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"headTitle": "In Memoriam 2019: The Musicians We Lost | KQED",
"content": "\u003cp>Heroes of alt-rock and idols of classic Hollywood, jazz luminaries and Pulitzer-winning composers, cult legends and rule-breakers, rising stars and old masters: Music communities around the globe lost dozens of shining voices this year. Here’s NPR Music’s celebration of some of the musicians who left the world in 2019.\u003c/p>\n\u003chr>\n\u003ch3>Clydie King\u003c/h3>\n\u003cp>\u003cem>Aug. 21, 1943 – Jan. 7, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4nph9B2dSXk\u003c/p>\n\u003cp>King began her career by leading her own doo-wop group, but the Dallas native found her way to greater renown as an in-demand backup singer, recording with the likes of Ray Charles, The Rolling Stones, Lynyrd Skynyrd, Steely Dan and Bob Dylan. \u003c/p>\n\u003chr>\n\u003ch3>Joseph Jarman\u003c/h3>\n\u003cp>\u003cem>Sept. 14, 1937 – Jan. 9, 2019\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iuaBJ8-EVSg\u003c/p>\n\u003cp>An integral member of the Art Ensemble of Chicago who later was ordained as a Buddhist priest, the saxophonist, composer and multi-instrumentalist pushed experimental jazz, and the sounds he coaxed from his instruments, toward new horizons. (\u003ca href=\"https://www.npr.org/2019/01/19/686554564/different-ways-to-see-and-be-the-lives-of-joseph-jarman-and-alvin-fielder\" target=\"_blank\" rel=\"noopener noreferrer\">Read the NPR essay\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Carol Channing\u003c/h3>\n\u003cp>\u003cem>Jan. 31, 1921 – Jan. 15, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mknDZ88-zfg\u003c/p>\n\u003cp>Though she’ll always be identified with \u003cem>Hello, Dolly!\u003c/em>, Channing’s prolific career in theater, film, television and recording spanned more than six decades. (\u003ca href=\"https://www.npr.org/2019/01/15/105807270/bidding-farewell-to-hello-dolly-actress-carol-channing-dies-at-97\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Oliver Mtukudzi\u003c/h3>\n\u003cp>\u003cem>Sept. 22, 1952 – Jan. 23, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GhXGyer-cIg\u003c/p>\n\u003cp>Known as “Tuku” to his legion of fans, Mtukudzi often aimed his songwriting at the politics of his native Zimbabwe—celebrating the country’s new independence in the early 1980s and criticizing the rule of Robert Mugabe as it stretched into the 2010s. (\u003ca href=\"https://www.npr.org/2019/01/24/687943803/african-music-legend-oliver-tuku-mtukudzi-dead-at-66\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Michel Legrand\u003c/h3>\n\u003cp>\u003cem>Feb. 24, 1932 – Jan. 26, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DcFH66IyXCU\u003c/p>\n\u003cp>The French musician was a prolific composer of film scores, with collaborators including directors Jean-Luc Godard, Agnès Varda and Jacques Demy. His work on 1968’s \u003cem>The Thomas Crown Affair\u003c/em> brought him the first of several Oscars and many nominations. (\u003ca href=\"https://www.npr.org/2019/01/26/689050826/michel-legrand-oscar-winning-composer-who-lived-surrounded-by-music-dies-at-86\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>James Ingram\u003c/h3>\n\u003cp>\u003cem>Feb. 16, 1952 – January 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FUsnVOqrqqE\u003c/p>\n\u003cp>With a signature timbre that instantly evokes the classic R&B sound of the 1980s, Ingram landed two Grammys and two No. 1 hits as a singer and became an in-demand collaborator, co-writing with Quincy Jones and dueting with Linda Ronstadt. (\u003ca href=\"https://www.npr.org/2019/01/26/689050826/michel-legrand-oscar-winning-composer-who-lived-surrounded-by-music-dies-at-86\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Ethel Ennis\u003c/h3>\n\u003cp>\u003cem>Nov. 28, 1932 – Feb. 17, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jW9X7kHGoho\u003c/p>\n\u003cp>A singer, community builder and regional celebrity—known in Baltimore as the city’s “First Lady of Jazz”—Ennis’ recordings in the mid-20th century became vital contributions to a heyday of vocal jazz and traditional pop. (\u003ca href=\"https://www.wbgo.org/post/ethel-ennis-sophisticated-singer-who-reigned-baltimores-first-lady-jazz-dies-86\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Dominick Argento\u003c/h3>\n\u003cp>\u003cem>Oct. 27, 1927 – Feb. 20, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4bMf2ipOnCo\u003c/p>\n\u003cp>The Pulitzer-winning composer was best known for his lyrical and astringent music for the human voice, writing 13 operas as well as a number of song cycles and choral works. (\u003ca href=\"https://www.npr.org/2019/02/22/697025521/dominick-argento-literature-loving-and-pulitzer-prize-winning-composer-dead-at-9\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Jackie Shane\u003c/h3>\n\u003cp>\u003cem>May 15, 1940 – February 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yUYW2iwimBw\u003c/p>\n\u003cp>The trailblazing transgender soul singer from Nashville found fame in Toronto in the 1960s, and a cult following later, before retreating underground for decades. She resurfaced in 2017 when a compilation of her recordings drew new attention to her life and career. (\u003ca href=\"https://www.npr.org/sections/therecord/2017/10/25/559775225/jackie-shane-a-force-of-nature-who-disappeared-has-a-story-all-her-own\" target=\"_blank\" rel=\"noopener noreferrer\">Read an NPR essay from 2017\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Peter Tork\u003c/h3>\n\u003cp>\u003cem>Feb. 13, 1942 – Feb. 21, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xvqeSJlgaNk\u003c/p>\n\u003cp>Tork was the oldest of the made-for-TV rock quartet The Monkees, and a musician in his own right before being cast. The sitcom band fashioned as a prefab answer to The Beatles found its way to real-world No. 1 hits, including “Last Train to Clarksville” and “I’m a Believer.” (\u003ca href=\"https://www.npr.org/2019/02/21/696864784/peter-tork-of-the-monkees-dies-at-77\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Mark Hollis\u003c/h3>\n\u003cp>\u003cem>Jan. 4, 1955 – Feb. 25, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cFH5JgyZK1I\u003c/p>\n\u003cp>Hollis was the mastermind of the influential U.K. band Talk Talk, which touched both the heights of radio pop with songs like “It’s My Life” and the fringes of what would come to be known as post-rock with albums like \u003cem>Spirit of Eden\u003c/em>. (\u003ca href=\"https://www.npr.org/2019/02/28/698650688/mark-hollis-and-talk-talks-brilliant-nuanced-stubborn-visions\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>André Previn\u003c/h3>\n\u003cp>\u003cem>April 6, 1929 – Feb. 28, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6CPv7sX7CG8\u003c/p>\n\u003cp>Previn was a celebrated polymath: a composer of Oscar-winning film music, conductor, pianist and music director of major orchestras, including the symphonies of Houston, Pittsburgh and London. (\u003ca href=\"https://www.npr.org/sections/thetwo-way/2019/02/28/517960940/andre-previn-musical-polymath-has-died-at-age-89\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Keith Flint\u003c/h3>\n\u003cp>\u003cem>Sept. 17, 1969 – March 4, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wmin5WkOuPw\u003c/p>\n\u003cp>Flint was the ragged voice and scowling face of The Prodigy’s barnstorming 1990s singles “Firestarter” and “Breathe,” which made the British dance act a sensation with alternative rock fans and helped popularize big-beat music in America. (\u003ca href=\"https://www.npr.org/2019/03/04/699974575/keith-flint-vocalist-of-techno-popularizers-the-prodigy-dead-at-49\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Hal Blaine\u003c/h3>\n\u003cp>\u003cem>Feb. 5, 1929 – March 11, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZV5tgZlTEkQ\u003c/p>\n\u003cp>Blaine was part of the session dream team The Wrecking Crew, but his resume was in a class all its own. His drumming backed Grammy-winning and chart-topping songs by Frank Sinatra, The Beach Boys, Simon & Garfunkel and many more, and is the signature pulse of The Ronettes’ “Be My Baby.” (\u003ca href=\"https://www.npr.org/2019/03/12/702485933/hal-blaine-most-recorded-drummer-in-history-dies-at-90\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Dick Dale\u003c/h3>\n\u003cp>\u003cem>May 4, 1937 – March 16, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mKpsuGMeqHI\u003c/p>\n\u003cp>Born Richard Anthony Monsour, Dale changed the sound of rock and roll in the early 1960s when he upped the reverb on his guitar and applied the Arabic scales of his father’s native Lebanon. His high-energy interpretation of an old song from Asia Minor, “Misirlou,” became surf rock’s calling card. (\u003ca href=\"https://www.npr.org/2019/03/18/704329806/dick-dale-surf-guitar-legend-dead-at-81\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Scott Walker\u003c/h3>\n\u003cp>\u003cem>Jan. 9, 1943 – March 22, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zP3zCsMC5cE\u003c/p>\n\u003cp>Walker was first known for his work with blue-eyed soul trio The Walker Brothers in the 1960s, but it was his late-career trilogy of challenging art-rock albums that defined his reputation as one of avant-garde music’s most electrifying auteurs. (\u003ca href=\"https://www.npr.org/2019/03/25/706469684/scott-walker-pop-idol-turned-avant-auteur-dies-at-76\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Ranking Roger\u003c/h3>\n\u003cp>\u003cem>Feb. 21, 1963 – March 26, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SHWrmIzgB5A\u003c/p>\n\u003cp>As a singer for the U.K. band The Beat (known as The English Beat in the U.S.), Roger Charlery helped transform ska into the subgenre two-tone, infusing the Caribbean-rooted music with punk-rock structures and ’80s textures. (\u003ca href=\"https://www.npr.org/2019/03/27/707147386/ranking-roger-frontman-for-the-english-beat-dies-at-56\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Nipsey Hussle\u003c/h3>\n\u003cp>\u003cem>Aug. 15, 1985 – March 31, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PAcGg_4KKYs\u003c/p>\n\u003cp>A beloved inspirational figure in hip-hop, the rapper and philanthropist born Ermias Joseph Asghedom survived gang life in South Central Los Angeles and legitimized his street hustle, using his entrepreneurial skills to create economic empowerment in his community. (\u003ca href=\"https://www.npr.org/2019/04/01/708675102/nipsey-hussle-grammy-nominated-rapper-and-philanthropist-shot-and-killed\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Beth Carvalho\u003c/h3>\n\u003cp>\u003cem>May 5, 1946 – April 30, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Zav50SgbK8o\u003c/p>\n\u003cp>Known as the “godmother of samba” in Brazil, Carvalho propelled her country’s music forward with her husky voice and infectious performances, which earned her a lifetime achievement honor from the Latin Grammy Awards.\u003c/p>\n\u003chr>\n\u003ch3>Doris Day\u003c/h3>\n\u003cp>\u003cem>April 3, 1922 – May 13, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=td7lCCO9aaQ\u003c/p>\n\u003cp>A big-band singer and actress who became a titan of classic Hollywood, Day made nearly three dozen films and more than 600 recordings, topping both the \u003cem>Billboard\u003c/em> and box office charts at the height of her career. (\u003ca href=\"https://www.npr.org/2019/05/13/225446337/actress-and-singer-doris-day-hollywoods-girl-next-door-dies-at-97\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Leon Redbone\u003c/h3>\n\u003cp>\u003cem>Aug. 26, 1949 – May 30, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FUxbInKev-o\u003c/p>\n\u003cp>Playing dusty classics from Tin Pan Alley and ragtime to blues and country with a loose fidelity and a wry style, the famously mysterious artist became an object of fascination and admiration, with famous fans including Bob Dylan, Bonnie Raitt and John Prine. (\u003ca href=\"https://www.npr.org/2019/05/30/728315252/leon-redbone-an-unusual-singer-from-a-bygone-era-has-died\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Roky Erickson\u003c/h3>\n\u003cp>\u003cem>July 15, 1947 – May 31, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gHK9vj0VE7w\u003c/p>\n\u003cp>Perhaps the embodiment of his hometown’s slogan, “Keep Austin Weird,” the psychedelic lodestar helmed The 13th Floor Elevators and wrote one of garage rock’s original anthems, “You’re Gonna Miss Me,” forging new paths for rock music and becoming a beloved cult figure. (\u003ca href=\"https://www.npr.org/2019/05/31/728821278/roky-erickson-of-the-13th-floor-elevators-dies-at-71\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Dr. John\u003c/h3>\n\u003cp>\u003cem>Nov. 21, 1940 – June 6, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SCRrXZP8b0I\u003c/p>\n\u003cp>The pianist, guitarist, jive talker and psychedelic godfather born Malcolm John Rebennack was among the most beloved fixtures of New Orleans music, carving wide lanes through blues, jazz and rock with an unmistakable look, voice and personality. (\u003ca href=\"https://www.npr.org/2019/06/06/730481477/dr-john-legend-of-new-orleans-dead-at-77\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Bushwick Bill\u003c/h3>\n\u003cp>\u003cem>Dec. 8, 1966 – June 9, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IJtHdkyo0hc\u003c/p>\n\u003cp>Born Richard Shaw in Kingston, Jamaica, the MC was a founding member of the pioneering Houston trio Geto Boys, whose dark horrorcore raps helped put the city on hip-hop’s map. (\u003ca href=\"https://www.npr.org/2019/06/10/731076691/bushwick-bill-of-houston-rap-group-geto-boys-dead-at-52\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Dave Bartholomew\u003c/h3>\n\u003cp>\u003cem>Dec. 24, 1918 – June 23, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LNjuxtjtuWg\u003c/p>\n\u003cp>Best known for collaborating on an extraordinary string of hits with Fats Domino, the New Orleans trumpeter, songwriter, bandleader, producer and arranger was one of the primary architects of the sound that became rock and roll. (\u003ca href=\"https://www.npr.org/2019/06/23/698212277/dave-bartholomew-a-father-of-rock-and-roll-dead-at-100\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>João Gilberto\u003c/h3>\n\u003cp>\u003cem>June 10, 1931 – July 6, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=g6w3a2v_50U\u003c/p>\n\u003cp>Gilberto was the founding master of bossa nova, which drew on Brazil’s African-influenced samba tradition but was performed without the usual battery of drums and rhythm instruments. His intimate and nuanced guitar playing and singing became central to the style. (\u003ca href=\"https://www.npr.org/2019/07/06/739224759/jo-o-gilberto-master-of-bossa-nova-dies-at-88\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Johnny Clegg\u003c/h3>\n\u003cp>\u003cem>June 7, 1953 – July 16, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qnYtcH4YS44\u003c/p>\n\u003cp>A singer, dancer and activist who co-founded two groundbreaking, racially mixed bands during the apartheid era, Clegg was one of the most celebrated voices in modern South African music. (\u003ca href=\"https://www.npr.org/2019/07/16/738065415/johnny-clegg-a-uniting-voice-against-apartheid-dies-at-66\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Ben Johnston\u003c/h3>\n\u003cp>\u003cem>March 15, 1926 – July 21, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Wp7VjBtOJ74\u003c/p>\n\u003cp>A master of microtonal music, the avant-garde composer heard notes between the standard 12 pitches in an octave to create a wide range of pieces for orchestra, chamber ensembles, piano and stage. (\u003ca href=\"https://www.npr.org/sections/deceptivecadence/2016/12/31/507542859/ben-johnston-hears-the-notes-between-the-notes\" target=\"_blank\" rel=\"noopener noreferrer\">Read an NPR profile from 2016\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Art Neville\u003c/h3>\n\u003cp>\u003cem>Dec. 17, 1937 – July 22, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TKDMiyRmbik\u003c/p>\n\u003cp>The keyboardist, singer and songwriter sometimes known as “Poppa Funk” was a founding member of The Meters and of The Neville Brothers, the musical family whose soul sound traveled far beyond its home base of New Orleans. (\u003ca href=\"https://www.npr.org/2019/07/22/744150388/art-neville-a-new-orleans-icon-dead-at-81\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>David Berman\u003c/h3>\n\u003cp>\u003cem>Jan. 4, 1967 – Aug. 7, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XvUBbROsXBw\u003c/p>\n\u003cp>In his songs as Silver Jews and more recently as Purple Mountains, alongside frequent collaborators Pavement and labelmates Bill Callahan and Will Oldham, Berman established himself as a world-class lyricist who embodied indie rock’s literate side. (\u003ca href=\"https://www.npr.org/2019/08/07/749245911/silver-jews-david-berman-dies-at-52\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Celso Piña\u003c/h3>\n\u003cp>\u003cem>April 6, 1953 – Aug. 21, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=z2c5xCmLiAE\u003c/p>\n\u003cp>The prolific and celebrated Mexican accordion player contributed greatly to the evolution of cumbia, bringing the Colombian folk style to stages around the world and deftly blending it with contemporary Latin styles. (\u003ca href=\"https://www.npr.org/sections/altlatino/2019/08/23/753687796/accordion-master-celso-pina-dead-at-66\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Camilo Sesto\u003c/h3>\n\u003cp>\u003cem>Sept. 16, 1946 – Sept. 8, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xVDmyuzkiPo\u003c/p>\n\u003cp>This Spanish pop sensation amassed dozens of No. 1 songs worldwide, wrote and produced hits for his Latin pop peers and starred in a Spanish-language adaptation of \u003cem>Jesus Christ Superstar\u003c/em>.\u003c/p>\n\u003chr>\n\u003ch3>Daniel Johnston\u003c/h3>\n\u003cp>\u003cem>Jan. 22, 1961 – Sept. 11, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3OvWFurOBk8\u003c/p>\n\u003cp>The outsider singer, songwriter and visual artist was a true musician’s musician. His guileless lyrics about love and alienation found fans in artists like Tom Waits, Yo La Tengo, Bright Eyes and Kurt Cobain, whose appreciation of his work helped bring it to a wider audience. (\u003ca href=\"https://www.npr.org/2019/09/11/759904906/daniel-johnston-acclaimed-singer-songwriter-dies-at-58\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Ric Ocasek\u003c/h3>\n\u003cp>\u003cem>March 23, 1944 – Sept. 15, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xuZA6qiJVfU\u003c/p>\n\u003cp>As the leader of The Cars, Ocasek wove offbeat new-wave elements into a hook-savvy Top 40 sound, and rocked a distinctive look perfect for MTV. His influence outlasted the group’s 1980s reign, as he became a commanding producer for a younger generation of alternative bands. (\u003ca href=\"https://www.npr.org/2019/09/15/761076999/ric-ocasek-frontman-of-the-cars-has-died\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Harold Mabern\u003c/h3>\n\u003cp>\u003cem>March 20, 1936 – Sept. 17, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=INPSuX3rck8\u003c/p>\n\u003cp>Mabern was a jazz pianist of percussive fire and boundless soul, with a language that pulled from hard bop, post-bop, Memphis soul and the blues. His penchant for block chords combined McCoy Tyner’s modal coloration with the ringing affirmations of gospel. (\u003ca href=\"https://www.wbgo.org/post/harold-mabern-pianist-who-mastered-post-bop-blues-and-memphis-soul-dead-83\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Christopher Rouse\u003c/h3>\n\u003cp>\u003cem>Feb. 15, 1949 – Sept. 21, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=T4SlLHTLaLc\u003c/p>\n\u003cp>A composer of uncompromisingly expressive works, primarily for orchestra (one of which earned him a Pulitzer Prize), Rouse also taught courses in the history of rock. He once called himself a writer of “fast and furious” music. (\u003ca href=\"https://www.npr.org/sections/deceptivecadence/2019/09/23/763418066/remembering-the-fast-and-furious-music-of-christopher-rouse\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Robert Hunter\u003c/h3>\n\u003cp>\u003cem>June 23, 1941 – Sept. 23, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pafY6sZt0FE\u003c/p>\n\u003cp>As the Grateful Dead’s behind-the-scenes lyricist, Hunter provided the band with many of its most enduring lines, including the rock radio staple “Truckin’ ” and its immortal refrain, “What a long, strange trip it’s been.” (\u003ca href=\"https://www.npr.org/2019/09/25/763933353/robert-hunters-words-helped-bring-life-to-the-grateful-dead\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>José José\u003c/h3>\n\u003cp>\u003cem>Feb. 17, 1948 – Sept. 28, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=E20G25SCAEg\u003c/p>\n\u003cp>Known as Mexico’s “Prince of Song,” the powerhouse crooner born José Rómulo Sosa Ortiz was a fixture of the Latin charts in the 1970s and ’80s. In the 2000s he received lifetime achievement honors from the Latin Grammys and a star on the Hollywood Walk of Fame. (\u003ca href=\"https://www.npr.org/2019/09/30/765653356/jos-jos-the-prince-of-song-dies-at-age-71\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Jessye Norman\u003c/h3>\n\u003cp>\u003cem>Sept. 15, 1945 – Sept. 30, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jOIAi2XwuWo\u003c/p>\n\u003cp>Praised for the beauty and opulence of her voice, Norman crafted a distinctive career that spanned decades and styles of music, becoming a leading figure both in the opera house and on the recital stage. Her repertoire was broad, from baroque music to modernists, pop songs and blues to her beloved Duke Ellington. (\u003ca href=\"https://www.npr.org/2019/09/30/765886905/opera-singer-jessye-norman-dies-at-74\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Giya Kancheli\u003c/h3>\n\u003cp>\u003cem>Aug. 10, 1935 – Oct. 2, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8uv0yNUduOk\u003c/p>\n\u003cp>The Georgian composer’s work spanned seven symphonies and large-scale works (like his \u003cem>Styx \u003c/em>for viola, chorus and orchestra), as well as many intimate pieces for small ensembles and solo instruments, like the sweet, wistful piano tune “When Almonds Blossomed.” (\u003ca href=\"https://www.npr.org/2019/10/02/766505272/composer-giya-kancheli-championed-by-ecm-dies-at-84\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Kim Shattuck\u003c/h3>\n\u003cp>\u003cem>July 17, 1963 – Oct. 2, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vsxyaZhdW1s\u003c/p>\n\u003cp>Shattuck was best known as the singer, guitarist and primary songwriter of The Muffs, but she was also one of alternative rock’s favorite guest artists, singing on tracks by NOFX and Bowling for Soup and playing bass on tour with the reunited Pixies. (\u003ca href=\"https://www.npr.org/2019/10/03/766780466/kim-shattuck-an-enduring-presence-in-l-a-punk-dead-at-56\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Ginger Baker\u003c/h3>\n\u003cp>\u003cem>Aug. 19, 1939 – Oct. 6, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8O5IgyDcohQ\u003c/p>\n\u003cp>As the engine room of Cream, Blind Faith and other bands of the 1960s and ’70s, Baker’s intensity, inventiveness and fluency in the polyrhythms of jazz and Afrobeat made him a primary inspiration for generations of rock drummers. (\u003ca href=\"https://www.npr.org/2019/10/06/765781758/ginger-baker-cream-drummer-and-force-of-nature-dies-at-80\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Raymond Leppard\u003c/h3>\n\u003cp>\u003cem>Aug. 11, 1927 – Oct. 22, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5OCW7KVUbdg\u003c/p>\n\u003cp>With full-bodied performances and pioneering scholarship, the British-born conductor, harpsichordist and composer helped reintroduce audiences to 16th and 17th century Italian masterpieces, and wrote contemporary works for stage and screen. (\u003ca href=\"https://www.npr.org/2019/10/22/771849121/conductor-and-composer-raymond-leppard-a-champion-of-the-old-and-the-new-has-die\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Mariss Jansons\u003c/h3>\n\u003cp>\u003cem>Jan. 14, 1943 – Nov. 30, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2piCORWRrX0\u003c/p>\n\u003cp>Hailed for incisive and evocative performances of works by Mahler, Tchaikovsky, Rachmaninoff and Strauss, the conductor enjoyed a truly global career, directing major orchestras in Russia, Norway, England and the United States. (\u003ca href=\"https://www.npr.org/2019/12/02/784137730/famed-conductor-mariss-jansons-has-died-age-76\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Juice WRLD\u003c/h3>\n\u003cp>\u003cem>Dec. 2, 1998 – Dec. 8, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mzB1VGEGcSU\u003c/p>\n\u003cp>The young Chicago rapper born Jarad Anthony Higgins was one of the fastest-rising names in the emo-rap subculture that incubated on SoundCloud before exploding onto the charts. His 2017 single “Lucid Dreams” hit No. 2 on the \u003cem>Billboard\u003c/em> Hot 100, and this March his album \u003cem>Death Race for Love\u003c/em> went to No. 1. (\u003ca href=\"https://www.npr.org/2019/12/08/786064628/reports-rapper-juice-wrld-dead-at-age-21\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Jerry Herman\u003c/h3>\n\u003cp>\u003cem>July 10, 1931 – Dec. 26, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qfceR0mJuEc\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The Broadway legend was the songwriter behind hit musicals including \u003cem>Hello, Dolly!\u003c/em>, \u003cem>Mame \u003c/em>and \u003cem>La Cage aux Folles\u003c/em>. His shows created signature roles for their stars and, in the case of \u003cem>Hello, Dolly!\u003c/em>, knocked The Beatles off the top of the \u003cem>Billboard\u003c/em> Hot 100 when Louis Armstrong covered the title tune.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Memoriam+2019%3A+The+Musicians+We+Lost&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Heroes of alt-rock and idols of classic Hollywood, jazz luminaries and Pulitzer-winning composers, cult legends and rule-breakers, rising stars and old masters: Music communities around the globe lost dozens of shining voices this year. Here’s NPR Music’s celebration of some of the musicians who left the world in 2019.\u003c/p>\n\u003chr>\n\u003ch3>Clydie King\u003c/h3>\n\u003cp>\u003cem>Aug. 21, 1943 – Jan. 7, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4nph9B2dSXk'\n title='//www.youtube.com/embed/4nph9B2dSXk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>King began her career by leading her own doo-wop group, but the Dallas native found her way to greater renown as an in-demand backup singer, recording with the likes of Ray Charles, The Rolling Stones, Lynyrd Skynyrd, Steely Dan and Bob Dylan. \u003c/p>\n\u003chr>\n\u003ch3>Joseph Jarman\u003c/h3>\n\u003cp>\u003cem>Sept. 14, 1937 – Jan. 9, 2019\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/iuaBJ8-EVSg'\n title='//www.youtube.com/embed/iuaBJ8-EVSg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>An integral member of the Art Ensemble of Chicago who later was ordained as a Buddhist priest, the saxophonist, composer and multi-instrumentalist pushed experimental jazz, and the sounds he coaxed from his instruments, toward new horizons. (\u003ca href=\"https://www.npr.org/2019/01/19/686554564/different-ways-to-see-and-be-the-lives-of-joseph-jarman-and-alvin-fielder\" target=\"_blank\" rel=\"noopener noreferrer\">Read the NPR essay\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Carol Channing\u003c/h3>\n\u003cp>\u003cem>Jan. 31, 1921 – Jan. 15, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/mknDZ88-zfg'\n title='//www.youtube.com/embed/mknDZ88-zfg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Though she’ll always be identified with \u003cem>Hello, Dolly!