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      Popcast (Deluxe): ‘Saltburn,’ Jacob Elordi and the New Heartthrob Era

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      Subscribe to Popcast!Apple Podcasts | Spotify | Amazon Music | YouTubeThis week’s episode of Popcast (Deluxe), the weekly culture roundup show on YouTube hosted by Jon Caramanica and Joe Coscarelli, includes segments on:Jacob Elordi and Barry Keoghan, the two stars of “Saltburn,” who offer two different modes for the leading man of the momentElordi’s work in “The Sweet East,” in which he pokes fun at and downsizes his public imageJeremy Allen White, star of “The Bear” and the current Calvin Klein underwear campaign, as heartthrob rookieThe anti-heartthrob heartthrob Nathan Fielder, who’s been toying with his public image through canny character work as Asher on “The Curse”New songs from Starlito featuring NoCap and Playboi Carti featuring Travis ScottSnack of the weekConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More

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      What Did We Learn From a Year in Live Shows?

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      Subscribe to Popcast!Apple Podcasts | Spotify | Amazon MusicNo one on the New York Times pop music staff attends more live shows than Caryn Ganz, the pop music editor. On this week’s Popcast, she reflects on the first full post-pandemic year of live performances, with stadium and arena tours finally back at full strength.That includes reflections on performances by Madonna, the Rolling Stones, 100 gecs, Depeche Mode, SZA, the Cure, Liz Phair and many more.Guest:Caryn Ganz, The New York Times’s pop music editorConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More

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      Taylor Swift, Beyoncé and the Sphere: The Year in Live Music

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      Subscribe to Popcast!Apple Podcasts | Spotify | Amazon MusicThree years after the pandemic brought live music to a halt, the touring business is thriving: 2023 brought in record revenue — over $9 billion — thanks in part to major outings by Taylor Swift and Beyoncé, and in part to increased prices across the board. Live shows are also becoming more ambitious in scale and filigree, underscoring how big concerts are becoming experiential luxury goods.But even though the live music space is thriving, there is still persistent growling about Ticketmaster and its fee structure, and also about rising prices in general. Social media amplified both the thrills of some live events, and also confusion over cratering ticket process for others, like some recent dates on Travis Scott’s tour.On this week’s Popcast, a conversation about why this year was such an impressive one for the touring business, what lessons established acts are learning from younger arena and stadium stars, and whether the continued pressure on ticket price is sustainable in the long run.Guest:Ben Sisario, The New York Times’s music business reporterConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More

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      Popcast (Deluxe): The Kid Mero on the Viral Characters of 2023

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      Subscribe to Popcast!Apple Podcasts | Spotify | Amazon Music | YouTubeThis week’s episode of Popcast (Deluxe), the weekly culture roundup show on YouTube hosted by Jon Caramanica and Joe Coscarelli, features a conversation with the comedian and podcast star the Kid Mero, dissecting the viral stars of the year, including:A conversation about The Kid Mero’s recent projects, including his Victory Light podcast and “7PM in Brooklyn,” his podcast with the basketball legend Carmelo AnthonyThe disgraced politician (and now Cameo star) George SantosThe popular Twitch streamer Kai CenatAbel Tesfaye, a.k.a. the Weeknd, a star and creator of the HBO drama “The Idol”The basketball firestarter Draymond GreenGerry Turner, a.k.a. the Golden BachelorThe pop-drill rapper Ice SpiceThe TikTok food critic Keith LeeSnack of the weekConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More

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      Chatting About the Best Songs of 2023

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      Subscribe to Popcast!Apple Podcasts | Spotify | Amazon MusicThe New York Times’s pop music critics have some overlap in their taste, but in their annual songs-of-the-year roundup, the differences truly reveal themselves. There are songs from across genres, of course. And naturally, across generations. But sometimes, a song isn’t a “song,” per se — it can come from a movie, or a TikTok, or a commercial, or anywhere else music is deployed. Everyone’s personal soundtrack is unique.That means tracks with pop sheen from Olivia Rodrigo and Central Cee, heartache from PinkPantheress and YoungBoy Never Broke Again, wind-instrument wildness from André 3000, and songs from “The Idol” and “Barbie.” Also featured: Noname, Yo La Tengo, Byron Messia, Kylie Minogue, Lankum and dozens more.On this week’s Popcast, a conversation about the most impressive songs of the year, the difference between a musical event and a song, and whether a best-songs list that excludes music from a critic’s best albums can be considered valid.Guests:Jon Pareles, The New York Times’s chief pop music criticLindsay Zoladz, a pop music critic for The New York Times who writes The Amplifier newsletterConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More

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      The Albums That Defined 2023? Let’s Discuss.

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      Subscribe to Popcast!Apple Podcasts | Spotify | Amazon MusicThe albums that made The New York Times pop music critics’ year-end lists cover a wide range of music: hip-hop, industrial rock, amapiano, country, pop-punk, R&B, corridos tumbados. Hyper-polished and spare; chaotic and highly composed.There was some overlap — enthusiasm for the second albums from artists as diverse as Olivia Rodrigo, SZA and 100 gecs. But what’s more fascinating are the points of divergence, the albums that spoke loudly to one critic while passing the others by.On this week’s Popcast, a conversation about the multiplicity of great styles of albums released this year (as well as EPs, which are having a renaissance in the streaming era), and how much longer artists will continue to make albums their signature statements.Guests:Jon Pareles, The New York Times’s chief pop music criticLindsay Zoladz, a pop music critic for The New York Times who also writes The Amplifier newsletterConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More

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      Popcast (Deluxe): Beyoncé’s ‘Renaissance’ Movie Shows All the Work

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      Subscribe to Popcast!Apple Podcasts | Spotify | Amazon Music | YouTubeThis week’s episode of Popcast (Deluxe), the weekly culture roundup show on YouTube hosted by Jon Caramanica and Joe Coscarelli, includes segments on:“Renaissance: A Film by Beyoncé,” the new concert film that intersperses footage from the whole of Beyoncé’s Renaissance World Tour with behind-the-scenes documentation of how it came to be. Sprinkled throughout the scenes of Beyoncé, the performer, and Beyoncé, the manager, are a few moments of vulnerability and visibility into the making of Beyoncé, the person.The new album from country superstar Garth Brooks, “Time Traveler,” which is available only as part of a boxed set sold at Bass Pro Shops, and what it means for a legacy artist to have minimal meaningful presence on streaming platforms.The finale of “The Golden Bachelor”New songs: XXL’s All-Women Cypher Featuring Latto, Flo Milli, Monaleo, Maiya The Don and Mello Buckzz; plus Sexyy Red featuring Chief KeefSnack of the weekConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More

    • 88 Shares149 Views

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      Jung Kook, BTS and English Language K-Pop

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      Subscribe to Popcast!Apple Podcasts | Spotify | Amazon MusicA few weeks ago, Jung Kook — a member of the world-beating K-pop group BTS — released his solo debut album, “Golden,” a sleek affair notable for high-profile collaborators on its tracks and behind the scenes, as well as for the fact that it’s sung fully in English.That’s a logical extension of the shift undertaken by BTS beginning in the late 2010s and into the early 2020s, when it became the biggest pop act in the world, and focused its energies on the American marketplace. But it also is part of a longer story about how K-pop has been expanding its global reach, which has in turn altered the priorities of some of its biggest stars and record labels.On this week’s Popcast, a conversation about K-pop’s long march to American awareness and embrace, the earlier acts that began making inroads with American pop audiences, and whether there’s a point at which K-pop delivered fully in English ceases to be K-pop at all.Guest:Kara, host of the Idol Cast PodcastConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More