Stephen Thompson

Stephen Thompson is an editor and reviewer for NPR Music, where he writes the advice column The Good Listener, fusses over the placement of commas and appears as a frequent panelist on All Songs Considered. Since 2010, Thompson has been a fixture on the weekly NPR roundtable podcast Pop Culture Happy Hour, which he created and developed with NPR correspondent Linda Holmes. In 2008, he and Bob Boilen created the NPR Music video series Tiny Desk Concerts, in which musicians perform at Boilen's desk.

In 1993, Thompson founded The Onion's entertainment section, The A.V. Club, which he edited until December 2004. In the years since, he has provided music-themed commentaries for the NPR programs Weekend Edition Sunday, All Things Considered and Morning Edition, on which he earned the distinction of becoming the first member of the NPR Music staff ever to sing on an NPR newsmagazine. (Later, the magic of AutoTune transformed him from a 12th-rate David Archuleta into a fourth-rate Cher.) Thompson's entertainment writing has also run in Paste magazine, The Washington Post and The London Guardian.

During his tenure at The Onion, Thompson edited the 2002 book The Tenacity of the Cockroach: Conversations with Entertainment's Most Enduring Outsiders (Crown) and copy-edited six best-selling comedy books. While there, he also coached The Onion's softball team to a sizzling 21-42 record, and was once outscored 72-0 in a span of 10 innings. Later in life, Thompson redeemed himself by teaming up with the small gaggle of fleet-footed twentysomethings who won the 2008 NPR Relay Race, a triumph he documents in a hard-hitting essay for the book This Is NPR: The First Forty Years (Chronicle).

A 1994 graduate of the University of Wisconsin, Thompson now lives in Silver Spring, Md., with his two children, four cats and a room full of vintage arcade machines. His hobbies include watching reality television without shame, eating Pringles until his hand has involuntarily twisted itself into a gnarled claw, using the size of his Twitter following to assess his self-worth, touting the immutable moral superiority of the Green Bay Packers and maintaining a fierce rivalry with all Midwestern states other than Wisconsin.

We get a lot of mail at NPR Music, and alongside the assortment of coloring books for grownups is a slew of smart questions about how music fits into our lives. This time around: thoughts for an engaged couple who can't decide on their first wedding dance.

On Sept. 8, Stephen Colbert made his debut in David Letterman's spot as host of CBS's Late Show, a role he took over after Letterman's retirement and the conclusion of his own nine-year run at the helm of Comedy Central's Colbert Report. This week's Pop Culture Happy Hour panel — Glen Weldon, Code Switch lead blogger Gene Demby, super-librarian Margaret H. Willison and me — is unanimous in its fondness for Colbert, but our feelings for The Late Show With Stephen Colbert are mixed.

We get a lot of mail at NPR Music, and alongside a new Wii U game that cost more than our gas bill is a slew of smart questions about how music fits into our lives. This time around: thoughts for parents who seek the mental energy to love music the way they used to.

Irish singer-songwriter Glen Hansard has proven incredibly versatile throughout a career spanning more than 25 years. In The Frames, he's mixed vein-bulging intensity, string-laden elegance and a rock star's flair for rafter-shaking anthems.

Last week, when Linda Holmes, Glen Weldon and I gathered to talk about the great summer entertainment we'd neglected to discuss on the show, we came to a realization mid-taping: All three of us had been watching, and loving, the USA Network series Mr. Robot, which aired the last episode of its first season Wednesday night. (It's already been renewed for a second season.)

It's one thing for Low to have made a rewarding career of spare, dramatic, glacially paced music — for song after slow-moving song to have been constructed out of little more than crystalline guitar lines, minimal bass, maybe a few effects here and there, brushes of snare and the alternating or intertwined voices of Alan Sparhawk and Mimi Parker.

[You can hear Stephen Thompson and Linda Holmes chat about the VMAs on a Small Batch edition of Pop Culture Happy Hour by hitting the play button at the top of this post.]

We get a lot of mail at NPR Music, and alongside the T-shirt we bought to express our love of goats is a slew of smart questions about how music fits into our lives. This time around: thoughts on side projects.

Lou Barlow's circuitous path as a recording artist has taken him through key roles in Sebadoh and Dinosaur Jr., not to mention The Folk Implosion, which cracked the pop charts with "Natural One" back in the '90s.

Linda Holmes is finally back from two and a half weeks cooped up in an L.A. hotel for the Television Critics Association's press tour, but her return coincides with Glen Weldon's vacation, so Linda and I are joined by two guest panelists this week: All Things Considered cohost Audie Cornish and Code Switch blogger Gene Demby.

