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Get the Culture Gabfest and all of Slate’s culture coverage here.
Hosted on Acast. See acast.com/privacy for more information.
Copyright: ©2019 The Slate Group
Every so often, the thirst stars align, or the thirst goddesses smile down on us, or whatever you want to call it... and well, it all came together for us this week. We manifested a long held TAK desire — we got to interview Jake Johnson! ::scream:: He told us about his new adult animated show Hoops, working on Spider-Man: Into the Spider-verse, and why he thinks the pandemic has affected the way people see Nick Miller.
In Slate Plus, we spoke to a few of our very favourite writers of romance and romantic comedy novels — Rebekah Weatherspoon, Alisha Rai, Mhairi McFarlane, Jasmine Guillory, and Alyssa Cole — and asked them three burning questions about romance world building, meet-cutes, fave tropes, and how the pandemic is changing the way they write.
As usual, you can follow us on Twitter @ThirstAidKit. Our music is by Tanya Morgan. You can find show notes, and more on our Tumblr at thirstaidkitpodcast.tumblr.com. Don’t forget to send us your drabbles by emailing thirstaidkit@slate.com.
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On this week’s episode, Steve, Dana, and Julia discuss a recent video of twins’ listening to Phil Collins’s “In the Air Tonight” that went viral. Then, the panelists talk about John M. Barry’s The Great Influenza. Finally, they take on this week’s comfort watch—Network.
In Slate Plus, the hosts break down The Daily’s recent two-part series on cancel culture.
Endorsements:
Dana: The accurate lime cordial recipe!
Julia: Rodham by Curtis Sittenfeld
Steve: “Dickens in Brooklyn” by Jay Neugeboren in the New York Review of Books
Podcast production by Cameron Drews. Production assistance by Rachael Allen.
Slate Plus members get a bonus segment on the Culture Gabfest each episode, and access to exclusive shows like Dana Stevens’ classic movies podcast Flashback. Sign up now to listen and support our work.
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This week, host Rumaan Alam talks to artist Paul Mpagi Sepuya about his unique style of intimate studio photography. In the interview, Paul breaks down the difference between artist and photographer, shares what it was like to get recognized for his work early in life, and explains why critical success doesn’t always translate to monetary success.
After the interview, Rumaan and co-host Isaac Butler talk about why it’s so difficult to sum up visual art with language.
Send your questions about creativity and any other feedback to working@slate.com
Podcast production by Cameron Drews.
And if you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get benefits like zero ads on any Slate podcast, bonus episodes of shows like Slow Burn and Dear Prudence—and you’ll be supporting the work we do here on Working. It’s only $35 for the first year, and you can get a free two-week trial. Sign up now to help support our work.
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The mullet, the love-to-hate-it hairstyle is as associated with the 1980's as Ronald Reagan, junk bonds, and break dancing. But in at least one major way, we are suffering from a collective case of false memory syndrome. In this episode we track the rise and fall of the mullet, and also the lexical quandary at its heart: who named the mullet?
Slate Plus members get ad-free podcasts and bonus episodes of shows like Dear Prudence and Slow Burn. Sign up now to listen and support our work.
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This week, host Isaac Butler talks to composer Michael Abels about what it’s like to write music for suspenseful movies like Get Out, Us, and the recent HBO movie Bad Education, starring Hugh Jackman and Allison Janney. In the interview, Michael digs into the collaborative nature of film scoring and offers tips on how to capture your creativity.
After the interview, Isaac and co-host Rumaan Alam talk about the music they listen to when they’re doing creative work.
Send your questions about creativity and any other feedback to working@slate.com
Podcast production by Cameron Drews
And if you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get benefits like zero ads on any Slate podcast, bonus episodes of shows like Slow Burn and Dear Prudence—and you’ll be supporting the work we do here on Working. It’s only $35 for the first year, and you can get a free two-week trial. Sign up now to help support our work.
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On the Spoiler Special podcast, Slate critics discuss movies, the occasional TV show, and, once in a blue moon, another podcast, in full spoiler-filled detail. This week, Dana Stevens, Slate’s movie critic, is joined by Isaac Butler, writer, theater director, and co-host of Slate’s podcast Working, to spoil An American Pickle. Seth Rogen stars as Herschel Greenbaum, a man who wakes up after being preserved in pickle brine for a century, and Ben Greenbaum, Herschel’s only living descendant. Can Herschel adapt to the contemporary world? Will Ben and Herschel bond despite generational and value differences? How convincing is Seth Rogen as both of these men?
You can read Marissa Martinelli’s interview with An American Pickle’s prop master here.
You can read Matthew Dessem’s piece on pickle related catastrophes here.
Note: As the title indicates, this podcast contains spoilers galore.