\u003c/em>, Channing’s prolific career in theater, film, television and recording spanned more than six decades. (\u003ca href=\"https://www.npr.org/2019/01/15/105807270/bidding-farewell-to-hello-dolly-actress-carol-channing-dies-at-97\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Oliver Mtukudzi\u003c/h3>\n\u003cp>\u003cem>Sept. 22, 1952 – Jan. 23, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/GhXGyer-cIg'\n title='//www.youtube.com/embed/GhXGyer-cIg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Known as “Tuku” to his legion of fans, Mtukudzi often aimed his songwriting at the politics of his native Zimbabwe—celebrating the country’s new independence in the early 1980s and criticizing the rule of Robert Mugabe as it stretched into the 2010s. (\u003ca href=\"https://www.npr.org/2019/01/24/687943803/african-music-legend-oliver-tuku-mtukudzi-dead-at-66\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Michel Legrand\u003c/h3>\n\u003cp>\u003cem>Feb. 24, 1932 – Jan. 26, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/DcFH66IyXCU'\n title='//www.youtube.com/embed/DcFH66IyXCU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The French musician was a prolific composer of film scores, with collaborators including directors Jean-Luc Godard, Agnès Varda and Jacques Demy. His work on 1968’s \u003cem>The Thomas Crown Affair\u003c/em> brought him the first of several Oscars and many nominations. (\u003ca href=\"https://www.npr.org/2019/01/26/689050826/michel-legrand-oscar-winning-composer-who-lived-surrounded-by-music-dies-at-86\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>James Ingram\u003c/h3>\n\u003cp>\u003cem>Feb. 16, 1952 – January 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FUsnVOqrqqE'\n title='//www.youtube.com/embed/FUsnVOqrqqE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With a signature timbre that instantly evokes the classic R&B sound of the 1980s, Ingram landed two Grammys and two No. 1 hits as a singer and became an in-demand collaborator, co-writing with Quincy Jones and dueting with Linda Ronstadt. (\u003ca href=\"https://www.npr.org/2019/01/26/689050826/michel-legrand-oscar-winning-composer-who-lived-surrounded-by-music-dies-at-86\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Ethel Ennis\u003c/h3>\n\u003cp>\u003cem>Nov. 28, 1932 – Feb. 17, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/jW9X7kHGoho'\n title='//www.youtube.com/embed/jW9X7kHGoho'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A singer, community builder and regional celebrity—known in Baltimore as the city’s “First Lady of Jazz”—Ennis’ recordings in the mid-20th century became vital contributions to a heyday of vocal jazz and traditional pop. (\u003ca href=\"https://www.wbgo.org/post/ethel-ennis-sophisticated-singer-who-reigned-baltimores-first-lady-jazz-dies-86\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Dominick Argento\u003c/h3>\n\u003cp>\u003cem>Oct. 27, 1927 – Feb. 20, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4bMf2ipOnCo'\n title='//www.youtube.com/embed/4bMf2ipOnCo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Pulitzer-winning composer was best known for his lyrical and astringent music for the human voice, writing 13 operas as well as a number of song cycles and choral works. (\u003ca href=\"https://www.npr.org/2019/02/22/697025521/dominick-argento-literature-loving-and-pulitzer-prize-winning-composer-dead-at-9\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Jackie Shane\u003c/h3>\n\u003cp>\u003cem>May 15, 1940 – February 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/yUYW2iwimBw'\n title='//www.youtube.com/embed/yUYW2iwimBw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The trailblazing transgender soul singer from Nashville found fame in Toronto in the 1960s, and a cult following later, before retreating underground for decades. She resurfaced in 2017 when a compilation of her recordings drew new attention to her life and career. (\u003ca href=\"https://www.npr.org/sections/therecord/2017/10/25/559775225/jackie-shane-a-force-of-nature-who-disappeared-has-a-story-all-her-own\" target=\"_blank\" rel=\"noopener noreferrer\">Read an NPR essay from 2017\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Peter Tork\u003c/h3>\n\u003cp>\u003cem>Feb. 13, 1942 – Feb. 21, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xvqeSJlgaNk'\n title='//www.youtube.com/embed/xvqeSJlgaNk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Tork was the oldest of the made-for-TV rock quartet The Monkees, and a musician in his own right before being cast. The sitcom band fashioned as a prefab answer to The Beatles found its way to real-world No. 1 hits, including “Last Train to Clarksville” and “I’m a Believer.” (\u003ca href=\"https://www.npr.org/2019/02/21/696864784/peter-tork-of-the-monkees-dies-at-77\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Mark Hollis\u003c/h3>\n\u003cp>\u003cem>Jan. 4, 1955 – Feb. 25, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cFH5JgyZK1I'\n title='//www.youtube.com/embed/cFH5JgyZK1I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Hollis was the mastermind of the influential U.K. band Talk Talk, which touched both the heights of radio pop with songs like “It’s My Life” and the fringes of what would come to be known as post-rock with albums like \u003cem>Spirit of Eden\u003c/em>. (\u003ca href=\"https://www.npr.org/2019/02/28/698650688/mark-hollis-and-talk-talks-brilliant-nuanced-stubborn-visions\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>André Previn\u003c/h3>\n\u003cp>\u003cem>April 6, 1929 – Feb. 28, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6CPv7sX7CG8'\n title='//www.youtube.com/embed/6CPv7sX7CG8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Previn was a celebrated polymath: a composer of Oscar-winning film music, conductor, pianist and music director of major orchestras, including the symphonies of Houston, Pittsburgh and London. (\u003ca href=\"https://www.npr.org/sections/thetwo-way/2019/02/28/517960940/andre-previn-musical-polymath-has-died-at-age-89\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Keith Flint\u003c/h3>\n\u003cp>\u003cem>Sept. 17, 1969 – March 4, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/wmin5WkOuPw'\n title='//www.youtube.com/embed/wmin5WkOuPw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Flint was the ragged voice and scowling face of The Prodigy’s barnstorming 1990s singles “Firestarter” and “Breathe,” which made the British dance act a sensation with alternative rock fans and helped popularize big-beat music in America. (\u003ca href=\"https://www.npr.org/2019/03/04/699974575/keith-flint-vocalist-of-techno-popularizers-the-prodigy-dead-at-49\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Hal Blaine\u003c/h3>\n\u003cp>\u003cem>Feb. 5, 1929 – March 11, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ZV5tgZlTEkQ'\n title='//www.youtube.com/embed/ZV5tgZlTEkQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Blaine was part of the session dream team The Wrecking Crew, but his resume was in a class all its own. His drumming backed Grammy-winning and chart-topping songs by Frank Sinatra, The Beach Boys, Simon & Garfunkel and many more, and is the signature pulse of The Ronettes’ “Be My Baby.” (\u003ca href=\"https://www.npr.org/2019/03/12/702485933/hal-blaine-most-recorded-drummer-in-history-dies-at-90\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Dick Dale\u003c/h3>\n\u003cp>\u003cem>May 4, 1937 – March 16, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/mKpsuGMeqHI'\n title='//www.youtube.com/embed/mKpsuGMeqHI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Born Richard Anthony Monsour, Dale changed the sound of rock and roll in the early 1960s when he upped the reverb on his guitar and applied the Arabic scales of his father’s native Lebanon. His high-energy interpretation of an old song from Asia Minor, “Misirlou,” became surf rock’s calling card. (\u003ca href=\"https://www.npr.org/2019/03/18/704329806/dick-dale-surf-guitar-legend-dead-at-81\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Scott Walker\u003c/h3>\n\u003cp>\u003cem>Jan. 9, 1943 – March 22, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zP3zCsMC5cE'\n title='//www.youtube.com/embed/zP3zCsMC5cE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Walker was first known for his work with blue-eyed soul trio The Walker Brothers in the 1960s, but it was his late-career trilogy of challenging art-rock albums that defined his reputation as one of avant-garde music’s most electrifying auteurs. (\u003ca href=\"https://www.npr.org/2019/03/25/706469684/scott-walker-pop-idol-turned-avant-auteur-dies-at-76\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Ranking Roger\u003c/h3>\n\u003cp>\u003cem>Feb. 21, 1963 – March 26, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/SHWrmIzgB5A'\n title='//www.youtube.com/embed/SHWrmIzgB5A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As a singer for the U.K. band The Beat (known as The English Beat in the U.S.), Roger Charlery helped transform ska into the subgenre two-tone, infusing the Caribbean-rooted music with punk-rock structures and ’80s textures. (\u003ca href=\"https://www.npr.org/2019/03/27/707147386/ranking-roger-frontman-for-the-english-beat-dies-at-56\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Nipsey Hussle\u003c/h3>\n\u003cp>\u003cem>Aug. 15, 1985 – March 31, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/PAcGg_4KKYs'\n title='//www.youtube.com/embed/PAcGg_4KKYs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A beloved inspirational figure in hip-hop, the rapper and philanthropist born Ermias Joseph Asghedom survived gang life in South Central Los Angeles and legitimized his street hustle, using his entrepreneurial skills to create economic empowerment in his community. (\u003ca href=\"https://www.npr.org/2019/04/01/708675102/nipsey-hussle-grammy-nominated-rapper-and-philanthropist-shot-and-killed\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Beth Carvalho\u003c/h3>\n\u003cp>\u003cem>May 5, 1946 – April 30, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Zav50SgbK8o'\n title='//www.youtube.com/embed/Zav50SgbK8o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Known as the “godmother of samba” in Brazil, Carvalho propelled her country’s music forward with her husky voice and infectious performances, which earned her a lifetime achievement honor from the Latin Grammy Awards.\u003c/p>\n\u003chr>\n\u003ch3>Doris Day\u003c/h3>\n\u003cp>\u003cem>April 3, 1922 – May 13, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/td7lCCO9aaQ'\n title='//www.youtube.com/embed/td7lCCO9aaQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A big-band singer and actress who became a titan of classic Hollywood, Day made nearly three dozen films and more than 600 recordings, topping both the \u003cem>Billboard\u003c/em> and box office charts at the height of her career. (\u003ca href=\"https://www.npr.org/2019/05/13/225446337/actress-and-singer-doris-day-hollywoods-girl-next-door-dies-at-97\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Leon Redbone\u003c/h3>\n\u003cp>\u003cem>Aug. 26, 1949 – May 30, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FUxbInKev-o'\n title='//www.youtube.com/embed/FUxbInKev-o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Playing dusty classics from Tin Pan Alley and ragtime to blues and country with a loose fidelity and a wry style, the famously mysterious artist became an object of fascination and admiration, with famous fans including Bob Dylan, Bonnie Raitt and John Prine. (\u003ca href=\"https://www.npr.org/2019/05/30/728315252/leon-redbone-an-unusual-singer-from-a-bygone-era-has-died\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Roky Erickson\u003c/h3>\n\u003cp>\u003cem>July 15, 1947 – May 31, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/gHK9vj0VE7w'\n title='//www.youtube.com/embed/gHK9vj0VE7w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Perhaps the embodiment of his hometown’s slogan, “Keep Austin Weird,” the psychedelic lodestar helmed The 13th Floor Elevators and wrote one of garage rock’s original anthems, “You’re Gonna Miss Me,” forging new paths for rock music and becoming a beloved cult figure. (\u003ca href=\"https://www.npr.org/2019/05/31/728821278/roky-erickson-of-the-13th-floor-elevators-dies-at-71\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Dr. John\u003c/h3>\n\u003cp>\u003cem>Nov. 21, 1940 – June 6, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/SCRrXZP8b0I'\n title='//www.youtube.com/embed/SCRrXZP8b0I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The pianist, guitarist, jive talker and psychedelic godfather born Malcolm John Rebennack was among the most beloved fixtures of New Orleans music, carving wide lanes through blues, jazz and rock with an unmistakable look, voice and personality. (\u003ca href=\"https://www.npr.org/2019/06/06/730481477/dr-john-legend-of-new-orleans-dead-at-77\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Bushwick Bill\u003c/h3>\n\u003cp>\u003cem>Dec. 8, 1966 – June 9, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/IJtHdkyo0hc'\n title='//www.youtube.com/embed/IJtHdkyo0hc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Born Richard Shaw in Kingston, Jamaica, the MC was a founding member of the pioneering Houston trio Geto Boys, whose dark horrorcore raps helped put the city on hip-hop’s map. (\u003ca href=\"https://www.npr.org/2019/06/10/731076691/bushwick-bill-of-houston-rap-group-geto-boys-dead-at-52\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Dave Bartholomew\u003c/h3>\n\u003cp>\u003cem>Dec. 24, 1918 – June 23, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/LNjuxtjtuWg'\n title='//www.youtube.com/embed/LNjuxtjtuWg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Best known for collaborating on an extraordinary string of hits with Fats Domino, the New Orleans trumpeter, songwriter, bandleader, producer and arranger was one of the primary architects of the sound that became rock and roll. (\u003ca href=\"https://www.npr.org/2019/06/23/698212277/dave-bartholomew-a-father-of-rock-and-roll-dead-at-100\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>João Gilberto\u003c/h3>\n\u003cp>\u003cem>June 10, 1931 – July 6, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/g6w3a2v_50U'\n title='//www.youtube.com/embed/g6w3a2v_50U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Gilberto was the founding master of bossa nova, which drew on Brazil’s African-influenced samba tradition but was performed without the usual battery of drums and rhythm instruments. His intimate and nuanced guitar playing and singing became central to the style. (\u003ca href=\"https://www.npr.org/2019/07/06/739224759/jo-o-gilberto-master-of-bossa-nova-dies-at-88\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Johnny Clegg\u003c/h3>\n\u003cp>\u003cem>June 7, 1953 – July 16, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qnYtcH4YS44'\n title='//www.youtube.com/embed/qnYtcH4YS44'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A singer, dancer and activist who co-founded two groundbreaking, racially mixed bands during the apartheid era, Clegg was one of the most celebrated voices in modern South African music. (\u003ca href=\"https://www.npr.org/2019/07/16/738065415/johnny-clegg-a-uniting-voice-against-apartheid-dies-at-66\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Ben Johnston\u003c/h3>\n\u003cp>\u003cem>March 15, 1926 – July 21, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Wp7VjBtOJ74'\n title='//www.youtube.com/embed/Wp7VjBtOJ74'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A master of microtonal music, the avant-garde composer heard notes between the standard 12 pitches in an octave to create a wide range of pieces for orchestra, chamber ensembles, piano and stage. (\u003ca href=\"https://www.npr.org/sections/deceptivecadence/2016/12/31/507542859/ben-johnston-hears-the-notes-between-the-notes\" target=\"_blank\" rel=\"noopener noreferrer\">Read an NPR profile from 2016\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Art Neville\u003c/h3>\n\u003cp>\u003cem>Dec. 17, 1937 – July 22, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/TKDMiyRmbik'\n title='//www.youtube.com/embed/TKDMiyRmbik'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The keyboardist, singer and songwriter sometimes known as “Poppa Funk” was a founding member of The Meters and of The Neville Brothers, the musical family whose soul sound traveled far beyond its home base of New Orleans. (\u003ca href=\"https://www.npr.org/2019/07/22/744150388/art-neville-a-new-orleans-icon-dead-at-81\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>David Berman\u003c/h3>\n\u003cp>\u003cem>Jan. 4, 1967 – Aug. 7, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XvUBbROsXBw'\n title='//www.youtube.com/embed/XvUBbROsXBw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In his songs as Silver Jews and more recently as Purple Mountains, alongside frequent collaborators Pavement and labelmates Bill Callahan and Will Oldham, Berman established himself as a world-class lyricist who embodied indie rock’s literate side. (\u003ca href=\"https://www.npr.org/2019/08/07/749245911/silver-jews-david-berman-dies-at-52\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Celso Piña\u003c/h3>\n\u003cp>\u003cem>April 6, 1953 – Aug. 21, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/z2c5xCmLiAE'\n title='//www.youtube.com/embed/z2c5xCmLiAE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The prolific and celebrated Mexican accordion player contributed greatly to the evolution of cumbia, bringing the Colombian folk style to stages around the world and deftly blending it with contemporary Latin styles. (\u003ca href=\"https://www.npr.org/sections/altlatino/2019/08/23/753687796/accordion-master-celso-pina-dead-at-66\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Camilo Sesto\u003c/h3>\n\u003cp>\u003cem>Sept. 16, 1946 – Sept. 8, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xVDmyuzkiPo'\n title='//www.youtube.com/embed/xVDmyuzkiPo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This Spanish pop sensation amassed dozens of No. 1 songs worldwide, wrote and produced hits for his Latin pop peers and starred in a Spanish-language adaptation of \u003cem>Jesus Christ Superstar\u003c/em>.\u003c/p>\n\u003chr>\n\u003ch3>Daniel Johnston\u003c/h3>\n\u003cp>\u003cem>Jan. 22, 1961 – Sept. 11, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3OvWFurOBk8'\n title='//www.youtube.com/embed/3OvWFurOBk8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The outsider singer, songwriter and visual artist was a true musician’s musician. His guileless lyrics about love and alienation found fans in artists like Tom Waits, Yo La Tengo, Bright Eyes and Kurt Cobain, whose appreciation of his work helped bring it to a wider audience. (\u003ca href=\"https://www.npr.org/2019/09/11/759904906/daniel-johnston-acclaimed-singer-songwriter-dies-at-58\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Ric Ocasek\u003c/h3>\n\u003cp>\u003cem>March 23, 1944 – Sept. 15, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xuZA6qiJVfU'\n title='//www.youtube.com/embed/xuZA6qiJVfU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As the leader of The Cars, Ocasek wove offbeat new-wave elements into a hook-savvy Top 40 sound, and rocked a distinctive look perfect for MTV. His influence outlasted the group’s 1980s reign, as he became a commanding producer for a younger generation of alternative bands. (\u003ca href=\"https://www.npr.org/2019/09/15/761076999/ric-ocasek-frontman-of-the-cars-has-died\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Harold Mabern\u003c/h3>\n\u003cp>\u003cem>March 20, 1936 – Sept. 17, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/INPSuX3rck8'\n title='//www.youtube.com/embed/INPSuX3rck8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Mabern was a jazz pianist of percussive fire and boundless soul, with a language that pulled from hard bop, post-bop, Memphis soul and the blues. His penchant for block chords combined McCoy Tyner’s modal coloration with the ringing affirmations of gospel. (\u003ca href=\"https://www.wbgo.org/post/harold-mabern-pianist-who-mastered-post-bop-blues-and-memphis-soul-dead-83\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Christopher Rouse\u003c/h3>\n\u003cp>\u003cem>Feb. 15, 1949 – Sept. 21, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/T4SlLHTLaLc'\n title='//www.youtube.com/embed/T4SlLHTLaLc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A composer of uncompromisingly expressive works, primarily for orchestra (one of which earned him a Pulitzer Prize), Rouse also taught courses in the history of rock. He once called himself a writer of “fast and furious” music. (\u003ca href=\"https://www.npr.org/sections/deceptivecadence/2019/09/23/763418066/remembering-the-fast-and-furious-music-of-christopher-rouse\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Robert Hunter\u003c/h3>\n\u003cp>\u003cem>June 23, 1941 – Sept. 23, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/pafY6sZt0FE'\n title='//www.youtube.com/embed/pafY6sZt0FE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As the Grateful Dead’s behind-the-scenes lyricist, Hunter provided the band with many of its most enduring lines, including the rock radio staple “Truckin’ ” and its immortal refrain, “What a long, strange trip it’s been.” (\u003ca href=\"https://www.npr.org/2019/09/25/763933353/robert-hunters-words-helped-bring-life-to-the-grateful-dead\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>José José\u003c/h3>\n\u003cp>\u003cem>Feb. 17, 1948 – Sept. 28, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/E20G25SCAEg'\n title='//www.youtube.com/embed/E20G25SCAEg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Known as Mexico’s “Prince of Song,” the powerhouse crooner born José Rómulo Sosa Ortiz was a fixture of the Latin charts in the 1970s and ’80s. In the 2000s he received lifetime achievement honors from the Latin Grammys and a star on the Hollywood Walk of Fame. (\u003ca href=\"https://www.npr.org/2019/09/30/765653356/jos-jos-the-prince-of-song-dies-at-age-71\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Jessye Norman\u003c/h3>\n\u003cp>\u003cem>Sept. 15, 1945 – Sept. 30, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/jOIAi2XwuWo'\n title='//www.youtube.com/embed/jOIAi2XwuWo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Praised for the beauty and opulence of her voice, Norman crafted a distinctive career that spanned decades and styles of music, becoming a leading figure both in the opera house and on the recital stage. Her repertoire was broad, from baroque music to modernists, pop songs and blues to her beloved Duke Ellington. (\u003ca href=\"https://www.npr.org/2019/09/30/765886905/opera-singer-jessye-norman-dies-at-74\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Giya Kancheli\u003c/h3>\n\u003cp>\u003cem>Aug. 10, 1935 – Oct. 2, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/8uv0yNUduOk'\n title='//www.youtube.com/embed/8uv0yNUduOk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Georgian composer’s work spanned seven symphonies and large-scale works (like his \u003cem>Styx \u003c/em>for viola, chorus and orchestra), as well as many intimate pieces for small ensembles and solo instruments, like the sweet, wistful piano tune “When Almonds Blossomed.” (\u003ca href=\"https://www.npr.org/2019/10/02/766505272/composer-giya-kancheli-championed-by-ecm-dies-at-84\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Kim Shattuck\u003c/h3>\n\u003cp>\u003cem>July 17, 1963 – Oct. 2, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vsxyaZhdW1s'\n title='//www.youtube.com/embed/vsxyaZhdW1s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Shattuck was best known as the singer, guitarist and primary songwriter of The Muffs, but she was also one of alternative rock’s favorite guest artists, singing on tracks by NOFX and Bowling for Soup and playing bass on tour with the reunited Pixies. (\u003ca href=\"https://www.npr.org/2019/10/03/766780466/kim-shattuck-an-enduring-presence-in-l-a-punk-dead-at-56\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Ginger Baker\u003c/h3>\n\u003cp>\u003cem>Aug. 19, 1939 – Oct. 6, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/8O5IgyDcohQ'\n title='//www.youtube.com/embed/8O5IgyDcohQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As the engine room of Cream, Blind Faith and other bands of the 1960s and ’70s, Baker’s intensity, inventiveness and fluency in the polyrhythms of jazz and Afrobeat made him a primary inspiration for generations of rock drummers. (\u003ca href=\"https://www.npr.org/2019/10/06/765781758/ginger-baker-cream-drummer-and-force-of-nature-dies-at-80\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Raymond Leppard\u003c/h3>\n\u003cp>\u003cem>Aug. 11, 1927 – Oct. 22, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/5OCW7KVUbdg'\n title='//www.youtube.com/embed/5OCW7KVUbdg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With full-bodied performances and pioneering scholarship, the British-born conductor, harpsichordist and composer helped reintroduce audiences to 16th and 17th century Italian masterpieces, and wrote contemporary works for stage and screen. (\u003ca href=\"https://www.npr.org/2019/10/22/771849121/conductor-and-composer-raymond-leppard-a-champion-of-the-old-and-the-new-has-die\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Mariss Jansons\u003c/h3>\n\u003cp>\u003cem>Jan. 14, 1943 – Nov. 30, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/2piCORWRrX0'\n title='//www.youtube.com/embed/2piCORWRrX0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Hailed for incisive and evocative performances of works by Mahler, Tchaikovsky, Rachmaninoff and Strauss, the conductor enjoyed a truly global career, directing major orchestras in Russia, Norway, England and the United States. (\u003ca href=\"https://www.npr.org/2019/12/02/784137730/famed-conductor-mariss-jansons-has-died-age-76\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Juice WRLD\u003c/h3>\n\u003cp>\u003cem>Dec. 2, 1998 – Dec. 8, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/mzB1VGEGcSU'\n title='//www.youtube.com/embed/mzB1VGEGcSU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The young Chicago rapper born Jarad Anthony Higgins was one of the fastest-rising names in the emo-rap subculture that incubated on SoundCloud before exploding onto the charts. His 2017 single “Lucid Dreams” hit No. 2 on the \u003cem>Billboard\u003c/em> Hot 100, and this March his album \u003cem>Death Race for Love\u003c/em> went to No. 1. (\u003ca href=\"https://www.npr.org/2019/12/08/786064628/reports-rapper-juice-wrld-dead-at-age-21\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Jerry Herman\u003c/h3>\n\u003cp>\u003cem>July 10, 1931 – Dec. 26, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qfceR0mJuEc'\n title='//www.youtube.com/embed/qfceR0mJuEc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Broadway legend was the songwriter behind hit musicals including \u003cem>Hello, Dolly!\u003c/em>, \u003cem>Mame \u003c/em>and \u003cem>La Cage aux Folles\u003c/em>. His shows created signature roles for their stars and, in the case of \u003cem>Hello, Dolly!\u003c/em>, knocked The Beatles off the top of the \u003cem>Billboard\u003c/em> Hot 100 when Louis Armstrong covered the title tune.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Memoriam+2019%3A+The+Musicians+We+Lost&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Watch Ringo Starr and Sammy Davis Jr. in 1985's Bonkers 'Alice in Wonderland'",
"headTitle": "Watch Ringo Starr and Sammy Davis Jr. in 1985’s Bonkers ‘Alice in Wonderland’ | KQED",
