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Shirley Chisholm

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.

292: Max Pollak

Written by Robert Smith and originally released in 1983 by the Cure, this version features John Cameron Mitchell (Hedwig and the Angry Inch) on lead vocals.

Vocals - John Cameron Mitchell
Drums - Christian Linsey
Everything else - Michael Hearst

The Love Cats (feat. John Cameron Mitchell)

Hold Me Now

Originally released by The Steve Miller Band in 1982, this version features vocals by Leo Sidran (who's father Ben Sidran was a founding member of The Steve Miller Band).

Abracadabra (feat. Leo Sidran)

"Leave With Me"
Writer: DaDriean Bonner
Producer: DaDriean Bonner
Mixing Engineer: DaDriean Bonner
Mastering Engineer: DaDriean Bonner

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Leave With Me - Single

Leave With Me

DaDriean Bonner - Leave With Me [Prod. By DaDriean Bonner]

Download Free: https://hypeddit.com/danix/paradecirteadisdanixbadbunnyai

	No vengo a venderte una canción. Vengo a contarte un sueño cumplido.
	
	Esta canción no me va a dejar ni un solo dólar, y aún así es lo más valioso que he creado hasta ahora.
	Porque con ella logré lo que llevaba años soñando: convertirme oficialmente en productor musical.
	
	Durante mucho tiempo toqué puertas. Algunas ni siquiera se abrieron. Otras simplemente no me vieron.
	Y aunque tenía las ideas, el deseo, el talento, parecía que el mundo no estaba listo para darme una oportunidad.
	
	Hasta que entendí que si no me daban una voz, tenía que crear la mía (o simularla)… y así lo hice.
	Gracias a la tecnología, pude tomar una voz popular prestada por una vez, una voz que además simboliza una conexión con la persona para la cual fue escrita esta canción.
	
	Yo escribí la letra (Con toda mi alma pura y lágrimas)
	Yo la canté (modulada con EQ AI).
	Yo produje, mezclé y mastericé todo desde cero.
	
	Y aunque solo dure unos minutos, representa años enteros de frustración, ideas contenidas y sueños postergados.
	
	Crear esta canción me costó sacrificios reales, dejé pasar oportunidades que tal vez me hubieran dado dinero, dejé caminos que otros consideran “éxito”.
	Personas se alejaron. Momentos y fiestas se perdieron…
	Pero lo cambié todo por esto. Porque esto sí me llena. Esto hace que me levante cada día con más ganas por vivir y superarme cada vez más. 
	No me importa si me expongo emocionalmente. No me interesa si no es lo que se espera en redes o lo que “se ve bien”.
	Esto que estoy compartiendo me hace sentir humano, me hace sentir vivo. 
	
	Y si en algún momento logra llegar a esa persona para quien fue escrita, y le hace sentir lo que yo sentí al escribirla… entonces también habrá cumplido su segunda misión:
	Transmitir, desde lo más puro, un mensaje que llevaba guardado en el corazón.
	
	Comparto por aquí para agradecer profundamente al universo por darme esta oportunidad. Gracias a quien escuche esto por dejar que estas emociones vivan más allá de mí.
	No sé hasta dónde va a llegar esta canción, no la hice para tener reproducciones ni likes, la hice para trasmitir mis sentimientos y talento… pero lo que sí sé, es yo ya llegué más lejos de lo que alguna vez creí posible.


Nota Aclaratoria:
Esta canción fue escrita, cantada y producida completamente por Danix. La voz original es mía, solo que fue procesada posteriormente usando IA para dar textura similar a Bad Bunny con fines artísticos, no comerciales, sin monetización.
Producción musical, composición, voz original, mezcla y mastering: Danix.

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Para decirte adiós - Danix (Bad Bunny AI)

Geronimo

Confused The Listener

The Third story is a weekly podcast featuring long-form interviews with creative people of all types, hosted by me, Leo Sidran. Their stories of discovery, loss, ambition, identity, improvisation, risk, and reward are deeply moving and compelling for all of us as we embark on our own creative journeys.

292: Max Pollak

The Third Story Podcast

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