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  • This Day in Rock History: January 24

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    Jan. 24 has been a remarkable date in music history, filled with groundbreaking achievements, cultural milestones, and industry-defining moments. From Elvis recording one of his most iconic songs to David Bowie’s poignant farewell album, this day highlights the power of music to resonate across generations. It marks the birth of legendary artists, like Neil Diamond, and pivotal events, like The Beatles’ management contract with Brian Epstein. Join us as we explore these milestones, celebrating the enduring influence of January 24th on music and its cultural legacy.

    From groundbreaking releases to cultural transformations, Jan. 24 exemplifies the interconnectedness of music’s evolution across genres. These moments invite us to celebrate music’s history and influence.

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  • This Day in Rock History: December 27

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    Many people use the week between Christmas and New Year to relax and unwind, but rockers aren’t most people. Dec. 27 has been a busy day in the rock world over the years, with Queen and Led Zeppelin climbing to the top of the charts and Metallica recording what was arguably their best work. These are some of the memorable events that happened on this day in rock history.

    Breakthrough Hits and Milestones

    Two of the biggest bands in history were riding high on this day, in different years:

    • 1969: Led Zeppelin’s second studio album, Led Zeppelin II, started a non-consecutive seven-week run at the top of the Billboard 200 albums chart. It was widely seen as the band’s breakthrough album in the U.S., going on to sell over 12 million copies in the States alone.
    • 1975: Queen’s A Night At The Opera LP reached the No. 1 spot on the U.K. Albums Chart. It featured the massive hit “Bohemian Rhapsody” and was the band’s first No. 1 album in their native U.K.
    • 1980: John Lennon’s song, “(Just Like) Starting Over”, went to No. 1 on the Billboard Hot 100, just 19 days after he tragically died. It was the final single he released during his lifetime and was included on the Double Fantasy album.

    Cultural Milestones

    Rock’s stories and characters are almost as interesting and exciting as the music itself. These are some of the day’s cultural landmarks:

    • 1944: Foreigner founder, guitarist, and only continuous original member, Mick Jones, was born in Portsmouth, Hampshire, England. He started his career in the early 1960s and formed Foreigner in 1976 with Ian McDonald.
    • 1975: The Faces officially split up, more than two months after their final performance on Oct. 12. Rod Stewart was already having an immensely successful solo career, and Ronnie Wood had joined the Rolling Stones.

    Notable Recordings and Performances

    A few famous recording sessions and album releases took place on Dec. 27:

    • 1967: Bob Dylan released his eighth studio album, John Wesley Harding, via Columbia Records. It included the memorable song “All Along the Watchtower” that Jimi Hendrix famously covered, hit Gold shortly after its release, and went on to achieve Platinum status in the U.S.
    • 1985: Metallica finished the recording process for their third album, Master of Puppets, which sold over 8 million copies in the U.S. It’s widely considered to be one of the most iconic metal albums of all time.

    Led Zeppelin conquering the States and Metallica completing their masterpiece are possibly among the most important rock-related events from Dec. 27. Come back tomorrow to find out what happened on that day in rock history.

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    Dan Teodorescu

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  • Rolling Stone Names the 10 Best Reissues of 2025

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    Rolling Stone released its list of the 10 best reissues of 2025 on Dec. 19. Box sets and archival collections from Bob Dylan, Bruce Springsteen, Sly Stone, and Patti Smith made the cut. The publication spotlighted releases spanning 1960s psychedelia to 1980s punk.

    Five releases are box sets. Combined, their super-deluxe versions contain 37 CDs, according to Rolling Stone. Cheaper versions exist, too.

    Bob Dylan‘s Through the Open Window: The Bootleg Series Vol. 18 1956-1963 traces his growth from a 15-year-old banging New Orleans R&B on piano to his Carnegie Hall performance in 1963. The set opens with a 1956 music-store acetate. On it, Dylan plays Fats Domino-style music before he wanted to be Woody Guthrie.

    Patti Smith‘s “Horses (50th Anniversary)” adds pre-LP demos and works-in-progress from the John Cale-produced sessions to the 1975 debut. The two-disc set includes a version of “Gloria” without drums. There’s also an electrifying “Birdland” with words under construction.

    Bruce Springsteen‘s Tracks II: The Lost Albums presents seven unreleased albums from across four decades. The collection includes The L.A. Garage Sessions as well as Streets of Philadelphia Sessions and Faithless, among others.

    Buckingham Nicks’ 1973 debut got its first proper release after spending years in collector purgatory. Sweet justice for Stevie Nicks and Lindsey Buckingham‘s partnership before Fleetwood Mac. The album debuted in the Top 20 of the Billboard 200.

    Sly & the Family Stone’s The First Family: Live at Winchester Cathedral 1967 captures a performance from the Bay Area nightspot before the band played Woodstock. The recording includes covers of Otis Redding and Joe Tex. The Stone original “I Ain’t Got Nobody” appears too.

    Other releases on the list include Hüsker Dü’s 1985: The Miracle Year, Wilco’s A Ghost Is Born (Expanded Edition), John & Yoko/Plastic Ono Band’s Power to the People, and Lotti Golden’s Motor-Cycle

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  • Houston Concert Watch 12/26: George Clinton, Erykah Badu and More – Houston Press

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    Thanksgiving 1976 was one for the ages in San Francisco.  The 5,000 people lucky enough to score tickets for The Band’s “Last Waltz” concert attended maybe the best rock and roll party ever.

    A full Thanksgiving dinner was served to kick things off, followed by ballroom dancing and readings from Beat poets like Lawrence Ferlinghetti and Michael McClure.  Then came the concert itself, which began with a 12-song set from The Band.  Then it was time for (musical) dessert, as Bob Dylan, Neil Young, Jone Mitchell, Van Morrison, Muddy Waters and others joined The Band to celebrate their shared musical heritage.  In all, over four hours of incredible and historic music making.

    Firing up the Martin Scorsese film which documented the event as part of your Thanksgiving celebration is a fine idea.  The Last Waltz looks great, and the audio is excellent considering the era.  However, don’t be sucked in by the myth that is created by Scorsese and Band guitarist Robbie Robertson.  Each man wanted out of the collaboration.  As a mega music fan Scorsese wanted a path into the world of rock and roll.  Robertson, on the other hand, was looking to get into the movie business. 

    All well and good, but Robertson had unilaterally made the decision to terminate The Band’s performing career, and the other members of the group – particularly drummer / vocalist Levon Helm) were not happy about it.  This accounts for their collective glum demeanor during most of the film’s interview segments, and it also explains Robertson’s desire to cast (with Scorsese’s help) The Band as musicians who had given their all for their art and were simply too depleted – physically and emotionally – to continue any longer.

    In point of fact, The Band had not toured all that much during its existence, certainly not in comparison to bluesmen like Muddy Waters.  Sure, business travel of any kind is taxing and not all the fun that it’s cracked up to be, but don’t buy dramatic (and probably pre-scripted) Robertson quotes like, “16 years on the road. The numbers start to scare you.  I mean, I couldn’t live with 20 years on the road. I don’t think I could even discuss it.”

    As a footnote, check out Scorsese during the interview segments.  Remind you of anybody?  If you said, “Marty DiBergi from Spinal Tap!” go to the head of the class.  But – to quote the esteemed Mr. DiBergi – enough of my yakkin’. Whaddaya say? Let’s boogie!

    Ticket Alert

    San Angelo’s purveyors of Texican rock and roll, Los Lonely Boys, kind of wandered in the desert (maybe literally, considering their location) for several years after hitting it big with the single “Heaven.”  After taking a lengthy break, the Garza brothers checked the balance in their bank accounts, got back together and released a new album (Resurrection) last year.  Tickets are on sale now for their concert at the House of Blues on Saturday, February 14. 

    Also performing on Valentine’s Day is Houston’s own Kat Edmonson, whose “Only the Bare Essentials” tour promises intimate evenings in which “[s]ubtlety and nuance will be served up as main courses for this show, and the music, so delicately played, will leave you feeling entirely full.”  Wow, that’s a lot to swallow!  You can get tickets now for Edmonson’s show on Saturday, February 14, at the Heights Theater.

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    Wolfmother will play at the House of Blues on Monday, June 8, marking the 20th anniversary of the band’s debut album, and tickets are on sale now.  Though the band has been hounded (sorry) by accusation of classic rock appropriation, that’s a bit off the mark.  Sure, you can tell that these guys listened to a lot of Led Zeppelin and Black Sabbath growing up, but is that such a bad thing?

    After working behind the scenes in the music business as a songwriter and producer for several years, Meghan Trainor’s solo career took off with 2014’s “All About That Bass,” a song that flipped the gender of Sir Mix-a-Lot’s “Baby Got Back” and threw in some body-positivity messages for good measure.  Trainor’s “Get in Girl” tour will stop at Toyota Center on Tuesday, July 28, and tickets are on sale now.

    Much like the Beach Boys and Jimmy Buffett before him, Jack Johnson has made a career by creating a surf-and-sand vibe that is easy to listen to and not terribly demanding.  But hey, he comes by it honestly, having been raised in Hawaii and making a name for himself as a professional surfer during his teenage years.   Johnson will perform on Friday, August 28, at the Cynthia Woods Mitchell Pavilion, so get yourself a pocketful of edibles and get ready.

    Concerts This Week

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    While the following week will be occupied with Thanksgiving-related activities, there are a few options available if you and your cool cousins want to get out of the house for a bit.  On Friday, OG funkster George Clinton will perform at the House of Blues along with Parliament-Funkadelic. George is 84 years old, so you might want to catch his act while you can.  But, as “Flashlight” says, “most of all, most of all” this show represents the opportunity to experience some 100 proof funk as dispensed by the master.

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    The always unpredictable and irrepressible Erykah Badu will play two nights, Friday and Saturday, this week at the 713 Music Hall.  Badu’s “Return of Automatic Slim” tour marks the 25th anniversary of her album Mama’s Gun, and indications are that “reimaginings” of some of the disc’s tracks will be on the set list.  Hope she doesn’t stray too far from the original arrangements – they were classics.