"content": "\u003cp>TV musicals have never been the most dignified way for stars to stay in touch with their fans. Consider Carrie Underwood’s \u003ca href=\"https://www.youtube.com/watch?v=5XwsglZbJZg\" target=\"_blank\" rel=\"noopener noreferrer\">stiff-as-a-board acting\u003c/a> in 2013’s \u003cem>Sound of Music Live!\u003c/em> Or perhaps \u003ca href=\"https://www.kqed.org/pop/82437/abcs-dirty-dancing-remake-succeeded-in-making-all-those-live-tv-musicals-seem-not-so-bad\" target=\"_blank\" rel=\"noopener noreferrer\">Abigail Breslin’s choreographed nightmare\u003c/a> in ABC’s \u003cem>Dirty Dancing\u003c/em> remake. And lest we forget poor Allison Williams having to crazy-eye her way through the unintentionally hilarious \u003cem>Peter Pan Live\u003c/em> in 2014.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13871488 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/AbsoluteCalmBushbaby-size_restricted.gif\" alt=\"\" width=\"450\" height=\"360\">\u003c/p>\n\u003cp>This is in no way a recent phenomena, with regrettable TV musicals stretching back through the decades across many networks. One of the most notable—and oft forgotten—is a 34-year-old production of \u003cem>Alice in Wonderland \u003c/em>that still stands as a shining example of how weird things can get when you shove a bunch of famous people into stupid costumes and make them sing and dance for the nation’s amusement.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Cx0LNH4lx9c\u003c/p>\n\u003cp>Aired on CBS just in time for Christmas 1985, this two-part, three-hour movie—ostensibly aimed at kids—had a cast designed to appeal almost exclusively to parents and grandparents. Telly Savalas was the Cheshire Cat, Shelley Winters was the Dodo Bird, Patrick Duffy was the Goat and Carol Channing was the White Queen. The closest thing to a young hottie in the cast was a fresh-from-\u003cem>Happy Days\u003c/em> Scott Baio as Pat the Pig. (A pre-fame John Stamos also showed up as Haigha the Messenger, but let’s leave that in the accident category.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>No one suffered more in this thing, though, than Beatles drummer Ringo Starr as the Mock Turtle, and Rat Pack boundary-breaker Sammy Davis Jr. as the Caterpillar. It’s hard to imagine the bounty these legends were offered to make this endeavor seem worthwhile, but the passage of time has made it abundantly clear that, whatever it was, it wasn’t enough.\u003c/p>\n\u003cp>Nothing can quite prepare you for Ringo as the Mock Turtle, wearing yellow tights, fluffy ears (one of which is pierced because: reptilian rock star?) and a giant shell. At the time, this might not have seemed terribly far from Paul McCartney releasing novelty children’s song “\u003ca href=\"https://www.youtube.com/watch?v=A0fuVoSa3dc\" target=\"_blank\" rel=\"noopener noreferrer\">We All Stand Together\u003c/a>” (a 1984 collaboration with cartoon frogs), but there can be no question that this literal ode to nonsense is worse. Much, much worse.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=O7SAvwZcNoU\u003c/p>\n\u003cp>Then there’s poor Sammy—a star that survived segregation, mob threats, military service and a near-fatal car crash, just to end up, well, here. Watch on in horror now as “Mr. Show Business” himself dresses up like a caterpillar, then suffers through the indignity of 1980s old-man rapping—a stylistic choice that can’t possibly have been his.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kFi4DJ80bV4\u003c/p>\n\u003cp>Reviews about this particular production of \u003cem>Alice\u003c/em> remain mixed. One \u003ca href=\"https://www.imdb.com/title/tt0088693/reviews?ref_=tt_urv\" target=\"_blank\" rel=\"noopener noreferrer\">IMDB reviewer\u003c/a> says: “Children of all ages will delight in this fun-filled adventure, from the crying baby that turns into a pig, to Sally Struthers playing a loud mouthed flower.”\u003c/p>\n\u003cp>Another cautions: “If you watch this expecting great acting performances and great cinematic moments with inspiring music then you are a fool… [It] got some of the most recognizable faces of Hollywood to put on stupid costumes and act crazy.”\u003c/p>\n\u003cp>“The costumes, location and choreography made an unsettling combination,” one \u003ca href=\"https://www.youtube.com/watch?v=_n3EvVLBdps\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube reviewer noted\u003c/a> a couple of months ago. “An odd blend of twisted and overly sentimental.”\u003c/p>\n\u003cp>In the end, 1985’s \u003cem>Alice\u003c/em> is a reminder of that bygone age when families typically watched TV together, the challenge for networks to appeal to multiple generations at once, and the truly bizarre programming that sometimes followed.\u003c/p>\n\u003cp>If you think this is something \u003cem>your\u003c/em> family might wish to get into this holiday, Part 1 is below. Approach with caution.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vyH_Vhh22AE\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>TV musicals have never been the most dignified way for stars to stay in touch with their fans. Consider Carrie Underwood’s \u003ca href=\"https://www.youtube.com/watch?v=5XwsglZbJZg\" target=\"_blank\" rel=\"noopener noreferrer\">stiff-as-a-board acting\u003c/a> in 2013’s \u003cem>Sound of Music Live!\u003c/em> Or perhaps \u003ca href=\"https://www.kqed.org/pop/82437/abcs-dirty-dancing-remake-succeeded-in-making-all-those-live-tv-musicals-seem-not-so-bad\" target=\"_blank\" rel=\"noopener noreferrer\">Abigail Breslin’s choreographed nightmare\u003c/a> in ABC’s \u003cem>Dirty Dancing\u003c/em> remake. And lest we forget poor Allison Williams having to crazy-eye her way through the unintentionally hilarious \u003cem>Peter Pan Live\u003c/em> in 2014.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13871488 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/AbsoluteCalmBushbaby-size_restricted.gif\" alt=\"\" width=\"450\" height=\"360\">\u003c/p>\n\u003cp>This is in no way a recent phenomena, with regrettable TV musicals stretching back through the decades across many networks. One of the most notable—and oft forgotten—is a 34-year-old production of \u003cem>Alice in Wonderland \u003c/em>that still stands as a shining example of how weird things can get when you shove a bunch of famous people into stupid costumes and make them sing and dance for the nation’s amusement.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Cx0LNH4lx9c'\n title='//www.youtube.com/embed/Cx0LNH4lx9c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Aired on CBS just in time for Christmas 1985, this two-part, three-hour movie—ostensibly aimed at kids—had a cast designed to appeal almost exclusively to parents and grandparents. Telly Savalas was the Cheshire Cat, Shelley Winters was the Dodo Bird, Patrick Duffy was the Goat and Carol Channing was the White Queen. The closest thing to a young hottie in the cast was a fresh-from-\u003cem>Happy Days\u003c/em> Scott Baio as Pat the Pig. (A pre-fame John Stamos also showed up as Haigha the Messenger, but let’s leave that in the accident category.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>No one suffered more in this thing, though, than Beatles drummer Ringo Starr as the Mock Turtle, and Rat Pack boundary-breaker Sammy Davis Jr. as the Caterpillar. It’s hard to imagine the bounty these legends were offered to make this endeavor seem worthwhile, but the passage of time has made it abundantly clear that, whatever it was, it wasn’t enough.\u003c/p>\n\u003cp>Nothing can quite prepare you for Ringo as the Mock Turtle, wearing yellow tights, fluffy ears (one of which is pierced because: reptilian rock star?) and a giant shell. At the time, this might not have seemed terribly far from Paul McCartney releasing novelty children’s song “\u003ca href=\"https://www.youtube.com/watch?v=A0fuVoSa3dc\" target=\"_blank\" rel=\"noopener noreferrer\">We All Stand Together\u003c/a>” (a 1984 collaboration with cartoon frogs), but there can be no question that this literal ode to nonsense is worse. Much, much worse.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/O7SAvwZcNoU'\n title='//www.youtube.com/embed/O7SAvwZcNoU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Then there’s poor Sammy—a star that survived segregation, mob threats, military service and a near-fatal car crash, just to end up, well, here. Watch on in horror now as “Mr. Show Business” himself dresses up like a caterpillar, then suffers through the indignity of 1980s old-man rapping—a stylistic choice that can’t possibly have been his.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/kFi4DJ80bV4'\n title='//www.youtube.com/embed/kFi4DJ80bV4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Reviews about this particular production of \u003cem>Alice\u003c/em> remain mixed. One \u003ca href=\"https://www.imdb.com/title/tt0088693/reviews?ref_=tt_urv\" target=\"_blank\" rel=\"noopener noreferrer\">IMDB reviewer\u003c/a> says: “Children of all ages will delight in this fun-filled adventure, from the crying baby that turns into a pig, to Sally Struthers playing a loud mouthed flower.”\u003c/p>\n\u003cp>Another cautions: “If you watch this expecting great acting performances and great cinematic moments with inspiring music then you are a fool… [It] got some of the most recognizable faces of Hollywood to put on stupid costumes and act crazy.”\u003c/p>\n\u003cp>“The costumes, location and choreography made an unsettling combination,” one \u003ca href=\"https://www.youtube.com/watch?v=_n3EvVLBdps\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube reviewer noted\u003c/a> a couple of months ago. “An odd blend of twisted and overly sentimental.”\u003c/p>\n\u003cp>In the end, 1985’s \u003cem>Alice\u003c/em> is a reminder of that bygone age when families typically watched TV together, the challenge for networks to appeal to multiple generations at once, and the truly bizarre programming that sometimes followed.\u003c/p>\n\u003cp>If you think this is something \u003cem>your\u003c/em> family might wish to get into this holiday, Part 1 is below. Approach with caution.\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vyH_Vhh22AE'\n title='//www.youtube.com/embed/vyH_Vhh22AE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline, Sarah Hotchkiss and Nastia Voynovskaya above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Ghostface Killah\u003c/strong>: This Wu-Tang icon comes to town this Sunday, but he’s not playing a hip-hop nightclub—he’s performing at Yoshi’s in Oakland. Yoshi’s, a jazz supper club, has been broadening its booking into rap lately, which makes sense. Let’s face it, rap is getting older. Now 49, Ghostface has always had a wonderfully throaty tone, and a beautiful surrealism. (As part of a bad review, the writer Ta-Nehisi Coates once derided him as “Amiri Baraka tripping on bathtub acid.” I don’t know about you, but that’s a plus in my book.) Ghostface Killah plays Sunday, Dec. 22, at Yoshi’s in Oakland. \u003ca href=\"https://www.yoshis.com/e/ghostface-killah-77966958271/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—G.M.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Agnès Varda Retrospective\u003c/strong>: Agnès Varda, who passed away earlier this year at the age of 90, was often called the “grandmother of French New Wave cinema.” She was the only female director in the scene, and hugely influential in its development, so it’s appropriate that it takes two Bay Area institutions to do her career justice. BAMPFA and SFMOMA have teamed up to co-present \u003cem>Agnès Varda: An Irresistible Force\u003c/em>, a national touring retrospective of her films that spans six decades, including her final work, \u003cem>Varda by Agnès\u003c/em>. (Don’t know where to start? Try one of our favorites, \u003cem>\u003ca href=\"https://ev7.evenue.net/cgi-bin/ncommerce3/SEGetEventInfo?ticketCode=GS%3APFA%3AP19-20%3AP0111203%3A&linkID=cal-pfa&shopperContext=&pc=&caller=&appCode=&groupCode=AVIF&cgc=\" rel=\"noopener noreferrer\" target=\"_blank\">Cleo from 5 to 7\u003c/a>\u003c/em>.) The series starts at BAMPFA this Friday, Dec. 20, and at SFMOMA on Thursday, Jan. 9. \u003ca href=\"https://bampfa.org/program/agnes-varda-irresistible-force\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—S.H.\u003c/em> \u003c/p>\n\u003cp>\u003cstrong>SOB x RBE Bay Holiday Ball\u003c/strong>: It’s been awesome watching the rise of Vallejo rap group SOB x RBE in recent years. They’re three young guys who have this really explosive chemistry: Daboii and Slimmy B rap in a gruff bark, while Yung T.O.’s smooth, melodic delivery makes think of him as Gen Z’s version of Nate Dogg. Their new track “Ain’t Got Time” is produced by superstar producer Zaytoven, a San Francisco native, and the trio celebrates the holidays this year Bay Area style with opening acts 24KGoldn, Pimp Tobi and more. That’s on Friday, Dec. 27, at the Warfield in San Francisco. \u003ca href=\"https://www.thewarfieldtheatre.com/events/detail/385723\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>‘Lost at Sea: Art Recovered from Shipwrecks’\u003c/strong>: I want to quickly plug this show I just saw at the Asian Art Museum, which, yes, is all about art recovered from shipwrecks. It uses two particular shipwrecks as case studies to talk about how objects get into museum collections, and what those various journeys can tell us about trade routes, colonial practices, international maritime law and underwater archeology. It’s a super small show, but it’s packed with provocative questions that will change the way you look at historical objects on pedestals forever after. It’s up now and on view at the Asian Art Museum through March 22, 2020. \u003ca href=\"http://www.asianart.org/exhibitions/lost-at-sea\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—S.H.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>John Oliver\u003c/strong>: Late night talk show hosts haven’t had it easy these past three years. You know what all comedians say about the Trump era—“How can you satirize something that’s already satire”? But night after night, John Oliver pulls it off, and at the end of this year he settles in for a residency at the Masonic on Nob Hill, doing standup, social commentary, and—I’m sure—talking about the impeachment in D.C.. He’s at the Masonic in San Francisco for three nights, Dec. 31 through Jan. 2. \u003ca href=\"https://sfmasonic.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—G.M.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline, Sarah Hotchkiss and Nastia Voynovskaya above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Ghostface Killah\u003c/strong>: This Wu-Tang icon comes to town this Sunday, but he’s not playing a hip-hop nightclub—he’s performing at Yoshi’s in Oakland. Yoshi’s, a jazz supper club, has been broadening its booking into rap lately, which makes sense. Let’s face it, rap is getting older. Now 49, Ghostface has always had a wonderfully throaty tone, and a beautiful surrealism. (As part of a bad review, the writer Ta-Nehisi Coates once derided him as “Amiri Baraka tripping on bathtub acid.” I don’t know about you, but that’s a plus in my book.) Ghostface Killah plays Sunday, Dec. 22, at Yoshi’s in Oakland. \u003ca href=\"https://www.yoshis.com/e/ghostface-killah-77966958271/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—G.M.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Agnès Varda Retrospective\u003c/strong>: Agnès Varda, who passed away earlier this year at the age of 90, was often called the “grandmother of French New Wave cinema.” She was the only female director in the scene, and hugely influential in its development, so it’s appropriate that it takes two Bay Area institutions to do her career justice. BAMPFA and SFMOMA have teamed up to co-present \u003cem>Agnès Varda: An Irresistible Force\u003c/em>, a national touring retrospective of her films that spans six decades, including her final work, \u003cem>Varda by Agnès\u003c/em>. (Don’t know where to start? Try one of our favorites, \u003cem>\u003ca href=\"https://ev7.evenue.net/cgi-bin/ncommerce3/SEGetEventInfo?ticketCode=GS%3APFA%3AP19-20%3AP0111203%3A&linkID=cal-pfa&shopperContext=&pc=&caller=&appCode=&groupCode=AVIF&cgc=\" rel=\"noopener noreferrer\" target=\"_blank\">Cleo from 5 to 7\u003c/a>\u003c/em>.) The series starts at BAMPFA this Friday, Dec. 20, and at SFMOMA on Thursday, Jan. 9. \u003ca href=\"https://bampfa.org/program/agnes-varda-irresistible-force\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—S.H.\u003c/em> \u003c/p>\n\u003cp>\u003cstrong>SOB x RBE Bay Holiday Ball\u003c/strong>: It’s been awesome watching the rise of Vallejo rap group SOB x RBE in recent years. They’re three young guys who have this really explosive chemistry: Daboii and Slimmy B rap in a gruff bark, while Yung T.O.’s smooth, melodic delivery makes think of him as Gen Z’s version of Nate Dogg. Their new track “Ain’t Got Time” is produced by superstar producer Zaytoven, a San Francisco native, and the trio celebrates the holidays this year Bay Area style with opening acts 24KGoldn, Pimp Tobi and more. That’s on Friday, Dec. 27, at the Warfield in San Francisco. \u003ca href=\"https://www.thewarfieldtheatre.com/events/detail/385723\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘Lost at Sea: Art Recovered from Shipwrecks’\u003c/strong>: I want to quickly plug this show I just saw at the Asian Art Museum, which, yes, is all about art recovered from shipwrecks. It uses two particular shipwrecks as case studies to talk about how objects get into museum collections, and what those various journeys can tell us about trade routes, colonial practices, international maritime law and underwater archeology. It’s a super small show, but it’s packed with provocative questions that will change the way you look at historical objects on pedestals forever after. It’s up now and on view at the Asian Art Museum through March 22, 2020. \u003ca href=\"http://www.asianart.org/exhibitions/lost-at-sea\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—S.H.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>John Oliver\u003c/strong>: Late night talk show hosts haven’t had it easy these past three years. You know what all comedians say about the Trump era—“How can you satirize something that’s already satire”? But night after night, John Oliver pulls it off, and at the end of this year he settles in for a residency at the Masonic on Nob Hill, doing standup, social commentary, and—I’m sure—talking about the impeachment in D.C.. He’s at the Masonic in San Francisco for three nights, Dec. 31 through Jan. 2. \u003ca href=\"https://sfmasonic.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—G.M.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Crazy Rich Asians\u003c/em> star Awkwafina has signed on to an as-yet-untitled Topic Studios film exploring the role of Asian restaurants in the California punk scenes of the 1970s and 1980s, \u003ca href=\"https://deadline.com/2019/12/awkwafina-topic-studios-feature-chinatown-restaurants-punk-music-1202811249/\">Deadline\u003c/a> reports.\u003c/p>\n\u003cp>The film is inspired by a Topic.com piece by Madeline Leung Coleman, “How Chinese Food Fueled the Rise of California Punk.” The \u003ca href=\"https://www.topic.com/how-chinese-food-fueled-the-rise-of-california-punk\">article\u003c/a> examines how Asian restaurateurs in Los Angeles, San Francisco and Sacramento in the late 1970s opened their doors to first-wave punk bands during the country’s recession.\u003c/p>\n\u003cp>Featured in the piece is the Mabuhay Gardens, a Filipino supper club in North Beach known as the first and most important venue for San Francisco punk, thanks to the support of proprietor Ness Aquino.\u003c/p>\n\u003cp>The Broadway venue, which began hosting shows in 1976, featured groups such as Crime, the Dead Kennedys and the Avengers, and was booked by storied promoter Dirk Dirksen. The “Fab Mab,” as it was known to punk patrons, is the setting of many live photographs by Ruby Ray and Bruce Conner, while its red alleyway (now \u003ca href=\"https://chucksperry.net/dirk-dirksen-pope-of-punk-gets-street-named-after-him/\" rel=\"noopener noreferrer\" target=\"_blank\">officially renamed\u003c/a> for Dirksen) served as a sort of portrait studio for the artist Jim Jocoy.\u003c/p>\n\u003cp>\u003cem>Louder, Faster, Shorter,\u003c/em> a 1978 film by Mindaugis Bagdon, documents performances at a benefit concert that year at the Mabuhay for striking coal miners in Kentucky, and provides a striking snapshot of the early San Francisco punk scene’s undisputed epicenter. \u003c/p>\n\u003cp>Few details are available about the Topic Studios film featuring Awkwafina, and it’s unclear whether it will be set in San Francisco.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Crazy Rich Asians\u003c/em> star Awkwafina has signed on to an as-yet-untitled Topic Studios film exploring the role of Asian restaurants in the California punk scenes of the 1970s and 1980s, \u003ca href=\"https://deadline.com/2019/12/awkwafina-topic-studios-feature-chinatown-restaurants-punk-music-1202811249/\">Deadline\u003c/a> reports.\u003c/p>\n\u003cp>The film is inspired by a Topic.com piece by Madeline Leung Coleman, “How Chinese Food Fueled the Rise of California Punk.” The \u003ca href=\"https://www.topic.com/how-chinese-food-fueled-the-rise-of-california-punk\">article\u003c/a> examines how Asian restaurateurs in Los Angeles, San Francisco and Sacramento in the late 1970s opened their doors to first-wave punk bands during the country’s recession.\u003c/p>\n\u003cp>Featured in the piece is the Mabuhay Gardens, a Filipino supper club in North Beach known as the first and most important venue for San Francisco punk, thanks to the support of proprietor Ness Aquino.\u003c/p>\n\u003cp>The Broadway venue, which began hosting shows in 1976, featured groups such as Crime, the Dead Kennedys and the Avengers, and was booked by storied promoter Dirk Dirksen. The “Fab Mab,” as it was known to punk patrons, is the setting of many live photographs by Ruby Ray and Bruce Conner, while its red alleyway (now \u003ca href=\"https://chucksperry.net/dirk-dirksen-pope-of-punk-gets-street-named-after-him/\" rel=\"noopener noreferrer\" target=\"_blank\">officially renamed\u003c/a> for Dirksen) served as a sort of portrait studio for the artist Jim Jocoy.\u003c/p>\n\u003cp>\u003cem>Louder, Faster, Shorter,\u003c/em> a 1978 film by Mindaugis Bagdon, documents performances at a benefit concert that year at the Mabuhay for striking coal miners in Kentucky, and provides a striking snapshot of the early San Francisco punk scene’s undisputed epicenter. \u003c/p>\n\u003cp>Few details are available about the Topic Studios film featuring Awkwafina, and it’s unclear whether it will be set in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Best Bay Area Albums of the 2010s",
"headTitle": "The Best Bay Area Albums of the 2010s | KQED",
"content": "\u003cp>The Bay Area is a region oozing with creativity in every scene and genre, so summing up a decade of local music in a single short list is no easy task. Here, KQED Arts & Culture’s music editor humbly offers 20 of the most memorable and impactful albums of the 2010s.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7JC1vAUtlOwe8AJ3hLmr91\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Thee Oh Sees, \u003cem>Carrion Crawler/The Dream\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2011, In the Red Records\u003c/strong>\u003cbr>\nThee Oh Sees channel a need for speed on \u003cem>Carrion Crawler/The Dream\u003c/em>, an album that finds the garage rockers’ instrumentation lurching at high BPMs between poppy refrains and psychedelic guitar solos that stretch on for miles. Anchored by two drummers, the album’s sturdy rhythm section allows John Dwyer, a ringleader of the San Francisco garage rock scene in the early part of the decade, to get wild and weird with guitars and vocals.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1644131755/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>The Seshen, \u003cem>The Seshen\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2012, self-released\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Seven-piece band The Seshen have proven to be one of the Bay Area’s most fun-to-watch live acts this decade, fusing neo-soul and R&B production with jazzy live instrumentation and fluttering layers of vocals by Lalin St. Juste and Akasha Orr. On their self-titled debut, their group synergy manifests as a kaleidoscopic pop sound that’s sleek and expansive in equal measure.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3108730587/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Shannon and the Clams, \u003cem>Dreams in the Rat House\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2013, Hardly Art\u003c/strong>\u003cbr>\nThis decade saw Oakland rockers Shannon and the Clams transform from warehouse party mainstays to a nationally acclaimed act working with the Black Keys’ Dan Auerbach. Full of freewheeling mischief, \u003cem>Dreams in the Rat House\u003c/em> swings between sweet doo-wop harmonies, rowdy country stomps and reverb-heavy punk riffs, and Shannon Shaw’s robust, pleading voice overflows with feeling.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3949757894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Botanist, \u003cem>IV: Mandragora\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2013, The Flenser\u003c/strong>\u003cbr>\nWith the slow pace of elected officials’ action on climate change, despair is understandable. Which is why, perhaps, the dark chaos of post-black metal is a fitting genre for Botanist, an artist whose apocalyptic album \u003cem>IV: Mandragora\u003c/em> evokes a vengeful Mother Nature wiping out humans. Botanist’s lighting-speed hammered dulcimer infuses the album with eeriness; the artist screeches in a croak that sounds like a thousand-year-old redwood clearing its throat to speak. \u003cem>IV: Mandragora\u003c/em> is the sound of nature in revolt.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2338106943/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Queens D.Light, \u003cem>California Wildflower\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, self-released\u003c/strong>\u003cbr>\nQueens D.Light’s \u003cem>California Wildflower\u003c/em> unfurls a deep personal mythology to boom-bap beats, jazz interludes and psychedelic flourishes. While discovering new dimensions of her sexuality and capacity for love, Queens looks to the Yoruba deity Oshun, the river goddess associated with luxury and pleasure. In her lyrics, sensuality is a means of connecting with the divine within oneself. This stellar hip-hop debut introduced Queens D.Light as a singular voice whose vision can’t be confined to a single medium, as her multifaceted event curation and filmmaking throughout the 2010s attests.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"450\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/48447943&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kehlani, \u003cem>Cloud 19\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, Wheels of Steel Ent.\u003c/strong>\u003cbr>\nWith \u003cem>Cloud 19\u003c/em>, Kehlani became known as a prodigious R&B singer-songwriter with angelic, acrobatic vocal runs and lyrics wise beyond her years. Kehlani penned the project shortly after graduating from Oakland School for the Arts. With her warm voice and nostalgic references (Montell Jordan and Musiq Soulchild get shout outs), \u003cem>Cloud 19\u003c/em> and its infectious lead single “FWU” established her as an artist bridging the past and future of R&B. Even after Kehlani’s multiple Grammy nominations and Billboard chart success, this early mixtape remains a cult classic.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7fP1DdLng8DwEQZB2srvl0\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Lil B, \u003cem>Hoop Life\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, Based World Records\u003c/strong>\u003cbr>\nBefore “Soundcloud rap” became a household term, Berkeley native Lil B was pumping out mixtapes that spanned dozens (and sometimes hundreds) of songs. Though his music varied in quality, Lil B embraced the immediacy of self-publishing on the internet, and used social media to craft a persona (although not without controversy) before such strategies became standard for independent artists. \u003cem>Hoop Life\u003c/em>, his NBA-themed mixtape, features a diss track against then-Warriors rival Kevin Durant, and it positioned Lil B to become an unlikely basketball authority as his hometown team ascended to the NBA Championships in 2015. His “curses” on Durant and James Harden became some of the decade’s most memorable basketball lore, and \u003cem>Hoop Life\u003c/em> was the soundtrack.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1805295426/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Black Spirituals, \u003cem>Black Interiors\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2015, Ratskin Records / 60Hurts\u003c/strong>\u003cbr>\nBlack Spirituals’ \u003cem>Black Interiors\u003c/em> harnesses the improvisational qualities of free jazz, but each note emanating from Zachary James Watkins’ guitar wails with discordant tension, like Jimi Hendrix’s “Star Spangled Banner” slowed to a crawl and wrapped in barbed wire. The album established the duo, also comprised of percussionist Marshall Trammell, as one of Oakland’s most innovative experimental acts, bridging the DIY scene, academia and contemporary classical.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/3utWbzZz4YqSW0HGLqyovN\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>P-Lo and Kool John, \u003cem>Moovie!\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2015, self-released\u003c/strong>\u003cbr>\nAs children of the hyphy movement, the East Bay collective HBK Gang evolved the uptempo, homegrown 2000s rap sound into party music for the new generation. A prime example of this is P-Lo and Kool John’s \u003cem>Moovie!\u003c/em>, an album best played in the club, or somewhere between 2am and 4am on the way to the afterparty. With “3 White Hoes,” “Blue Hunnids” and “Bitch I Look Good,” the duo gave us minimalist twerk anthems with ample bass to rattle your speakers.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/1jKclz9xknsgxOK9XGAXRi\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kamaiyah, \u003cem>A Good Night in the Ghetto\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016\u003c/strong>\u003cbr>\nWith her viral single “How Does It Feel,” Kamaiyah made a rap anthem for everyday working people trying to make their way in an increasingly unaffordable Bay Area. In contrast to the one-percenter ethos that dominated the radio this decade, her debut mixtape \u003cem>A Good Night in the Ghetto\u003c/em> speaks to those who don’t necessarily seek excessively flashy things—just comfort and stability. With the feel-good energy of an intimate house party, \u003cem>A Good Night in the Ghetto\u003c/em> propelled Kamaiyah as one of the Bay Area’s most well-known voices.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1240226381/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Cherushii, \u003cem>Manic\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016\u003c/strong>\u003cbr>\nCherushii presents her sparkling vision of the dance floor as a place for connection and liberation on \u003cem>Manic\u003c/em>, an ebullient collection of house tracks. With its funky pulse and playful synths that shimmy and bounce, the EP recalls ’90s house acts like Crystal Waters and Inner City. The instrumental version of the title track features a saxophone solo by Marcia Miget—it’s the project’s most ecstatic highpoint, and a convincing argument for why brass belongs in club music. Cherushii passed away in the Ghost Ship fire the same year \u003cem>Manic\u003c/em> was released, and the project lives on as a record of her infectiously joyful vision.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=856121914/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Rayana Jay, \u003cem>Sorry About Last Night\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016, self-released\u003c/strong>\u003cbr>\nDrunken regrets, problematic lovers, undefined “situationships”—it’s all part of dating in your 20s, and Rayana Jay’s standout R&B debut \u003cem>Sorry About Last Night\u003c/em> captures all of its uncertainties and painful growing pains. Set to smooth, sparse production, her velvety voice takes center stage as she expertly builds earworm melodies. Lead single “Sleepy Brown,” which propelled Jay to the national stage, has a vintage, funky feel you can’t help but sway and step to.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1941114977/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Club Chai, \u003cem>Club Chai Vol. 1\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Club Chai\u003c/strong>\u003cbr>\nIt’s hard to name a collective that’s shaped the Bay Area’s club music scene more this decade than Club Chai. With the compilation \u003cem>Club Chai Vol. 1\u003c/em>, 8ULENTINA and FOOZOOL lay out their thesis for the genre-amorphous label and party. The suspenseful original tracks produced by the founders for the compilation give Middle Eastern percussion a ghostly sheen. The album also features work by some of electronic music’s most exciting new voices, including darkwave experimentalist Spellling, techno producer Russell E.L. Butler and haunted cumbia remixer Turbo Sonidero. Each artist pulls from different cultural backgrounds and subgenres, and all push the envelope of what electronic music can be.