![]() Its format lets you float from one element to another, largely unchaperoned but gently oriented-this season by the magazine’s new editor, Emily Stokes (formerly of The New Yorker). ![]() The podcast’s last full season was in 2019, and its return, this fall, had been eagerly anticipated ever since. There’s a reason that “The Paris Review Podcast” is an industry favorite, beloved by makers of other great podcasts: in its cocktail of poetry, fiction, archival interviews, music, and field recordings, it’s an art work in itself, a glorious sound bath to luxuriate in as we absorb the magazine’s literature and ideas. ![]() Later, we jump to late-nineties China, and the story of how Western pop music from junked American cassette tapes- dakou-“sparked a musical explosion and totally reimagined what rock and roll was.” In the first episode, a group of journalists gathers in that Tokyo park, where Sony executives astound them with what the world would soon know as the Walkman. It also captures dozens of stunning little moments in the process. The series, hosted and produced by Simon Adler, takes us to surprising places-a Tokyo park in 1979, Bing Crosby’s studio in 1946, nineties South Sudan-to show how providing people with the ability to record, edit, and transport sound has altered our relationship with culture, politics, history, our loved ones, and reality itself. ![]() “Radiolab: Mixtape,” a five-episode miniseries, does this with the humble cassette, presenting stories about the ways in which that format, now underappreciated, changed the world. Some of my favorite podcasts use the medium to explore the history of audio recording, reflecting on our current aural-cultural moment in light of what’s come before. ![]()
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