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    Think you might need some honky-tonk after all that turkey and dressing?  Then Shoeshine Charley’s Big Top Lounge is your spot on Friday, when Dale Watson and His Lonestars will be tending the flame of traditional country music.  How rootsy is Watson?  He opened a recording studio in Memphis with the original board from Sun Studio, where Elvis, Johnny Cash and Jerry Lewis produced all of their early hits.  Now that’s hardcore.

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    Tom Richards

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  • This Day in Rock History: November 14

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    On this day in rock history, icons Queen and Bob Dylan achieved significant milestones, and a few legendary tours began. These are the most relevant rock music events that took place on Nov. 14.

    Breakthrough Hits and Milestones

    Nov. 14 has witnessed a few major milestones, including the U.K.’s first-ever singles chart:

    • 1952: New Musical Express published the Official Singles Chart, the first singles chart in the U.K., after its advertising manager, Percy Dickins, surveyed around 20 record stores to determine the 12 best-selling singles of the time. This was a notable milestone for modern music and a precursor to all the charts that came after, including the Billboard charts.
    • 1981: Queen’s Greatest Hits album reached the top of the U.K.’s Official Albums Chart, where it spent four consecutive weeks. It’s the band’s best-selling album and has sold over 25 million copies.

    Notable Recordings and Performances

    Nov. 14 is also the anniversary of some famous tours and song recordings, including:

    • 1962: Bob Dylan recorded “Don’t Think Twice, It’s All Right” as part of his album, The Freewheelin’ Bob Dylan. The album was released on May 27 of the following year, and the song was included as a B-side to Dylan’s single “Blowin’ in the Wind” in August.
    • 1967: Pink Floyd embarked on their first-ever U.K. tour. They opened for Jimi Hendrix and played a total of 29 shows in 15 cities, starting at the Royal Albert Hall in London.
    • 1975: Queen began their A Night at the Opera Tour, which included 78 shows. The first two shows took place at the Liverpool Empire Theatre on Nov. 14 and 15.

    With names such as Queen and Pink Floyd celebrating special moments, it’s fair to say that Nov. 14 is an important day for rock musicians and their fans. Come back tomorrow to discover what happened on that day in rock history.

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    Dan Teodorescu

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  • This Day in Rock History: November 4

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    Nov. 4 gave rock fans plenty to celebrate throughout the years. It’s the anniversary of Pink Floyd’s first-ever performance in North America and the date when a 20-year-old Bob Dylan made his Carnegie Hall debut. Keep reading to learn more about these and other major events that happened on this day in rock history.

    Breakthrough Hits and Milestones

    Many huge artists celebrate major milestones on Nov. 4, including the Eagles and Elton John. The following are some of the most notable:

    • 1961: Bob Dylan made his Carnegie Hall debut in the smaller Carnegie Chapter Hall. His 22-song set included both covers and originals and was attended by only 56 people, but it’s considered a major milestone for the legendary singer and poet.
    • 1989: Elton John reached a sensational milestone, with “Sacrifice” becoming his 50th entry on the U.K. singles charts. Although it debuted modestly at No. 55, it eventually became a No. 1 single.
    • 1991: The Rock & Roll Hall of Fame announced that seven acts would be inducted the following January. The seven legendary acts were Jimi Hendrix, the Yardbirds, Johnny Cash, the Isley Brothers, Sam & Dave, Bobby (Blue) Bland, and Booker T. & the M.G.’s.
    • 2007: The Eagles’ first studio album in 28 years, Long Road out of Eden, became their first to reach No. 1 on the U.K. album charts. It also reached the top spot in the U.S. and earned Platinum status in both countries, as well as several others.

    Notable Recordings and Performances

    Nov. 4 is also the anniversary of some iconic performances and albums. A couple of them include the following:

    • 1967: Pink Floyd performed their first-ever show on American soil at the Winterland Ballroom in San Francisco. It was the first show of their first U.S. tour, which was cut short due to Syd Barrett’s deteriorating mental health.
    • 1970: David Bowie released his third studio album, The Man Who Sold the World, in the U.S. It was his first collaboration with guitarist Mick Ronson, which gave the album a more blues-rock sound than Bowie’s previous works.

    With names such as Bob Dylan, the Eagles, Elton John, David Bowie, and Pink Floyd celebrating important career moments, it’s safe to say that Nov. 4 is a big day for rock fans and artists. Make sure to visit this page again tomorrow to discover all the major events that took place on that day in rock history.

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    Dan Teodorescu

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  • This Day in Rock History: October 21

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    This day in rock history marks the release of a few memorable albums and commemorates legendary drummer Keith Moon’s last show with The Who. Here are more major rock-related events that happened on Oct. 21 throughout the years.

    Breakthrough Hits and Milestones

    Besides Keith Moon’s swansong, Oct. 21 marked a major milestone in the career of rock and roll pioneer Chuck Berry:

    • 1972: Chuck Berry’s hit song “My Ding-a-Ling” reached the top of the U.S. Billboard Hot 100, where it spent two weeks. The single was a live recording of Berry performing the song during a concert in Coventry, England, and was his only U.S. and U.K. No. 1 hit.
    • 1976: Drummer Keith Moon played his final official concert with The Who at the Maple Leaf Gardens, Toronto.
    • 2006: Evanescence topped the Billboard 200 album chart with The Open Door. It was also a milestone for Billboard, as it marked the 700th album to reach the top spot since the magazine started publishing its weekly chart in 1967.

    Notable Recordings and Performances

    Oct. 21 is also the anniversary of some important album releases, including:

    • 1970: Bob Dylan released his eleventh studio album, New Morning, via Columbia Records, just four months after his previous album, Self Portrait. The new album reached the top spot on the U.K. charts.
    • 1977: Cleveland International Records and its parent company, Epic Records, released Meatloaf’s debut album, Bat Out of Hell. It wasn’t initially a hit, as both record executives and the general public needed some time to digest its over-the-top operatic style, but it grew in popularity and is now one of the best-selling albums of all time, with an estimated 40 million copies sold.

    Chuck Berry’s only No. 1 hit and Billboard’s 700th chart topper were among the most notable events that happened in the rock music world throughout the years on Oct. 21. Legendary drummer Keith Moon also played his final official concert with The Who at the Maple Leaf Gardens, Toronto, on this date.

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    Dan Teodorescu

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  • Record Store Day Black Friday: More Than 170 Limited Vinyl Releases Coming to Local Record Shops

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    Music fans will find 170+ special vinyl pressings at their neighborhood shops this Nov. 28. The Record Store Day Black Friday event brings rare cuts from Bob Dylan, Billie Eilish, Talking Heads, and Prince to turntables nationwide.

    The star attraction is The Original Freewheelin’ Bob Dylan, which adds four tracks to the 1963 album: “Rocks and Gravel,” “Let Me Die in My Footsteps,” “Rambling, Gambling Willie,” and “Talkin’ John Birch Paranoid Blues,” according to SPIN.

    Dylan fans get a second treat: a seven-inch vinyl single of “Masters of War” recorded in poet Alan Lomax’s apartment in 1963. The B-side catches an intimate chat between Dylan and Lomax.

    The Wicked: For Good soundtrack is a double-picture disc set with fresh artwork and a poster, with color schemes that represent Wicked Witch Elphaba and Good Witch Glenda. 

    Billie Eilish’s live EP from the London Palladium arrives on 10-inch vinyl, with live versions of “Skinny,” “Wildflower,” “Birds of a Feather,” and “L’Amour de ma Vie.”

    Talking Heads’ Tentative Decisions: Demos & Live comes from a rare 1974 tape that catches the band, then called the Artistics, before Jerry Harrison joined.

    Prince’s Around the World in a Day: The Singles has seven-inch versions of four hits plus “4 the Tears in Your Eyes” from We Are the World.

    Live 1975 shows Fleetwood Mac with new members Stevie Nicks and Lindsey Buckingham. The set list includes “Hypnotized” and “Oh Well” from their Peter Green era.

    This year’s Record Store Day Ambassador, Post Malone, drops Long Bed, with nine fresh tracks pressed on bright orange vinyl.

    The sale starts at 8 AM on Nov. 28. The releases are split into three types: shop-only items, RSD first releases that might pop up later elsewhere, and small-batch regional pressings under 1,000 copies.

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    Dan Teodorescu

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  • Farm Aid 40 takes place; raises funds to help Minnesota farmers

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    Farm aid back on after a long road



    Farm aid back on after a long road

    01:47

    It’s been a long road to get here, but Farm Aid 40 is underway in Minneapolis. The effort behind the show, and what it took to make it happen, was a labor of love.

    Thousands poured into Huntington Bank Stadium. The message? Helping local farmers.

    “We’re in a very struggling spot,” said Paul Sobocinski, a farmer who attended the event.

    Sobocinski believes the event is as critical now as it was when it first started in 1985.

    “We have hope. It’s important to have hope,” said Sobocinski. “Willie Nelson and all the people at Farm Aid have supported family farms through these difficult times.”

    A strike between the University of Minnesota and its service workers put this year’s Farm Aid into question. After settling the strike, the event went forward.

    “It was absolutely worth it. It was totally worth it. It was one of those risks that you don’t have a choice to take,” said Charlotte Ammons, co-executive director of Farm Aid.

    The money raised this weekend will support farm advocacy groups across the U.S., including multiple organizations in Minnesota.

    “Our last grant from Farm Aid was a $10,000 grant, which is extremely generous,” said Sophia Lenarz-Coy, executive director of The Food Group. “We see the results and are able to take that donation and turn it into hands-on support for the farmers in our program.”

    Many at the concert urged action.

    “Speak to your congressional people and say hey, tariffs are not the answers,” said Sobocinski. “We need to keep building relationships with other countries.”

    During its 40 years, Farm Aid says it has raised more than $85 million to support family farmers.

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    Adam Duxter

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  • Bob Dylan joins lineup of Minneapolis’ Farm Aid 40, the festival he inspired

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    Minnesota music icon Bob Dylan will take the stage on Saturday at Minneapolis’ Huntington Bank Stadium for the 40th year of Farm Aid, the festival he helped inspire.