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1762232894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>King Woman, \u003cem>Created in the Image of Suffering\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Relapse Records\u003c/strong>\u003cbr>\nKing Woman’s slow-burning, sludgy album \u003cem>Created in the Image of Suffering\u003c/em> swallows listeners in swathes of heavy distortion. The doom metal project, one of Kristina Esfandiari’s many musical alter-egos, served as an outlet for the artist to process the experience of leaving a religious community. Her droning voice is weighed down by an audible anguish as she parses through her disillusionment with Christianity. Layers of gauzy guitar riffs build up with the ornate intricacy of gothic architecture, and crashing cymbals offer opportunities for deeply satisfying catharsis.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/5XgUtV3205kTcgoSLNf8ix\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Fantastic Negrito, \u003cem>The Last Days of Oakland\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Blackball Universe\u003c/strong>\u003cbr>\nLiving among Oakland’s extreme wealth inequality can feel maddening, and with \u003cem>The Last Days of Oakland\u003c/em>, Fantastic Negrito offers an impressionistic portrait of the opposing forces that define life in the town—the result being a 2017 Grammy award for Best Contemporary Blues Album. With its gritty guitar solos, driving rhythms and Fantastic Negrito’s howling vocals, it captures the cognitive dissonance of witnessing thousands of people who’ve lost their homes living in abject poverty on the streets. \u003cem>The Last Days of Oakland\u003c/em> is an urgent dispatch that appeals to listeners’ moral consciousness.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/6ztEEOoAi6xyYhiiDn3gxc\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>SOB x RBE, \u003cem>SOB x RBE\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, EMPIRE\u003c/strong>\u003cbr>\nWith their debut mixtape, SOB x RBE jolted the Bay Area awake with their unbridled energy and explosive chemistry of flows. “Anti” and “Lane Switching” quickly rose from viral hits to radio mainstays, showcasing how DaBoii, Slimmy B and Lul G’s gruff barks alongside crooner Yhung T.O.’s soulful-gangster hooks (think the Gen Z version of Nate Dogg). Now a trio without Lul G, SOB x RBE brought on the latest evolution of West Coast street rap—one that’s fiery and aggressive, with whiplash-inducing speed.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=523521630/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kronos Quartet and Trio Da Kali, \u003cem>Ladilikan\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, World Circuit Limited\u003c/strong>\u003cbr>\nOne of the most adventurous ensembles in the contemporary classical world, Kronos Quartet engaged in many unorthodox collaborations this decade. One of the highlights was their work with virtuosic Malian ensemble Trio Da Kali. With singer Hawa Kassé Mady Diabaté’s rich, booming voice, Lassana Mamadou Kouyaté’s dexterous balafon percussion and Mamadou Diabaté’s string work on the ngoni, the album interlaces the liveliness of traditional Malian griot music with elegant string playing. The collaboration proved to be a fruitful one, as Diabaté took part in Kronos’ \u003cem>50 for the Future\u003c/em> Project, which commissions new works from diverse composers each year.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7JSvfznch1vfoMOJxd7zPb\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Ambrose Akinmusire,\u003cem> A Rift in Decorum\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Blue Note\u003c/strong>\u003cbr>\nCritics have called Ambrose Akinmusire a trumpet wunderkind since his Berkeley High days, and his live album \u003cem>A Rift in Decorum\u003c/em>, recorded at New York’s historic Village Vanguard, shows him pushing his instrument to the limits of its expressive possibilities. Accompanied by bass, piano and drums, Akinmusire’s trumpet oscillates from emanating long, pained wails and running through rapid-fire riffs. The spacious, pensive compositions allow him plenty of room to explore.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4268731096/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Toro y Moi, \u003cem>Outer Peace\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2019, Carpark Records\u003c/strong>\u003cbr>\nToro y Moi’s \u003cem>Outer Peace\u003c/em> came during a period of the artist stepping into his full powers as a songwriter, performer and visual artist, and the album’s funky celebrations of the creative grind speak to his role as a catalyst in the local scene. For the album, Toro enlisted conga player Brijean Murphy (a formidable solo artist in her own right), whose expert percussion adds richness to Toro’s propulsive grooves. \u003cem>Outer Peace\u003c/em>’s upbeat sounds represented a departure from his more wistful, airy chillwave of years past, and its bold, confident energy looks good on him.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=136764004/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Spellling, \u003cem>Mazy Fly\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2019, Sacred Bones Records\u003c/strong>\u003cbr>\nBridging darkwave, synth-pop and even disco, Spellling’s \u003cem>Mazy Fly\u003c/em> sees the artist adding a full-bodied intricacy to her loop-pedal sorcery. Guest appearances from collaborators on percussion, guitar, violin and sax flesh out Spellling’s layers of looped keys and delicate, lace-like vocals. Within this architecture, the singer explores subtle, spiritual themes—including on the chilling track “Haunted Water,” which delves into the karmic baggage of the transatlantic slave trade.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area is a region oozing with creativity in every scene and genre, so summing up a decade of local music in a single short list is no easy task. Here, KQED Arts & Culture’s music editor humbly offers 20 of the most memorable and impactful albums of the 2010s.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7JC1vAUtlOwe8AJ3hLmr91\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Thee Oh Sees, \u003cem>Carrion Crawler/The Dream\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2011, In the Red Records\u003c/strong>\u003cbr>\nThee Oh Sees channel a need for speed on \u003cem>Carrion Crawler/The Dream\u003c/em>, an album that finds the garage rockers’ instrumentation lurching at high BPMs between poppy refrains and psychedelic guitar solos that stretch on for miles. Anchored by two drummers, the album’s sturdy rhythm section allows John Dwyer, a ringleader of the San Francisco garage rock scene in the early part of the decade, to get wild and weird with guitars and vocals.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1644131755/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>The Seshen, \u003cem>The Seshen\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2012, self-released\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Seven-piece band The Seshen have proven to be one of the Bay Area’s most fun-to-watch live acts this decade, fusing neo-soul and R&B production with jazzy live instrumentation and fluttering layers of vocals by Lalin St. Juste and Akasha Orr. On their self-titled debut, their group synergy manifests as a kaleidoscopic pop sound that’s sleek and expansive in equal measure.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3108730587/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Shannon and the Clams, \u003cem>Dreams in the Rat House\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2013, Hardly Art\u003c/strong>\u003cbr>\nThis decade saw Oakland rockers Shannon and the Clams transform from warehouse party mainstays to a nationally acclaimed act working with the Black Keys’ Dan Auerbach. Full of freewheeling mischief, \u003cem>Dreams in the Rat House\u003c/em> swings between sweet doo-wop harmonies, rowdy country stomps and reverb-heavy punk riffs, and Shannon Shaw’s robust, pleading voice overflows with feeling.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3949757894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Botanist, \u003cem>IV: Mandragora\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2013, The Flenser\u003c/strong>\u003cbr>\nWith the slow pace of elected officials’ action on climate change, despair is understandable. Which is why, perhaps, the dark chaos of post-black metal is a fitting genre for Botanist, an artist whose apocalyptic album \u003cem>IV: Mandragora\u003c/em> evokes a vengeful Mother Nature wiping out humans. Botanist’s lighting-speed hammered dulcimer infuses the album with eeriness; the artist screeches in a croak that sounds like a thousand-year-old redwood clearing its throat to speak. \u003cem>IV: Mandragora\u003c/em> is the sound of nature in revolt.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2338106943/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Queens D.Light, \u003cem>California Wildflower\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, self-released\u003c/strong>\u003cbr>\nQueens D.Light’s \u003cem>California Wildflower\u003c/em> unfurls a deep personal mythology to boom-bap beats, jazz interludes and psychedelic flourishes. While discovering new dimensions of her sexuality and capacity for love, Queens looks to the Yoruba deity Oshun, the river goddess associated with luxury and pleasure. In her lyrics, sensuality is a means of connecting with the divine within oneself. This stellar hip-hop debut introduced Queens D.Light as a singular voice whose vision can’t be confined to a single medium, as her multifaceted event curation and filmmaking throughout the 2010s attests.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"450\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/48447943&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kehlani, \u003cem>Cloud 19\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, Wheels of Steel Ent.\u003c/strong>\u003cbr>\nWith \u003cem>Cloud 19\u003c/em>, Kehlani became known as a prodigious R&B singer-songwriter with angelic, acrobatic vocal runs and lyrics wise beyond her years. Kehlani penned the project shortly after graduating from Oakland School for the Arts. With her warm voice and nostalgic references (Montell Jordan and Musiq Soulchild get shout outs), \u003cem>Cloud 19\u003c/em> and its infectious lead single “FWU” established her as an artist bridging the past and future of R&B. Even after Kehlani’s multiple Grammy nominations and Billboard chart success, this early mixtape remains a cult classic.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7fP1DdLng8DwEQZB2srvl0\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Lil B, \u003cem>Hoop Life\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, Based World Records\u003c/strong>\u003cbr>\nBefore “Soundcloud rap” became a household term, Berkeley native Lil B was pumping out mixtapes that spanned dozens (and sometimes hundreds) of songs. Though his music varied in quality, Lil B embraced the immediacy of self-publishing on the internet, and used social media to craft a persona (although not without controversy) before such strategies became standard for independent artists. \u003cem>Hoop Life\u003c/em>, his NBA-themed mixtape, features a diss track against then-Warriors rival Kevin Durant, and it positioned Lil B to become an unlikely basketball authority as his hometown team ascended to the NBA Championships in 2015. His “curses” on Durant and James Harden became some of the decade’s most memorable basketball lore, and \u003cem>Hoop Life\u003c/em> was the soundtrack.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1805295426/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Black Spirituals, \u003cem>Black Interiors\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2015, Ratskin Records / 60Hurts\u003c/strong>\u003cbr>\nBlack Spirituals’ \u003cem>Black Interiors\u003c/em> harnesses the improvisational qualities of free jazz, but each note emanating from Zachary James Watkins’ guitar wails with discordant tension, like Jimi Hendrix’s “Star Spangled Banner” slowed to a crawl and wrapped in barbed wire. The album established the duo, also comprised of percussionist Marshall Trammell, as one of Oakland’s most innovative experimental acts, bridging the DIY scene, academia and contemporary classical.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/3utWbzZz4YqSW0HGLqyovN\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>P-Lo and Kool John, \u003cem>Moovie!\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2015, self-released\u003c/strong>\u003cbr>\nAs children of the hyphy movement, the East Bay collective HBK Gang evolved the uptempo, homegrown 2000s rap sound into party music for the new generation. A prime example of this is P-Lo and Kool John’s \u003cem>Moovie!\u003c/em>, an album best played in the club, or somewhere between 2am and 4am on the way to the afterparty. With “3 White Hoes,” “Blue Hunnids” and “Bitch I Look Good,” the duo gave us minimalist twerk anthems with ample bass to rattle your speakers.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/1jKclz9xknsgxOK9XGAXRi\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kamaiyah, \u003cem>A Good Night in the Ghetto\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016\u003c/strong>\u003cbr>\nWith her viral single “How Does It Feel,” Kamaiyah made a rap anthem for everyday working people trying to make their way in an increasingly unaffordable Bay Area. In contrast to the one-percenter ethos that dominated the radio this decade, her debut mixtape \u003cem>A Good Night in the Ghetto\u003c/em> speaks to those who don’t necessarily seek excessively flashy things—just comfort and stability. With the feel-good energy of an intimate house party, \u003cem>A Good Night in the Ghetto\u003c/em> propelled Kamaiyah as one of the Bay Area’s most well-known voices.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1240226381/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Cherushii, \u003cem>Manic\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016\u003c/strong>\u003cbr>\nCherushii presents her sparkling vision of the dance floor as a place for connection and liberation on \u003cem>Manic\u003c/em>, an ebullient collection of house tracks. With its funky pulse and playful synths that shimmy and bounce, the EP recalls ’90s house acts like Crystal Waters and Inner City. The instrumental version of the title track features a saxophone solo by Marcia Miget—it’s the project’s most ecstatic highpoint, and a convincing argument for why brass belongs in club music. Cherushii passed away in the Ghost Ship fire the same year \u003cem>Manic\u003c/em> was released, and the project lives on as a record of her infectiously joyful vision.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=856121914/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Rayana Jay, \u003cem>Sorry About Last Night\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016, self-released\u003c/strong>\u003cbr>\nDrunken regrets, problematic lovers, undefined “situationships”—it’s all part of dating in your 20s, and Rayana Jay’s standout R&B debut \u003cem>Sorry About Last Night\u003c/em> captures all of its uncertainties and painful growing pains. Set to smooth, sparse production, her velvety voice takes center stage as she expertly builds earworm melodies. Lead single “Sleepy Brown,” which propelled Jay to the national stage, has a vintage, funky feel you can’t help but sway and step to.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1941114977/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Club Chai, \u003cem>Club Chai Vol. 1\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Club Chai\u003c/strong>\u003cbr>\nIt’s hard to name a collective that’s shaped the Bay Area’s club music scene more this decade than Club Chai. With the compilation \u003cem>Club Chai Vol. 1\u003c/em>, 8ULENTINA and FOOZOOL lay out their thesis for the genre-amorphous label and party. The suspenseful original tracks produced by the founders for the compilation give Middle Eastern percussion a ghostly sheen. The album also features work by some of electronic music’s most exciting new voices, including darkwave experimentalist Spellling, techno producer Russell E.L. Butler and haunted cumbia remixer Turbo Sonidero. Each artist pulls from different cultural backgrounds and subgenres, and all push the envelope of what electronic music can be.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1762232894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>King Woman, \u003cem>Created in the Image of Suffering\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Relapse Records\u003c/strong>\u003cbr>\nKing Woman’s slow-burning, sludgy album \u003cem>Created in the Image of Suffering\u003c/em> swallows listeners in swathes of heavy distortion. The doom metal project, one of Kristina Esfandiari’s many musical alter-egos, served as an outlet for the artist to process the experience of leaving a religious community. Her droning voice is weighed down by an audible anguish as she parses through her disillusionment with Christianity. Layers of gauzy guitar riffs build up with the ornate intricacy of gothic architecture, and crashing cymbals offer opportunities for deeply satisfying catharsis.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/5XgUtV3205kTcgoSLNf8ix\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Fantastic Negrito, \u003cem>The Last Days of Oakland\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Blackball Universe\u003c/strong>\u003cbr>\nLiving among Oakland’s extreme wealth inequality can feel maddening, and with \u003cem>The Last Days of Oakland\u003c/em>, Fantastic Negrito offers an impressionistic portrait of the opposing forces that define life in the town—the result being a 2017 Grammy award for Best Contemporary Blues Album. With its gritty guitar solos, driving rhythms and Fantastic Negrito’s howling vocals, it captures the cognitive dissonance of witnessing thousands of people who’ve lost their homes living in abject poverty on the streets. \u003cem>The Last Days of Oakland\u003c/em> is an urgent dispatch that appeals to listeners’ moral consciousness.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/6ztEEOoAi6xyYhiiDn3gxc\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>SOB x RBE, \u003cem>SOB x RBE\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, EMPIRE\u003c/strong>\u003cbr>\nWith their debut mixtape, SOB x RBE jolted the Bay Area awake with their unbridled energy and explosive chemistry of flows. “Anti” and “Lane Switching” quickly rose from viral hits to radio mainstays, showcasing how DaBoii, Slimmy B and Lul G’s gruff barks alongside crooner Yhung T.O.’s soulful-gangster hooks (think the Gen Z version of Nate Dogg). Now a trio without Lul G, SOB x RBE brought on the latest evolution of West Coast street rap—one that’s fiery and aggressive, with whiplash-inducing speed.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=523521630/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kronos Quartet and Trio Da Kali, \u003cem>Ladilikan\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, World Circuit Limited\u003c/strong>\u003cbr>\nOne of the most adventurous ensembles in the contemporary classical world, Kronos Quartet engaged in many unorthodox collaborations this decade. One of the highlights was their work with virtuosic Malian ensemble Trio Da Kali. With singer Hawa Kassé Mady Diabaté’s rich, booming voice, Lassana Mamadou Kouyaté’s dexterous balafon percussion and Mamadou Diabaté’s string work on the ngoni, the album interlaces the liveliness of traditional Malian griot music with elegant string playing. The collaboration proved to be a fruitful one, as Diabaté took part in Kronos’ \u003cem>50 for the Future\u003c/em> Project, which commissions new works from diverse composers each year.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7JSvfznch1vfoMOJxd7zPb\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Ambrose Akinmusire,\u003cem> A Rift in Decorum\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Blue Note\u003c/strong>\u003cbr>\nCritics have called Ambrose Akinmusire a trumpet wunderkind since his Berkeley High days, and his live album \u003cem>A Rift in Decorum\u003c/em>, recorded at New York’s historic Village Vanguard, shows him pushing his instrument to the limits of its expressive possibilities. Accompanied by bass, piano and drums, Akinmusire’s trumpet oscillates from emanating long, pained wails and running through rapid-fire riffs. The spacious, pensive compositions allow him plenty of room to explore.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4268731096/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Toro y Moi, \u003cem>Outer Peace\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2019, Carpark Records\u003c/strong>\u003cbr>\nToro y Moi’s \u003cem>Outer Peace\u003c/em> came during a period of the artist stepping into his full powers as a songwriter, performer and visual artist, and the album’s funky celebrations of the creative grind speak to his role as a catalyst in the local scene. For the album, Toro enlisted conga player Brijean Murphy (a formidable solo artist in her own right), whose expert percussion adds richness to Toro’s propulsive grooves. \u003cem>Outer Peace\u003c/em>’s upbeat sounds represented a departure from his more wistful, airy chillwave of years past, and its bold, confident energy looks good on him.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=136764004/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Spellling, \u003cem>Mazy Fly\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2019, Sacred Bones Records\u003c/strong>\u003cbr>\nBridging darkwave, synth-pop and even disco, Spellling’s \u003cem>Mazy Fly\u003c/em> sees the artist adding a full-bodied intricacy to her loop-pedal sorcery. Guest appearances from collaborators on percussion, guitar, violin and sax flesh out Spellling’s layers of looped keys and delicate, lace-like vocals. Within this architecture, the singer explores subtle, spiritual themes—including on the chilling track “Haunted Water,” which delves into the karmic baggage of the transatlantic slave trade.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "sf-developer-displaces-club-bnb-and-club-21-reducing-oakland-lgbtq-bars-by-half",
"title": "SF Developer Displaces Club BnB and Club 21, Reducing Oakland LGBTQ Bars By Half",
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"content": "\u003cp>\u003cem>Updated Monday, 10 a.m. \u003c/em>\u003c/p>\n\u003cp>Club BnB and Club 21, two adjoining LGBTQ nightclubs near downtown Oakland, will shutter by Jan. 15, 2020 as a result of the landlord doubling the rent, according to general manager Carlos Uribe.\u003c/p>\n\u003cp>The loss of the multi-floor clubs reduces the number of LGBTQ nightlife establishments in Oakland from four to two, with only Port Bar and the White Horse Inn remaining. “We’re losing a queer space to gentrification, one that specifically caters to people of color,” Uribe said.\u003c/p>\n\u003cp>The clubs, with a combined capacity of more than 700, regularly offer subsidized space to community groups. On weekends, the clubs draw hundreds of patrons for events such as drag bingo and La Bota Loca, a \u003cem>ranchera\u003c/em>– and \u003cem>banda\u003c/em>-themed party featuring DJs and internationally touring live acts.\u003c/p>\n\u003cp>“There’s nothing like it in Oakland,” Uribe said of La Bota Loca. “It’s a safe space for queer Latinx people centered on an aspect of Mexican culture that can be hyper-masculine.”\u003c/p>\n\u003cfigure id=\"attachment_13871729\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871729\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/BnB-and-21-Exterior-800x450.jpg\" alt=\"Club BnB and Club 21, adjoining LGBTQ nightclubs near downtown Oakland, will shutter by Jan. 15, 2020.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/BnB-and-21-Exterior-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/BnB-and-21-Exterior-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/BnB-and-21-Exterior-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/BnB-and-21-Exterior-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/BnB-and-21-Exterior-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/BnB-and-21-Exterior.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Club BnB and Club 21, adjoining LGBTQ nightclubs near downtown Oakland, will shutter by Jan. 15, 2020. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Broadway and Franklin Street clubs employ some 40 people, many of them for more than a decade, and the businesses have in recent months sought a new location without success.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The market is difficult,” Uribe said, noting the high-cost of commercial rent plus competition for suitable raw warehouse space from cannabis cultivators.\u003c/p>\n\u003cp>The 2120 Broadway property was acquired in May of 2018 for approximately $8 million by a company tied to Ellis Partners, a San Francisco real-estate developer, county records show.\u003c/p>\n\u003cp>Ellis proposed that the clubs either begin paying $45,040/month, more than twice their current rent, or leave the building by January, according to Uribe. The clubs are on a month-to-month lease.\u003c/p>\n\u003cfigure id=\"attachment_13871730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/2121-Franklin-Realty-Brochure-800x450.jpg\" alt='A realty brochure advertises the building as \"creative office space.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/2121-Franklin-Realty-Brochure-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/2121-Franklin-Realty-Brochure-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/2121-Franklin-Realty-Brochure-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/2121-Franklin-Realty-Brochure-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/2121-Franklin-Realty-Brochure-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/2121-Franklin-Realty-Brochure.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A realty brochure advertises the building as “creative office space.”\u003c/figcaption>\u003c/figure>\n\u003cp>Ellis Partners did not respond to a request for comment Tuesday. In Oakland, the firm is known for developing an incoming 18-story office building at 1100 Broadway marketed as \u003ca href=\"https://www.thekeyoakland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Key\u003c/a>.\u003c/p>\n\u003cp>A realty brochure acquired by KQED advertises the 23,000 square-foot Club BnB and Club 21 building as “creative office space” available in the third quarter of 2020. A rendering shows the exterior with an abstract design in place of the current water justice-themed mural from 2011.\u003c/p>\n\u003cp>Nancypili Hernandez, coordinator of the \u003cem>Water Writes\u003c/em> mural, which shows young people of color as environmental stewards, reached out to Ellis Partners after seeing the rendering published by KQED.\u003c/p>\n\u003cp>“The mock-up shows a white-washed wall with random abstract patterns where our mural lives,” Hernandez said. “This image holds value now more than ever, and we hope to work with the new owners to preserve it.”\u003c/p>\n\u003cp>The 6,000-square-foot piece features the work of artists including Vogue, Bounce, DIME, Agana, Cece Carpio and Josue Rojas, and is part of a multi-city series sponsored by environmentalist group the Estria Foundation.\u003c/p>\n\u003cp>Club BnB has existed in different locations in Oakland under the name Bench and Bar since 1976, Uribe said. It operated in the current building 2004-2010 before moving to 17th Street. Club 21 took its place in 2010, and then both clubs reopened in the current building in 2015.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Uribe said the clubs’ parent company is owned by Frank Ciglar, a board member of the Oakland Pride organization, who bought out his former business partner Charles Bisbee in 2016.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Updated Monday, 10 a.m. \u003c/em>\u003c/p>\n\u003cp>Club BnB and Club 21, two adjoining LGBTQ nightclubs near downtown Oakland, will shutter by Jan. 15, 2020 as a result of the landlord doubling the rent, according to general manager Carlos Uribe.\u003c/p>\n\u003cp>The loss of the multi-floor clubs reduces the number of LGBTQ nightlife establishments in Oakland from four to two, with only Port Bar and the White Horse Inn remaining. “We’re losing a queer space to gentrification, one that specifically caters to people of color,” Uribe said.\u003c/p>\n\u003cp>The clubs, with a combined capacity of more than 700, regularly offer subsidized space to community groups. On weekends, the clubs draw hundreds of patrons for events such as drag bingo and La Bota Loca, a \u003cem>ranchera\u003c/em>– and \u003cem>banda\u003c/em>-themed party featuring DJs and internationally touring live acts.\u003c/p>\n\u003cp>“There’s nothing like it in Oakland,” Uribe said of La Bota Loca. “It’s a safe space for queer Latinx people centered on an aspect of Mexican culture that can be hyper-masculine.”\u003c/p>\n\u003cfigure id=\"attachment_13871729\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871729\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/BnB-and-21-Exterior-800x450.jpg\" alt=\"Club BnB and Club 21, adjoining LGBTQ nightclubs near downtown Oakland, will shutter by Jan. 15, 2020.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/BnB-and-21-Exterior-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/BnB-and-21-Exterior-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/BnB-and-21-Exterior-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/BnB-and-21-Exterior-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/BnB-and-21-Exterior-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/BnB-and-21-Exterior.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Club BnB and Club 21, adjoining LGBTQ nightclubs near downtown Oakland, will shutter by Jan. 15, 2020. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Broadway and Franklin Street clubs employ some 40 people, many of them for more than a decade, and the businesses have in recent months sought a new location without success.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The market is difficult,” Uribe said, noting the high-cost of commercial rent plus competition for suitable raw warehouse space from cannabis cultivators.\u003c/p>\n\u003cp>The 2120 Broadway property was acquired in May of 2018 for approximately $8 million by a company tied to Ellis Partners, a San Francisco real-estate developer, county records show.\u003c/p>\n\u003cp>Ellis proposed that the clubs either begin paying $45,040/month, more than twice their current rent, or leave the building by January, according to Uribe. The clubs are on a month-to-month lease.\u003c/p>\n\u003cfigure id=\"attachment_13871730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/2121-Franklin-Realty-Brochure-800x450.jpg\" alt='A realty brochure advertises the building as \"creative office space.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/2121-Franklin-Realty-Brochure-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/2121-Franklin-Realty-Brochure-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/2121-Franklin-Realty-Brochure-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/2121-Franklin-Realty-Brochure-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/2121-Franklin-Realty-Brochure-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/2121-Franklin-Realty-Brochure.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A realty brochure advertises the building as “creative office space.”\u003c/figcaption>\u003c/figure>\n\u003cp>Ellis Partners did not respond to a request for comment Tuesday. In Oakland, the firm is known for developing an incoming 18-story office building at 1100 Broadway marketed as \u003ca href=\"https://www.thekeyoakland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Key\u003c/a>.\u003c/p>\n\u003cp>A realty brochure acquired by KQED advertises the 23,000 square-foot Club BnB and Club 21 building as “creative office space” available in the third quarter of 2020. A rendering shows the exterior with an abstract design in place of the current water justice-themed mural from 2011.\u003c/p>\n\u003cp>Nancypili Hernandez, coordinator of the \u003cem>Water Writes\u003c/em> mural, which shows young people of color as environmental stewards, reached out to Ellis Partners after seeing the rendering published by KQED.\u003c/p>\n\u003cp>“The mock-up shows a white-washed wall with random abstract patterns where our mural lives,” Hernandez said. “This image holds value now more than ever, and we hope to work with the new owners to preserve it.”\u003c/p>\n\u003cp>The 6,000-square-foot piece features the work of artists including Vogue, Bounce, DIME, Agana, Cece Carpio and Josue Rojas, and is part of a multi-city series sponsored by environmentalist group the Estria Foundation.\u003c/p>\n\u003cp>Club BnB has existed in different locations in Oakland under the name Bench and Bar since 1976, Uribe said. It operated in the current building 2004-2010 before moving to 17th Street. Club 21 took its place in 2010, and then both clubs reopened in the current building in 2015.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Uribe said the clubs’ parent company is owned by Frank Ciglar, a board member of the Oakland Pride organization, who bought out his former business partner Charles Bisbee in 2016.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "After 25 Years, Mariah Carey's 'All I Want For Christmas is You' is No. 1 at Last",
