Pop Menagerie

50. Linda Linda Linda (2005, directed by Nobuhiro Yamashita, country of origin: Japan)

High school girls recruit the Korean exchange student (Doona Bae, of Cloud Atlas and Sympathy for Mr. Vengeance) to join their rock band a few days before the school talent show. This is just a feel good film, recommended if you enjoyed the likes of Sing Street, We Are The Best!, and The Runaways. Unfortunately, it’s out of print in physical form; but last I checked someone had uploaded it to YouTube so you might want to get on that before it’s removed. You can watch the trailer here.

49. The Blue Dahlia (1946, directed by George Marshall, country of origin: US)

This film noir stars Veronica Lake and Alan Ladd, and like any good noir, it deals with dark subjects including murder, blackmail, political corruption, and PTSD. It’s been on my watchlist for a long time, and thanks to Noir City Chicago, I got to see it on the big screen at the Music Box Theatre. For small screen viewing, you can catch up with it via rental on Vudu, Amazon, iTunes... the usual suspects. 

48. Siren of the Tropics (1927, directed by Mario Nalpas and Henri Etievant, country of origin: France)

My dearly departed Filmstruck had a spotlight on the films of Josephine Baker, and this was among them. I fell in love instantly with the lively, beautiful Baker, here playing a woman named Papitou who deals with some super scummy dudes but manages to be herself in the face of all that nonsense. Silent films can sometimes be tougher to engage with for modern audiences, but this one flies by and contains some unexpectedly racy sequences for the time. Its racial politics don’t meet today’s cultural standards, but considering Baker’s parents were former slaves and their daughter went on to become the first woman of color to star in a major motion picture, this is still a landmark film worthy of our consideration. She broke down many barriers and contributed a great deal to both the entertainment world and the Civil Rights movement, and this serves as a nice entry point into her career. It’s available on DVD through Kino Lorber, and hopefully one day soon it’ll pop up on another streaming service that carries on the Filmstruck legacy.

47. I Don’t Feel At Home in This World Anymore (2017, directed by Macon Blair, country of origin: US)

Here’s a film that goes to some unexpected places. I had no idea what to expect from Macon Blair, who frequently appears in the movies of Jeremy Saulnier; but in his debut feature for Netflix, he pulled out all the stops. Hilarious, violent, and intense, with memorable performances from stars Melanie Lynskey and Elijah Wood, this is a movie about getting in over your head and just going for it anyway. I don’t want to tell you about the plot because it’s best discovered through watching--just go to your nearest device and add it to your Netflix queue. 

46. Song of the Sea (2014, directed by Tomm Moore, country of origin: Ireland)

Absolutely gorgeous animation from the team that previously brought us The Secret of Kells, and a touching story that combines family and mythology. I adored this one. Watch it on Netflix or rent on the usual streaming sources--for a preview, click here. 

45. Yankee Doodle Dandy (1942, directed by Michael Curtiz, country of origin: US)

I always watch Independence Day on the Fourth of July; but in 2018, I decided to mix it up and cross this patriotic musical off the watchlist. I’d seen James Cagney’s gangster movies like White Heat and The Public Enemy, but seeing him sing and dance was a whole new joyous discovery. This movie is entertaining, funny, touching, and full of iconic sequences that other films would go on to borrow from. I absolutely loved it. Pretty sure I saw this on Filmstruck originally, but since that’s no longer possible you should be able to find it at your local public library or you can rent it for a couple bucks on Amazon, YouTube, iTunes, and the like. 

44. The Man Who Cheated Himself (1950, directed by Felix Feist, country of origin: US)

This tightly wound noir thriller pits brother against brother against the backdrop of 1950s San Francisco. Lee Cobb plays an aging bachelor and an accomplished police detective who falls for the wrong dame. His younger brother, played by John Dall (Gun Crazy, Rope), has just joined the police force and idolizes his older brother. Trouble strikes when the dame murders her no good husband and needs help from Cobb to cover it up. Naturally, Dall gets assigned to the case and as he begins to piece together the clues, he doesn’t like where they’re leading him. The climactic sequence is one of my favorite endings to a noir film, and I’ve seen a lot of them. Watch it for free if you have Amazon Prime; otherwise, there are a few versions uploaded to YouTube of varying quality or you could wait for it to pop up on TCM. 

43. Los Angeles Plays Itself (2003, directed by Thom Andersen, country of origin: US)

This documentary edits together clips from movies of every era that were filmed or set in Los Angeles, and explains through voiceover narration the significance of each location and the history of the motion pictures in LA. That’s it--very simple concept but also fascinating. I split this up over a couple nights because it’s pretty long, but if you’re a film fan or a Los Angeles native, this is well worth your time. The voiceover is kind of hilariously flat in its delivery--kind of a Steven Wright sound actually--but that sort of adds to the charm for me. Get a taste by watching the trailer, and then you can rent it on YouTube for $1.99.