Email us at spoilers@slate.com.
Podcast production by Rosemary Belson.
Slate Plus members get ad-free podcasts and access to exclusive shows like Dana Stevens’ classic movies podcast Flashback. Sign up now to listen and support our work.
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We’ve long talked about our love for romance novels and in this episode we are going deep: talking about the changing aesthetics of romance novels, the increased visibility of our favourite tropes and sub-genres, and the heroes and heroines that we love to see.
In our Plus segment, we take begrudging inspiration from our times and look at how movies have treated love at a distance. The Truth About Cats and Dogs, 40 Days and 40 Nights, and The Age of Innocence all keep our main couples apart somehow and yet they manage to find ways to ease the physical ache of love and attraction.
As usual, you can follow us on Twitter @ThirstAidKit. Our music is by Tanya Morgan. You can find show notes, and more on our Tumblr at thirstaidkitpodcast.tumblr.com. Don’t forget to send us your drabbles by emailing thirstaidkit@slate.com.
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On this week’s episode, Steve, Dana, and Julia are joined by Slate’s music critic Carl Wilson to take on Taylor Swift’s Folklore. Then, the panelists discusses school reopenings, riffing off of Dana’s recent op-ed for the Washington Post. Finally, they break down this week’s comfort watch—the 1936 screwball comedy, My Man Godfrey.
In Slate Plus, the hosts are joined by Slate staff writer Lili Loofbourow to discuss her recent pieces on cancel culture and online debate.
Slate Plus members get a bonus segment on the Culture Gabfest each episode, and access to exclusive shows like Dana Stevens’ classic movies podcast Flashback. Sign up now to listen and support our work.
Other items discussed in this show:
“Taylor Swift’s New Album Reveals That Social Distancing Has Served Her Well” by Carl Wilson in Slate
“Held back: As parents realize how badly the U.S. botched the next school year, we’re furious” by Dana Stevens in the Washington Post
“The Cancel Culture Trap” by Lili Loofbourow in Slate
“Illiberalism Isn’t to Blame for the Death of Good-Faith Debate” by Lili Loofbourow in Slate
Endorsements:
Dana: Dana’s original drink “This Lime-Tree Bower My Prison,” inspired by a Samuel Taylor Coleridge poem. To make the cordial, boil a 2:1 ratio of lime juice to water on stove until reduced to half. Sweeten to taste. Mix with bourbon or rye whiskey. Throw in basil or mint leaf as garnish.
Julia: Strandby the Spinanes, especially “Winter on Ice.”
Steve: “Publish and Perish” by Agnes Callard in the Point.
Podcast production by Cameron Drews. Production assistance by Rachael Allen.
Outro Music: Back to Silence by OTE
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This week, host June Thomas talks about her deep love of audio fiction with longtime radio and podcast writer-producer John Scott Dryden. First, they discuss the U.K. origins of the genre and the growing appetite for audio fiction in the U.S. Then they dig into John’s production process and discuss how he creates immersive stories using sounds and voices from all over the world.
After the interview, June and co-host Rumaan Alam answer a question from a listener.
Send your questions about creativity and any other feedback to working@slate.com.
Podcast production by Cameron Drews.
And if you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get benefits like zero ads on any Slate podcast, bonus episodes of shows like Slow Burn and Dear Prudence—and you’ll be supporting the work we do here on Working. It’s only $35 for the first year, and you can get a free two-week trial. Sign up now to help support our work.
Learn more about your ad choices. Visit megaphone.fm/adchoices
Like many media organizations at the moment, Slate is getting hit pretty hard by what's going on with the economy in the wake of the COVID-19 pandemic. We want to continue doing our work, providing you with all our great podcasts, news and reporting, and we simply cannot do that without your support. So we're asking you to sign up for Slate Plus, our membership program. It's just $35 for the first year, and it goes a long way to supporting us in this crucial moment.
In the late ’70s and early ’80s, a scene and a sound cropped up on the West Coast: polished, perfectionist studio musicians who generated sleek, jazzy, R&B-flavored music. About a quarter-century later, this sound was given a name: Yacht Rock. The inventors of the genre name weren’t thinking about boats…well, unless the song was Christopher Cross’s “Sailing.” Yacht Rock was meant to signify deluxe, yuppified, “smooth” music suitable for playing on luxury nautical craft.
Whatever you call it, this music really did command the charts at the turn of the ’80s: from Steely Dan to George Benson, Michael McDonald to Kenny Loggins, Toto to…Michael Jackson?! Believe it: even Thriller is partially a Yacht Rock album. This month, Hit Parade breaks down what Yacht Rock was and how it took over the charts four decades ago—from the perfectionism of “Peg,” to the bounce of “What a Fool Believes,” to the epic smoothness of “Africa.”
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