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"content": "\u003cp>It’s no longer uncommon for pop songs to experience a slow rise to the top of the pop charts. Just this year, \u003ca href=\"https://www.npr.org/artists/718208340/lil-nas-x\">Lil Nas X\u003c/a>‘s “Old Town Road” followed a long and \u003ca href=\"https://www.npr.org/2019/07/18/743121439/lil-nas-x-old-town-road-billie-eilish-bad-guy-remix-billboard-charts\">remix-strewn\u003c/a> path to 19 weeks at No. 1, while \u003ca href=\"https://www.npr.org/artists/502301111/lizzo\">Lizzo\u003c/a> experienced huge hits with songs originally released in 2017 (“Truth Hurts”) and 2016 (“Good As Hell”). But this is another level altogether: \u003ca href=\"https://www.npr.org/artists/15324690/mariah-carey\">Mariah Carey\u003c/a>‘s holiday juggernaut “All I Want for Christmas Is You” \u003cem>just this week\u003c/em> topped the \u003cem>Billboard\u003c/em> Hot 100 for the first time in the song’s 25-year history.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yXQViqx6GMY\u003c/p>\n\u003cp>Back in 2013, my colleague and pal \u003ca href=\"https://www.npr.org/people/706635917/chris-klimek\">Chris Klimek\u003c/a>—as thoroughgoing an expert on Christmas music as you’ll find—\u003ca href=\"https://slate.com/human-interest/2013/12/new-christmas-songs-from-kelly-clarkson-and-mary-j-blige-wont-become-holiday-classics-why.html\">wrote a piece for \u003cem>Slate\u003c/em>\u003c/a> in which he wondered why no new holiday songs had pierced the public consciousness since “All I Want for Christmas Is You.” (As he wrote at the time, “The holiday-song canon is closed.”) Now, at least for this particular week in December 2019, Carey’s classic doesn’t just represent the last word in holiday songs; it’s the last word in \u003cem>songs\u003c/em>, period.\u003c/p>\n\u003cp>The newfound chart dominance of “All I Want for Christmas”—it climbed as high as No. 3 last holiday season—can be chalked up to any number of factors, including nostalgia, the ever-growing influence of streaming services and the fact that “All I Want for Christmas” has aged remarkably well. It’s a deeply durable song; as if you need proof, consider 1) that it’s probably already stuck in your head and 2) Carey’s 2012 performance of the song with Jimmy Fallon, The Roots and an assortment of instruments found in any given elementary-school classroom.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sWEfszb9h8Q&feature=emb_logo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But you also can’t discount the sheer accumulated strength of Carey herself: with “All I Want for Christmas Is You,” the singer is just one No. 1 hit shy of the record—20—set by \u003ca href=\"https://www.npr.org/artists/15229570/the-beatles\">The Beatles\u003c/a>. When she had a mere 18 No. 1 hits, she was mired in a tie for second with some also-ran by the name of \u003ca href=\"https://www.npr.org/artists/15624007/elvis-presley\">Elvis Presley\u003c/a>.\u003c/p>\n\u003cp>Fortunately for Lil Nas X, the record \u003cem>he\u003c/em> set in 2019—those 19 consecutive weeks at No. 1—is almost certainly safe, given that interest in “All I Want for Christmas Is You” is likely to decline, however temporarily, in just a week and a half.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Merry Christmas (Deluxe Anniversary Edition) \u003cem>is out now via \u003c/em>\u003ca href=\"https://mariahcarey.lnk.to/MerryChristmas25\">\u003cem>Legacy Recordings\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit\u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\"> NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=After+25+Years%2C+Mariah+Carey%27s+%27All+I+Want+For+Christmas+Is+You%27+Is+No.+1+At+Last&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s no longer uncommon for pop songs to experience a slow rise to the top of the pop charts. Just this year, \u003ca href=\"https://www.npr.org/artists/718208340/lil-nas-x\">Lil Nas X\u003c/a>‘s “Old Town Road” followed a long and \u003ca href=\"https://www.npr.org/2019/07/18/743121439/lil-nas-x-old-town-road-billie-eilish-bad-guy-remix-billboard-charts\">remix-strewn\u003c/a> path to 19 weeks at No. 1, while \u003ca href=\"https://www.npr.org/artists/502301111/lizzo\">Lizzo\u003c/a> experienced huge hits with songs originally released in 2017 (“Truth Hurts”) and 2016 (“Good As Hell”). But this is another level altogether: \u003ca href=\"https://www.npr.org/artists/15324690/mariah-carey\">Mariah Carey\u003c/a>‘s holiday juggernaut “All I Want for Christmas Is You” \u003cem>just this week\u003c/em> topped the \u003cem>Billboard\u003c/em> Hot 100 for the first time in the song’s 25-year history.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/yXQViqx6GMY'\n title='//www.youtube.com/embed/yXQViqx6GMY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Back in 2013, my colleague and pal \u003ca href=\"https://www.npr.org/people/706635917/chris-klimek\">Chris Klimek\u003c/a>—as thoroughgoing an expert on Christmas music as you’ll find—\u003ca href=\"https://slate.com/human-interest/2013/12/new-christmas-songs-from-kelly-clarkson-and-mary-j-blige-wont-become-holiday-classics-why.html\">wrote a piece for \u003cem>Slate\u003c/em>\u003c/a> in which he wondered why no new holiday songs had pierced the public consciousness since “All I Want for Christmas Is You.” (As he wrote at the time, “The holiday-song canon is closed.”) Now, at least for this particular week in December 2019, Carey’s classic doesn’t just represent the last word in holiday songs; it’s the last word in \u003cem>songs\u003c/em>, period.\u003c/p>\n\u003cp>The newfound chart dominance of “All I Want for Christmas”—it climbed as high as No. 3 last holiday season—can be chalked up to any number of factors, including nostalgia, the ever-growing influence of streaming services and the fact that “All I Want for Christmas” has aged remarkably well. It’s a deeply durable song; as if you need proof, consider 1) that it’s probably already stuck in your head and 2) Carey’s 2012 performance of the song with Jimmy Fallon, The Roots and an assortment of instruments found in any given elementary-school classroom.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/sWEfszb9h8Q'\n title='//www.youtube.com/embed/sWEfszb9h8Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But you also can’t discount the sheer accumulated strength of Carey herself: with “All I Want for Christmas Is You,” the singer is just one No. 1 hit shy of the record—20—set by \u003ca href=\"https://www.npr.org/artists/15229570/the-beatles\">The Beatles\u003c/a>. When she had a mere 18 No. 1 hits, she was mired in a tie for second with some also-ran by the name of \u003ca href=\"https://www.npr.org/artists/15624007/elvis-presley\">Elvis Presley\u003c/a>.\u003c/p>\n\u003cp>Fortunately for Lil Nas X, the record \u003cem>he\u003c/em> set in 2019—those 19 consecutive weeks at No. 1—is almost certainly safe, given that interest in “All I Want for Christmas Is You” is likely to decline, however temporarily, in just a week and a half.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Merry Christmas (Deluxe Anniversary Edition) \u003cem>is out now via \u003c/em>\u003ca href=\"https://mariahcarey.lnk.to/MerryChristmas25\">\u003cem>Legacy Recordings\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit\u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\"> NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=After+25+Years%2C+Mariah+Carey%27s+%27All+I+Want+For+Christmas+Is+You%27+Is+No.+1+At+Last&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline, Sarah Hotchkiss and Sam Lefebvre above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Terry Fox, ‘The Labyrinth Scored for the Purrs of 11 Different Cats’\u003c/strong>: Here’s a fun one: \u003ca href=\"https://www.youtube.com/watch?v=iTSCVMxjXNg\" rel=\"noopener noreferrer\" target=\"_blank\">the sound of 11 cats purring\u003c/a>, layered together by artist Terry Fox, in an exhibition at BAMPFA. The sound of a cat purr is obviously a calming one, and Fox designed it to be listened to while walking a cathedral-style labyrinth in this 1977 piece, \u003cem>The Labyrinth Scored for the Purrs of 11 Different Cats\u003c/em>. The purr of each individual cat is meant to represent one of the 11 concentric rings of the labyrinth as you walk it—and friends, this is your last chance, because this totally one-of-a-kind experience ends this weekend, Dec. 15, at BAMPFA in downtown Berkeley. \u003ca href=\"https://bampfa.org/program/terry-fox-resonance\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Art With Elders Holiday Sale\u003c/strong>: Here’s a slightly more conventional suggestion this week. It’s a one-day holiday art show and sale at Cushion Works, a Mission District project space… And maybe you’re thinking… Another holiday sale? But this one’s slightly different. All the work comes from the Art With Elders program, a really incredible nonprofit that provides art classes for Bay Area seniors in long-term care communities like Laguna Honda Hospital. And this is a specially curated display of that work. That’s Sunday, Dec. 15, at Cushion Works in San Francisco. \u003ca href=\"https://www.artwithelders.org/2019/12/cushion-works-holiday-show-and-sale/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—SH\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Hip-Hop at the Fine Art Museum\u003c/strong>: There’s an exhibit we’ve talked about previously on the Do List called \u003cem>Soul of a Nation\u003c/em>—a massive exhibition celebrating black artists and black power at the de Young. What’s new this weekend is what I’m 99% sure has never happened before there: a show by a hip-hop group at the museum. Saturday brings the Oakland group Souls of Mischief to the de Young, in both a live show and a screening of their documentary, \u003cem>‘Til Infinity\u003c/em>. A big bonus here is that museum admission is free that day for Bay Area residents, including admission to \u003cem>Soul of a Nation\u003c/em>. That’s Saturday, Dec. 14, at the de Young Museum in San Francisco. \u003ca href=\"https://deyoung.famsf.org/calendar/free-saturdays-musical-performance-souls-mischief-til-infinity-souls-mischief-film\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>ABO Comix Release Party\u003c/strong>: ABO Comix publishes autobiographical comics by and for queer and transgender prisoners incarcerated around the country. The Oakland publisher is part of a movement centering prison abolition in the struggle for LGBTQ liberation, and considers part of that work to be diligently corresponding with queer prisoners and figuring out how to get them money for their artwork. In the past couple years, ABO has raised more than $10,000 for its artists. This weekend, ABO celebrates the release of its third anthology with a show featuring a local punk band called Anti Repression Music. That’s on Saturday, Dec. 14, at Classic Cars West in Oakland. \u003ca href=\"https://oaklandartmurmur.org/events/abo-comix-iii-release-party/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—SL\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘The Nutcracker’\u003c/strong>: I know, I know—you can see \u003cem>The Nutcracker\u003c/em> on approximately twelve billion stages this month. I’ve got two to recommend. The first is the big kahuna: the SF Ballet’s \u003cem>Nutcracker\u003c/em>. I finally saw this last year, and all I can say is believe the hype. It’s dazzling with a breathtaking set, top-tier dancing, you can’t go wrong. That runs at the War Memorial Opera House through Dec. 29. Details here. But then there’s a version of \u003cem>The Nutcracker\u003c/em> in Oakland that’s a little different. There’s no nutcracker. No mouse, even. It’s called \u003cem>KOLA: An Afro Diasporic Remix of the Nutcracker\u003c/em>. The lead character, Nzingha, travels through the African diaspora learning different dances, like Afro-Haitian, Afro-Cuban, jazz, hip-hop, break-dancing and more. That runs now through Dec. 22 at Castlemont High School in Oakland. \u003ca href=\"https://www.thepeoplesconservatory.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline, Sarah Hotchkiss and Sam Lefebvre above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Terry Fox, ‘The Labyrinth Scored for the Purrs of 11 Different Cats’\u003c/strong>: Here’s a fun one: \u003ca href=\"https://www.youtube.com/watch?v=iTSCVMxjXNg\" rel=\"noopener noreferrer\" target=\"_blank\">the sound of 11 cats purring\u003c/a>, layered together by artist Terry Fox, in an exhibition at BAMPFA. The sound of a cat purr is obviously a calming one, and Fox designed it to be listened to while walking a cathedral-style labyrinth in this 1977 piece, \u003cem>The Labyrinth Scored for the Purrs of 11 Different Cats\u003c/em>. The purr of each individual cat is meant to represent one of the 11 concentric rings of the labyrinth as you walk it—and friends, this is your last chance, because this totally one-of-a-kind experience ends this weekend, Dec. 15, at BAMPFA in downtown Berkeley. \u003ca href=\"https://bampfa.org/program/terry-fox-resonance\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Art With Elders Holiday Sale\u003c/strong>: Here’s a slightly more conventional suggestion this week. It’s a one-day holiday art show and sale at Cushion Works, a Mission District project space… And maybe you’re thinking… Another holiday sale? But this one’s slightly different. All the work comes from the Art With Elders program, a really incredible nonprofit that provides art classes for Bay Area seniors in long-term care communities like Laguna Honda Hospital. And this is a specially curated display of that work. That’s Sunday, Dec. 15, at Cushion Works in San Francisco. \u003ca href=\"https://www.artwithelders.org/2019/12/cushion-works-holiday-show-and-sale/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—SH\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Hip-Hop at the Fine Art Museum\u003c/strong>: There’s an exhibit we’ve talked about previously on the Do List called \u003cem>Soul of a Nation\u003c/em>—a massive exhibition celebrating black artists and black power at the de Young. What’s new this weekend is what I’m 99% sure has never happened before there: a show by a hip-hop group at the museum. Saturday brings the Oakland group Souls of Mischief to the de Young, in both a live show and a screening of their documentary, \u003cem>‘Til Infinity\u003c/em>. A big bonus here is that museum admission is free that day for Bay Area residents, including admission to \u003cem>Soul of a Nation\u003c/em>. That’s Saturday, Dec. 14, at the de Young Museum in San Francisco. \u003ca href=\"https://deyoung.famsf.org/calendar/free-saturdays-musical-performance-souls-mischief-til-infinity-souls-mischief-film\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>ABO Comix Release Party\u003c/strong>: ABO Comix publishes autobiographical comics by and for queer and transgender prisoners incarcerated around the country. The Oakland publisher is part of a movement centering prison abolition in the struggle for LGBTQ liberation, and considers part of that work to be diligently corresponding with queer prisoners and figuring out how to get them money for their artwork. In the past couple years, ABO has raised more than $10,000 for its artists. This weekend, ABO celebrates the release of its third anthology with a show featuring a local punk band called Anti Repression Music. That’s on Saturday, Dec. 14, at Classic Cars West in Oakland. \u003ca href=\"https://oaklandartmurmur.org/events/abo-comix-iii-release-party/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—SL\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘The Nutcracker’\u003c/strong>: I know, I know—you can see \u003cem>The Nutcracker\u003c/em> on approximately twelve billion stages this month. I’ve got two to recommend. The first is the big kahuna: the SF Ballet’s \u003cem>Nutcracker\u003c/em>. I finally saw this last year, and all I can say is believe the hype. It’s dazzling with a breathtaking set, top-tier dancing, you can’t go wrong. That runs at the War Memorial Opera House through Dec. 29. Details here. But then there’s a version of \u003cem>The Nutcracker\u003c/em> in Oakland that’s a little different. There’s no nutcracker. No mouse, even. It’s called \u003cem>KOLA: An Afro Diasporic Remix of the Nutcracker\u003c/em>. The lead character, Nzingha, travels through the African diaspora learning different dances, like Afro-Haitian, Afro-Cuban, jazz, hip-hop, break-dancing and more. That runs now through Dec. 22 at Castlemont High School in Oakland. \u003ca href=\"https://www.thepeoplesconservatory.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Brookfield Village is in deep East Oakland, and it’s a real neighborhood… people know each other. It’s a blue-collar community with longtime homeowners. But it has its struggles. A recent article noted that Brookfield Village is located in one of the \u003ca href=\"https://www.mercurynews.com/2019/12/08/the-bay-areas-10-poorest-neighborhoods/\">poorest ZIP codes in the Bay Area\u003c/a>. But the community is rich in culture, evidenced by the folks who come from there, like rapper and creative director Brookfield Duece.\u003c/p>\n\u003cp>Brookfield Duece is an artist ingrained in the community. His childhood friends still live around the corner. And his family has been there for generations. His grandfather, Albert Alvin Johnson, used to lay asphalt for the City of Oakland. Meaning Brookfield Duece’s grandfather literally helped build this town.\u003c/p>\n\u003cp>For the last few years, Brookfield Duece has been putting out projects consistently, in fact, this year he dropped two albums, “\u003ca href=\"https://open.spotify.com/album/0zzkDtaIdM1FmL7In2JLxo\">America’s Orphans\u003c/a>” and “\u003ca href=\"https://open.spotify.com/album/64XW9N7sybCejZbNYnWhYY\">2016\u003c/a>”.\u003c/p>\n\u003cp>Brookfield Duece says he wants to change the perception of his neighborhood; and he’s doing that. You can see him working alongside folks like his cousin, NBA star Damian Lillard. Together they dropped the “\u003ca href=\"https://www.youtube.com/watch?v=mP96O3iAQDM\">Dre Grant\u003c/a>” music video, in which Brookfield Duece is featured and helped co-direct. The music is dope and the clips in the video feature glossy testimonials from neighborhood residents, including Dre Grant himself. The video shows a community, culture and a neighborhood that’s sometimes overlooked.\u003c/p>\n\u003cp>https://youtu.be/mP96O3iAQDM\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Brookfield Village is in deep East Oakland, and it’s a real neighborhood… people know each other. It’s a blue-collar community with longtime homeowners. But it has its struggles. A recent article noted that Brookfield Village is located in one of the \u003ca href=\"https://www.mercurynews.com/2019/12/08/the-bay-areas-10-poorest-neighborhoods/\">poorest ZIP codes in the Bay Area\u003c/a>. But the community is rich in culture, evidenced by the folks who come from there, like rapper and creative director Brookfield Duece.\u003c/p>\n\u003cp>Brookfield Duece is an artist ingrained in the community. His childhood friends still live around the corner. And his family has been there for generations. His grandfather, Albert Alvin Johnson, used to lay asphalt for the City of Oakland. Meaning Brookfield Duece’s grandfather literally helped build this town.\u003c/p>\n\u003cp>For the last few years, Brookfield Duece has been putting out projects consistently, in fact, this year he dropped two albums, “\u003ca href=\"https://open.spotify.com/album/0zzkDtaIdM1FmL7In2JLxo\">America’s Orphans\u003c/a>” and “\u003ca href=\"https://open.spotify.com/album/64XW9N7sybCejZbNYnWhYY\">2016\u003c/a>”.\u003c/p>\n\u003cp>Brookfield Duece says he wants to change the perception of his neighborhood; and he’s doing that. You can see him working alongside folks like his cousin, NBA star Damian Lillard. Together they dropped the “\u003ca href=\"https://www.youtube.com/watch?v=mP96O3iAQDM\">Dre Grant\u003c/a>” music video, in which Brookfield Duece is featured and helped co-direct. The music is dope and the clips in the video feature glossy testimonials from neighborhood residents, including Dre Grant himself. The video shows a community, culture and a neighborhood that’s sometimes overlooked.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/mP96O3iAQDM'\n title='//www.youtube.com/embed/mP96O3iAQDM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"title": "In the Expensive Bay Area, Artists Navigate Unique Mental Health Challenges",
"headTitle": "In the Expensive Bay Area, Artists Navigate Unique Mental Health Challenges | KQED",
"content": "\u003cfigure id=\"attachment_13871302\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13871302\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/image0.jpeg\" alt=\"A music studio viewed from above. A man sits in a chair with a guitar and looks up.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/image0.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/image0-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/image0-768x432.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Housewarmers’ bandleader Ian Santillano says that the Bay Area’s high cost of living can exacerbate the unique pressures musicians face by virtue of their profession. \u003ccite>(Courtesy of Ian Santillano)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“As a musician, it can be difficult to navigate a community stricken with mental health concerns,” says \u003ca href=\"https://seanthompson.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sean Emmett Thompson\u003c/a>, a 26-year-old singer and guitarist who lives in San Francisco.\u003c/p>\n\u003cp>Grueling tour schedules, financial ups and downs, performance anxiety, fear of failure—musicians face unique job pressures that can make them more prone to mental illness. A \u003ca href=\"https://www.the73percent.com/\" target=\"_blank\" rel=\"noopener noreferrer\">2019 survey\u003c/a> of nearly 1,500 independent musicians conducted by music distributor \u003ca href=\"https://www.recordunion.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Record Union\u003c/a> found that 73 percent of respondents struggled with anxiety and depression, and 33 percent grappled with panic attacks. Furthermore, a \u003ca href=\"https://westminsterresearch.westminster.ac.uk/download/fd3b380d63e4e4a1219017768f5a56a2004e0916b59065565bac67b9d9562a22/3955058/Gross%20%26%20Musgrave%20%282016%29%20Can%20Music%20Make%20You%20Sick%20Pt1.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">2016 University of Westminster survey\u003c/a> of 2,211 U.K. musicians found that respondents were three times more likely than the general population to become depressed.\u003c/p>\n\u003cp>While composing and playing music can be therapeutic, trying to turn that into a full-time career can be an occupational hazard. Performing music puts an artist’s talent on display, and while this is one way to garner fans, it makes artists vulnerable to the praise and rejection of others. [aside postid='arts_13857471']\u003c/p>\n\u003cp>There are also \u003ca href=\"https://www.kqed.org/arts/13857471/artist-passion-exploitation-duke-study\" target=\"_blank\" rel=\"noopener noreferrer\">issues of fair compensation\u003c/a>: as one University of Westminster survey respondent shared, “A doctor doesn’t perform surgery for ‘exposure.’” Artists disclosed that poor pay, impostor syndrome and toxic working conditions had damaged their mental health.\u003c/p>\n\u003cp>These challenges are especially pronounced in the Bay Area, where high living costs make it nearly impossible for local artists to pursue their passion full time. And in a competitive industry, being pulled away from one’s art can cause feelings of insecurity and doubt to surface. \u003ca href=\"https://www.iansantillano.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Santillano\u003c/a>, a 23-year-old Bay Area musician and leader of the band \u003ca href=\"https://www.facebook.com/pages/category/Musician-Band/The-Housewarmers-313769652609322/\" target=\"_blank\" rel=\"noopener noreferrer\">The Housewarmers\u003c/a>, says not having enough time to work on music can rattle his confidence.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I get anxious, because I wonder if I am doing enough and if I’m \u003cem>truly \u003c/em>a musician,” he says. At those times, impostor syndrome can set in—a dreadful feeling that’s amplified when Santillano scrolls through fellow artists’ Instagram feeds. [aside postid='arts_13869819']\u003c/p>\n\u003cp>Thompson has faced similar struggles. “When I first moved to San Francisco, I could barely make ends meet,” he says. Like many artists, Thompson teaches music lessons and takes on \u003ca href=\"https://www.kqed.org/ourturbulentdecade/2019-the-gig-economy-defined-how-artists-do-business-heres-whats-likely-to-change\" target=\"_blank\" rel=\"noopener noreferrer\">side projects\u003c/a>, but overworking can make it tricky to find a work-life balance. “I’ve had difficulty saying ‘no’ to projects for fear of losing out on an opportunity, which only creates more stress,” says the artist.\u003c/p>\n\u003cp>In the past, those stressors caused Thompson to become anxious and depressed, “When you’re distracted by other work responsibilities, composing music is hard,” he shares. Not being able to create new music feeds impostor syndrome, which can leave Thompson feeling aimless and inadequate. Despite those challenges, he’s never seen a mental health professional. “Once I’m financially stable, I hope to address my mental health needs in therapy,” Thompson adds.