When he was five years old, Max Pollak had a moment. Sitting in front of a black-and-white television in suburban Vienna, he saw Fred Astaire tap dancing for the first time. “I was so spellbound by his elegance and his effortless swinging persona that I immediately decided I have to learn how to do that,” he remembers.

He didn’t understand the cultural context or the language, but he knew that whatever was happening on that screen — the rhythm, the movement, the magic — was something he had to pursue.

That moment sparked a lifelong journey that would take him from Austria to Harlem to Havana and back again.

Here, Max Pollak tells the remarkable story of how he taught himself to dance in a place where no formal tap training existed. Early on, improvisation wasn’t just part of his style — it was the only way forward. That instinctive relationship with rhythm would become the foundation of his unique voice as an artist.

At 14, Pollak met his first mentor: Carnell Lyons, a master tap dancer from Kansas City who had relocated to Europe during the civil rights era. Lyons had grown up alongside Charlie Parker and had performed with jazz legends. He passed on not only the technical language of tap, but a deep awareness of the art form’s Black American roots. That relationship shaped the way Max approached dance — not just as choreography, but as culture.

After moving to New York, Max began studying drums and enrolled in Bobby Sanabria’s Afro-Cuban ensemble at The New School. It was there that he was asked the question that would redefine his artistic path: Do you want to tap dance to Cuban music — or do you want to tap dance Cuban music?

Inspired by that challenge, Pollak dove into Afro-Cuban music, learning the language of clave and fusing it with tap, body percussion, and voice. The result was RumbaTap — a groundbreaking synthesis of traditions that bridges continents and cultures. When members of the legendary Los Muñequitos de Matanzas saw Max perform, they asked him to teach them. That moment affirmed the authenticity of his approach and led to collaborations in Cuba that brought him closer to the source of the music he had been drawn to for so long.

Today, Max Pollak is widely recognized as one of the most innovative tap dancers in the world. His contributions to the language of tap, particularly in blending it with Afro-Cuban music and body percussion, have earned him international recognition — including the rare honor of having his image featured on a United States postage stamp. He’s also a vocalist, drummer, composer, and storyteller. This week, he celebrates the 25th anniversary of RumbaTap with a special performance at 92NY, featuring members of Los Muñequitos.

This episode came together unexpectedly, sparked by a tip from bassist and composer Alexis Cuadrado, who sent me the press release for the 92NY concert. I reached out to Max for a short interview — and the conversation turned out to be so rich and wide-ranging that I decided to share it in full.

We talk about lineage, improvisation, spirituality, and what happens when you follow the rhythm only you can hear.

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Self-proclaimed “badass and blind” singer, songwriter, guitarist Raul Midón in an expansive and deeply personal conversation about music, identity, independence, and the art of seeing clearly without sight. From his childhood fascination with radio and jazz in a small New Mexico town to his breakout moment in New York with legendary producer Arif Mardin, Midón shares the story of how he forged his unique artistic path.

Blind since infancy, Midón has navigated life and a career with extraordinary intention and vision. He discusses the development of his signature sound — a percussive, virtuosic guitar style combined with his soulful voice and signature trumpet-like vocal improvisation — as well as his time as a session singer, his decision to pursue a solo career, and his commitment to self-producing and engineering his own records.

Here he also touches on his political awareness, his reflections on artistry and authenticity, and the spiritual and philosophical dimensions of making music. Whether he's performing solo or recording in his Maryland home studio, Midón offers a masterclass in independence, self-expression, and the power of knowing — and trusting — yourself.

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Songwriter Stephin Merritt on impermanence, organizing principles, and the art of constraints: Raised by a spiritually seeking mother, Merritt moved 33 times by age 22 and describes himself as a “hippie brat” who “never liked children—even as a child.” This sense of solitude shaped his singular voice as the creative force behind The Magnetic Fields, who are touring this year to celebrate the 25th anniversary of their landmark triple album 69 Love Songs.

In recent years, his productivity has slowed due to long COVID, a development he accepts with dark humor: “The gods have punished me for my dependence on inspiration by withdrawing it.” Here he reflects on creativity, aging, and songwriting, following a warm and revealing conversation with his longtime friend—and former personal assistant—bestselling author Emma Straub.

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For decades, Nels Cline carved out a career on the fringes of rock, jazz, and experimental music, balancing day jobs with an uncompromising artistic vision. Then, at nearly 50 years old, everything changed—he joined Wilco, bringing his avant-garde sensibilities into a beloved band and reaching a global audience. But Cline’s story isn’t one of sudden success; it’s about persistence, reinvention, and creative restlessness. In this episode, he reflects on his journey—from growing up in Los Angeles with his twin brother, drummer Alex Cline, to navigating the punk and avant-garde jazz scenes, to his latest album, Consentrik Quartet (Blue Note Records), which explores the tension between stillness and chaos, structure and improvisation. Cline speaks candidly about collaboration, musical identity, and the ever-evolving nature of his work, proving that there’s no single timeline for artistic success—only the drive to keep going.