    Dylan, 84, joins a star-studded lineup that includes Willie Nelson, Wynonna Judd, Neil Young, Kenny Chesney, John Mellencamp, Dave Matthews, Steve Earle, Waxahatchee and many more.

    Festival officials say it was Dylan’s plea to help farmers during his performance at 1985’s historic Live Aid benefit concert that inspired Nelson, 92, to launch Farm Aid that same year.

    Dylan was born Robert Zimmerman in Duluth and raised in Hibbing. He studied for a year at the University of Minnesota in Minneapolis, where he entrenched himself in folk music.

    He started performing at a Dinkytown coffee shop and embraced his new moniker before moving to New York City in 1961, at age 20.

    Labor dispute jeopardized festival

    Farm Aid 40 almost didn’t happen, at least at Huntington Bank Stadium, due to the ongoing conflict between the University of Minnesota and its striking Teamster service employees. Farm Aid’s production crew is unionized and refused to cross any picket lines.

    On Friday, Teamsters Local 320 announced it had reached a tentative agreement with the university. That same day, Nelson said he spoke with Gov. Tim Walz, adding he was “grateful that he understands what’s at stake for Farm Aid.”

    “We both know that, ultimately, it’s up to the University to do the right thing, and soon, so that Farm Aid 40 can go forward,” Nelson said.

    First held on the campus of the University of Illinois, Farm Aid has raised more than $85 million for America’s farmers.

    A pre-festival event, Rissi Palmer’s Color Me Country Takeover, is set for Thursday night at Fine Line in downtown Minneapolis. The event honors the legacy of diverse artists and farmers. 

    Doors open at 7 p.m. and the event starts at 8 p.m. Tickets are $33.

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    Stephen Swanson

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  • Yoshitomo Nara Brings Pathos, Humor and Musical Citations to Guggenheim Bilbao

    Yoshitomo Nara Brings Pathos, Humor and Musical Citations to Guggenheim Bilbao

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    Yoshitomo Nara seated in front of TOBIU, 2019, donated by the artist to the TWO x TWO for AIDS and Art auction in 2021. Courtesy the artist, Blum & Poe, and Pace Gallery © Yoshitomo Nara, 2019 Photo: Ryoichi Kawajiri

    What a soundtrack is to a movie, a Spotify list is to the new non-chronological retrospective of Japanese artist Yoshitomo Nara now on view at Guggenheim Bilbao: it reveals the mood underpinning the visual landscape. Amongst the 25 tracks Nara selected are tunes from T.Rex, Big Star, Donovan and—in a nod to the national setting—two references to Spain’s countercultural La Movida, in the form of Radio Futura’s Enamorado de la moda juvenil and Tequila’s Salta!!!

    “I don’t listen to music in order to draw something,” the artist said in a conversation with curator Mika Yoshitake in 2020, timed with his exhibition at LACMA. “When I’m listening, I see an image and I try to capture it.” He built himself a radio as a child and tuned into broadcasts by the American military stationed in Japan during the Vietnam War. He began going to record shops in middle school. He’s cited Bob Dylan and Neil Young as permanent auditory staples. The New York Times described him as an “insatiable witness to Western pop’s evolution from the flower-child bliss of the mid-60s to the ecstatic thrash of late ’70s punk.” But although many works in the show are named after songs—and a charming dual representation of Dee Dee and Joey Ramone is on view, as musician dogs mid-performance—the music is often sublimated.

    A plate painted with a little girl smokingA plate painted with a little girl smoking
    Yoshitomo Nara, Too Young to Die, 2001; Acrylic on cotton mounted on fiber-reinforced plastic (FPR), 180 cm diameter. Courtesy of the Rubell Museum, Miami and Washington, D.C. © Yoshitomo Nara, 2001

    “The Nara that we know now, it is the Nara that started in Germany while he was a student at the Kunstakademie,” Lucia Aguirre, curator of the Bilbao show, said. Born in Japan after World War II, Nara went to Germany to study in 1988, after he had been to Documenta in Kassel the year prior. Although he’d already completed a university degree in Japan, he decided to start over. He has stated Japan’s educational system was tinged by a ‘do what you’re told’ approach; he transitioned willingly to Europe’s ‘make up your own mind’ approach. At the Kunstakademie in Düsseldorf, he studied under the Neo-Expressionist A. R. Penck; other teachers working at the same time included the Bechers and Gerhard Richter. “The problem that he had, of not speaking German when he arrived, made him think about his art as a way to communicate with others.” In 1994, after his studies ended, he moved to Cologne and lived in a collective in a Bauhaus building, remaining there until he had a show at the Yokohama Museum of Art in Japan in 2001, a point at which he decided to return to his native land.

    A sculpture of a steaming teacupA sculpture of a steaming teacup
    Yoshitomo Nara, Fountain of Life, 2001/2014/2022; Lacquer and urethane on fiber-reinforced plastic (FPR), motor, and water, 175 × 180 cm diameter. Collection of the Artist © Yoshitomo Nara, 2001

    Nara works alone, without studio assistants. He often paints on recycled cardboard boxes, window frames, and used envelopes. “He approaches the canvas without doing any sketching; he’s using the canvas as a laboratory itself,” Aguirre said of Nara’s process. He has collaborated with designer Stella McCartney on two capsule collections of Oxford shirts and shorts. His Knife Behind Back (2000) sold at Sotheby’s for $25 million in Hong Kong; ARTnews called him “one of the most expensive artists in Asia, and his work regularly appears in marquee auctions there.”

    His signature Nara girls—some more androgynous than evoking any firm gender identity—are readily distinguishable by their oversized heads, their reductively delineated bodies, and their giant eyes “that are like orange slices,” Aguirre noted. These impish creatures are painted shadowlessly against featureless backgrounds, as was done in the early Renaissance or pre-Renaissance, Aguirre pointed out.

    A chicken coop with a painting hung on the outside is displayed in an art galleryA chicken coop with a painting hung on the outside is displayed in an art gallery
    Yoshitomo Nara, My Drawing Room, 2008, Bedroom Included, 2008; Installation, mixed media, Approx. 301.5 × 375 × 380 cm. Collection of the Artist © Yoshitomo Nara, 2008

    “His sense of humor is so developed in his drawings,” Aguirre said. Indeed, there is something amusing and sly about these devious creatures. In one reproduction of a typical ukiyo-e woodblock print, a geisha peers over a Nara girl scowling from within a teacup. Of this delightfully interventionist work, it’s like he’s “changing the history of art a little bit.”

    SEE ALSO: Rich Tapestries and Loose Ends – ‘Woven Histories’ Is Unwieldy in Its Comprehensiveness

    His work underwent a sharp tonal change, however, after the Tohoku earthquake and resulting tsunami of 2011. Many thousands of people were killed, creating an unfathomable sense of loss. For a while, Nara stopped producing. When he did start again, the tenor and style of his work had changed. Aguirre cited Miss Margaret (2016) as a prime example of a new approach: layered surfaces, variegated color use and a new articulation of the eyes in a tremulously melancholic gaze. This has continued all the way through Midnight Tears (2023), the most recent work in the show, with its softened, motley portrayal of a mournful figure. What remains the same throughout, per Aguirre: “the face of the girl, in the center, like a moon in the middle of the canvas.”

    A painting of a crying girlA painting of a crying girl
    Yoshitomo Nara, Midnight Tears, 2023; Acrylic on canvas, 240.5 × 220 cm. Collection of the Artist © Yoshitomo Nara, 2023

    This show at Guggenheim Bilbao is Nara’s first big exhibition in Europe. After its run in the U.S. at LACMA, the exhibition traveled to the Yuz Museum in Shanghai; following its time at the Guggenheim Bilbao in Spain, the show will move to the Kunsthal Rotterdam in the Netherlands. As for why Nara’s presence in Europe hasn’t been very notable, despite his twelve-year stint on the continent, Aguirre was unsure about what accounts for this. “We have done the Murakami show here in Bilbao, and also we have done the Yayoi Kusama show,” Aguirre reflected, regarding the museum’s non-Western programming. “Nara is an artist who has always been here. Perhaps we are a little bit Euro-centric in Europe but that is beginning to change.”

    Cue up the music to celebrate that.

    A painting of a girl drawing with red crayon near a cat with a box on its headA painting of a girl drawing with red crayon near a cat with a box on its head
    Yoshitomo Nara, Make the Road, Follow the Road, 1990; Acrylic on canvas, 100 × 100 cm. Collection Aomori Museum of Art © Yoshitomo Nara, 1990

    Yoshitomo Nara” is on view at Guggenheim Bilbao through November 3.

    Yoshitomo Nara Brings Pathos, Humor and Musical Citations to Guggenheim Bilbao

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    Sarah Moroz

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  • Gracie Abrams Has No Problem Being Asshole of the Year in Video for “I Love You, I’m Sorry”

    Gracie Abrams Has No Problem Being Asshole of the Year in Video for “I Love You, I’m Sorry”

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    Continuing to give listeners a taste of her “Swiftian prowess” on the songwriting front, Gracie Abrams has rolled out the second music video for a single from The Story of Us: “I Love You, I’m Sorry.” Something of a “sequel” to 2020’s “I Miss You, I’m Sorry,” Abrams is only somewhat less doleful on this particular track (which she first previewed on Instagram earlier this year, exactly four years after the release of “I Miss You, I’m Sorry”). Of course, more than apologizing to the object of her affection for hurting him and loving him (even still), she’s ultimately apologizing to herself for being silly enough to do so. But, as another Swiftian acolyte, Selena Gomez, once said, “The heart wants what it wants.” (Mind you, Woody Allen said this before her…about Soon-Yi Previn—and yes, Allen does seem like someone who would co-star in Only Murders in the Building with Gomez if he weren’t cancelled.)

    Like the first single from The Story of Us, “Risk,” the video for “I Love You, I’m Sorry” is once again directed by Abrams’ bestie and frequent co-songwriter, Audrey Hobert. Accordingly, “I Love You, I’m Sorry” offers a similar “narrative” to “Risk” in that, basically, Abrams is an absolute wreck over a guy, all while attempting, hopelessly, to “play it cool.” Except that, in the case of “I Love You, I’m Sorry,” the relationship was actually serious. Serious enough for her to still be reflecting on it while sitting on the beach two years later. For that’s where Hobert commences the story, with Abrams describing, “Two Augusts ago/I told the truth, oh/But you didn’t like it, you went home.”