\u003c/p>\n\u003cfigure id=\"attachment_13871305\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871305\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/10531349_10152705050652868_411939417121906542_o-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/10531349_10152705050652868_411939417121906542_o-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/10531349_10152705050652868_411939417121906542_o-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/10531349_10152705050652868_411939417121906542_o-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/10531349_10152705050652868_411939417121906542_o-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/10531349_10152705050652868_411939417121906542_o-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/10531349_10152705050652868_411939417121906542_o.jpg 1544w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Thompson (center). \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While many artists battle with mental illness, the latest survey results suggest that only 40 percent of suffering musicians received mental health care, while over 50 percent turned to alcohol and drugs to numb their pain, which isn’t uncommon for people \u003ca href=\"https://www.drugabuse.gov/publications/drugfacts/comorbidity-substance-use-disorders-other-mental-illnesses\" target=\"_blank\" rel=\"noopener noreferrer\">with mental illness\u003c/a>.\u003c/p>\n\u003cp>“I couldn’t see the wonder in the world,” recalls \u003ca href=\"https://www.mroliverblank.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Oliver Blank\u003c/a>, 37, a Bay Area artist and composer. Last year, Blank’s long-term relationship ended, and his intense grief caused his creative drive to dwindle.\u003c/p>\n\u003cp>At that time, Blank was working on his podcast \u003ca href=\"https://www.mroliverblank.com/art-index/the-one-who-got-away\">\u003cem>The One Who Got Away\u003c/em>\u003c/a>, which intimately depicts the lingering grief that travels with loss. For the podcast, Blank invited people from all over the world to call a phone number and leave a message for a lost loved one, or forgotten romance, answering just one question: “What would you say to the one who got away?”\u003c/p>\n\u003cp>Hearing other people’s grief-stricken stories amplified Blank’s suffering, which only intensified his sadness. “I didn’t want to die or to hurt myself, but I wanted to go to sleep for a very long time,” the artist explains. [aside postid='arts_13861452']\u003c/p>\n\u003cp>Concerned friends encouraged Blank to talk to a therapist. He reached out for professional help, but initially, no one reached back. “The biggest issue was finding a therapist who would return my call,” says Blank.\u003c/p>\n\u003cp>For many people, navigating the mental healthcare system can be puzzling. Firstly, even with health coverage, high-deductible insurance plans require people to pay upfront for medical expenses, including psychotherapy, which can be costly. In the Bay Area, the economic boost brought on by the \u003ca href=\"https://www.kqed.org/stateofhealth/23916/bay-area-boom-driving-up-cost-of-therapy\">tech boom\u003c/a> has driven up the cost of rent, food and psychotherapy. As a result, therapy can cost anywhere between 140 and 300 dollars per session.\u003c/p>\n\u003cp>More affordable options are available, but finding the right type of help isn’t always straight forward. Websites like \u003ca href=\"https://www.betterhelp.com/helpme/?utm_source=AdWords&utm_medium=Search_PPC_c&utm_term=better%2Bhelp_e&utm_content=13899929650&network=g&placement=&target=&matchtype=e&utm_campaign=177007450&ad_type=text&adposition=1t1&gclid=CjwKCAjwlovtBRBrEiwAG3\" target=\"_blank\" rel=\"noopener noreferrer\">Better Help\u003c/a> and \u003ca href=\"https://lp.talkspace.com/try?utm_source=google&utm_medium=sembrand&utm_campaign=SEARCH_GOOGLE_BRAND&utm_content=apply65&utm_term=talkspace&gclid=CjwKCAjwlovtBRBrEiwAG3XJ-6Uy8h5LQ-0XOeo4by1B5Hv1x5qjWf2Hn4ZnJ6sUB-BxoLTnlLf74RoCOV8QAvD_BwE\">Talkspace\u003c/a> offer counseling online. While convenient, talking to a therapist online may not be ideal for people with acute mental health symptoms, such as panic attacks, thoughts of self-harm and severe depression.\u003c/p>\n\u003cp>For those seeking in-person mental health care, the non-profit organization \u003ca href=\"https://openpathcollective.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Open Path Psychotherapy Collective\u003c/a> provides affordable counseling services, and its fees range from 30 to 60 dollars per session. According to the website, over 300 therapists in the Bay Area provide mental health services through the Open Path network.\u003c/p>\n\u003cp>Psychotherapy training clinics staffed by graduate students and recent graduates also provide accessible care. For instance, in San Francisco, \u003ca href=\"https://www.ciis.edu/counseling-and-acupuncture-clinics/center-for-somatic-psychotherapy\">Center for Somatic Psychotherapy (CSP)\u003c/a> offers sliding-scale psychotherapy services seven days a week, and therapy is provided by graduate students and recent graduates from the California Institute of Integral Studies (CIIS).\u003c/p>\n\u003cp>In addition to offering traditional talk therapy, CSP therapists promote self-awareness and stress reduction by helping clients connect with the mind, body and spirit, says Steuart Gold, the CSP clinic director. “Somatic therapy encourages accessing the wisdom of the body and creates conditions where one’s creative self can live its fullest expression,” he explains. With this focus, Gold says musicians and artists often benefit from somatic psychotherapy.\u003c/p>\n\u003cp>Even though it took many phone calls, Blank eventually found a therapist. “My therapist diagnosed me with depression and told me I was experiencing suicidal ideation,” he shares. Receiving a diagnosis helped Blank understand the nature of his pain, which aided in the healing process. “I immediately felt relief,” he shares.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>For now, Santillano and Thompson find emotional support by talking to their peers. Still, Thompson hopes to speak to a therapist in the near future, “I believe therapy can help me pinpoint things that I haven’t been able to put together for myself,” he says.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13871302\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13871302\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/image0.jpeg\" alt=\"A music studio viewed from above. A man sits in a chair with a guitar and looks up.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/image0.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/image0-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/image0-768x432.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Housewarmers’ bandleader Ian Santillano says that the Bay Area’s high cost of living can exacerbate the unique pressures musicians face by virtue of their profession. \u003ccite>(Courtesy of Ian Santillano)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“As a musician, it can be difficult to navigate a community stricken with mental health concerns,” says \u003ca href=\"https://seanthompson.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sean Emmett Thompson\u003c/a>, a 26-year-old singer and guitarist who lives in San Francisco.\u003c/p>\n\u003cp>Grueling tour schedules, financial ups and downs, performance anxiety, fear of failure—musicians face unique job pressures that can make them more prone to mental illness. A \u003ca href=\"https://www.the73percent.com/\" target=\"_blank\" rel=\"noopener noreferrer\">2019 survey\u003c/a> of nearly 1,500 independent musicians conducted by music distributor \u003ca href=\"https://www.recordunion.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Record Union\u003c/a> found that 73 percent of respondents struggled with anxiety and depression, and 33 percent grappled with panic attacks. Furthermore, a \u003ca href=\"https://westminsterresearch.westminster.ac.uk/download/fd3b380d63e4e4a1219017768f5a56a2004e0916b59065565bac67b9d9562a22/3955058/Gross%20%26%20Musgrave%20%282016%29%20Can%20Music%20Make%20You%20Sick%20Pt1.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">2016 University of Westminster survey\u003c/a> of 2,211 U.K. musicians found that respondents were three times more likely than the general population to become depressed.\u003c/p>\n\u003cp>While composing and playing music can be therapeutic, trying to turn that into a full-time career can be an occupational hazard. Performing music puts an artist’s talent on display, and while this is one way to garner fans, it makes artists vulnerable to the praise and rejection of others. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There are also \u003ca href=\"https://www.kqed.org/arts/13857471/artist-passion-exploitation-duke-study\" target=\"_blank\" rel=\"noopener noreferrer\">issues of fair compensation\u003c/a>: as one University of Westminster survey respondent shared, “A doctor doesn’t perform surgery for ‘exposure.’” Artists disclosed that poor pay, impostor syndrome and toxic working conditions had damaged their mental health.\u003c/p>\n\u003cp>These challenges are especially pronounced in the Bay Area, where high living costs make it nearly impossible for local artists to pursue their passion full time. And in a competitive industry, being pulled away from one’s art can cause feelings of insecurity and doubt to surface. \u003ca href=\"https://www.iansantillano.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Santillano\u003c/a>, a 23-year-old Bay Area musician and leader of the band \u003ca href=\"https://www.facebook.com/pages/category/Musician-Band/The-Housewarmers-313769652609322/\" target=\"_blank\" rel=\"noopener noreferrer\">The Housewarmers\u003c/a>, says not having enough time to work on music can rattle his confidence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I get anxious, because I wonder if I am doing enough and if I’m \u003cem>truly \u003c/em>a musician,” he says. At those times, impostor syndrome can set in—a dreadful feeling that’s amplified when Santillano scrolls through fellow artists’ Instagram feeds. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thompson has faced similar struggles. “When I first moved to San Francisco, I could barely make ends meet,” he says. Like many artists, Thompson teaches music lessons and takes on \u003ca href=\"https://www.kqed.org/ourturbulentdecade/2019-the-gig-economy-defined-how-artists-do-business-heres-whats-likely-to-change\" target=\"_blank\" rel=\"noopener noreferrer\">side projects\u003c/a>, but overworking can make it tricky to find a work-life balance. “I’ve had difficulty saying ‘no’ to projects for fear of losing out on an opportunity, which only creates more stress,” says the artist.\u003c/p>\n\u003cp>In the past, those stressors caused Thompson to become anxious and depressed, “When you’re distracted by other work responsibilities, composing music is hard,” he shares. Not being able to create new music feeds impostor syndrome, which can leave Thompson feeling aimless and inadequate. Despite those challenges, he’s never seen a mental health professional. “Once I’m financially stable, I hope to address my mental health needs in therapy,” Thompson adds.\u003c/p>\n\u003cfigure id=\"attachment_13871305\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871305\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/10531349_10152705050652868_411939417121906542_o-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/10531349_10152705050652868_411939417121906542_o-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/10531349_10152705050652868_411939417121906542_o-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/10531349_10152705050652868_411939417121906542_o-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/10531349_10152705050652868_411939417121906542_o-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/10531349_10152705050652868_411939417121906542_o-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/10531349_10152705050652868_411939417121906542_o.jpg 1544w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Thompson (center). \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While many artists battle with mental illness, the latest survey results suggest that only 40 percent of suffering musicians received mental health care, while over 50 percent turned to alcohol and drugs to numb their pain, which isn’t uncommon for people \u003ca href=\"https://www.drugabuse.gov/publications/drugfacts/comorbidity-substance-use-disorders-other-mental-illnesses\" target=\"_blank\" rel=\"noopener noreferrer\">with mental illness\u003c/a>.\u003c/p>\n\u003cp>“I couldn’t see the wonder in the world,” recalls \u003ca href=\"https://www.mroliverblank.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Oliver Blank\u003c/a>, 37, a Bay Area artist and composer. Last year, Blank’s long-term relationship ended, and his intense grief caused his creative drive to dwindle.\u003c/p>\n\u003cp>At that time, Blank was working on his podcast \u003ca href=\"https://www.mroliverblank.com/art-index/the-one-who-got-away\">\u003cem>The One Who Got Away\u003c/em>\u003c/a>, which intimately depicts the lingering grief that travels with loss. For the podcast, Blank invited people from all over the world to call a phone number and leave a message for a lost loved one, or forgotten romance, answering just one question: “What would you say to the one who got away?”\u003c/p>\n\u003cp>Hearing other people’s grief-stricken stories amplified Blank’s suffering, which only intensified his sadness. “I didn’t want to die or to hurt myself, but I wanted to go to sleep for a very long time,” the artist explains. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Concerned friends encouraged Blank to talk to a therapist. He reached out for professional help, but initially, no one reached back. “The biggest issue was finding a therapist who would return my call,” says Blank.\u003c/p>\n\u003cp>For many people, navigating the mental healthcare system can be puzzling. Firstly, even with health coverage, high-deductible insurance plans require people to pay upfront for medical expenses, including psychotherapy, which can be costly. In the Bay Area, the economic boost brought on by the \u003ca href=\"https://www.kqed.org/stateofhealth/23916/bay-area-boom-driving-up-cost-of-therapy\">tech boom\u003c/a> has driven up the cost of rent, food and psychotherapy. As a result, therapy can cost anywhere between 140 and 300 dollars per session.\u003c/p>\n\u003cp>More affordable options are available, but finding the right type of help isn’t always straight forward. Websites like \u003ca href=\"https://www.betterhelp.com/helpme/?utm_source=AdWords&utm_medium=Search_PPC_c&utm_term=better%2Bhelp_e&utm_content=13899929650&network=g&placement=&target=&matchtype=e&utm_campaign=177007450&ad_type=text&adposition=1t1&gclid=CjwKCAjwlovtBRBrEiwAG3\" target=\"_blank\" rel=\"noopener noreferrer\">Better Help\u003c/a> and \u003ca href=\"https://lp.talkspace.com/try?utm_source=google&utm_medium=sembrand&utm_campaign=SEARCH_GOOGLE_BRAND&utm_content=apply65&utm_term=talkspace&gclid=CjwKCAjwlovtBRBrEiwAG3XJ-6Uy8h5LQ-0XOeo4by1B5Hv1x5qjWf2Hn4ZnJ6sUB-BxoLTnlLf74RoCOV8QAvD_BwE\">Talkspace\u003c/a> offer counseling online. While convenient, talking to a therapist online may not be ideal for people with acute mental health symptoms, such as panic attacks, thoughts of self-harm and severe depression.\u003c/p>\n\u003cp>For those seeking in-person mental health care, the non-profit organization \u003ca href=\"https://openpathcollective.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Open Path Psychotherapy Collective\u003c/a> provides affordable counseling services, and its fees range from 30 to 60 dollars per session. According to the website, over 300 therapists in the Bay Area provide mental health services through the Open Path network.\u003c/p>\n\u003cp>Psychotherapy training clinics staffed by graduate students and recent graduates also provide accessible care. For instance, in San Francisco, \u003ca href=\"https://www.ciis.edu/counseling-and-acupuncture-clinics/center-for-somatic-psychotherapy\">Center for Somatic Psychotherapy (CSP)\u003c/a> offers sliding-scale psychotherapy services seven days a week, and therapy is provided by graduate students and recent graduates from the California Institute of Integral Studies (CIIS).\u003c/p>\n\u003cp>In addition to offering traditional talk therapy, CSP therapists promote self-awareness and stress reduction by helping clients connect with the mind, body and spirit, says Steuart Gold, the CSP clinic director. “Somatic therapy encourages accessing the wisdom of the body and creates conditions where one’s creative self can live its fullest expression,” he explains. With this focus, Gold says musicians and artists often benefit from somatic psychotherapy.\u003c/p>\n\u003cp>Even though it took many phone calls, Blank eventually found a therapist. “My therapist diagnosed me with depression and told me I was experiencing suicidal ideation,” he shares. Receiving a diagnosis helped Blank understand the nature of his pain, which aided in the healing process. “I immediately felt relief,” he shares.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For now, Santillano and Thompson find emotional support by talking to their peers. Still, Thompson hopes to speak to a therapist in the near future, “I believe therapy can help me pinpoint things that I haven’t been able to put together for myself,” he says.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "NPR's 25 Best Albums of 2019",
"headTitle": "NPR’s 25 Best Albums of 2019 | KQED",
"content": "\u003cp>\u003cem>This list was made by writers, editors and producers at NPR Music operating under two rules: Albums had to be released during 2019 and no lead artist was allowed to appear on both this list and our list of the \u003c/em>\u003ca href=\"https://www.npr.org/2019/12/11/778226410/the-25-best-songs-of-2019\">\u003cem>25 Best Songs of 2019\u003c/em>\u003c/a>\u003cem>. You can find the rest of our picks for \u003c/em>\u003ca href=\"https://www.npr.org/2019/12/11/778229970/best-music-of-2019-editors-note\">\u003cem>the best music of 2019 here\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003chr>\n\u003ch6>25.\u003c/h6>\n\u003ch3>Tyler, The Creator\u003c/h3>\n\u003ch3>\u003cem>IGOR\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=HmAsUQEFYGI\u003c/p>\n\u003cp>Generally speaking, breaks-up are trash. But what if you’re not even allowed to call it a break-up?\u003c/p>\n\u003cp>\u003cem>IGOR, \u003c/em>the fifth studio album from Tyler, The Creator, mourns a love that was never really allowed to flourish in the first place. Across 40 minutes, \u003cem>IGOR\u003c/em> draws, erases and redraws emotional lines in the sand, smudging up Tyler’s self-esteem with each new boundary crossed. The pining of “EARFQUAKE,” the short-lived euphoria of “I THINK,” the feeble negotiation of “NEW MAGIC WAND,” the obvious lie of “I DON’T LOVE YOU ANYMORE,” the diluted compromise of “ARE WE STILL FRIENDS?” Think of these tracks as the face muscles that construct the dead-eyed, sanguine smile you flash during that first unexpected run-in with your ex. Even with a supporting chorus of Kanye West, Lil Uzi Vert, La Roux, Solange and more, the true magic of this album is Tyler’s ability to let his guard down just enough to give you symphonic slivers of his heartbreak. —\u003cem>Sidney Madden\u003c/em>\u003c/p>\n\u003cp>■ MORE: \u003ca href=\"https://www.npr.org/2017/12/11/569203961/tyler-the-creator-tiny-desk-concert\">Watch Tyler Perform At NPR’s Tiny Desk\u003c/a>\u003c/p>\n\u003chr>\n\u003ch6>24.\u003c/h6>\n\u003ch3>Tanya Tucker\u003c/h3>\n\u003ch3>\u003cem>While I’m Livin’\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=WVEd0YUx7X8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In spite of the reverence shown for country music made in the 1970s and the groundswell of nostalgia for ’90s country, Tanya Tucker—an artist whose high-caliber hits spanned both eras—has been perpetually underappreciated. This year she found champions in Shooter Jennings and Brandi Carlile, who took up the task of framing Tucker with a warmly rustic, often rocking vintage sound on \u003cem>While I’m Livin’\u003c/em>. The album cast a more intimate spotlight on her gravelly timbre and the sensuality and gravitas of her phrasing, but more than that, its songs showcased her interpretive gifts and, at long last, placed her at the center of her own enthralling mythology. —\u003cem>Jewly Hight\u003c/em>\u003c/p>\n\u003cp>■ MORE: \u003ca href=\"https://www.npr.org/sections/world-cafe/2019/11/12/778265643/hear-tanya-tucker-perform-selections-from-her-first-original-album-in-17-years\">Hear Tanya Tucker In Concert At AmericanaFest\u003c/a>\u003c/p>\n\u003chr>\n\u003ch6>23.\u003c/h6>\n\u003ch3>Kris Davis\u003c/h3>\n\u003ch3>\u003cem>Diatom Ribbons\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=DVhEV5RDG4w\u003c/p>\n\u003cp>In the hands of pianist Kris Davis, a musical phrase can bristle or bloom—sometimes managing both at once, as often happens on this visionary album. Working with two core partners, turntablist Val Jeanty and drummer Terri Lyne Carrington, Davis devises a new strain of avant-garde chamber-jazz, volatile yet gleaming. A clutch of blue-chip guests (like Nels Cline and Marc Ribot on guitars, Tony Malaby on tenor saxophone and Esperanza Spalding on spoken word) bring personality as well as fire. This is sound that refuses stasis, insisting on endless renewal from one moment to the next. —\u003cem>Nate Chinen, WBGO\u003c/em>\u003c/p>\n\u003chr>\n\u003ch6>22.\u003c/h6>\n\u003ch3>Bad Bunny & J Balvin\u003c/h3>\n\u003ch3>\u003cem>OASIS\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=kPc3Pe42bGI\u003c/p>\n\u003cp>Bad Bunny and J Balvin have both taken up the charge to make urbano a worldwide project without sacrificing the hunger that has made the genre seem abrasive and vulgar to some in their industry. That this album-length collaboration by two of urbano’s most visible artists covered as much genre territory as it did prompted another examination of its often relegated place within “Latin” music, whatever that is. From the knotted bass punto guajiro on “Yo Le Llego” to the rock en español”Un Peso” with Enanitos Verdes’ Marciano Cantero to the two taking a backseat to Afrobeats rising star Mr. Eazi on the closer “Como Un Bebé,” \u003cem>OASIS \u003c/em>stretches across the spectrum of where urbano has been and where it’s going. —\u003cem>Stefanie Fernández\u003c/em>\u003c/p>\n\u003cp>■ MORE: \u003ca href=\"https://www.npr.org/sections/altlatino/2018/12/24/679179404/bad-bunny-en-espa-ol-el-nuevo-disco-y-sus-influencias\">Bad Bunny’s Alt.Latino interview\u003c/a>\u003c/p>\n\u003chr>\n\u003ch6>21.\u003c/h6>\n\u003ch3>John Luther Adams\u003c/h3>\n\u003ch3>\u003cem>Become Desert\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=1VN9TBfWAEo\u003c/p>\n\u003cp>This is, simply put, one of the most stunning recordings of 2019. John Luther Adams’ follow-up to his Pulitzer Prize-winning \u003cem>Become Ocean\u003c/em> is brought to life here by the Seattle Symphony and its conductor emeritus Ludovic Morlot in grand-scale minimalist fashion. The orchestra’s 100 or so musicians and a chorus of singers weave a beatless, beatific drone that draws inspiration from the deceptive monotony of our planet’s deserts, where time only appears to stand still. Like its namesake, \u003cem>Become Desert\u003c/em> feels infinite, stretching out in every direction at once; even after 40 celestial minutes, its ending arrives unexpectedly, lest we forget that sand always runs out. —\u003cem>Otis Hart\u003c/em>\u003c/p>\n\u003cp>■ MORE: \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2014/09/28/350911062/an-inviting-apocalypse-john-luther-adams-on-become-ocean\">John Luther Adams on All Things Considered\u003c/a>\u003c/p>\n\u003chr>\n\u003ch6>20.\u003c/h6>\n\u003ch3>Sault\u003c/h3>\n\u003ch3>\u003cem>5\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=i1F0qO7QIR4\u003c/p>\n\u003cp>And then, out of thin air, an impossibly polished, balanced and restrained piece of work from a faceless trio—we think it’s a trio, at least—quietly slipped into the world. The surreptitious Sault—is it pronounced “soo” or “salt” or “so,” we wonder—may have connections to the equally mysterious-at-the-outset group Jungle, a rumor that has some heft given the evolved disco/pop/R&B/soul genetics they clearly share. But while mysteries are fun, and can be a slam-dunk marketing approach too, there’s no urgent need to solve this one. First of all, this lovely, wholly consistent album is answer enough. But also, the group will most likely be unavoidable in the new year, so enjoy the unknowing while you still can. —\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003chr>\n\u003ch6>19.\u003c/h6>\n\u003ch3>Lana Del Rey\u003c/h3>\n\u003ch3>\u003cem>Norman F****** Rockwell\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=qolmz4FlnZ0\u003c/p>\n\u003cp>\u003ca href=\"https://trends.google.com/trends/explore?q=ten%20year%20challenge&geo=US\">Twice this year\u003c/a> across social media, the so-called ten-year challenge meme made the rounds (and prompted some extremely 2019\u003ca href=\"https://twitter.com/kateo/status/1084199700427927553\"> cybersecurity concerns\u003c/a>). Consider, then, a side-by-side accounting for a certain pop star who came into full flower over the course of the decade: In 2011, Lana Del Rey’s mere presence was viewed by some as an affront to the ideal of authenticity; in 2019, few albums achieved the critical consensus that greeted \u003cem>Norman F****** Rockwell! \u003c/em>At some point between “\u003ca href=\"https://www.youtube.com/watch?v=cE6wxDqdOV0\">Video Games\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=LrSX_OcpeJg\">The Greatest\u003c/a>,” Lana Del Rey went from upending accepted norms to voicing our collective unease.\u003c/p>\n\u003cp>\u003cem>Norman F****** Rockwell! \u003c/em>sharpens the singular vision that’s always animated Lana Del Rey’s body of work. As her discography has grown, her imagery has evolved: less shorthand, more self-reference. With callbacks crisscrossing place and time, her music is now made of her own sepia-toned mythology. In collaboration with producer Jack Antonoff, drawing on the Laurel Canyon sound, she achieves both timelessness and timeliness in tone. Wistful, resigned and cutting, it’s a fitting swan song for the decade. —\u003cem>Lyndsey McKenna\u003c/em>\u003c/p>\n\u003cp>■ MORE: \u003ca href=\"https://www.npr.org/2019/09/04/757545360/lana-del-rey-lives-in-americas-messy-subconscious\">Ann Powers on Lana Del Rey\u003c/a>\u003c/p>\n\u003chr>\n\u003ch6>18.\u003c/h6>\n\u003ch3>iLe\u003c/h3>\n\u003ch3>\u003cem>Almadura\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=RTzL-G2kIA8\u003c/p>\n\u003cp>iLe recorded \u003cem>Almadura\u003c/em> long before the political situation in Puerto Rico came to a historic conclusion this past summer, but the themes she addresses on the album were the same as those raised in the massive protests that eventually drove its governor from power: musical stands against injustice and inequality, passionate statements of cultural pride and a barely contained fury at being at the mercy of U.S. policies for over 100 years. Case in point: “Tu Rumba” comes across as a hypnotic love song that stands as a personal statement of desire, but like the best protest music, the power of the message is in the storytelling. It’s a cleverly-worded plea for social justice set to a masterful pastiche of Afro-Caribbean rhythms. The powerful music on \u003cem>Almadura \u003c/em>will long outlast the injustices iLe and the rest of the island are fighting against. —\u003cem>Felix Contreras\u003c/em>\u003c/p>\n\u003cp>■ MORE: \u003ca href=\"https://www.npr.org/sections/altlatino/2019/07/10/740190505/ile-and-making-movies-discuss-music-activism-and-mixing-the-two\">Alt.Latino’s interview with iLe\u003c/a>\u003c/p>\n\u003chr>\n\u003ch6>17.\u003c/h6>\n\u003ch3>Holly Herndon\u003c/h3>\n\u003ch3>\u003cem>PROTO\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=r4sROgbaeOs\u003c/p>\n\u003cp>A spirit of collaboration courses through Holly Herndon’s third album, \u003cem>PROTO\u003c/em>. The talk that’s surrounded it has focused on Herndon’s co-creation of an AI that became part of an ensemble she worked with to make the record. While that’s of note, it does a disservice to the music, which is epic on every level. Human voices and machine voices coalesce in double helix formations; trance motifs and mile-wide drums offset the choir’s earnest emoting and lyrics unfurl like folk stories. \u003cem>PROTO \u003c/em>is an album about the human spirit and the future that new kinds of collaboration—or, as Herndon calls it,\u003ca href=\"https://twitter.com/hollyherndon/status/1199455651170263040\"> interdependence\u003c/a>—could bring. —\u003cem>Ruth Saxelby\u003c/em>\u003c/p>\n\u003cp>■ MORE: \u003ca href=\"https://www.npr.org/2019/10/07/767904887/the-2010s-a-music-making-evolution-and-revolution\">All Songs Considered interviews Holly Herndon\u003c/a>\u003c/p>\n\u003chr>\n\u003ch6>16.\u003c/h6>\n\u003ch3>Burna Boy\u003c/h3>\n\u003ch3>\u003cem>African Giant\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=4zvDLW5Klo8\u003c/p>\n\u003cp>Burna Boy has been a superstar of Nigerian music for years. “I am an AFRICAN GIANT,” he blasted on Instagram after Coachella displayed his name on a festival poster with what he considered a too-small font. Months later, he released his fourth album with the same title. Whether it’s conceit or confidence, Burna Boy deserves to brag. Every one of the album’s 19 tracks is a gem and features his signature Afro-fusion genre blend of dancehall, reggae, R&B and hip-hop. Though fundamental African rhythms are clearly defined, the album’s dance-infused pop sensibility makes it a crossover success. And while its musicality and artfulness are outstanding, the album spans party anthems and themes of love, history and political activism too. It’s no surprise that Burna Boy received his first Grammy nomination for this album. Look for his name in larger fonts in the future. —\u003cem>Suraya Mohamed\u003c/em>\u003c/p>\n\u003cp>■ MORE: \u003ca href=\"https://www.npr.org/2019/11/18/779548274/burna-boy-tiny-desk-concert\">Watch Burna Boy perform at NPR’s Tiny Desk\u003c/a>\u003c/p>\n\u003chr>\n\u003ch6>15.