caramanica discuss records from country dissenters and what, if anything, country’s borders mean anymore.

Ben Ratliff and Jon Caramanica discuss the tenor saxophonist and his roots in the thriving Los Angeles jazz scene.

Jon Caramanica, Jon Pareles and Ben Ratliff discuss the vicissitudes and artistic value of music festivals.

Jon Caramanica and Gilbert Cruz, of The Times, and Justin Charity, of Complex, discuss “Empire.”

Ben Sisario, Jon Caramanica and Ben Ratliff discuss the “Blurred Lines” copyright trial.

Jon Caramanica and Ben Ratliff discuss Kanye West, Beck, Iggy Azalea, Papa John’s and other stars of the show.

Jon Caramanica and Ben Ratliff discuss two connectors with keen ears, who died last week.

Ben Ratliff, Jon Pareles, Jon Caramanica and Nate Chinen discuss pop music’s dominant themes, lessons and preoccupations in 2014.

Jon Caramanica and A.O. Scott discuss what this modern update of “The Bodyguard” gets right about the music business.

Jon Caramanica and Ben Ratliff discuss Mary J. Blige and her new album, “The London Sessions.”

Ben Ratliff and Jon Caramanica discuss “Sonic Highways,” the new album and HBO mini-series by Dave Grohl and the Foo Fighters.

Jon Caramanica and Ben Ratliff discuss Taylor Swift’s poppy new album.

Jon Caramanica and Ben Ratliff discuss Scott Walker and “Soused,” his new album with the drone-metal band Sunn O))).

Ben Ratliff and Jon Caramanica discuss the singers Tinashe and FKA twigs, and whether they point toward a new conception of R&B.

Jon Caramanica and Ben Ratliff discuss the challenges of appraising Chris Brown.

Ben Ratliff and Jon Caramanica discuss new projects by Ms. Grande and Ms. Bush.

Jon Caramanica and Ben Ratliff discuss some of the most popular songs of the summer.

lo mejor de Bruno Mars en Remezclas Una Pasada!!! Peter Gene Hernández (nacido en Honolulu Hawái, el 8 de octubre de 1985), más conocido por su nombre artístico Bruno Mars, es un cantante-compositor y productor musical estadounidense de ascendencia filipina por la vía materna y puertorriqueña por la vía paterna. Criado en Honolulu, Hawái por una familia de músicos, Mars empezó a hacer música a una edad temprana (a los 2 años). Tras actuar en diversos espectáculos musicales en su ciudad natal durante toda su niñez, decidió seguir una carrera musical y se trasladó a Los Ángeles después de graduarse de la escuela secundaria. Mars comenzó a producir canciones para otros artistas, al unirse al equipo de producción The Smeezingtons. Después de una temporada sin éxito con Motown Records, Mars firmó con Atlantic Records en 2009. Llegó a ser reconocido como artista en solitario después prestar su voz y haber co-escrito los coros para las canciones "Nothin' on You" de B.o.B, y "Billionaire" de Travie McCoy. También co-escribió los éxitos internacionales "Right Round" de Flo Rida, "Wavin' Flag" de K'naan y Fuck You! de Cee Lo Green. El 4 de octubre de 2010, lanzó su álbum debut, Doo-Wops & Hooligans. Logró colocar en el primer puesto sus sencillos Just the Way You Are y Grenade alrededor del mundo. Fue nominado a siete premios Grammy en los 53rd Grammy Awards, ganando en la categoría Best Male Pop Vocal Performance (Mejor Interpretación Vocal Pop Masculina por "Just the Way You Are)". La música de Mars se caracteriza por mostrar una amplia variedad de estilos e influencias, y contiene elementos de muchos géneros musicales diferentes. Ha trabajado con una variedad de artistas de diferentes géneros; Mars reconoce las influencias que sus colaboraciones han tenido en su propia música. Cuando era niño, fue muy influenciado por artistas como Elvis Presley y Michael Jackson y con frecuencia se hacía pasar por estos artistas desde una edad temprana. Mars también incorpora sonidos inspirados en el reggae y en la Motown en su trabajo. Jon Caramanica de The New York Times se refiere a Mars como "uno de los cantantes más versátiles y accesibles en el pop." En varias ocasiones, su voz ha sido comparada con la de Michael Jackson Espero que te guste!!!

Jon Caramanica joins DJ Ayres and The Kid Mero in a discussion on grifters, wearing Cam'ron socks to a wedding, wilin' out downtown with Big Body Bess, Casey Casem doing Trapaholics drops, and seeing Ronny Thighs at Coachella. Basically all world #KNOWLEDGE

Inspired by an article by Jon Caramanica of the New York Times published on March 10, 2013, Dr. Mayer puts ‘on the couch’ several of the teen celebrities who have been in the news recently for self-destructive behavior. He explains why these teen celebrities seem doomed to follow this path of self-destruction, the causes behind their troubled state and … Read more about this episode...

To understand the impact of Greg Tate, one need only consult the words of fellow critic Michael Gonzales, who on the occasion of Tate's 50th birthday wrote: "For better or worse, if it were not for Greg Tate, there would be no Bonz Malone, Harry Allen, Joan Morgan, Kris Ex, Scott Poulson Bryant, Toure, Danyel Smith, Michael Eric Dyson, Karen R. Goode, Selwyn Seyfu Hinds, Smokey Fontaine, Jon Caramanica, Jeff Chang, Amy Linden, Tom Terrell, Mark Anthony Neal, Tricia Rose, Sasha Jenkins, DJ Spooky (aka Paul Miller), Dream Hampton, Miles Marshall Lewis, Aliya King, SekouWrites, Kenji Jasper, Oliver Wang, Cheo Hodari Coker, Keith Murphy or myself." Gonzales offers high praise for one of the singular critical voices of the last 30 years. The author of several books including the classic Flyboy in the Buttermilk: Essays on Contemporary America (1993) and the edited volume Everything But the Burden: What White People Are Taking From Black Culture (2003), Greg Tate joins Left of Black host Mark Anthony Neal (via Skype) in a rousing discussion of Black Science Fiction, being a "gourmand" of Black Culture and the significance of the late musical conductor Butch Morris. Tate is the longtime conductor of Burnt Sugar the Arkestra Chamber, a former Village Voice Staff Writer and currently Visiting Professor of Africana Studies at Brown University. Duke University Press will publish Flyboy 2: The Greg Tate Reader next year.