    Hobert then reveals Abrams in a series of scenes during which her overall vibe echoes the lyric, “I might not feel real, but it’s okay, mm.” Her aura of “not feeling real” shows up when she’s dissociatedly drinking Aperol spritzes with friends (including Hobert), when she’s riding in the backseat of a car, when she’s in bed reading a book with a cover that reads with the generic title “Self Help” (that’s right, no hyphen)—when she’s doing, hell, just about anything. In the book-reading scene, Abrams also looks ever so slightly like Billie Eilish in her current Hit Me Hard and Soft era, but then, there’s also moments when she doesn’t look so dissimilar from Madison Beer either. All of which is to say that Abrams channels quite a few singer-songwriter types of the moment, both lyrically and aesthetically.

    Though she does seem, at the very least, to be “original” in terms of being among the few Gen Z “pop stars” to proudly display her drinking habit in full effect, cheersing the viewer with her spritz in a manner that indicates she’s gotten slightly “classier” since she was filling her wine glass to the brim with a generic red in “Risk.” Her “class” game has also been one-upped by paying slight homage to Bob Dylan’s “Most Likely You Go Your Way (And I’ll Go Mine),” still every “thoughtful” female songwriter’s go-to for inspiration (followed closely by Joni Mitchell). This comes in the form of the rueful yet shrugging line, “I’ll be on a boat, you’re on a plane going somewhere, same.” In other words, as Dylan put it, “I’m just gonna let you pass/Yes, and I’ll go last/And then time will tell just who has fell/And who’s been left behind/When you go your way and I go mine.”

    If Abrams were to guess, though, it seems she thinks she’s the one who will fall, taking ownership of being the “dick” in the situation (Olivia Rodrigo would never). This much is made clear in the bridge, wherein she belts out, “You were the best, but you were the worst/As sick as it sounds, I loved you first/I was a dick, it is what it is/A habit to kick, the age-old curse/I tend to laugh whenever I’m sad/I stare at the crash, it actually works.” And yet, it’s Hobert who pushes her out of the car about midway through the video so that she can truly watch the metaphorical car crash, entering an auditorium to accept the award for Asshole of the Year. In this moment, Abrams surprises viewers by not having the boy who theoretically did her wrong take the stage, but gladly decides to do so herself, claiming the trophy and then ripping the head off of it to sing into it like a mic, confessing all her sins and still wishing that things might have been different. In another sense, Abrams also gives off the Dylan verse, “You say you’re sorry/For tellin’ me stories/That you know I believe are true/Say ya got some other/Other kind of lover/And yes, I believe you do.”

    Abrams’ version of that acknowledgement is, “That’s just the way life goes [or, as Janet would say, “That’s the way love goes”]/I like to slam doors closed/Trust me, I know it’s always about me.” This last line mirrors Taylor Swift on “Who’s Afraid of Little Old Me?” as she sings, “So tell me everything is not about me/But what if it is?” And, in another instance of her Swift-like mimicry, Abrams sings, “I push my luck, it shows/Thankful you don’t send someone to kill me.” This also paralleling Swift on “The Smallest Man Who Ever Lived” when she demands, “Were you sent by someone who wanted me dead?”

    And so, no matter which songwriter Abrams is riffing on for “I Love You, I’m Sorry,” she’s made a video that’s at least faintly more unique than the song itself. A lament as old as the 1960s by this point. Fortunately for Abrams, the generation she’s trying to appeal to appears to have no awareness of those forebears who were already saying the same thing. In short, they think Abrams just fell out of a coconut tree.

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    Genna Rivieccio

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  • Patrick Simmons Keeps the Ultimate Doobie Party Going While Eyeing New Material

    Patrick Simmons Keeps the Ultimate Doobie Party Going While Eyeing New Material

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    In 2020, the Doobie Brothers were all set to launch a massive tour celebrating 50 years since their founding. And it would be marked in a special way with a lineup featuring both co-founding singer/guitarist Tom Johnston with his replacement, singer/keyboardist Michael McDonald.

    Add co-founding vocalist/guitarist Patrick Simmons—the only constant member of the lineup since 1970—and Doobies fans would get to hear material from across the entire span of their career.

    Well, COVID scuttled that launch, which began the next year and saw the Doobies play shows across the U.S., Australia, Japan, and back to the U.S. Now, they’ve announced a continuation of the party that will touch down in Houston June 30 at the Woodlands Pavilion.
    So, the question must be asked: At what point does it just become more accurate to call it the 55th Anniversary Tour?

    “Well, we’re definitely on to the next 50 years by now. And I like not having to work so hard with the three of us up there!” Simmons laughs via Zoom from his home in Hawaii on the island of Maui.

    He’ll soon be jetting off to the UK where the Doobies are opening some shows for the Eagles before launching their own summer tour (bluesman Robert Cray will open in Houston).

    “It’s nice to be able to do all the songs that people want to hear. We’ve done a song or two of Mike’s through the years when he hasn’t been with us. But it’s great to have the real guy right there!” Simmons says. “Having him is a huge bonus. We’re still here, still able to do it, and have a great band.”
    Expect to hear the early, biker-bar-band hits (“Long Train’ Runnin’,” “Listen to the Music,” “Black Water,” “China Grove,” “Rockin’ Down the Highway”) along with the later R&B-tinged material (“What a Fool Believes,” “Minute by Minute,” “It Keeps You Runnin’” “Takin’ It to the Streets”) and some deeper cuts.

    In 2022, Simmons and Johnston collaborated with music journalist Chris Epting on their memoir Long Train Runnin’: Our Story of the Doobie Brothers. And when a copy is held up to the Zoom camera, Simmons has an instant reaction.

    “Oh, that one’s been banned! It’s not an, uh, complete summation of the band’s story, but it’s an approximation!” he laughs.

    “We had contemplated doing a book through the years, but it’s hard to get started. We’re not novelists. Chris got things going. We told stories to him, he wrote it down, and gave it back to us. He really helped to shake our memories. We’d tell him a story and he’s go find a poster or photograph and bring it back, and that would open more memories. And then we rewrote more.”

    Simmons adds that he and Johnston would have the same experience, but sometimes conflicting memories, which they’d toss back and forth from different angles.

    “It was fun to remember stuff and laugh about it. We also had some more serious things. Not really sad stories, but there was some sadness there. It was the truth of what went down.”

    The lineup for this tour will again include Simmons, Johnston, McDonald, John McFee (multiple instruments/vocals), and longtime touring members Marc Russo (sax), Ed Toth (drums), John Cowan (bass/vocals), and Marc Quiñones (percussion)

    In 2020, and longtime snub was set right when the Doobies Brothers were finally inducted into the Rock and Roll Hall of Fame. But again, COVID reared its ugly head.
    Instead of the usual lavish ceremony in New York or Cleveland with speeches, video reels, and live performances and jams, the “virtual” online ceremony featured a brief clip highlights of the band’s career, with short comments from Johnston, Simmons, and McDonald, filmed from their homes.

    Nevertheless, Simmons takes a light approach to matters. “We’ll always remember not being there!” he chuckles.

    “But it was a great moment. It’s something you certainly think about as an artist. We had hoped to be recognized, but thought maybe if we don’t get it now, we’ll get it after we’re dead! There are so many deserving artists out there, and I didn’t hold it against them. No offense to [Hall and Rolling Stone co-founder] Jann Wenner, but Jann never liked us! So, I wasn’t holding my breath for us to come in on our walkers. But Jann’s gone now!”
    [Note: Last year, the Rock and Roll Hall of Fame removed Jann Wenner from its Board of Directors after he made some comments about Black and female artists during promotion for his book of interviewed The Masters that were widely criticized as both sexist and racist.}

    Texas fans have always been very receptive to the Doobies throughout the years of touring, but there’s one Texas show that was a bit unique. In 2005, the Doobie Brothers played Willie Nelson’s Fourth of July picnic at the outdoor venue Billy Bob’s Texas in Fort Worth, where this writer covered the show for the Houston Press.

    I got to chat briefly with both Simmons and Johnston backstage, and even made it onto Willie’s bus for a brief interview (where I recall trying not to wake up a slumbering David Allan Coe, fast asleep on his wife’s shoulders).

    click to enlarge

    The writer backstage with Patrick Simmons during Willie Nelson’s Fourth of July Picnic in Forth Worth, 2005.

    Photo by Mace Wilkerson

    The lineup was unique in that Bob Dylan followed the Doobies’ set prior to Willie’s slot. And the notoriously prickly and security-conscious Dylan required that all press be removed from the pit as security forced an open path through the crowd to allow him to walk uninterrupted straight from his bus to the stage.

    Simmons remembers the show well, with a mischievous glint.

    “It was super-hot! But Dylan was totally insulated. Nobody could look at him or talk to him. He was surrounded by all these guys. We had just finished playing, and they cleared the stage and said nobody could go on there,” he recalls.

    “So, I just walked up and some of his guys tried to get me off, and I said ‘Fuck you! I saw you on our stage!’ It’s everybody’s stage’” and he said ‘Well…just don’t let Bob see you!’”

    Nelson’s sons Lukas and Micah, along with Simmons’ own son, also managed to sneak up there to watch Dylan’s set. “I don’t think anybody was going to tell Willie’s sons they couldn’t be on Willie’s stage! Sorry, Bob!”

    The Doobies’ last studio effort was 2021’s Liberté, and they are working on new songs—with McDonald—for an upcoming release.

    But their most recent effort concerns a location of more pertinent interest to Simmons. It’s about 36 miles from his home on the island of Maui, and that’s Lahaina.

    Much of the city were destroyed in August 2023 by wildfires that ate everything in sight, killing more than 100 people and damaging or destroying more than 2,200 structures. It left many people homeless while levelling businesses and burning out cars.

