pop music

3 more podcasts I love in 2015

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Two months ago, I had a great idea for a blog post.

As I thought about the many ways in which I consumed news and information, I came to a surprising revelation: I listen to podcasts more than ever.

Rarely did a day go by without me loading up Stitcher radio and pressing “Play” on a podcast. While I enjoyed many popular choices (This American Life, On the Media, 99% Invisible), I also felt I had discovered several series that had not yet pierced the mainstream.

So I blogged about it, listing three podcasts I loved that had hit their stride this year.

That was in September.

Now it’s November, and another revelation has arrived: I have discovered even more great podcasts bubbling up in my feed.

Perhaps I simply crave podcasts more than most. Or perhaps the podcasting industry is developing at an extreme rate, with increasing quality and diversity.

So two months after listing three podcasts I love, here are three more I love; I hope you feel the same way.

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3 GREAT STORIES: Starring pop songs, pizza, & football

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Every week, I shine the spotlight on some of the best storytelling in the business and offer my comments. “3 Great Stories of the Week” will post every Monday at 8 AM.

Hit charade (October 2015, The Atlantic): How much do you want to know about how a chef prepares your meal? What about how a litany of behind-the-scenes employees prepare your favorite songs?

The answers to the latter come from this absorbing article, written by Nathaniel Rich for The Atlantic (with a major hat-tip to author John Seabrook, whose book The Song Machine supplies much of Rich’s material). With no concern for spoiling or party-pooping, Rich dives into the factories that produce, with seeming cold-hearted machinery, an increasing number of the hits that grace the Billboard charts.

Much of this story’s success derives from its thoroughness; Rich, through Seabrook, dives into the subject with great detail. It shows in paragraphs like this, including some wit from a writer basically saying Santa Claus isn’t real:

Pop hitmakers frequently flirt with plagiarism, with good reason: Audiences embrace familiar sounds. Sameness sells. Dr. Luke in particular has been accused repeatedly of copyright infringement. His defense: “You don’t get sued for being similar. It needs to be the same thing.” (Dr. Luke does get sued for being similar, and quite often; he has also countersued for defamation.) Complicating the question of originality is the fact that only melodies, not beats, can be copyrighted. This means a producer can sell one beat to multiple artists.

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