42. A Simple Plan (1998, directed by Sam Raimi, country of origin: US)

It’s been almost two years since we lost Bill Paxton; I don’t know about you but I don’t think any other actor can really fill those shoes. This year I caught up with three films that showcased his talent: A Simple Plan, One False Move, and Frailty. He plays very different characters in each one but in many ways they all start off with a similar premise: Ordinary guy dreams of becoming more. What that “more” is for each character is what sets each film and performance apart, but Paxton provided a great canvas to paint these unique characters onto. He inhabited the ordinary man better than just about anyone. 

In this film, which I watched during Noirvember, Paxton plays Hank, a college-educated guy working a blue collar job in a small town, trying to make a better life for himself and his family. He’d like to get away from those small town roots, but his socially awkward brother Jacob (Billy Bob Thornton) relies on him. Unfortunately, Jacob is often accompanied by the hard-drinking loose canon Lou (Brent Briscoe). When the unlikely trio discover a crashed plane in the woods containing a suitcase full of cash, they each have ideas for how to handle the situation. Of course things escalate from there, and the way the movie explores human nature and family ties set this story apart. Available for online rental on the usual platforms.

41. The Iron Giant (1999, directed by Brad Bird, country of origin: US)

Given my obsession with Vin Diesel in the early 2000s, it’s pretty shocking I never saw this movie til now--sure, he and his glorious muscles don’t appear on screen, but he does provide the voice of the title character after all. When the Iron Giant made a controversial cameo in this year’s film adaptation of Ready Player One, I decided it was time I saw the source material for myself. 

This gorgeously animated fable unfolds during the Cold War era, and features an ET-inspired story arc of a young boy befriending an unlikely being that the government is looking for. If you’ve never seen it, this is definitely a must-watch. Currently available on Netflix, but rentable on other platforms too.

40. The Unsuspected (1947, directed by Michael Curtiz, country of origin: US)

I adore Claude Rains, star of this film and supporting actor in Curtiz’s more famous work, Casablanca. Here, he plays the host and narrator of a popular radio show that revolves around tales of murder--basically the Law and Order: SVU of its day. We learn early on that he sometimes draws inspiration for his broadcasts from real life criminals. When people in his own life start dropping dead, the plot thickens and he finds himself at the center of the action. A very suspenseful and well-plotted film noir, which is available from the Warner Archive collection on DVD. I got to see it at Noir City Chicago, and loved every second of it. 

Record of the Year Childish Gambino – Redbone (my fave) Luis Fonsi & Daddy Yankee feat. Justin Bieber – Despacito (runner up) Jay-Z – The Story of OJ Kendrick Lamar – Humble (Will Win) Bruno Mars – 24k Magic My favorite thing about this category is that every single contender comes from a person of color. My least favorite thing about this category is that none of these are women. That being said, it’s a solid list. My personal favorite is the most unexpected entry, Childish Gambino for Redbone. Donald Glover has been lowkey taking over the pop culture landscape between his standup, his music, and his TV show Atlanta. He’s come a long way from Troy and Abed in the Morning on Community, and I’m happy for the guy. My money here is on Kendrick, because he’s got a ton of nominations elsewhere and I think the momentum is pretty unstoppable. If anyone CAN stop the Kendrick, it’s Despacito, aka the most inescapable song of the year. And frankly, haters gonna hate but that would be ok with me. It’s a fun song and had an unlikely rise to the top of the heap, so if it wins, I get it. 

Album of the Year Childish Gambino – Awaken, My Love! (Possible Upset) Jay-Z – 4:44 Kendrick Lamar – Damn. (Will Win/Should Win) Lorde – Melodrama Bruno Mars – 24k Magic Another solid category, and I’m glad to see the Grammys have finally realized hip hop is here to stay. No old fogey revival acts to be seen here. I’m iffy on the inclusion of Lorde, even though I know people love that album. For me, it was just ok. Nonetheless, my vote goes to Kendrick for both who deserves this and who will ultimately get it. Critical consensus called it the Album of the Year, and it was beloved by fans too. The only upset I could foresee is Childish Gambino, since that album got a lot of unexpected nominations in other categories so I don’t wanna discount the voters who dug its old school sounds. 

