pablopablo - born Pablo Drexler - is a Madrid-based singer, songwriter, and producer. The son of two acclaimed artists, Jorge Drexler and Ana Laan, here he talks about how he found his own voice, sound, and artistic identity.

His debut full-length album, Canciones en mi, is out now. The title is a bilingual play on words—“in E” (as in the musical key), and “in me”—and it perfectly captures the spirit of the record: introspective, expressive, and sonically bold.

Pablo shares the story of growing up in a small town outside Madrid with a big, multilingual worldview. We discuss his early experiments in music and production, his years studying abroad, and his time touring and collaborating with artists like C. Tangana. He opens up about stepping away from the Drexler name—on the advice of his father—to make space for his music to be heard on its own terms.

We dive deep into questions of identity, language, and legacy: Why does he now write exclusively in Spanish? What does it mean to create a sound that feels personal without being confessional? How do you balance the instinct to innovate with the desire to stay grounded?

Along the way, we talk about the emotional clarity that comes with pressure, the power of building a sonic world, and the beauty of embracing simple ideas and making them feel new.

At just 27, Pablo Pablo is already a Latin Grammy-winning artist, having contributed to major collaborations with Jorge Drexler, C. Tangana, and Nathy Peluso. But Canciones en mi is his proper introduction as a solo artist—and it’s a striking one.

This is a conversation about roots and branches, about staying true while branching out, and about what happens when you finally find the music that sounds like you.

www.third-story.com www.leosidran.substack.com

Twenty years ago, “Al otro lado del río" became the first Spanish-language song to win an Academy Award for Best Original Song. Written by Jorge Drexler in a single day while staying in Madison, Wisconsin, and recorded in a mix of home and studio settings, the song’s journey was as unexpected as its lyrics suggested.

At the time, it felt like an anomaly. This year, when “El Mal” from Amelia Perez won the same award, it barely registered as unusual. That alone says something about how much can shift in 20 years—culturally, personally, globally.

Here we revisit that historic night through conversations with Jorge Drexler, Ana Laan, Amanda Sidran, Ben Sidran, and the song’s co-producer: me. From the song’s humble origins, its Oscar nomination, and the moment when Drexler—barred from performing his own song during the ceremony—made a quiet but profound statement by singing his acceptance speech a cappella.

But this episode isn’t just about the song. It’s about the river crossings—literal and metaphorical—that define our lives. It’s about memory, and how we revise and re-tell our stories over time. It’s about fate, timing, music, and how small decisions can ripple outward in ways we could never expect.

It also looks at the aftermath: how the win transformed Drexler’s career, leading to 15 Latin Grammys and three Song of the Year awards by 2024, and how it marked a turning point for me, prompting me to move to New York and ultimately leading to the creation of The Third Story podcast.

But even in retelling the story, memory plays tricks—Jorge and I recall that night differently, highlighting a key theme of The Third Story: within every version of events, the truth always lies in the spaces between. This episode is an exploration of music, memory, and history—how a single event can reshape multiple lives in different ways.

www.third-story.com www.leosidran.substack.com

Legendary singer-songwriter Suzanne Vega looks back at her remarkable career — and forward to her new album, Flying with Angels, her first collection of original songs in nearly a decade.

From the moment she emerged in the 1980s with her self-titled debut and follow-up Solitude Standing, Vega has occupied a singular space in popular music. Known for her literate lyrics, calm delivery, and understated innovation, she became an unlikely pop star with songs like “Luka” — a devastating portrait of abuse — and “Tom’s Diner,” which began as an a cappella sketch and became a surprise dance hit, later used in the development of the MP3 format.

Vega discusses how those early hits shaped her identity, and how she’s maintained a relationship with her past work while continuing to evolve as an artist. She shares stories behind her biggest songs, her longtime collaborations (including with producer and ex-husband Mitchell Froom), and her connection to a vibrant downtown New York songwriting community that included figures like Jack Hardy and Fast Folk magazine.

She also reflects on the new material, including the haunting “Mariaupol,” inspired by the war in Ukraine, and “Rats,” inspired during the lockdown in New York. These songs mark a subtle shift for Vega: from her usual allegorical storytelling to more direct commentary and bearing witness to events in real time.

Along the way, the conversation touches on Lou Reed, Leonard Cohen, Bob Dylan, motherhood, stagecraft, artistic responsibility, and the strange alchemy of simplicity and resonance. Vega shares anecdotes from her life on tour, her early performances (including a childhood appearance at Pete Seeger’s feet), and her unexpected intersections with technology and culture.

www.third-story.com www.leosidran.substack.com www.wbgo.org/podcast/the-third-story

When Arturo O’Farrill was 19 years old, playing piano in a bar in upstate New York, he was spotted by Carla Bley—who promptly invited him to join her band. At the time, he was doing everything he could to distance himself from the legacy of his father, the legendary Cuban composer Chico O’Farrill. He avoided anything labeled “Latin” like his life depended on it. But as he tells it, the real turning point came when bassist Andy Gonzalez sat him down and played him the history of Afro Latin music. Arturo realized that the music he’d rejected might actually be his greatest treasure—and more complex and profound than he’d ever imagined. Since then, Arturo has built an extraordinary body of work as a composer, bandleader, educator, and activist. From founding the Afro Latin Jazz Orchestra to creating his nonprofit Belongo—now building a major cultural center in Harlem—he’s dedicated his life to music that carries meaning. Not just swing, but sting. “You can pretend that music is pretty noise,” he says, “or you can think it’s only to soothe. But I don’t believe that’s the purpose of art.” In our conversation, Arturo opens up about identity, legacy, faith, creativity, and the urgent role of art in a broken world. Sometimes a conversation doesn’t just explore a person’s life—it opens a window into their soul. This was one of those.

www.third-story.com www.leosidran.substack.com www.wbgo.org/podcast/the-third-story

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.

www.third-story.com www.leosidran.substack.com www.wbgo.org/podcast/the-third-story

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.

www.third-story.comwww.leosidran.substack.com www.wbgo.org/podcast/the-third-story

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.

www.third-story.com www.leosidran.substack.com www.wbgo.org/podcast/the-third-story

 

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.

www.third-story.com www.leosidran.substack.com https://www.wbgo.org/podcast/the-third-story

Twenty years ago, “Al otro lado del río" became the first Spanish-language song to win an Academy Award for Best Original Song. Written by Jorge Drexler in a single day while staying in Madison, Wisconsin, and recorded in a mix of home and studio settings, the song’s journey was as unexpected as its lyrics suggested.

Here we revisit that historic night through conversations with Jorge Drexler, Ana Laan, Amanda Sidran, Ben Sidran, and the song’s co-producer: me. From the song’s humble origins, its Oscar nomination, and the moment when Drexler—barred from performing his own song during the ceremony—made a quiet but profound statement by singing his acceptance speech a cappella.

The episode also looks at the aftermath: how the win transformed Drexler’s career, leading to 15 Latin Grammys and three Song of the Year awards by 2024, and how it marked a turning point for me, prompting me to move to New York and ultimately leading to the creation of The Third Story podcast.

But even in retelling the story, memory plays tricks—Jorge and I recall that night differently, highlighting a key theme of The Third Story: between every version of events, the truth always lies in the spaces between. This episode is an exploration of music, memory, and history—how a single event can reshape multiple lives in different ways.

www.third-story.com www.leosidran.substack.com

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

www.third-story.com www.leosidran.substack.com www.wbgo.org/podcast/the-third-story

Get 45% off the Magic Mind bundle with with my link: https://www.magicmind.com/LEOJAN #magicmind #mentalwealth #mentalperformance