    The Doobie Brothers quickly released the benefit single “Lahaina,” written and sung by Simmons. Helping out the band were Fleetwood Mac drummer Mick Fleetwood (whose own Lahaina-based restaurant was destroyed) and Hawaiian musicians Jake Shimabukuro, and Henry Kapono. All proceeds benefit the People’s Fund of Maui.

    For Simmons, it was not only just important to help, but to connect with the land and its inhabitants.

    “People come from all over the planet to experience the climate and peace of Hawaii, and it is a special place. Those of us who have come here and stayed, there’s a reason for that,” Simmons says.

    “No matter what your beliefs are, the Hawaiians believe in the spirituality of nature and the place. That’s part of a reverence here that myself and most of the locals have. The ‘Aloha.’ We all feel, experience, appreciate it, and try to live it,” he says.

    “I grew up in northern California. I took acid. I dropped out. I was a hippie—still am probably. And it’s a continuance of my beliefs from that era. It’s not something spoken. It’s something that you feel.”
    He adds that visitors and tourists to Hawaii inevitably ended up in Lahaina, and the warmth and connection from business owners was palpable and a “charming way of existence.”

    “That’s all gone now. But ‘Aloha’ is still here and that song was my attempt to keep that spirit alive for the people here and to spread that to further communities,” he sums up.

    “People are still going through trials and tribulations here, and it will take a long time for those folks to recover. Chipping in a dollar or two or more will help immediately. It will come back around, but we have to work together.”

    The Doobie Brothers play at 7 p.m. on Sunday, June 30, at the Cynthia Woods Mitchell Pavilion, 2005 Lake Robbins. For more information, call 281-364-3010 or visit WoodlandsCenter.org. Robert Cray opens. $35 and up.

    For more information on the Doobie Brothers, visit TheDoobieBrothers.com.

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    Bob Ruggiero

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  • Karl Wallinger, member of The Waterboys and creative force of behind World Party, dies

    Karl Wallinger, member of The Waterboys and creative force of behind World Party, dies

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    LONDON – Karl Wallinger, the multi-instrumentalist and solo force behind the band World Party and former member of The Waterboys, has died.

    Wallinger, 66, passed away Sunday, his publicist said. No cause of death was announced.

    Wallinger had worked as musical director for a production of “The Rocky Horror Show” in London’s West End when he was recruited on keyboards for The Waterboys in 1983, playing synthesizer and singing backup vocals on their most commercially successful song, “The Whole of the Moon.”

    Waterboys founder Mike Scott called him “one of the finest musicians I’ve ever known” in a post Monday on X, formerly Twitter. “Travel on well my old friend,” he said.

    Creative differences with Scott led Wallinger to go his own way in 1985 to start World Party, where he created a sound infused with influences of the Beatles, Bob Dylan, Van Morrison and Sly Stone.

    “It just became obvious that it wasn’t going to go anywhere than where it’s gone,” Wallinger told Penny Black Music in 2022 interview. “(Mike Scott) was controlling, and that was it, he wasn’t into doing anything together.”

    World Party was better received critically than commercially and despite landing several tunes on the pop music charts, it was more embraced by alternative radio.

    “Ship of Fools” reached No. 5 on Billboard’s mainstream rock chart in the U.S. in 1987. “Way Down Now,” went to No. 1 on the Billboard alternative chart in the U.S. in 1990. “Is it Like Today” was his biggest hit in the U.K., reaching No. 19 in 1993. Wallinger’s song “She’s the One” became a No. 1 single for Robbie Williams in 1999.

    Wallinger worked on Sinéad O’Connor’s debut album, The Lion and the Cobra, and she lent her vocals to his second album, “Goodbye Jumbo,” which was nominated for a Grammy for best alternative music performance. Q Magazine named Jumbo is 1990 album of the year.

    Wallinger was one of many artists who recorded with Peter Gabriel for his Big Blue Ball album.

    Gabriel said on X that he was shocked and saddened to learn of the death. He said he admired Wallinger’s work from afar but reached a new level of appreciation when they worked together on what he said was the most creative and fun week he ever had in the studio.

    “Karl was overflowing with wonderful musical ideas that blew us all away, all delivered with terrible jokes that had us laughing uncontrollably all day and night,” Gabriel said. “He was such a gifted, natural writer and player, it was a tap that he could turn on at will, effortlessly.”

    Mike Andrews of Enable Music, an artist management company in the U.K., who worked with Wallinger on a couple albums, called him a “genius who was never appreciated as widely as (he) should have been.”

    Wallinger served as musical director for the 1994 Ben Stiller-directed film “Reality Bites,” starring Ethan Hawke and Winona Ryder.

    Wallinger grew up in Prestatyn, Wales, where as a teen he played in PAX, a punk band with Nigel Twist and Dave Sharp, who would go on to form The Alarm. Twist recalled on Instagram that they would hammer out tunes in the loft of Wallinger’s home.

    Twist called him “an extraordinary talent, gifted singer/songwriter and multi-talented musician and producer.”

    “His songs never fail to reach deep inside and touch your soul,” Twist said. “No matter how you feel, his music would fill you with joy and hope and above all, love, for a better world.”

    In 2001, Wallinger had a brain aneurysm and spent years learning how to speak again and play instruments. He returned to touring five years later but never released any more albums.

    During his Penny Black Music interview, Wallinger said William’s hit cover of “She’s the One” had rescued him financially after his health setback.

    “It was lucky for me that he did it, because he kept us all in biscuits,” Wallinger said. “Everything would have changed; I’d have had to have sold the kids. Got rid of the house and dismantle everything.”

    Wallinger is survived by his wife Suzie Zamit, his son Louis Wallinger, his daughter Nancy Zamit and two grandchildren.

    Copyright 2024 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed without permission.

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    Brian Melley, Associated Press

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  • The 20 Best Christmas Albums

    The 20 Best Christmas Albums

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    It’s tiiiiiiimmmeee! Following Mariah Carey’s annual announcement, the holiday season has officially begun.

    Whether you’re decking the halls or writing your Christmas list, we all know the best way to get into the festive spirit is by listening to some iconic Christmas tunes. From classic carols to merry pop, heartwarming country, and jingle bell jazz, we’ve picked out the 20 best Christmas albums (in no particular order) to help you start this year’s countdown to December 25!


    Related: What Channel is Christmas Music on SiriusXM?


    20. Mariah Carey – ‘Merry Christmas’

    No Christmas is complete without the queen of the holiday season herself, Mariah Carey! Released in 1994, this album is best known for the hit single “All I Want For Christmas Is You,” which went on to become one of the best-selling Christmas songs of all time. The album also features classics like “Silent Night” and “Joy To The World,” where Carey’s vocals bring a fresh touch to these memorable carols. 

    19. Taylor Swift – ‘The Taylor Swift Holiday Collection’

    We’ll never forget Taylor Swift’s Christmas era! Consisting of six tracks, including two originals from Swift, The Taylor Swift Holiday Collection perfectly showcases the singer-songwriter’s incredible vocals and ingenious writing skills. This is truly the Christmas album of our “Wildest Dreams.” 

    18. Frank Sinatra – ‘A Jolly Christmas From Frank Sinatra’

    The album may have been released 66 years ago, but A Jolly Christmas From Frank Sinatra never fails to put us in the festive mood. From “Jingle Bells” to “The First Noel,” Frank Sinatra’s smooth vocals are guaranteed to make you feel so warm and nostalgic. Whether you’re sipping a hot cocoa or tucking into a festive feast, this timeless classic is a staple of any good Christmas playlist!

    17. Michael Bublé – ‘Christmas’

    Considered a modern holiday classic, Michael Bublé’s Christmas album gives us a jazzy take on some of our all-time favorite festive bops. Having sold over 12 million copies worldwide, this album proved itself to be the perfect soundtrack for Christmas. Following its huge success, the album was re-released in 2012 and saw Bublé team up with artists like Shania Twain and Rod Stewart. Now, that’s what we call a dream team! 

    16. Elvis Presley – ‘Elvis’ Christmas Album’

    Elvis’ Christmas Album was a huge success and has remained a Christmas staple for nearly 70 years. Songs like “Blue Christmas” allowed Elvis to merge his iconic rock ‘n’ roll sound with the cozy vibes of the holiday season, making it an instant Christmas classic for years to come.

    15. Kelly Clarkson – ‘Wrapped In Red’

    With powerful vocals and iconic Christmas anthems, Kelly Clarkson’s Wrapped In Red is an essential listen. While Clarkson may be defined by her pop-rock sound, she drew inspiration from a variety of different genres to create the perfect holiday vibe for her first Christmas album. So, whether you like jazz, country, or soul, Wrapped In Red has something for everyone!


    Related: Kelly Clarkson Curates Her Own Year-Round Music Channel on SiriusXM


    14. Kacey Musgraves – ‘A Very Kacey Christmas’

    With a unique blend of country and pop, Kacey Musgraves brought an acoustic and modern feel to Christmas with her 2016 album A Very Kacey Christmas. Accompanied by artists such as Willie Nelson and Leon Bridges, Musgraves’ dreamy album is the only Christmas gift we need this year! 

    13. Stevie Wonder – ‘Someday At Christmas’

    Looking for festive R&B songs? We’ve got you covered! Released as his first Christmas album, Stevie Wonder’s Someday At Christmas is a unique take on holiday music. Wonder’s soulful voice and beautiful melodies are the perfect treat for your ears this Christmas.

    12. Bob Dylan – ‘Christmas In the Heart’

    Releasing a Christmas album is probably the last thing you’d expect of folk legend Bob Dylan, but that’s exactly what he did back in 2009. His alternative takes on certain Christmas classics are perfect for anyone looking to break from the usual holiday traditions this year — with the single “Must Be Santa” being a particular standout with critics. And in the true spirit of Christmas, Dylan donated all his royalties from the album to many charities, such as the United Nations’ World Food Programme.

    11. Kenny Rogers and Dolly Parton – ‘Once Upon a Christmas’

    Yes, that’s right — the “Islands In the Stream” duo joined forces once again, and this time it was in the name of Christmas! In songs like “A Christmas To Remember” and “With Bells On,” the famous match-made-in-heaven harmonies of Kenny Rogers and Dolly Parton proved to be the perfect Christmas gift, with the album being certified platinum twice.