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Steven Greenberg, the creative force behind the hit "Funkytown," on crafting one of the most enduring dance tracks of all time, bridging the transition from disco to synth-driven pop, and the discipline required to bring musical ideas to life in an era before digital shortcuts.

00:00 Intro
4:00 Magic Mind
5:42 Interview

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Drummer, producer, and composer Makaya McCraven, whose work bridges improvisation, production, and cultural synthesis, on rhythm, time, and the balance of tradition and innovation, plus his creative journey, from his roots in Northampton, Massachusetts, to his innovative projects like In The Moment and In These Times. This hybrid episode spanning interviews from 2022 and 2025 offers a deep dive into the mind of a true beat scientist.

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Throwback from 2018.

Mary Sweeney needs some air. “There has to be a flow of fast and slow, and a pause to allow the listener or the spectator to digest and to project their own thoughts.” She thinks I should leave more space in my podcasts, to let it breathe. She tells me this as we sit in the screened in porch behind her summer house in Madison, Wisconsin. As she tells me this, cicadas chirp loudly, as if to underscore her point: “Today’s episode will not be edited! You will not remove us from this moment!”

Mary Sweeney should know. She spent much of her career as a film editor, producer and writer collaborating with David Lynch. Beginning in 1985 with Blue Velvet, and continuing through the 2006 film Inland Empire, her editing credits include Blue Velvet (1986), Wild at Heart (1990), Twin Peaks (1991), Industrial Symphony (1991), Twin Peaks: Fire Walk With Me (1992), On the Air (1992), Hotel Room(1993), Lost Highway (1996), The Straight Story (2000), Mulholland Drive (2001) and Baraboo (2009). The relationship with Lynch was productive, fruitful, and nuanced (the two were partners in work and in life for much of that time) and they have a son together.

At the time of this interview, Mary was working as a consulting producer and writer on Matthew Weiner’s series for Amazon, The Romanoffs. She is the Dino and Martha De Laurentiis Endowed Professor of film at USC, where she teaches Graduate Screenwriting Thesis and “Dreams, The Brain and Storytelling.”

Before we had this conversation, Mary cheekily emailed me a list of topics that she would be happy to discuss. They included editing, producing, screenwriting, parenting, Paris, Cairo, pie baking, and the Catholic Church. Guess what we talked about? All of it.

And we also talked at length about living and working in an intensely creative partnership with David Lynch for all those years (both personally and professionally), collaborating with one of the most innovative voices in film, and what’s so great about coming from a big family. Visit the Patreon Page for an extra 20 minutes of juicy conversation that didn’t make it into this edit.

Thanks for listening.

ORIGINAL LINK: https://www.third-story.com/listen/marysweeney
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In 2013, after having posted a series of videos recorded in his family home in North London of himself singing a cappella arrangements of classic - yet sometimes obscure - songs on YouTube, a critical mass began to form around Jacob Collier.

His videos of Stevie Wonder’s “Isn’t She Lovely” and “Don’t You Worry Bout A Thing” were passed around by musicians and music enthusiasts and by 2014 he was being managed by Quincy Jones and traveling around the world.

He was one of the first career artists to emerge on YouTube. Jacob’s journey since then has been nothing short of extraordinary. Today, at 30 years old, with six Grammys, millions of fans, and collaborations ranging from Herbie Hancock to Chris Martin, his influence spans generations. His Djesse project—four albums in six years, exploring 50 songs and countless collaborations —represents not just his creativity but his ability to bring others into his world. From arenas to intimate collaborations, Jacob Collier is now a fact of musical life.

Yet, he remains tied to his roots: the small room in his mother’s house where it all began. His first album, In My Room, was both a tribute to that space and a manifesto for his artistic philosophy.

Before his star had really begun to rise, I met with Collier in late 2014. He invited me to his family home in North London, where his mother greeted me with tea and cookies while he returned from university. When we finally sat down in his music room to talk, his brilliance was immediately apparent. He spoke about sound with sensitivity and clarity, blending perfect pitch, synesthesia, and a boundless curiosity. He was still a kid, but one with an expansive vision.

That conversation remains a revelation. It captured a young artist at the cusp of greatness. It is also the first interview of its kind that exists with the extraordinary artist .

Ten years after that first interview, I’m reminded why I started this podcast: to capture history as it’s being made. Jacob Collier’s story is one of boundless curiosity and connection—a message in a bottle that changed the tide.

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