Beach House works with a simple set of ingredients — a few vintage keyboards, programmed drums, an electric guitar and the drowsily alluring voice of Victoria Legrand — to evoke a specific tone that rarely varies. And yet Depression Cherry, the Baltimore duo's fifth album in the last decade, still feels vibrant and versatile. There's sticking to a formula that works, and then there's teasing out its subtleties in surprising, consistently rewarding ways.

In the first two episodes of The Giant Foam Finger — a new, sports-themed offshoot of Pop Culture Happy Hour — NPR Code Switch blogger Gene Demby and I have discussed one play in a decade-old NFL game, and we've tackled the phenomenon of fan hatred.

We get a lot of mail at NPR Music, and alongside the mammoth box someone used to ship us a single bottle of beer is a slew of smart questions about how music fits into our lives. This time around: thoughts on tall folks at concerts.

Linda Holmes is this close to returning home from two and a half weeks at the Television Critics Association press tour — so close, she swears can practically feel the fabric of the sheets on her very own bed — but she's absent from this week's Pop Culture Happy Hour taping. Which, in turn, means two very special guests on this week's show: Super-librarian Margaret H. Willison and Code Switch lead blogger Gene Demby join Glen Weldon and me for a spirited and wide-ranging discussion.

David Wax and Suz Slezak, the married couple who form David Wax Museum, have put an extraordinary amount of research and work into their sound.

Partnerships between well-known musicians often result in unequal collaborations: One voice, usually the singer's, winds up dominating. So it's refreshing to hear "Return To The Moon," the first released song by a project called EL VY.

We get a lot of mail at NPR Music, and alongside the brick-sized bale of bills that arrived during our recent vacation is a slew of smart questions about how music fits into our lives. This time around: thoughts on how to play DJ from the passenger seat of a friend's car.

A couple weeks ago, Code Switch blogger Gene Demby and I sat down to reflect on a decade-old sports moment — a single play in a single game — and describe how it affected us as rival fans of the teams involved. In this second episode of the series we're calling The Giant Foam Finger, the two of us tackle a far unwieldier subject: hatred.

We get a lot of mail at NPR Music, and alongside the shipment of cat sedatives that have us pondering just how often we order shipments of cat sedatives is a slew of smart questions about how music fits into our lives. This time around: thoughts on sedating children (not cats) via music.

Not many country singers under 30 could score a chart-topping hit with mainstream mainstay Blake Shelton ("Lonely Tonight"), frequent collaborations with elder statesman Vince Gill and a spot in Jack White's Third Man House Band — which is saying nothing of Ashley Monroe's recurring role in the all-star trio

We talk a lot about nostalgia on Pop Culture Happy Hour — about the ways entertainment has shaped our youth and placed our memories in perspective — but in doing so, we've mostly discussed movies, TV shows, music, books, board games, that sort of thing.

Tame Impala's Kevin Parker is a relentless tinkerer: His songs have an impeccable, fussed-over quality, to the point where fussy impeccability could easily seem like the sum total of his mission. Sounding great and being great are two vastly different features in the ever-subjective world of rock 'n' roll, after all, and yet the Australian band's best songs have found ways to check both boxes.

Just a little less than five years ago, Linda Holmes and I decided to book a studio after-hours and record what we'd call "an audio experiment" — a roundtable discussion of pop culture with the two of us and our pals Trey Graham and Glen Weldon, produced by the essential Mike Katzif. By the time the first recording was complete, we'd decided to come back every week, even though our budget was zero and we'd never asked our bosses for permission.

Country singer Kacey Musgraves opened this Friday's Tiny Desk Concert with four charming songs from her new album, Pageant Material, which we'll post online soon. But she couldn't possibly skip "Follow Your Arrow" on the very day the Supreme Court handed down its historic ruling on Obergefell v. Hodges.

Alicia Bognanno isn't one for wasted motion: The indefatigable lead singer of Nashville's Bully crafts her songs for maximum impact in minimal time, taking care never to overstay her welcome or overdress her arrangements. Feels Like, the Nashville band's effervescent debut, speeds by in about half an hour, having left behind a trail of two- and three-minute songs that stick in the brain for ages.

We get a lot of mail at NPR Music, and alongside the mail-order grapefruits that have us pondering the nature of the mail-order-grapefruit business is a slew of smart questions about how music fits into our lives. This time around: thoughts on pop music's staying power.

Steven F. writes via Facebook: "Which current music stars will be remembered 20 or 50 years from now, which will be forgotten, and why?"

There are so many quick-twitch responses to this question — and virtually all of them are, at least on some level, wrong.