    10. Nat King Cole – ‘The Magic of Christmas’

    If it’s a nostalgic Christmas vibe you’re going for this year, then look no further than the best-selling Christmas album of the ’60s! Let tracks like “Joy To The World” and “Deck The Halls” fill your home with merriness, as you wish for a holiday season as smooth as Nat King Cole’s voice.

    9. Vince Guaraldi Trio – ‘A Charlie Brown Christmas’

    Charlie Brown and Christmas music? Sign us up! Released in 1965, A Charlie Brown Christmas blends together the fun of our favorite characters from ‘Peanuts’ with the joyful sounds of Christmas music. It may have been released in 1965, but this jazzy little album is sure to warm your heart this festive season. 

    8. The Beach Boys – ‘The Beach Boys’ Christmas Album’

    It’s time to take Christmas to the beach. On this album, the sun-kissed harmonies of The Beach Boys will have you exchanging snow for sand, sleighs for surfboards, and warm winter coats for swimsuits. But don’t be fooled — with original holiday-themed tracks like “Little Saint Nick” and “The Man With All The Toys,” this album is as Christmas as it gets!

    7. Bing Crosby – ‘Merry Christmas’

    With his version of “White Christmas” being the best-selling physical single of all time with over 50 million sales, we think it’s safe to crown Bing Crosby as the King of Christmas. This gift of an album doesn’t stop there with the classics though, as Crosby can also be heard crooning other holiday hits like “Jingle Bells” and “Santa Clause Is Coming To Town.”

    6. Justin Bieber – ‘Under The Mistletoe’

    Mariah Carey’s “All I Want For Christmas Is You” also makes an appearance on Justin Bieber’s first Christmas and second-ever album, Under The Mistletoe. The two singers turned the song into a duet and gave it more of an electric-pop flare. The festive music video, which has had over 222 million views to date, features both Carey and Bieber in a fun Christmas mall setting.

    5. Emmylou Harris – ‘Light Of The Stable’

    Released in 1979, Emmylou Harris’ Light Of The Stable takes traditional Christmas carols and turns them into country tunes. Harris’ angelic voice perfectly compliments the sounds of the festive season, transporting her listeners to the ultimate winter wonderland. 

    4. Sufjan Stevens – ‘Songs For Christmas’

    A fun collection of holiday tunes, Songs For Christmas by Sufjan Stevens is the perfect soundtrack to all your festive activities. Made up of five separate EPs, Songs For Christmas is a wholly unique and interesting take on Christmas music. With original memorable songs like “That Was The Worst Christmas Ever!” and “Come On! Let’s Boogey To The Elf Dance!,” you’re sure to love this 42-track collection!

    3. Ariana Grande – ‘Christmas Kisses’

    Ariana Grande may be known for her unforgettable pop music, but did you know that she also makes incredible holiday music? Best known for the hit single “Santa Tell Me,” Christmas Kisses brings a touch of love and romance to the festive season, and is an absolute essential on any December playlist!

    2. Ella Fitzgerald – ‘Ella Wishes You A Swinging Christmas’

    With her signature vocals and impeccable jazz arrangements, Ella Fitzgerald’s Ella Wishes You A Swinging Christmas is a timeless classic. Fitzgerald brings a touch of personality and unique style to these iconic holiday tunes. This is best seen in her rendition of “Jingle Bells,” where she hilariously exclaims, “I’m just crazy about horses” at the end of the song. With Ella Fitzgerald, your Christmas is sure to be a swinging one!

    1. John Legend – ‘A Legendary Christmas’

    A John Legend holiday album has always been at the top of our Christmas list, so you can imagine how excited we were for the release of A Legendary Christmas back in 2018. Legend’s soulful vocals create a feeling of nostalgia and coziness that is just perfect for this time of year. We guarantee that you’ll be listening to this one for years to come!


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    SiriusXM Editors

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  • “A Holographic Poemsong”: Joy Harjo on Bob Dylan’s “Tangled Up in Blue”

    “A Holographic Poemsong”: Joy Harjo on Bob Dylan’s “Tangled Up in Blue”

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    In one memory I am at Indian school in a Navy peacoat, my long dark hair hiding my face. I have a pen in my hand copying out “Blowin’ in the Wind” longhand on one of those spiral-bound tablets with green lined paper. I copy “The Times They Are A-Changin’,” and sing it to myself under the tall cottonwoods on the Indian school campus.

    It will be years before I find my voice. I will find it in the soundscape of my generation. We listened to the changing times on the radio, carried transistor radios and listened under the blankets at night to the voices of history and to the singers of love and heartbreak. We played music, danced under light shows, stars, to living music whose resonant sound patterns still cling to the trees, to memory, as we tangled up in blue.

    We were bent by history, defined by it, even destroyed by it, but like others of my generation, beset by violence and tragedy, we were inspired by Dylan and other singers and players who lifted our spirits, who inspired us to pay attention and keep going through the story that we are making, all of us. Dylan reminded us in his poemsongs that every one of us has a story. “Tangled Up in Blue” could essentially be a holographic poemsong, each verse a fractal of an immense story, a mirror, a memory we left behind in a diner booth.

    The sky is blue as I listen to “Tangled Up in Blue” in downtown Tulsa, next door to the Oklahoma Jazz Hall of Fame. I turn up the music. My girlhood is just miles up the road. Blood tales run through our bones, like these streets made of the unspeakable.

    In this moment in history, we are witness to unprecedented and illegal moves to destroy democracy, to erase equality and undermine human rights based on false premises of sexism, racism, culturalism for greed. In these tangled times, we need the words of the poets, the singers, the prophets to move in the direction of vision and truth, away from repression and repressive acts to that undermine the collective human spirit, away from the false stories that support the destruction of earth, the undermining of female power which in a healthy society stands hand in hand with male power.

    Now the radio I am listening to is digital. I miss the crackle of signal, the scratch of needle on vinyl, but the need for what we find in the music is the same. I bring my restless spirit, disturbed by the blood on the tracks of history, to the altar of music. Love threads through every sung vowel of becoming.

    Excerpted from BOB DYLAN: MIXING UP THE MEDICINE, written and edited by Mark Davidson and Parker Fishel, published by Callaway Arts & Entertainment

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    Joy Harjo

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  • Scoop! Why Ben from Ben & Jerry’s blames America for war in Ukraine

    Scoop! Why Ben from Ben & Jerry’s blames America for war in Ukraine

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    Press play to listen to this article

    Voiced by artificial intelligence.

    Ben Cohen wasn’t talking about ice cream. He was talking about American militarism.

    At 72, the co-founder of Ben & Jerry’s ice cream is bald and bespectacled. He looks fit, cherubic even, but when he got going on what it was like to grow up during the Cold War, his tone became less playful and more assertive — almost defiant. 

    “I had this image of these two countries facing each other, and each one had this huge pile of shiny, state-of-the-art weapons in front of them,” he said, his arms waving above his head. “And behind them are the people in their countries that are suffering from lack of health care, not enough to eat, not enough housing.”

    “It’s just crazy,” he added. “Approaching relationships with other countries based on threats of annihilating them, it’s just a pretty stupid way to go.”

    It wasn’t a new subject for the famously socially conscious ice cream mogul; Cohen has been leading a crusade against what he sees as Washington’s bellicosity for decades. It’s just that with the war in Ukraine, his position has taken on a new — morally questionable — relevance.

    Cohen, who no longer sits on the board of Ben & Jerry’s, isn’t just one of the most successful marketers of the last century. He’s a leading figure in a small but vocal part of the American left that has stood steadfast in opposition to the United States’ involvement in the war in Ukraine.

    When Russian President Vladimir Putin sent tanks rolling on Kyiv, Cohen didn’t focus his ire on the Kremlin; a group he funds published a full-page ad in the New York Times blaming the act of aggression on “deliberate provocations” by the U.S. and NATO.

    Following months of Russian missile strikes on residential apartment blocks, and after evidence of street executions by Russian troops in the Ukrainian city of Bucha, he funded a 2022 journalism prize that praised its winner for reporting on “Washington’s true objectives in the Ukraine war, such as urging regime change in Russia.”

    In May, Cohen tweeted approvingly of an op-ed by the academic Jeffrey Sachs that argued “the war in Ukraine was provoked” and called for “negotiations based on Ukraine’s neutrality and NATO non-enlargement.”

    Ben Cohen outside the U.S. Department of Justice in Washington this month, before getting arrested | Win McNamee/Getty Images

    I set up a video call with Cohen not because I can’t sympathize with his mistrust of U.S. adventurism, nor because I couldn’t follow the argument that U.S. foreign policy spurred Russia to attack. I called to try to understand how he has maintained his stance even as the Kremlin abducts children, tortures and kills Ukrainians and sends thousands of Russian troops to their deaths in human wave attacks.

    It’s one thing to warn of NATO expansion in peacetime, or to call for a negotiated settlement that leaves Ukrainian citizens safe from further aggression. It’s another to ignore one party’s atrocities and agitate for an outcome that would almost certainly leave millions of people at the mercy of a regime that has demonstrated callousness and cruelty.

    Given the scale of Russia’s brutality in Ukraine, I wanted to understand: How does one justify focusing one’s energies on stopping the efforts to bring it to a halt?

    Masters of war

    Cohen’s political awakening took place against the background of the Cold War and the political upheaval caused by Washington’s involvement in Vietnam.

    He was 11 during the Cuban missile crisis that brought the world to the brink of nuclear war. Part of the reason he enrolled in college was to avoid being drafted and sent to the jungle to fight the Viet Cong.

    When I asked how he first became interested in politics, he cited Bob Dylan’s 1963 protest song “Masters of War,” which takes aim at the political leaders and weapons makers who benefit from conflicts and culminates with the singer standing over their graves until he’s sure they’re dead.

    “That was kind of a revelation to me,” Cohen said. Behind him, the sun filtered past a cardboard Ben & Jerry’s sign propped against a window. “I hadn’t understood that, you know, there were these masters of war — essentially I guess what we would now call the military-industrial-congressional complex — that profit from war.”