\u003c/h6>\n\u003ch3>Christian Scott aTunde Adjuah\u003c/h3>\n\u003ch3>\u003cem>Ancestral Recall\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=FYFFV7exVWs\u003c/p>\n\u003cp>New Orleans trumpeter Christian Scott aTunde Adjuah is one of the most compelling voices working in music today—and his latest “stretch music” album is possibly his most ambitious work to date. With guest artists including musician/poet/rapper/actor Saul Williams, \u003cem>Ancestral Recall\u003c/em> is an intense, keenly felt and richly articulated celebration of many of the musical streams that have nourished generations of the African, Native and Caribbean diasporas—a sonically and texturally spacious project that would feel urgent and necessary at almost any time, but asserts itself especially now. From the exuberant, endlessly intricate West African polyrhythms of “I Own The Night” to the Afro-Latinx groove of “The Shared Stories of Rivals” to the metallic, Afrofuturist clang of “Prophesy,” this project is both firmly rooted in the past and a vision of a dynamic, powerful future. —\u003cem>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>■ MORE: \u003ca href=\"https://www.youtube.com/watch?v=3SxzS4mtH9o\">Watch Jazz Night In America’s Christian Scott special\u003c/a>\u003c/p>\n\u003chr>\n\u003ch6>14.\u003c/h6>\n\u003ch3>Weyes Blood\u003c/h3>\n\u003ch3>\u003cem>Titanic Rising\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=RFtRq6t3jOo\u003c/p>\n\u003cp>A lot of artists made big, ambitious albums in 2019, but few soared as wondrously as Weyes Blood’s \u003cem>Titanic Rising. \u003c/em>Singer Natalie Mering’s meticulously layered harmonies drew comparisons to the celestial sounds of Enya and her winding melodies, crystalline voice and autumnal reflections owe just as much to ’70s folk-pop icons like Joni Mitchell or The Carpenters. It’s a beautiful and potent mix, one Mering deftly subverts with hints of madness. Songs suddenly stagger and devolve into warped or broken electronics while her videos, for songs like “Everyday” or “Mirror Forever,” include graphic scenes of murder, rape and drug use. It’s a beautiful world, but we are not okay. —\u003cem>Robin Hilton\u003c/em>\u003c/p>\n\u003cp>■ MORE: \u003ca href=\"https://www.npr.org/2019/12/11/786391406/weyes-blood-tiny-desk-concert\">Watch Weyes Blood perform at NPR’s Tiny Desk\u003c/a>\u003c/p>\n\u003chr>\n\u003ch6>13.\u003c/h6>\n\u003ch3>Our Native Daughters\u003c/h3>\n\u003ch3>\u003cem>Songs Of Our Native Daughters\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=FeTEgDy7kbQ&list=RDFeTEgDy7kbQ&index=1\u003c/p>\n\u003cp>Our Native Daughters chose a band name and album title that highlight the kinship ties between the four group members—Rhiannon Giddens, Amythyst Kiah, Allison Russell and Leyla McCalla—and their musical, cultural and spiritual ancestors. It would’ve been a historic event for four women of color who write, reinterpret and perform roots music on banjo to simply come together and make music—their collaboration is, in and of itself, a reminder of the whitewashed African roots of their instruments. But, urged on by Giddens, they shaped a song cycle aimed at reversing the erasure of black women from American historical narratives, at zeroing in on the dehumanizing suffering black women faced under slavery, their strategies of survival and resistance, their sharp, sly critiques of oppressive systems, their creativity. The Daughters’ collaboration is enriched by the distinctness of each of their voices: the dogged Appalachian blues rock of Kiah’s “Black Myself,” the willowy reverence of Russell’s “Quasheba, Quasheba,” the commandingly vivid narration of Giddens’ harrowing call-and-response “Mama’s Cryin’ Long,” the Kreyol liveliness of McCalla’s “Lavi Difisil,” the polyrhythmic communal audacity of “Moon Meets the Sun.” It’s an album that rustles with collective imagination and purpose. —\u003cem>Jewly Hight\u003c/em>\u003c/p>\n\u003cp>■ MORE: \u003ca href=\"https://www.npr.org/2019/02/14/693624881/first-listen-our-native-daughters-songs-of-our-native-daughters\">Jewly Hight reviews \u003cem>Songs Of Our Native Daughters\u003c/em>\u003c/a>\u003c/p>\n\u003chr>\n\u003ch6>12.\u003c/h6>\n\u003ch3>Ari Lennox\u003c/h3>\n\u003ch3>\u003cem>Shea Butter Baby\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=Qf06109Zivo\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/728737359/ari-lennox\">Ari Lennox\u003c/a> declared her intentions for her debut album right from the title. \u003cem>Shea Butter Baby\u003c/em> speaks to an often misunderstood and underrepresented music lover: The Black woman. The D.C. native sings about universally recognizable ebbs and flows of life on songs like “Broke,” “BMO” and “Speak To Me,” which are sprinkled with euphemisms that will hit women of color first. Producers Elite and Ron Gilmore handle the bulk of production, lacing her words with jazzy and soulful sonics that put her range on display. Awards season has begun and we’ve already seen \u003cem>Shea Butter Baby\u003c/em>\u003ca href=\"https://www.vice.com/en_us/article/a35mxg/ari-lennoxs-shea-butter-baby-deserves-better-than-its-award-season-soul-train-awards-grammys-2019-snubs\"> obviously snubbed\u003c/a> by the Soul Train Awards and the Grammys. It’s just more confirmation that we need Ari’s voice now more than ever. —\u003cem>Bobby Carter\u003c/em>\u003c/p>\n\u003cp>■ MORE: \u003ca href=\"https://www.npr.org/2019/09/25/763604571/ari-lennox-tiny-desk-concert\">Watch Ari Lennox perform at NPR’s Tiny Desk\u003c/a>\u003c/p>\n\u003chr>\n\u003ch6>11.\u003c/h6>\n\u003ch3>Vagabon\u003c/h3>\n\u003ch3>\u003cem>Vagabon\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=mzFb1z_-Cvw\u003c/p>\n\u003cp>The working title for Laetitia Tamko’s second album as Vagabon was \u003cem>All the Women in Me\u003c/em>—a versatile phrase to sum up everything from the roles women play in society to the singer’s own complex identity as a Cameroonian who relocated to New York at 13. But the moniker didn’t stick.\u003c/p>\n\u003cp>After 2017’s \u003cem>Infinite Worlds\u003c/em> pushed past the boundaries of bedroom pop, Tamko’s new record expands her sound still further, most notably landing on synth-smeared electro-pop in masterful, appropriately fluid songs like “Flood” and “Water Me Down.” Singing of her deep ambivalence about love and identity, Tamko ultimately settled on the only album title that could sum up the full measure of her sleek, soulful shape-shifting: \u003cem>Vagabon\u003c/em>. —\u003cem>Stephen Thompson\u003c/em>\u003c/p>\n\u003cp>■ MORE: \u003ca href=\"https://www.npr.org/2019/10/15/757514260/stream-laetitia-tamko-on-the-making-of-vagabon\">Laetitia Tamko On The Making Of \u003cem>Vagabon\u003c/em>\u003c/a>\u003c/p>\n\u003chr>\n\u003ch6>10.\u003c/h6>\n\u003ch3>Jenny Hval\u003c/h3>\n\u003ch3>\u003cem>The Practice Of Love\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=wACSfREgJys\u003c/p>\n\u003cp>What does it mean to make a family? How do we care for each other? How do we make sense of our relationships with our bodies or the planet—and how do those relationships impact each other? To grapple with these questions, Jenny Hval made her most accessible album yet; the production is delicately beautiful and hypnotic, with lyrics that unspool like poetry. Hval and her collaborators conjure Georgia O’Keefe, ponder childlessness and search for God. Quotidian objects—dried figs, stretch mark cream, a cigarette, a porn magazine—become vessels for meaning both grander and more visceral than expected. This isn’t \u003cem>love\u003c/em> in the strictly romantic sense—nor is it strictly platonic, or familial, or sexual. Instead, as the title promises, the album depicts intimacy as a process: a series of trials and metaphors that draw us closer to each other. —\u003cem>Marissa Lorusso\u003c/em>\u003c/p>\n\u003chr>\n\u003ch6>9.\u003c/h6>\n\u003ch3>billy woods & Kenny Segal\u003c/h3>\n\u003ch3>\u003cem>Hiding Places\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=gXFgjQ9dZ8M\u003c/p>\n\u003cp>It’s said that comedy is tragedy plus time, but what if the tragedy never ends? Does the lengthening onslaught ever become absurd enough to laugh at? billy woods released two great albums in 2019: the jagged \u003cem>Terror Management\u003c/em> and \u003cem>Hiding Places\u003c/em>, a collaboration with L.A. producer Kenny Segal. The latter is an album-length self-excavation that crawls through moldy memories in a brutal poetry that is at times darkly funny but mostly wrestles with personal and societal truths that’ll leave you touched, shook. woods found an inspired partner in Segal, whose beats are built like the condemned house falling apart on the album’s cover. On “Speak Gently,” heavy fuzz guitar suddenly disintegrates as if Thanos had snapped his fingers; it’s disarming, haunting. woods rocks references to authors who distilled drama with forceful wordplay (John Steinbeck, J.D. Salinger and Charles Dickens), but he himself knocks at their door with an ability to wrap nostalgic imagery within a crucial moment that never leaves your psyche: “Dollar movie theater, dingy foyer, little kid, not a penny to my name / F*****’ with the joystick, pretendin’ I was really playin’.” —\u003cem>Lars Gotrich\u003c/em>\u003c/p>\n\u003cp>■ MORE: \u003ca href=\"https://www.npr.org/2019/12/11/778228299/9-rap-albums-as-dark-and-dystopian-as-2019\">billy woods is the rapper of 2019\u003c/a>\u003c/p>\n\u003chr>\n\u003ch6>8.\u003c/h6>\n\u003ch3>Lankum\u003c/h3>\n\u003ch3>\u003cem>The Livelong Day\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=JxKx-BBWX8Q\u003c/p>\n\u003cp>This stunningly beautiful, trance-inducing album record draws heavily on traditional Irish folk music, but with a deep dark Dublin twist. The sound of drones play a central role in the overall tone of \u003cem>The Livelong Day. \u003c/em>Brothers Ian and Daragh Lynch, Radi Peat and Cormac MacDiarmada create crushing, apocalyptic, layered drones using Uilleann pipes, harmonium, fiddle, voice and more. It has the intensity of electronic music, but this is all acoustic musicin service of songs that are often centuries old. The opening track, “The Wild Rover,” goes back at least to the 16th century and is often thought to be a drinking song, one you might raise your glass to at a pub, singing, “No, nay, never no more / Will I play the wild rover / No, never no more.” But the original intent is that of a temperance song, and that’s how Lankum approach it, with a sustained heaviness to match the story’s consequence and building sense of regret. \u003cem>The Livelong Day\u003c/em> makes the past entirely fresh and present. —\u003cem>Bob Boilen\u003c/em>\u003c/p>\n\u003cp>■ MORE: \u003ca href=\"https://www.npr.org/2019/10/21/771982922/lankum-and-the-strange-new-sounds-of-ireland\">Lankum’s All Songs Considered interview\u003c/a>\u003c/p>\n\u003chr>\n\u003ch6>7.\u003c/h6>\n\u003ch3>Caroline Shaw / Attacca Quartet\u003c/h3>\n\u003ch3>\u003cem>Orange\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=eQlcyXacUrc\u003c/p>\n\u003cp>Those who might consider the string quartet little more than a fusty, forgotten genre haven’t heard \u003cem>Orange\u003c/em>. With help from the expressively agile Attacca Quartet, Pulitzer-winning composer Caroline Shaw takes inspiration from the old masters but makes the music shine in her singular way. Shaw gene splices strands of Mozart and Ravel into rigorously assembled pieces such as “Plan & Elevation,” proving that while some tricks of string quartet architecture remain, her buildings emerge with fresh authority. From the album’s compact spaces to its expansive vistas, Shaw excels in the evocative power of the pluck—formally termed, pizzicato—which is the backbone of the ricocheting yet songful “Limestone & Felt.” They say the mark of a great artist is a smart, distinct and identifiable voice. If that’s true, Shaw has arrived, speaking loud and clear. —\u003cem>Tom Huizenga\u003c/em>\u003c/p>\n\u003cp>■ MORE: \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2019/04/19/700361912/caroline-shaws-love-letter-to-the-string-quartet\">All Things Considered’s review of \u003cem>Orange\u003c/em>\u003c/a>\u003c/p>\n\u003chr>\n\u003ch6>6.\u003c/h6>\n\u003ch3>Sharon Van Etten\u003c/h3>\n\u003ch3>\u003cem>Remind Me Tomorrow\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=j7sTHoeH0eA\u003c/p>\n\u003cp>\u003cem>Remind Me Tomorrow \u003c/em>opens with six seconds of silence. Then: simple piano chords. It’s a compelling, echoing acoustic introduction to a primarily synth-driven album, which at times resolves into chaotic crescendos. The starkness of those first chords of “I Told You Everything” offer a reprieve; a chance to gather yourself, to take one last breath before dunking deep beneath the surface. Because Sharon Van Etten has no time for superficiality. She pulls you under with her. Like that opening track warns, she tells you everything. \u003cem>Remind Me Tomorrow \u003c/em>is an album of introspection and honesty that never feels navel-gazing. In a time when people deploy terms like “emotional bandwidth” to refer to how much energy they have to support their own friends and family, this album reminds us that vulnerability is not a commodity, but the essence of genuine connection. —\u003cem>Raina Douris, World Cafe\u003c/em>\u003c/p>\n\u003cp>■ MORE: \u003ca href=\"https://www.npr.org/2019/10/07/766645155/sharon-van-etten-tiny-desk-concert\">Watch Sharon Van Etten perform at NPR’s Tiny Desk\u003c/a>\u003c/p>\n\u003chr>\n\u003ch6>5.\u003c/h6>\n\u003ch3>Aldous Harding\u003c/h3>\n\u003ch3>\u003cem>Designer\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=pTgyJ8jWD3M\u003c/p>\n\u003cp>No music I heard this year convinced me I could hear my own cells dividing like \u003cem>Designer\u003c/em>, Aldous Harding’s approachable, enigmatic third album. It’s lovely, but how do you explain it? The New Zealand-born Harding writes songs in familiar, folk-simple forms but appends them with odd angles that sometimes land like jokes and sometimes like warnings. Voices emerge from the depths to thread hints of peril or restlessness into the fabric of gentle melodies. Harding’s lyrics are filled with poetic images that slip away when you try to grasp them—\u003ca href=\"https://www.npr.org/sections/allsongs/2019/02/19/695796657/aldous-harding-talks-about-her-intriguing-new-song-and-video\">she’s spoken\u003c/a> about her desire to resist interpretation. (With her flexible but utterly distinctive voice, she sometimes reminds me of Cat Stevens, if you never had a single clue what Cat Stevens’ songs were about.) The title track stops and starts as if looking over its shoulder to see if you’re still there. “The Barrel” could be a consideration of motherhood, or it could be about creation and destruction, a tale of a minor deity, off in a corner of the universe, a god sinking her fingers into clay, shaping a new world by rules as she imagines them. All that inscrutability could be off-putting, but \u003cem>Designer \u003c/em>is the kind of art that rewards questioning. It only frustrates if you demand answers. —\u003cem>Jacob Ganz\u003c/em>\u003c/p>\n\u003cp>■ MORE: \u003ca href=\"https://www.kcrw.com/music/shows/morning-becomes-eclectic/aldous-harding\">Aldous Harding performs live for KCRW’s \u003cem>Morning Becomes Eclectic\u003c/em>\u003c/a>\u003c/p>\n\u003chr>\n\u003ch6>4.\u003c/h6>\n\u003ch3>Solange\u003c/h3>\n\u003ch3>\u003cem>When I Get Home\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=6giKIu5jUvA\u003c/p>\n\u003cp>Back when DJ Screw was plying his chopped-and-screwed mixtape trade heavy in Houston, Solange was living out her wonder years. His time-altering mixes—as otherworldly as Sun Ra’s Afrofuturist musings; as inventive as Kool Herc’s Merry-Go-Round breakbeat technique—were the soundtrack for anybody coming of age in the ’90s in H-Town. They tainted the water. They colored a universe. In the 19 years since DJ Screw’s death, his Screw music escaped Houston and infected the world. It practically became a genre unto itself, with DJs taking up the mantle, younger artists adopting the sound and producers incorporating his slurred, stutter-step technique. Then, Solange messed around and made the hardest Screw tape of the decade in the form of an R&B album: The woozy BPMs. The repetitive phrasing. The freestyle flows. If \u003cem>A Seat At The Table \u003c/em>was all about her giving the world a piece of her mind, \u003cem>When I Get Home\u003c/em> is Solange returning to her interior world for some peace of mind. It flew over some folks’ heads, but only because it so thoroughly resists the white gaze. “These are black-owned things,” as Solange sings on “Almeda.” She’s been around the world, professionally and personally, but there’s a special kind of power in being at home with yourself. —\u003cem>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>■ MORE: \u003ca href=\"https://www.npr.org/2019/03/06/700256924/solange-at-home-in-space-city\">‘Still Tippin’: Solange At Home In Houston’\u003c/a>\u003c/p>\n\u003chr>\n\u003ch6>3.\u003c/h6>\n\u003ch3>Raphael Saadiq\u003c/h3>\n\u003ch3>\u003cem>Jimmy Lee\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=QOrZgRJ88kc\u003c/p>\n\u003cp>As a producer, an electric bassist and a singer-songwriter, Raphael Saadiq has long been meticulous: about chord voicings and melodic pathways, about the quantum mechanics of rhythm, about his sly evocations of classic soul and the wobble or sheen that brings them up to date. You could always count on him for craft and concision, the way you count on a sports car to roar to life when you turn the ignition key.\u003c/p>\n\u003cp>\u003cem>Jimmy Lee\u003c/em>, Saadiq’s first studio release in eight years, has all of those musical trademarks in place. But it’s also untidy, uneasy, irresolvable. Drawing from personal history—including the death of his older brother, the album’s namesake, from a heroin overdose — Saadiq delivers an anguished suite of songs about black struggle and surrender, incarceration and redemption. The result is revelatory, not only for the raw emotion in his lyrics and delivery but also for the way that this material pushes his music out of a comfort zone. —\u003cem>Nate Chinen, WBGO\u003c/em>\u003c/p>\n\u003cp>■ MORE: \u003ca href=\"https://www.npr.org/2019/12/05/784786360/raphael-saadiq-tiny-desk-concert\">Watch Raphael Saadiq perform at NPR’s Tiny Desk\u003c/a>\u003c/p>\n\u003chr>\n\u003ch6>2.\u003c/h6>\n\u003ch3>Angel Olsen\u003c/h3>\n\u003ch3>\u003cem>All Mirrors\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=6uaN60k0-zY\u003c/p>\n\u003cp>“I didn’t know that the record was going to sound this way at all.”\u003c/p>\n\u003cp>Those words, spoken by Angel Olsen \u003ca href=\"https://www.npr.org/2019/11/05/776382293/angel-olsen-and-john-congleton-on-how-they-made-all-mirrors\">during a conversation\u003c/a> we had just after \u003cem>All Mirrors\u003c/em> was released this fall, summed up my sentiments too. This album, Olsen’s fourth, runs screaming from her quiet side, with songs propelled by string arrangements that, along with her dramatic vocal performance, enhance the lyricism of some of Olsen’s most energetic songs. She co-produced this record with John Congleton; those string parts were written by Ben Babbitt and arranged by Jherek Bischoff. Congleton told me that after they first made a solo acoustic version of the album (a version you may get a chance to hear in 2020), they worked to expand its scope, aiming for “early period Scott Walker” as an inspiration, “where it’s fantastic songs, with really cool arrangements and you’re hearing something totally new.” This is an album of deep inner struggles thrust onto a bigger stage, with words—”What about my dreams? What about the heart?”—that matter, magnified magnificently. —\u003cem>Bob Boilen\u003c/em>\u003c/p>\n\u003cp>■ MORE: \u003ca href=\"https://www.npr.org/2019/11/05/776382293/angel-olsen-and-john-congleton-on-how-they-made-all-mirrors\">Angel Olsen’s All Songs Considered interview\u003c/a>\u003c/p>\n\u003chr>\n\u003ch6>1.\u003c/h6>\n\u003ch3>Brittany Howard\u003c/h3>\n\u003ch3>\u003cem>Jaime\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=CfizQsGWOxI\u003c/p>\n\u003cp>Black radicalism, the philosopher Fred Moten has written, cannot be understood outside the context of its origins in oppression; as a force of rebirth, it also always breaks out of that context. The same, Moten says, is true of black music—a broken circle, rooted and free, it demands a new way of listening. The first solo album by Alabama Shakes front woman Brittany Howard inspires such heady thoughts.\u003c/p>\n\u003cp>Sinking her fingers into the dirt of her own life story as a black biracial queer woman born in the Deep South, now living far West of that beloved, problematic home, Howard wrote a set of songs that invoke Moten’s image of the groove as a broken circle. These are songs that draw the ear into their slow rhythms, only to disrupt and rearrange themselves; that build melodies like vines growing, turning and knotting into loops, getting tangled as they move toward sun. They tell stories of desire with names like “Stay High,” unorthodox faith through declarations like “He Loves Me” and family history by facing painful memories (in “Goat Head,” the stench of racism permeates). Yet following her own perspective, Howard turns confession on its head. To realize her songs’ deceptively plainspoken complexity, Howard and producer Shawn Everett brought together jazz disruptors Nate Smith on drums and Robert Glasper on keys, alongside her old bandmate and musical anchor, bassist Zac Cockrell. They took chances. They got psychedelic, locked into heavy funk, slid into classic R&B and then cleared space for Howard to be lonely, like the blues chanteuse she also can be. This album is a radical act of self-claiming, one that does more than reintroduce a great 21st Century voice. It turns a broken circle into an open road. —\u003cem>Ann Powers\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>■ MORE: \u003ca href=\"https://www.npr.org/2019/10/15/768439696/brittany-howard-tiny-desk-concert\">Watch Brittany Howard perform at NPR’s Tiny Desk\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+25+Best+Albums+Of+2019&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This list was made by writers, editors and producers at NPR Music operating under two rules: Albums had to be released during 2019 and no lead artist was allowed to appear on both this list and our list of the \u003c/em>\u003ca href=\"https://www.npr.org/2019/12/11/778226410/the-25-best-songs-of-2019\">\u003cem>25 Best Songs of 2019\u003c/em>\u003c/a>\u003cem>. You can find the rest of our picks for \u003c/em>\u003ca href=\"https://www.npr.org/2019/12/11/778229970/best-music-of-2019-editors-note\">\u003cem>the best music of 2019 here\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003chr>\n\u003ch6>25.\u003c/h6>\n\u003ch3>Tyler, The Creator\u003c/h3>\n\u003ch3>\u003cem>IGOR\u003c/em>\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/HmAsUQEFYGI'\n title='//www.youtube.com/embed/HmAsUQEFYGI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Generally speaking, breaks-up are trash. But what if you’re not even allowed to call it a break-up?\u003c/p>\n\u003cp>\u003cem>IGOR, \u003c/em>the fifth studio album from Tyler, The Creator, mourns a love that was never really allowed to flourish in the first place. Across 40 minutes, \u003cem>IGOR\u003c/em> draws, erases and redraws emotional lines in the sand, smudging up Tyler’s self-esteem with each new boundary crossed. The pining of “EARFQUAKE,” the short-lived euphoria of “I THINK,” the feeble negotiation of “NEW MAGIC WAND,” the obvious lie of “I DON’T LOVE YOU ANYMORE,” the diluted compromise of “ARE WE STILL FRIENDS?” Think of these tracks as the face muscles that construct the dead-eyed, sanguine smile you flash during that first unexpected run-in with your ex. Even with a supporting chorus of Kanye West, Lil Uzi Vert, La Roux, Solange and more, the true magic of this album is Tyler’s ability to let his guard down just enough to give you symphonic slivers of his heartbreak. —\u003cem>Sidney Madden\u003c/em>\u003c/p>\n\u003cp>■ MORE: \u003ca href=\"https://www.npr.org/2017/12/11/569203961/tyler-the-creator-tiny-desk-concert\">Watch Tyler Perform At NPR’s Tiny Desk\u003c/a>\u003c/p>\n\u003chr>\n\u003ch6>24.\u003c/h6>\n\u003ch3>Tanya Tucker\u003c/h3>\n\u003ch3>\u003cem>While I’m Livin’\u003c/em>\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/WVEd0YUx7X8'\n title='//www.youtube.com/embed/WVEd0YUx7X8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In spite of the reverence shown for country music made in the 1970s and the groundswell of nostalgia for ’90s country, Tanya Tucker—an artist whose high-caliber hits spanned both eras—has been perpetually underappreciated. This year she found champions in Shooter Jennings and Brandi Carlile, who took up the task of framing Tucker with a warmly rustic, often rocking vintage sound on \u003cem>While I’m Livin’\u003c/em>. The album cast a more intimate spotlight on her gravelly timbre and the sensuality and gravitas of her phrasing, but more than that, its songs showcased her interpretive gifts and, at long last, placed her at the center of her own enthralling mythology. —\u003cem>Jewly Hight\u003c/em>\u003c/p>\n\u003cp>■ MORE: \u003ca href=\"https://www.npr.org/sections/world-cafe/2019/11/12/778265643/hear-tanya-tucker-perform-selections-from-her-first-original-album-in-17-years\">Hear Tanya Tucker In Concert At AmericanaFest\u003c/a>\u003c/p>\n\u003chr>\n\u003ch6>23.\u003c/h6>\n\u003ch3>Kris Davis\u003c/h3>\n\u003ch3>\u003cem>Diatom Ribbons\u003c/em>\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/DVhEV5RDG4w'\n title='//www.youtube.com/embed/DVhEV5RDG4w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the hands of pianist Kris Davis, a musical phrase can bristle or bloom—sometimes managing both at once, as often happens on this visionary album. Working with two core partners, turntablist Val Jeanty and drummer Terri Lyne Carrington, Davis devises a new strain of avant-garde chamber-jazz, volatile yet gleaming. A clutch of blue-chip guests (like Nels Cline and Marc Ribot on guitars, Tony Malaby on tenor saxophone and Esperanza Spalding on spoken word) bring personality as well as fire. This is sound that refuses stasis, insisting on endless renewal from one moment to the next. —\u003cem>Nate Chinen, WBGO\u003c/em>\u003c/p>\n\u003chr>\n\u003ch6>22.\u003c/h6>\n\u003ch3>Bad Bunny & J Balvin\u003c/h3>\n\u003ch3>\u003cem>OASIS\u003c/em>\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/kPc3Pe42bGI'\n title='//www.youtube.com/embed/kPc3Pe42bGI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bad Bunny and J Balvin have both taken up the charge to make urbano a worldwide project without sacrificing the hunger that has made the genre seem abrasive and vulgar to some in their industry. That this album-length collaboration by two of urbano’s most visible artists covered as much genre territory as it did prompted another examination of its often relegated place within “Latin” music, whatever that is. From the knotted bass punto guajiro on “Yo Le Llego” to the rock en español”Un Peso” with Enanitos Verdes’ Marciano Cantero to the two taking a backseat to Afrobeats rising star Mr. Eazi on the closer “Como Un Bebé,” \u003cem>OASIS \u003c/em>stretches across the spectrum of where urbano has been and where it’s going. —\u003cem>Stefanie Fernández\u003c/em>\u003c/p>\n\u003cp>■ MORE: \u003ca href=\"https://www.npr.org/sections/altlatino/2018/12/24/679179404/bad-bunny-en-espa-ol-el-nuevo-disco-y-sus-influencias\">Bad Bunny’s Alt.Latino interview\u003c/a>\u003c/p>\n\u003chr>\n\u003ch6>21.\u003c/h6>\n\u003ch3>John Luther Adams\u003c/h3>\n\u003ch3>\u003cem>Become Desert\u003c/em>\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1VN9TBfWAEo'\n title='//www.youtube.com/embed/1VN9TBfWAEo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is, simply put, one of the most stunning recordings of 2019. John Luther Adams’ follow-up to his Pulitzer Prize-winning \u003cem>Become Ocean\u003c/em> is brought to life here by the Seattle Symphony and its conductor emeritus Ludovic Morlot in grand-scale minimalist fashion. The orchestra’s 100 or so musicians and a chorus of singers weave a beatless, beatific drone that draws inspiration from the deceptive monotony of our planet’s deserts, where time only appears to stand still. Like its namesake, \u003cem>Become Desert\u003c/em> feels infinite, stretching out in every direction at once; even after 40 celestial minutes, its ending arrives unexpectedly, lest we forget that sand always runs out. —\u003cem>Otis Hart\u003c/em>\u003c/p>\n\u003cp>■ MORE: \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2014/09/28/350911062/an-inviting-apocalypse-john-luther-adams-on-become-ocean\">John Luther Adams on All Things Considered\u003c/a>\u003c/p>\n\u003chr>\n\u003ch6>20.