Song of the Year Luis Fonsi, Daddy Yankee, Justin Bieber - Despacito Jay-Z - 4:44 (Should win) Julia Michaels - Issues Logic feat. Alessia Cara & Khalid - 1-800-273-8255 (Will win) Bruno Mars - That’s What I Like  (runner up) Interesting lineup here--biggest surprise is Best New Artist nominee Julia Michaels, but I’m happy for her and that is a great song. I predict the suicide prevention anthem will win--hard to vote against a cause like that. And it’s a genuinely good song, even if I like others better. My personal fave in this category is Jay-Z’s confessional comeback 4:44, which cuts right to the bone. Bruno Mars could sneak in here with his playful sugar daddy anthem, but that song is less message-y than the rest and therefore and at a disadvantage. 

Best New Artist Alessia Cara Khalid (should win) Lil Uzi Vert Julia Michaels SZA (will win/also should win--don’t make me choose!)  This category is stacked. I can’t make up my mind who will win, but right now I’m leaning toward SZA. She’s nominated for a total of five Grammys this year, which makes me feel like the wind is blowing in her direction. I’ve been a fan of hers since the days she was collaborating with Rihanna, so that would make me really happy. Then again, I adore Khalid and would love to see him take home some Grammy gold. Julia Michaels is an awesome songwriter and it’s nice to see her getting recognition for her performance abilities also. 

Best Pop Solo Performance Kelly Clarkson – Love So Soft Kesha – Praying (should win) Lady Gaga – Million Reasons P!nk – What About Us Ed Sheeran – Shape of You (will win) I really really want Kesha to win this one. She came back in a huge way, after all the crap she went through with Dr. Luke. This song is fire. In light of the #MeToo and Time’s Up movements, I feel like this song captures the cultural moment really well from an important voice who lived it. So basically, I’m gonna be pissed if they give this award to the sole male on the list, Eddy Shears. I mean dude’s gonna be fine, he just got engaged, he was on Game of Thrones, he’s probs gonna get to go to a Royal Wedding this year. Give it to Kesha! 

Best Pop/Duo Performance Coldplay/Chainsmokers – Something Just Like This (puke) Luis Fonsi & Daddy Yankee feat. Justin Bieber – Despacito (should win/will win) Imagine Dragons – Thunder Portugal the Man – Feel It Still (runner up) Zedd & Alessia Cara – Stay First of all, my hatred of Chainsmokers is well documented. They sound like melting fart popsicles. I’m sad Chris Martin has hitched his train to their wagon, but it is just a bad combo. I want Despacito to get this award and I think it will. I’d also be happy to see Portugal the Man sneak in there, because damn if that song does not get stuck in my head for days on end. The other two I’m ambivalent... they were on the radio alot but that doesn’t make them worthy. 

Best Pop Vocal Album Coldplay – Kaleidoscope EP Lana Del Rey – Lust for Life Imagine Dragons – Evolve Kesha – Rainbow (should win) Ed Sheeran – Divide (will win) See also, my statements in the Pop Solo Performance category. But I will say it’s cool seeing Lana Del Rey here--everyone thought she was gonna be a flash in the pan but she has proved she has real staying power. Lust for Life might be her best work yet, so if she somehow managed to get this award I wouldn’t totally meltdown. But I would still meltdown a little because this belongs to Kesha and all ya’ll need to back the eff down and give her what she deserves.

Best Dance Recording Bonobo feat. Innov Gnawa – Bambro Koyo Ganda (should win) Camphelphat & Elderbrook – Cola Gorillaz feat. DRAM – Andromeda LCD Soundsystem – Tonite (will win) Odesza feat. Wynne & Mansionair – Line of Sight (runner up) Thank god/Bowie that my hated Chainsmokers aren’t in this list. I’m still recovering from their win last year. This is actually a really fun, varied lineup of songs. I’m not sure Gorillaz and LCD Soundsystem are getting played at actual dance clubs but they are electronic based artists so I’ll allow it. With LCD coming back this year after their hiatus and supposed breakup, I do think they are the odds-on favorite to win. But I would prefer to see Bonobo get this prize. 

Best Dance/Electronic Album Bonobo – Migration (should win) Kraftwerk – 3-D the Catalogue Mura Masa – Self-titled Odesza – A Moment Apart Sylvan Esso – What Now (will win) Another great list, and one in which I support all of the nominees. However, I feel like Kraftwerk, godfathers of electronica that they are, should be exempt from this because the album in question is actually an 8-CD set of live recordings from 2012-2016. The songs are not new. It’s a cool relic for collectors but to me this category should be honoring new musical creations. I would love to see Bonobo take home the prize; but I think Sylvan Esso has won more raves and gotten more mainstream attention. Therefore my money’s on them.