    Cohen saw people from his high school get drafted and never come back from a war that “wasn’t justified.” As he graduated in the summer of 1969, around half a million U.S. troops were stationed in ‘Nam. Later that year, hundreds of thousands of protesters marched on Washington, D.C. to demand peace.

    It was only much later, while doing “a lot of research” into the “tradeoffs between military spending and spending for human needs,” that Cohen came across a 1953 speech by Dwight D. Eisenhower, which foreshadowed the U.S. president’s 1961 farewell address in which he coined the phrase “military-industrial complex.”

    A Republican president who had served as the supreme allied commander in Europe during World War II, Eisenhower warned against tumbling into an arms race. “Every gun that is made, every warship launched, every rocket fired signifies, in the final sense, a theft from those who hunger and are not fed, those who are cold and are not clothed,” he said.

    “That is a foundational thing for me, very inspiring for me, and captures the essence of what I believe,” Cohen said. 

    “If we weren’t wasting all of our money on preparing to kill people, we would actually be able to save and help a lot of people,” he added with a chuckle. “That goes for how we approach the world internationally as well,” he added — including the war in Ukraine. 

    Pierre Ferrari, a former Ben & Jerry’s board member who was with the company from 1997 to 2020, said Cohen’s view of the world was shaped by the events of his youth.

    “We were brought up at a time when the military, the government was just completely out of control,” he said. “We’re both children of the sixties, the Vietnam War and the new futility of war and the way war is used by the military-industrial complex and politics,” Ferrari added, pointing to the peace symbol he wore around his neck.

    Jeff Furman, who has known Cohen for nearly 50 years and once served as Ben & Jerry’s in-house legal counsel, acknowledged that his generation’s views on Ukraine were informed by America’s misadventures in Vietnam.

    “There’s a history of why this war is happening that’s a little bit more complex than who Putin is,” he said. “When you’ve been misled so many times in the past, you have to take this into consideration when you think about it, and really, really try to know what’s happening.”

    Ice-cold activism

    Politics has been a part of the Ben & Jerry’s brand since Cohen and his partner Jerry Greenfield started selling ice cream out of an abandoned gas station in 1978.

    The company’s look and ethos were pure 1960s; they named one of their early flavors, Cherry Garcia, after the lead guitarist of the Grateful Dead, Jerry Garcia, whose psychedelic riffs formed the soundtrack of the hippy counterculture.

    Social justice was one of the duo’s secret ingredients. For the first-year anniversary of the gas station shop’s opening, they gave away free ice cream for a day. On the flyers printed to promote the event was a quote from Cohen: “Business has a responsibility to give back to the community from which it draws its support.”

    In 1985, after the company went public, they used some of the shares to endow a foundation working for progressive social change and committed Ben & Jerry’s to spend 7.5 percent of its pretax profits on philanthropy.

    In the early years, the company instituted a five-to-one cap on the ratio between the salary of the highest-earning executive and its lowest-paid worker, dropping it only when Cohen was about to step down as CEO in the mid-1990s and they were struggling to find a successor willing to work for what they were offering.

    Most companies try to separate politics and business. Cohen and Greenfield cheerfully mixed them up and served them in a tub of creamy deliciousness (the company’s rich, fatty flavors were in part driven by Cohen’s sinus problems, which dulls his taste).

    In 1988, Cohen founded 1% for Peace, a nonprofit organization seeking to “redirect one percent of the national defense budget to fund peace-promoting activities and projects.” The project was funded in part through sales of a vanilla and dark-chocolate popsicle they called the Peace Pop.

    It was around this time that Cohen opened Ben & Jerry’s in Russia, as “an effort to build a bridge between Communism and capitalism with locally produced Cherry Garcia,” according to a write-up in the New York Times. After years of planning, the outlet opened in the northwestern city of Petrozavodsk in 1992. (The company shut the shop down five years later to prioritize growth in the U.S., and also because of the involvement of local mobsters, said Furman, who was involved in the project.)

    Cohen, with co-founder Jerry Greenfield, actress Jane Fonda and other climate activists, in front of the Capitol in 2019 | Tom Williams/CQ-Roll Call via Getty Images

    Even after Ben & Jerry’s was bought by Unilever in 2000, there were few progressive causes the company wasn’t eager to wade into with a campaign or a fancy new flavor.

    The ice cream maker has marketed “Rainforest Crunch” in defense of the Amazon forest, sold “Empower Mint” to combat voter suppression, promoted “Pecan Resist” in opposition to then-U.S. President Donald Trump and launched “Change the Whirled” in partnership with Colin Kaepernick, the American football quarterback whose sports career ended after he started taking a knee during the national anthem in protest of police brutality.

    More recently, however, the relationship between Cohen, Greenfield and Unilever has been rockier. In 2021, Ben & Jerry’s announced it would stop doing business in the Palestinian territories. Cohen and Greenfield, who are Jewish, defended the company’s decision in an op-ed in the New York Times.

    After the move sparked political backlash, Unilever transferred its license to a local producer, only to be sued by Ben & Jerry’s. In December 2022, Unilever announced in a one-sentence statement that its litigation with its subsidiary “has been resolved.” Ben & Jerry’s ice cream continues to be sold throughout Israel and the West Bank, according to a Unilever spokesperson.

    Cohen himself is no stranger to activism: Earlier this month, he was arrested and detained for a few hours for taking part in a sit-in in front of the U.S. Department of Justice, where he was protesting the prosecution of the activist and WikiLeaks publisher Julian Assange.

    Unilever declined to comment on Cohen’s views. “Ben Cohen no longer has an operational role in Ben & Jerry’s, and his comments are made in a personal capacity,” a spokesperson said.

    Ben & Jerry’s did not respond to a request for comment.

    The world according to Ben

    For Cohen, the war in Ukraine wasn’t just a tragedy. It was, in a sense, a vindication. In 1998, a group he created called Business Leaders for Sensible Priorities published a full-page ad in the New York Times titled “Hey, let’s scare the Russians.”

    The target of the ad was a proposal to expand NATO “toward Russia’s very borders,” with the inclusion of Hungary, Poland and the Czech Republic. Doing so, the ad asserted, would provide Russians with “the same feeling of peace and security Americans would have if Russia were in a military alliance with Canada and Mexico, armed to the teeth.”

    Cohen is by no means alone in this view of recent history. The American scholar John Mearsheimer, a prominent expert in international relations, has argued that the “trouble over Ukraine” started after the 2008 NATO summit in Bucharest when the alliance opened the door to membership for Ukraine and Georgia.

    In the U.S., this point has been echoed by progressive outlets and thinkers, such as Jeffrey Sachs, the linguist Noam Chomsky, or most recently by the American philosopher, activist and longest-of-long-shots, third-party presidential candidate Cornel West.

    “We told them after they disbanded the Warsaw Pact that we could not expand NATO, not one inch. And we did that, we lied,” said Dennis Fritz, a retired U.S. Air Force official and the head of the Eisenhower Media Network — which describes itself as a group of “National Security Veteran experts, who’ve been there, done that and have an independent, alternative story to tell.” 

    It was Fritz’s organization that argued in a May 2023 ad in the New York Times that although the “immediate cause” of the “disastrous” war in Ukraine was Russia’s invasion, “the plans and actions to expand NATO to Russia’s borders served to provoke Russian fears.” 

    The ad noted that American foreign policy heavyweights, including Robert Gates and Henry Kissinger, had warned of the dangers of NATO expansion. “Why did the U.S. persist in expanding NATO despite such warnings?” it asked. “Profit from weapons sales was a major factor.”

    Cohen and Greenfield announce a new flavor, Justice Remix’d, in 2019 | Win McNamee/Getty Images

    When I spoke to Cohen, the group’s primary donor, according to Fritz, he echoed the ad’s key points, saying U.S. arms manufacturers saw NATO’s expansion as a “financial bonanza.”

    “In the end, money won,” he said with a resigned tone. “And today, not only are they providing weapons to all the new NATO countries, but they’re providing weapons to Ukraine.”

    I told Cohen I could understand his opposition to the war and follow his critique of U.S. foreign policy, but I couldn’t grasp how he could take a position that put him in the same corner as a government that is bombing civilians. He refused to be drawn in.

    “I’m not supporting Russia, I’m not supporting Ukraine,” he said. “I’m supporting negotiations to end the war instead of providing more weapons to continue the war.” 

    The Grayzone

    I tried to get a better answer when I spoke to Aaron Maté, the Canadian-born journalist who won the award for “defense reporting and analysis” that Cohen was instrumental in funding.

    Named after the late Pierre Sprey, a defense analyst who campaigned against the development of F-35 fighter jets as overly complex and expensive, the award recognized Maté’s “continued work dissecting establishment propaganda on issues such as Russian interference in U.S. politics, or the war in Syria.”

    Maté, who was photographed with Cohen’s arm around his shoulders at the awards ceremony in March, writes for the Grayzone, a far-left website that has acquired a reputation for publishing stories backing the narratives of authoritarian regimes like Putin’s Russia or Bashar al-Assad’s Syria. His reports deny the use of chemical weapons against civilians in Syria, and he has briefed the U.N. Security Council at Moscow’s invitation.

    When I spoke to Maté, he was friendly but guarded. (The Pierre Sprey award noted that “his empiricist reporting give the lie to the charge of ‘disinformation’ routinely leveled by those whose nostrums he challenges.”)

    He was happy however to walk me through his claims that, based on statements by U.S. officials since the start of the war, Washington is using Kyiv to wage a “proxy war” against Moscow. Much of his information, he said, came from Western journalism. “I point out examples where, buried at the bottom of articles, sometimes the truth is admitted,” he explained.

    He declined to be described as pro-Putin. “That kind of ‘guilt-by-association’ reasoning is not serious thinking,” he said. “It’s not how adults think about things.” When I asked if he believed that Russia had committed war crimes in Ukraine, he answered: “I’m sure they have. I’ve never heard of a war where war crimes are not committed.”

    Still, he said, the U.S. was responsible for “prolonging” the war and “sabotaging the diplomacy that could have ended it.”