\u003c/h6>\n\u003ch3>Sault\u003c/h3>\n\u003ch3>\u003cem>5\u003c/em>\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/i1F0qO7QIR4'\n title='//www.youtube.com/embed/i1F0qO7QIR4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And then, out of thin air, an impossibly polished, balanced and restrained piece of work from a faceless trio—we think it’s a trio, at least—quietly slipped into the world. The surreptitious Sault—is it pronounced “soo” or “salt” or “so,” we wonder—may have connections to the equally mysterious-at-the-outset group Jungle, a rumor that has some heft given the evolved disco/pop/R&B/soul genetics they clearly share. But while mysteries are fun, and can be a slam-dunk marketing approach too, there’s no urgent need to solve this one. First of all, this lovely, wholly consistent album is answer enough. But also, the group will most likely be unavoidable in the new year, so enjoy the unknowing while you still can. —\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003chr>\n\u003ch6>19.\u003c/h6>\n\u003ch3>Lana Del Rey\u003c/h3>\n\u003ch3>\u003cem>Norman F****** Rockwell\u003c/em>\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qolmz4FlnZ0'\n title='//www.youtube.com/embed/qolmz4FlnZ0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://trends.google.com/trends/explore?q=ten%20year%20challenge&geo=US\">Twice this year\u003c/a> across social media, the so-called ten-year challenge meme made the rounds (and prompted some extremely 2019\u003ca href=\"https://twitter.com/kateo/status/1084199700427927553\"> cybersecurity concerns\u003c/a>). Consider, then, a side-by-side accounting for a certain pop star who came into full flower over the course of the decade: In 2011, Lana Del Rey’s mere presence was viewed by some as an affront to the ideal of authenticity; in 2019, few albums achieved the critical consensus that greeted \u003cem>Norman F****** Rockwell! \u003c/em>At some point between “\u003ca href=\"https://www.youtube.com/watch?v=cE6wxDqdOV0\">Video Games\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=LrSX_OcpeJg\">The Greatest\u003c/a>,” Lana Del Rey went from upending accepted norms to voicing our collective unease.\u003c/p>\n\u003cp>\u003cem>Norman F****** Rockwell! \u003c/em>sharpens the singular vision that’s always animated Lana Del Rey’s body of work. As her discography has grown, her imagery has evolved: less shorthand, more self-reference. With callbacks crisscrossing place and time, her music is now made of her own sepia-toned mythology. In collaboration with producer Jack Antonoff, drawing on the Laurel Canyon sound, she achieves both timelessness and timeliness in tone. Wistful, resigned and cutting, it’s a fitting swan song for the decade. —\u003cem>Lyndsey McKenna\u003c/em>\u003c/p>\n\u003cp>■ MORE: \u003ca href=\"https://www.npr.org/2019/09/04/757545360/lana-del-rey-lives-in-americas-messy-subconscious\">Ann Powers on Lana Del Rey\u003c/a>\u003c/p>\n\u003chr>\n\u003ch6>18.\u003c/h6>\n\u003ch3>iLe\u003c/h3>\n\u003ch3>\u003cem>Almadura\u003c/em>\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/RTzL-G2kIA8'\n title='//www.youtube.com/embed/RTzL-G2kIA8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>iLe recorded \u003cem>Almadura\u003c/em> long before the political situation in Puerto Rico came to a historic conclusion this past summer, but the themes she addresses on the album were the same as those raised in the massive protests that eventually drove its governor from power: musical stands against injustice and inequality, passionate statements of cultural pride and a barely contained fury at being at the mercy of U.S. policies for over 100 years. Case in point: “Tu Rumba” comes across as a hypnotic love song that stands as a personal statement of desire, but like the best protest music, the power of the message is in the storytelling. It’s a cleverly-worded plea for social justice set to a masterful pastiche of Afro-Caribbean rhythms. The powerful music on \u003cem>Almadura \u003c/em>will long outlast the injustices iLe and the rest of the island are fighting against. —\u003cem>Felix Contreras\u003c/em>\u003c/p>\n\u003cp>■ MORE: \u003ca href=\"https://www.npr.org/sections/altlatino/2019/07/10/740190505/ile-and-making-movies-discuss-music-activism-and-mixing-the-two\">Alt.Latino’s interview with iLe\u003c/a>\u003c/p>\n\u003chr>\n\u003ch6>17.\u003c/h6>\n\u003ch3>Holly Herndon\u003c/h3>\n\u003ch3>\u003cem>PROTO\u003c/em>\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/r4sROgbaeOs'\n title='//www.youtube.com/embed/r4sROgbaeOs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A spirit of collaboration courses through Holly Herndon’s third album, \u003cem>PROTO\u003c/em>. The talk that’s surrounded it has focused on Herndon’s co-creation of an AI that became part of an ensemble she worked with to make the record. While that’s of note, it does a disservice to the music, which is epic on every level. Human voices and machine voices coalesce in double helix formations; trance motifs and mile-wide drums offset the choir’s earnest emoting and lyrics unfurl like folk stories. \u003cem>PROTO \u003c/em>is an album about the human spirit and the future that new kinds of collaboration—or, as Herndon calls it,\u003ca href=\"https://twitter.com/hollyherndon/status/1199455651170263040\"> interdependence\u003c/a>—could bring. —\u003cem>Ruth Saxelby\u003c/em>\u003c/p>\n\u003cp>■ MORE: \u003ca href=\"https://www.npr.org/2019/10/07/767904887/the-2010s-a-music-making-evolution-and-revolution\">All Songs Considered interviews Holly Herndon\u003c/a>\u003c/p>\n\u003chr>\n\u003ch6>16.\u003c/h6>\n\u003ch3>Burna Boy\u003c/h3>\n\u003ch3>\u003cem>African Giant\u003c/em>\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4zvDLW5Klo8'\n title='//www.youtube.com/embed/4zvDLW5Klo8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Burna Boy has been a superstar of Nigerian music for years. “I am an AFRICAN GIANT,” he blasted on Instagram after Coachella displayed his name on a festival poster with what he considered a too-small font. Months later, he released his fourth album with the same title. Whether it’s conceit or confidence, Burna Boy deserves to brag. Every one of the album’s 19 tracks is a gem and features his signature Afro-fusion genre blend of dancehall, reggae, R&B and hip-hop. Though fundamental African rhythms are clearly defined, the album’s dance-infused pop sensibility makes it a crossover success. And while its musicality and artfulness are outstanding, the album spans party anthems and themes of love, history and political activism too. It’s no surprise that Burna Boy received his first Grammy nomination for this album. Look for his name in larger fonts in the future. —\u003cem>Suraya Mohamed\u003c/em>\u003c/p>\n\u003cp>■ MORE: \u003ca href=\"https://www.npr.org/2019/11/18/779548274/burna-boy-tiny-desk-concert\">Watch Burna Boy perform at NPR’s Tiny Desk\u003c/a>\u003c/p>\n\u003chr>\n\u003ch6>15.\u003c/h6>\n\u003ch3>Christian Scott aTunde Adjuah\u003c/h3>\n\u003ch3>\u003cem>Ancestral Recall\u003c/em>\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FYFFV7exVWs'\n title='//www.youtube.com/embed/FYFFV7exVWs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>New Orleans trumpeter Christian Scott aTunde Adjuah is one of the most compelling voices working in music today—and his latest “stretch music” album is possibly his most ambitious work to date. With guest artists including musician/poet/rapper/actor Saul Williams, \u003cem>Ancestral Recall\u003c/em> is an intense, keenly felt and richly articulated celebration of many of the musical streams that have nourished generations of the African, Native and Caribbean diasporas—a sonically and texturally spacious project that would feel urgent and necessary at almost any time, but asserts itself especially now. From the exuberant, endlessly intricate West African polyrhythms of “I Own The Night” to the Afro-Latinx groove of “The Shared Stories of Rivals” to the metallic, Afrofuturist clang of “Prophesy,” this project is both firmly rooted in the past and a vision of a dynamic, powerful future. —\u003cem>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>■ MORE: \u003ca href=\"https://www.youtube.com/watch?v=3SxzS4mtH9o\">Watch Jazz Night In America’s Christian Scott special\u003c/a>\u003c/p>\n\u003chr>\n\u003ch6>14.\u003c/h6>\n\u003ch3>Weyes Blood\u003c/h3>\n\u003ch3>\u003cem>Titanic Rising\u003c/em>\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/RFtRq6t3jOo'\n title='//www.youtube.com/embed/RFtRq6t3jOo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A lot of artists made big, ambitious albums in 2019, but few soared as wondrously as Weyes Blood’s \u003cem>Titanic Rising. \u003c/em>Singer Natalie Mering’s meticulously layered harmonies drew comparisons to the celestial sounds of Enya and her winding melodies, crystalline voice and autumnal reflections owe just as much to ’70s folk-pop icons like Joni Mitchell or The Carpenters. It’s a beautiful and potent mix, one Mering deftly subverts with hints of madness. Songs suddenly stagger and devolve into warped or broken electronics while her videos, for songs like “Everyday” or “Mirror Forever,” include graphic scenes of murder, rape and drug use. It’s a beautiful world, but we are not okay. —\u003cem>Robin Hilton\u003c/em>\u003c/p>\n\u003cp>■ MORE: \u003ca href=\"https://www.npr.org/2019/12/11/786391406/weyes-blood-tiny-desk-concert\">Watch Weyes Blood perform at NPR’s Tiny Desk\u003c/a>\u003c/p>\n\u003chr>\n\u003ch6>13.\u003c/h6>\n\u003ch3>Our Native Daughters\u003c/h3>\n\u003ch3>\u003cem>Songs Of Our Native Daughters\u003c/em>\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FeTEgDy7kbQ'\n title='//www.youtube.com/embed/FeTEgDy7kbQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Our Native Daughters chose a band name and album title that highlight the kinship ties between the four group members—Rhiannon Giddens, Amythyst Kiah, Allison Russell and Leyla McCalla—and their musical, cultural and spiritual ancestors. It would’ve been a historic event for four women of color who write, reinterpret and perform roots music on banjo to simply come together and make music—their collaboration is, in and of itself, a reminder of the whitewashed African roots of their instruments. But, urged on by Giddens, they shaped a song cycle aimed at reversing the erasure of black women from American historical narratives, at zeroing in on the dehumanizing suffering black women faced under slavery, their strategies of survival and resistance, their sharp, sly critiques of oppressive systems, their creativity. The Daughters’ collaboration is enriched by the distinctness of each of their voices: the dogged Appalachian blues rock of Kiah’s “Black Myself,” the willowy reverence of Russell’s “Quasheba, Quasheba,” the commandingly vivid narration of Giddens’ harrowing call-and-response “Mama’s Cryin’ Long,” the Kreyol liveliness of McCalla’s “Lavi Difisil,” the polyrhythmic communal audacity of “Moon Meets the Sun.” It’s an album that rustles with collective imagination and purpose. —\u003cem>Jewly Hight\u003c/em>\u003c/p>\n\u003cp>■ MORE: \u003ca href=\"https://www.npr.org/2019/02/14/693624881/first-listen-our-native-daughters-songs-of-our-native-daughters\">Jewly Hight reviews \u003cem>Songs Of Our Native Daughters\u003c/em>\u003c/a>\u003c/p>\n\u003chr>\n\u003ch6>12.\u003c/h6>\n\u003ch3>Ari Lennox\u003c/h3>\n\u003ch3>\u003cem>Shea Butter Baby\u003c/em>\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Qf06109Zivo'\n title='//www.youtube.com/embed/Qf06109Zivo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/artists/728737359/ari-lennox\">Ari Lennox\u003c/a> declared her intentions for her debut album right from the title. \u003cem>Shea Butter Baby\u003c/em> speaks to an often misunderstood and underrepresented music lover: The Black woman. The D.C. native sings about universally recognizable ebbs and flows of life on songs like “Broke,” “BMO” and “Speak To Me,” which are sprinkled with euphemisms that will hit women of color first. Producers Elite and Ron Gilmore handle the bulk of production, lacing her words with jazzy and soulful sonics that put her range on display. Awards season has begun and we’ve already seen \u003cem>Shea Butter Baby\u003c/em>\u003ca href=\"https://www.vice.com/en_us/article/a35mxg/ari-lennoxs-shea-butter-baby-deserves-better-than-its-award-season-soul-train-awards-grammys-2019-snubs\"> obviously snubbed\u003c/a> by the Soul Train Awards and the Grammys. It’s just more confirmation that we need Ari’s voice now more than ever. —\u003cem>Bobby Carter\u003c/em>\u003c/p>\n\u003cp>■ MORE: \u003ca href=\"https://www.npr.org/2019/09/25/763604571/ari-lennox-tiny-desk-concert\">Watch Ari Lennox perform at NPR’s Tiny Desk\u003c/a>\u003c/p>\n\u003chr>\n\u003ch6>11.\u003c/h6>\n\u003ch3>Vagabon\u003c/h3>\n\u003ch3>\u003cem>Vagabon\u003c/em>\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/mzFb1z_-Cvw'\n title='//www.youtube.com/embed/mzFb1z_-Cvw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The working title for Laetitia Tamko’s second album as Vagabon was \u003cem>All the Women in Me\u003c/em>—a versatile phrase to sum up everything from the roles women play in society to the singer’s own complex identity as a Cameroonian who relocated to New York at 13. But the moniker didn’t stick.\u003c/p>\n\u003cp>After 2017’s \u003cem>Infinite Worlds\u003c/em> pushed past the boundaries of bedroom pop, Tamko’s new record expands her sound still further, most notably landing on synth-smeared electro-pop in masterful, appropriately fluid songs like “Flood” and “Water Me Down.” Singing of her deep ambivalence about love and identity, Tamko ultimately settled on the only album title that could sum up the full measure of her sleek, soulful shape-shifting: \u003cem>Vagabon\u003c/em>. —\u003cem>Stephen Thompson\u003c/em>\u003c/p>\n\u003cp>■ MORE: \u003ca href=\"https://www.npr.org/2019/10/15/757514260/stream-laetitia-tamko-on-the-making-of-vagabon\">Laetitia Tamko On The Making Of \u003cem>Vagabon\u003c/em>\u003c/a>\u003c/p>\n\u003chr>\n\u003ch6>10.\u003c/h6>\n\u003ch3>Jenny Hval\u003c/h3>\n\u003ch3>\u003cem>The Practice Of Love\u003c/em>\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/wACSfREgJys'\n title='//www.youtube.com/embed/wACSfREgJys'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What does it mean to make a family? How do we care for each other? How do we make sense of our relationships with our bodies or the planet—and how do those relationships impact each other? To grapple with these questions, Jenny Hval made her most accessible album yet; the production is delicately beautiful and hypnotic, with lyrics that unspool like poetry. Hval and her collaborators conjure Georgia O’Keefe, ponder childlessness and search for God. Quotidian objects—dried figs, stretch mark cream, a cigarette, a porn magazine—become vessels for meaning both grander and more visceral than expected. This isn’t \u003cem>love\u003c/em> in the strictly romantic sense—nor is it strictly platonic, or familial, or sexual. Instead, as the title promises, the album depicts intimacy as a process: a series of trials and metaphors that draw us closer to each other. —\u003cem>Marissa Lorusso\u003c/em>\u003c/p>\n\u003chr>\n\u003ch6>9.\u003c/h6>\n\u003ch3>billy woods & Kenny Segal\u003c/h3>\n\u003ch3>\u003cem>Hiding Places\u003c/em>\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/gXFgjQ9dZ8M'\n title='//www.youtube.com/embed/gXFgjQ9dZ8M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s said that comedy is tragedy plus time, but what if the tragedy never ends? Does the lengthening onslaught ever become absurd enough to laugh at? billy woods released two great albums in 2019: the jagged \u003cem>Terror Management\u003c/em> and \u003cem>Hiding Places\u003c/em>, a collaboration with L.A. producer Kenny Segal. The latter is an album-length self-excavation that crawls through moldy memories in a brutal poetry that is at times darkly funny but mostly wrestles with personal and societal truths that’ll leave you touched, shook. woods found an inspired partner in Segal, whose beats are built like the condemned house falling apart on the album’s cover. On “Speak Gently,” heavy fuzz guitar suddenly disintegrates as if Thanos had snapped his fingers; it’s disarming, haunting. woods rocks references to authors who distilled drama with forceful wordplay (John Steinbeck, J.D. Salinger and Charles Dickens), but he himself knocks at their door with an ability to wrap nostalgic imagery within a crucial moment that never leaves your psyche: “Dollar movie theater, dingy foyer, little kid, not a penny to my name / F*****’ with the joystick, pretendin’ I was really playin’.” —\u003cem>Lars Gotrich\u003c/em>\u003c/p>\n\u003cp>■ MORE: \u003ca href=\"https://www.npr.org/2019/12/11/778228299/9-rap-albums-as-dark-and-dystopian-as-2019\">billy woods is the rapper of 2019\u003c/a>\u003c/p>\n\u003chr>\n\u003ch6>8.\u003c/h6>\n\u003ch3>Lankum\u003c/h3>\n\u003ch3>\u003cem>The Livelong Day\u003c/em>\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/JxKx-BBWX8Q'\n title='//www.youtube.com/embed/JxKx-BBWX8Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This stunningly beautiful, trance-inducing album record draws heavily on traditional Irish folk music, but with a deep dark Dublin twist. The sound of drones play a central role in the overall tone of \u003cem>The Livelong Day. \u003c/em>Brothers Ian and Daragh Lynch, Radi Peat and Cormac MacDiarmada create crushing, apocalyptic, layered drones using Uilleann pipes, harmonium, fiddle, voice and more. It has the intensity of electronic music, but this is all acoustic musicin service of songs that are often centuries old. The opening track, “The Wild Rover,” goes back at least to the 16th century and is often thought to be a drinking song, one you might raise your glass to at a pub, singing, “No, nay, never no more / Will I play the wild rover / No, never no more.” But the original intent is that of a temperance song, and that’s how Lankum approach it, with a sustained heaviness to match the story’s consequence and building sense of regret. \u003cem>The Livelong Day\u003c/em> makes the past entirely fresh and present. —\u003cem>Bob Boilen\u003c/em>\u003c/p>\n\u003cp>■ MORE: \u003ca href=\"https://www.npr.org/2019/10/21/771982922/lankum-and-the-strange-new-sounds-of-ireland\">Lankum’s All Songs Considered interview\u003c/a>\u003c/p>\n\u003chr>\n\u003ch6>7.\u003c/h6>\n\u003ch3>Caroline Shaw / Attacca Quartet\u003c/h3>\n\u003ch3>\u003cem>Orange\u003c/em>\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/eQlcyXacUrc'\n title='//www.youtube.com/embed/eQlcyXacUrc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Those who might consider the string quartet little more than a fusty, forgotten genre haven’t heard \u003cem>Orange\u003c/em>. With help from the expressively agile Attacca Quartet, Pulitzer-winning composer Caroline Shaw takes inspiration from the old masters but makes the music shine in her singular way. Shaw gene splices strands of Mozart and Ravel into rigorously assembled pieces such as “Plan & Elevation,” proving that while some tricks of string quartet architecture remain, her buildings emerge with fresh authority. From the album’s compact spaces to its expansive vistas, Shaw excels in the evocative power of the pluck—formally termed, pizzicato—which is the backbone of the ricocheting yet songful “Limestone & Felt.” They say the mark of a great artist is a smart, distinct and identifiable voice. If that’s true, Shaw has arrived, speaking loud and clear. —\u003cem>Tom Huizenga\u003c/em>\u003c/p>\n\u003cp>■ MORE: \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2019/04/19/700361912/caroline-shaws-love-letter-to-the-string-quartet\">All Things Considered’s review of \u003cem>Orange\u003c/em>\u003c/a>\u003c/p>\n\u003chr>\n\u003ch6>6.\u003c/h6>\n\u003ch3>Sharon Van Etten\u003c/h3>\n\u003ch3>\u003cem>Remind Me Tomorrow\u003c/em>\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/j7sTHoeH0eA'\n title='//www.youtube.com/embed/j7sTHoeH0eA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Remind Me Tomorrow \u003c/em>opens with six seconds of silence. Then: simple piano chords. It’s a compelling, echoing acoustic introduction to a primarily synth-driven album, which at times resolves into chaotic crescendos. The starkness of those first chords of “I Told You Everything” offer a reprieve; a chance to gather yourself, to take one last breath before dunking deep beneath the surface. Because Sharon Van Etten has no time for superficiality. She pulls you under with her. Like that opening track warns, she tells you everything. \u003cem>Remind Me Tomorrow \u003c/em>is an album of introspection and honesty that never feels navel-gazing. In a time when people deploy terms like “emotional bandwidth” to refer to how much energy they have to support their own friends and family, this album reminds us that vulnerability is not a commodity, but the essence of genuine connection. —\u003cem>Raina Douris, World Cafe\u003c/em>\u003c/p>\n\u003cp>■ MORE: \u003ca href=\"https://www.npr.org/2019/10/07/766645155/sharon-van-etten-tiny-desk-concert\">Watch Sharon Van Etten perform at NPR’s Tiny Desk\u003c/a>\u003c/p>\n\u003chr>\n\u003ch6>5.\u003c/h6>\n\u003ch3>Aldous Harding\u003c/h3>\n\u003ch3>\u003cem>Designer\u003c/em>\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/pTgyJ8jWD3M'\n title='//www.youtube.com/embed/pTgyJ8jWD3M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>No music I heard this year convinced me I could hear my own cells dividing like \u003cem>Designer\u003c/em>, Aldous Harding’s approachable, enigmatic third album. It’s lovely, but how do you explain it? The New Zealand-born Harding writes songs in familiar, folk-simple forms but appends them with odd angles that sometimes land like jokes and sometimes like warnings. Voices emerge from the depths to thread hints of peril or restlessness into the fabric of gentle melodies. Harding’s lyrics are filled with poetic images that slip away when you try to grasp them—\u003ca href=\"https://www.npr.org/sections/allsongs/2019/02/19/695796657/aldous-harding-talks-about-her-intriguing-new-song-and-video\">she’s spoken\u003c/a> about her desire to resist interpretation. (With her flexible but utterly distinctive voice, she sometimes reminds me of Cat Stevens, if you never had a single clue what Cat Stevens’ songs were about.) The title track stops and starts as if looking over its shoulder to see if you’re still there. “The Barrel” could be a consideration of motherhood, or it could be about creation and destruction, a tale of a minor deity, off in a corner of the universe, a god sinking her fingers into clay, shaping a new world by rules as she imagines them. All that inscrutability could be off-putting, but \u003cem>Designer \u003c/em>is the kind of art that rewards questioning. It only frustrates if you demand answers. —\u003cem>Jacob Ganz\u003c/em>\u003c/p>\n\u003cp>■ MORE: \u003ca href=\"https://www.kcrw.com/music/shows/morning-becomes-eclectic/aldous-harding\">Aldous Harding performs live for KCRW’s \u003cem>Morning Becomes Eclectic\u003c/em>\u003c/a>\u003c/p>\n\u003chr>\n\u003ch6>4.\u003c/h6>\n\u003ch3>Solange\u003c/h3>\n\u003ch3>\u003cem>When I Get Home\u003c/em>\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6giKIu5jUvA'\n title='//www.youtube.com/embed/6giKIu5jUvA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Back when DJ Screw was plying his chopped-and-screwed mixtape trade heavy in Houston, Solange was living out her wonder years. His time-altering mixes—as otherworldly as Sun Ra’s Afrofuturist musings; as inventive as Kool Herc’s Merry-Go-Round breakbeat technique—were the soundtrack for anybody coming of age in the ’90s in H-Town. They tainted the water. They colored a universe. In the 19 years since DJ Screw’s death, his Screw music escaped Houston and infected the world. It practically became a genre unto itself, with DJs taking up the mantle, younger artists adopting the sound and producers incorporating his slurred, stutter-step technique. Then, Solange messed around and made the hardest Screw tape of the decade in the form of an R&B album: The woozy BPMs. The repetitive phrasing. The freestyle flows. If \u003cem>A Seat At The Table \u003c/em>was all about her giving the world a piece of her mind, \u003cem>When I Get Home\u003c/em> is Solange returning to her interior world for some peace of mind. It flew over some folks’ heads, but only because it so thoroughly resists the white gaze. “These are black-owned things,” as Solange sings on “Almeda.” She’s been around the world, professionally and personally, but there’s a special kind of power in being at home with yourself. —\u003cem>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>■ MORE: \u003ca href=\"https://www.npr.org/2019/03/06/700256924/solange-at-home-in-space-city\">‘Still Tippin’: Solange At Home In Houston’\u003c/a>\u003c/p>\n\u003chr>\n\u003ch6>3.\u003c/h6>\n\u003ch3>Raphael Saadiq\u003c/h3>\n\u003ch3>\u003cem>Jimmy Lee\u003c/em>\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/QOrZgRJ88kc'\n title='//www.youtube.com/embed/QOrZgRJ88kc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As a producer, an electric bassist and a singer-songwriter, Raphael Saadiq has long been meticulous: about chord voicings and melodic pathways, about the quantum mechanics of rhythm, about his sly evocations of classic soul and the wobble or sheen that brings them up to date. You could always count on him for craft and concision, the way you count on a sports car to roar to life when you turn the ignition key.\u003c/p>\n\u003cp>\u003cem>Jimmy Lee\u003c/em>, Saadiq’s first studio release in eight years, has all of those musical trademarks in place. But it’s also untidy, uneasy, irresolvable. Drawing from personal history—including the death of his older brother, the album’s namesake, from a heroin overdose — Saadiq delivers an anguished suite of songs about black struggle and surrender, incarceration and redemption. The result is revelatory, not only for the raw emotion in his lyrics and delivery but also for the way that this material pushes his music out of a comfort zone. —\u003cem>Nate Chinen, WBGO\u003c/em>\u003c/p>\n\u003cp>■ MORE: \u003ca href=\"https://www.npr.org/2019/12/05/784786360/raphael-saadiq-tiny-desk-concert\">Watch Raphael Saadiq perform at NPR’s Tiny Desk\u003c/a>\u003c/p>\n\u003chr>\n\u003ch6>2.\u003c/h6>\n\u003ch3>Angel Olsen\u003c/h3>\n\u003ch3>\u003cem>All Mirrors\u003c/em>\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6uaN60k0-zY'\n title='//www.youtube.com/embed/6uaN60k0-zY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I didn’t know that the record was going to sound this way at all.”\u003c/p>\n\u003cp>Those words, spoken by Angel Olsen \u003ca href=\"https://www.npr.org/2019/11/05/776382293/angel-olsen-and-john-congleton-on-how-they-made-all-mirrors\">during a conversation\u003c/a> we had just after \u003cem>All Mirrors\u003c/em> was released this fall, summed up my sentiments too. This album, Olsen’s fourth, runs screaming from her quiet side, with songs propelled by string arrangements that, along with her dramatic vocal performance, enhance the lyricism of some of Olsen’s most energetic songs. She co-produced this record with John Congleton; those string parts were written by Ben Babbitt and arranged by Jherek Bischoff. Congleton told me that after they first made a solo acoustic version of the album (a version you may get a chance to hear in 2020), they worked to expand its scope, aiming for “early period Scott Walker” as an inspiration, “where it’s fantastic songs, with really cool arrangements and you’re hearing something totally new.” This is an album of deep inner struggles thrust onto a bigger stage, with words—”What about my dreams? What about the heart?”—that matter, magnified magnificently. —\u003cem>Bob Boilen\u003c/em>\u003c/p>\n\u003cp>■ MORE: \u003ca href=\"https://www.npr.org/2019/11/05/776382293/angel-olsen-and-john-congleton-on-how-they-made-all-mirrors\">Angel Olsen’s All Songs Considered interview\u003c/a>\u003c/p>\n\u003chr>\n\u003ch6>1.\u003c/h6>\n\u003ch3>Brittany Howard\u003c/h3>\n\u003ch3>\u003cem>Jaime\u003c/em>\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/CfizQsGWOxI'\n title='//www.youtube.com/embed/CfizQsGWOxI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Black radicalism, the philosopher Fred Moten has written, cannot be understood outside the context of its origins in oppression; as a force of rebirth, it also always breaks out of that context. The same, Moten says, is true of black music—a broken circle, rooted and free, it demands a new way of listening. The first solo album by Alabama Shakes front woman Brittany Howard inspires such heady thoughts.\u003c/p>\n\u003cp>Sinking her fingers into the dirt of her own life story as a black biracial queer woman born in the Deep South, now living far West of that beloved, problematic home, Howard wrote a set of songs that invoke Moten’s image of the groove as a broken circle. These are songs that draw the ear into their slow rhythms, only to disrupt and rearrange themselves; that build melodies like vines growing, turning and knotting into loops, getting tangled as they move toward sun. They tell stories of desire with names like “Stay High,” unorthodox faith through declarations like “He Loves Me” and family history by facing painful memories (in “Goat Head,” the stench of racism permeates). Yet following her own perspective, Howard turns confession on its head. To realize her songs’ deceptively plainspoken complexity, Howard and producer Shawn Everett brought together jazz disruptors Nate Smith on drums and Robert Glasper on keys, alongside her old bandmate and musical anchor, bassist Zac Cockrell. They took chances. They got psychedelic, locked into heavy funk, slid into classic R&B and then cleared space for Howard to be lonely, like the blues chanteuse she also can be. This album is a radical act of self-claiming, one that does more than reintroduce a great 21st Century voice. It turns a broken circle into an open road. —\u003cem>Ann Powers\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"politicalbreakdown": {
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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