    ‘Come to Ukraine’

    The best answer I got to my question came not from Cohen or others in his circle but from a fellow traveler who hasn’t chosen to follow critics of NATO on their latest journey.

    A self-described “radical anti-imperialist,” Gilbert Achcar is a professor of development studies and international relations at SOAS University of London. He has described the expansion of NATO in the 1990s as a decision that “laid the ground for a new cold war” pitting the West against Russia and China.

    But while he sees the war in Ukraine as the latest chapter in this showdown, he has warned against calls for a rush to the negotiating table. Instead, he has advocated for the complete withdrawal of Russia from Ukraine and “the delivery of defensive weapons to the victims of aggression with no strings attached.”

    “To give those who are fighting a just war the means to fight against a much more powerful aggressor is an elementary internationalist duty,” he wrote three days after Russia launched its attack on Kyiv, comparing the invasion to the U.S.’s intervention in Vietnam. 

    Achcar said he understood the conclusions being drawn by people like Cohen about Washington’s interventions in Vietnam, Iraq and Afghanistan. But, he said, “it leads a lot of people on the left into … [a] knee-jerk opposition to anything the United States does.” 

    What they fail to account for, however, is the Ukrainian people.

    “In a way, part of the Western left is ethnocentric,” said Achcar, who was born in Senegal and grew up in Lebanon. “They look at the whole world just by their opposition to their own government and therefore forget about other people’s rights.”

    Cohen, with late-night TV host Jimmy Fallon in 2011 | Mike Coppola/Getty Images for Ben & Jerry’s

    His point was echoed in the last conversation I had when researching this article, with Tymofiy Mylovanov, president of the Kyiv School of Economics and a former economy minister.

    It doesn’t really matter who promised what to whom in the 1990s,Mylovanov said. “What matters is that there was Mariupol and Bucha, where tens of thousands of people were killed.”

    Mylovanov taught economics at the University of Pittsburgh until he returned to Ukraine four days before Putin’s full-scale invasion of Ukraine.

    “Things like war are difficult to understand unless you experience them,” he said. “This is very easy to get confused when you are sitting, you know, somewhere far from the facts and you have surrounded yourself by an echo chamber of people and sources that you agree with.”

    “In that sense,” he added. “I invite these people to come to Ukraine and judge for themselves what the truth is.”

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    Nicolas Camut

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  • Obama Reveals His NCAA Tournament Bracket Winner Is ‘Song Of Solomon’ By Toni Morrison

    Obama Reveals His NCAA Tournament Bracket Winner Is ‘Song Of Solomon’ By Toni Morrison

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    WASHINGTON—In a social media post sharing his predictions, former President Barack Obama revealed Friday that the winner he had picked for his NCAA basketball tournament bracket was Song Of Solomon by Toni Morrison. “March Madness is here, and this season, my money’s on Song Of Solomon—though I’m certainly keeping my eye on Emily The Criminal and the musical stylings of singer-songwriter Maggie Rogers,” said Obama, whose selections for the Final Four also included the Hulu miniseries Mrs. America, Beyoncé’s Renaissance, and Bob Dylan’s entire songwriting catalog. “Song Of Solomon is an underdog, that’s for sure, but with a National Book Critics Circle Award under its belt, this may be its year. I’m predicting it crushes Nomadland in the second round, easy, but it will still need to get past Jason Isbell if he makes it to the Sweet Sixteen again. As for the women’s tournament, I’m rooting for the National Park System.” At press time, Song of Solomon had been knocked out of the tournament by Gonzaga.

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  • Ian Tyson, half of Ian & Sylvia folk duo, dies at age 89

    Ian Tyson, half of Ian & Sylvia folk duo, dies at age 89

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    TORONTO — Ian Tyson, the Canadian folk singer who wrote the modern standard “Four Strong Winds” as one half of Ian & Sylvia and helped influence such future superstars as Joni Mitchell and Neil Young, died Thursday at age 89.

    The native of Victoria, British Columbia, died at his ranch in southern Alberta following a series of health complications, his manager, Paul Mascioli, said.

    Tyson was a part of the influential folk movement in Toronto with his first wife, Sylvia Tyson. But he was also seen as a throwback to more rustic times and devoted much of his life to living on his ranch and pursuing songs about the cowboy life.

    “He put a lot of time and energy into his songwriting and felt his material very strongly, especially the whole cowboy lifestyle,″ Sylvia Tyson said of her former husband.

    He was best known for the troubadour’s lament “Four Strong Winds” and its classic refrain about the life of a wanderer: “If the good times are all gone/Then I’m bound for movin’ on/I’ll look for you if I’m ever back this way.”

    Bob Dylan, Waylon Jennings and Judy Collins were among the many performers who covered the song. Young included “Four Strong Winds” on his acclaimed “Comes a Time” album, released in 1978, and two years earlier performed the song at “The Last Waltz” concert staged by the Band to mark its farewell to live shows.

    Tyson was born Sept. 25, 1933, to parents who emigrated from England. He attended private school and learned to play polo, then he discovered the rodeo.

    After graduating from the Vancouver School of Art in 1958, he hitchhiked to Toronto. He was swept up in the city’s burgeoning folk movement, where Canadians including Young, Mitchell and Gordon Lightfoot played in hippie coffee houses in the bohemian Yorkville neighborhood.

    Tyson soon met Sylvia Fricker and they began a relationship — onstage and off, moving to New York. Their debut album, “Ian & Sylvia,” in 1962 was a collection of mostly traditional songs. Their second album, 1964′s “Four Strong Winds,″ was the duo’s breakthrough, thanks in large part to its title track, one of the record’s only original compositions.

    Married in 1964, the pair continued releasing new records with regularity. But as the popularity of folk waned, they moved to Nashville and began integrating country and rock into their music. In 1969, the Tysons formed the country-rock band Great Speckled Bird, which appeared with Janis Joplin, the Band and the Grateful Dead among others on the “Festival Express” tour across Canada in 1970, later the basis for a documentary released in 2004.

    They had a child, Clay, in 1968 but the couple grew apart as their career began to stall in the ’70s. They divorced in 1975.

    Tyson moved back to western Canada and returned to ranch life, training horses and cowboying in Pincher Creek, Alberta, 135 miles south of Calgary. These experiences increasingly filtered through his songwriting, particularly on 1983′s “Old Corrals and Sagebrush.″

    In 1987, Tyson won a Juno Award for country male vocalist of the year and five years later he was inducted into the Canadian Music Hall of Fame alongside Sylvia Tyson. He was inducted into the Canadian Songwriters Hall of Fame in 2019.

    Despite damage to his voice resulting from a heart attack and surgery in 2015, Tyson continued to perform live concerts. But the heart problems returned and forced Tyson to cancel appearances in 2018.

    He continued to play his guitar at home, though. “I think that’s the key to my hanging in there because you’ve gotta use it or lose it,″ he said in 2019.

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  • $599 limited editions of Bob Dylan’s new book were “guaranteed to be personally hand-signed.” They weren’t.

    $599 limited editions of Bob Dylan’s new book were “guaranteed to be personally hand-signed.” They weren’t.

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    For about $600, people could buy limited editions of Bob Dylan’s new book, “The Philosophy of Modern Song,” with the promise of the book being hand-signed by the famed musician himself. Now, the book and its publisher are under fire as buyers revealed that the supposed hand signature was actually a replica. 

    screen-shot-2022-11-23-at-8-38-33-am.png
    Publisher Simon & Schuster offered a $599 version of Bob Dylan’s new book “guaranteed” to include his handwritten signature. 

    Simon & Schuster/Wayback Machine


    A now-erased webpage for Simon & Schuster, the book’s publisher, offers an “exclusive edition” of the book “guaranteed to be personally hand-signed by Bob Dylan.” The listing price for the book was $599, final sale, with no returns accepted. Meanwhile, the unsigned copy of the book is listed by the publisher for $45.

    Simon & Schuster is a division of Paramount Global, as is CBS News.

    The book even came with a letter from the publisher’s president and CEO, Jonathan Karp, dated November 15, that further guarantees the signature’s authenticity. 

    “You hold in your hands something very special, one of just 900 copies available in the US of The Philosophy of Modern Song signed by Bob Dylan. This is Bob’s first book of new writing since Chronicles, Volume One, published in 2004, and since winning the Nobel Prize in literature in 2016,” the letter states, ending with a simple promise, “This letter is confirmation that the copy of the book you hold has been hand-signed by Bob Dylan.”

    But when buyers of these limited editions got their copies, they were shocked to find that the signature was not hand-signed. It was a computer-printed replica.

    The revelations of the replica signature emerged a month ago, before many people received their books. One YouTuber popular for promoting fan mail and autograph collecting posted a video on October 21 that showed a signed copy of the book that someone had acquired through Canadian bookseller Indigo. 

    “It was painfully clear that it was never signed by Bob,” the YouTuber says, saying it was clearly made by a machine for a number of reasons. “…It just doesn’t look like Bob’s signature. Secondly, the lines are 100% uniform and have distinctive starting and stopping points.” 

    And finally, he said, “at 81 years old, you would expect to see some shake in his signature.”

    “If you ordered a copy, now’s your time to cancel,” he warned. 

    One person who purchased the book said on Reddit that it looks like it had been signed with an “auto-pen,” a machine that reproduces someone’s signature. 

    “Definitely NOT a real signature,” another person tweeted this week after getting their copy of the book. “I have 3 actual Bob autos that look nothing like this. Anyway, glad I’m getting my money back. The letter is a complete joke.”

    Simon & Schuster publicly addressed the situation on Sunday, issuing an apology to those who purchased the supposedly hand-signed book. 

    “As it turns out, the limited edition books do contain Bob’s original signature, but in penned replica form,” the statement says. “We are addressing this immediately by providing each purchaser with an immediate refund.” 

    Dylan has not publicly commented on the signature snafu. 

    The book was originally announced in March for a November 8 publication. It’s the legendary singer and songwriter’s first book of new writing since his 2004 book “Chronicles, Volume One.” In it are more than 60 of Dylan’s essays about music and songs, in which he breaks down their rhymes and syllables and shows how genres are intertwined – even bluegrass and heavy metal.  

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