Best Rock Performance Leonard Cohen – You Want It Darker (should win) Chris Cornell – The Promise (will win) Foo Fighters – Run Kaleo – No Good Nothing More – Go To War This category is fairly weak (sorry, it’s true). In fact, the only song I genuinely love here is the Leonard Cohen track. The others sound pretty generic to me. I think this comes down to a battle of the posthumous honors, and since Cornell’s passing was more unexpected and tragic compared to a man who lived into his 80s, I think Cornell will pick up the prize. 

Best Metal Performance August Burns Red – Invisible Enemy (should win) Body Count – Black Hoodie Code Orange – Forever Mastodon – Sultan’s Curse (will win) Meshuggah – Clockworks I’ll be honest, I’m never sure where the Grammy voters will come down in this category. My personal fave is August Burns Red, but Mastodon has a wide appeal and good name recognition. I think their album was the weakest they’ve put out even though I’m normally a huge fan. Any of the others could take it, though. This is an unpredictable one.

Best Rock Album Mastodon – Emperor of Sand Metallica – Hardwired… to Self-Destruct (will win) Nothing More – The Stories We Tell Ourselves Queens of the Stone Age – Villains The War on Drugs – A Deeper Understanding (should win) This category has an eclectic mix of hard rock and dad rock. Metallica released their first album in a while and it was actually decent, so I think that will win. But The War on Drugs really came into their own on this album, and won over a lot of new fans. So I would kind of like to see them pick up Grammy gold. I’d be fine with QUOTSA getting this one too, although this album was nowhere near as incredible as Like Clockwork.

Best R&B Performance Daniel Caesar feat. Kali Uchis – Get You (my runner up) Kehlani – Distraction Ledisi – High Bruno Mars – That’s What I Like (will win) SZA – The Weekend (should win) I gotta throw love to my girl SZA, but I think Bruno Mars will take this one given that it’s also nominated for Song of the Year. Don’t sleep on Daniel Caesar though--that song is a gorgeous tribute to unexpected love.

Best R&B Song PJ Morton – First Began Khalid – Location Childish Gambino – Redbone (will win/should win) SZA – Supermodel Bruno Mars – That’s What I Like Another tight race, and I adore 4/5 of these songs. But since Redbone is also up for Record of the Year, you best believe it’s winning in this category. If Khalid, SZA, or Bruno pull off an upset though, I won’t cry.

Best Urban Contemporary Album 6lack – Free 6lack Childish Gambino – “Awaken, My Love!” (will win/should win) Khalid – American Teen (should win) SZA – CTRL (should win) The Weeknd – Starboy You see my struggle!? I mean. Childish will win this, because again, all the bigger award nominations for this album. But Khalid and SZA released all time great albums and I cannot choose which I like better. Any other year, I’d probably be throwing Starboy in there too. I mean shit. This is just a good year for “urban contemporary,” whatever that actually means.

Best Rap Performance Big Sean – Bounce Back Cardi B – Bodak Yellow (but like, wouldn’t it be cool if this won?!) Jay-Z – 4:44 Kendrick Lamar – Humble (will win) Migos feat. Lil uzi Vert – Bad and Boujee (won’t happen but it would rule if this won) Look at Jay-Z as the elder statesman! I can’t believe I’m not predicting he’ll win this, but Kendrick’s got it without a doubt. I actually would love to see someone else get this prize since Kendrick’s likely to get the bigger awards, which is why if Bad and Boujee or Bodak Yellow picked up some metal it would be pretty rad. 

Best Rap/Sung Performance 6lack – Prblms Goldilink feat. Brent Faiyaz & Sky Glizzy – Crew Jay-Z feat. Beyonce – Family Feud (will win) Kendrick Lamar feat. Rihanna – Loyalty (should win) SZA feat. Travis Scott – Love Galore  I think this is Jay-Z and Beyonce’s to lose. They put themselves out there, they have this very compelling story, and people like them. This is a pretty good song. Is it as good as Loyalty or Love Galore? Well... maybe not. But SZA and Kendrick have a pretty good shot at other categories, so I’m not too concerned. 

Best Rap Song Cardi B – Bodak Yellow (would be awesome to see this win) Danger Mouse feat. Run the Jewels & Big Boi – Chase Me Kendrick Lamar – Humble (will win) Rapsody – Sassy  Jay-Z – The Story of OJ (runner up) First off, how cool that Rapsody got in this list! She’s badass and I hope her star continues to rise. Second, I’m happy to see two women in this category. That’s better than Rock Song... you go girls. I’d love to see Cardi take this one, but I think Kendrick’s got it and that’s honestly fine. Jay-Z could potentially pull off an upset here but I don’t think he will.

Best Rap Album Jay-Z – 4:44 Kendrick Lamar – Damn (will win/should win) Migos – Culture Rapsody – Laila’s Wisdom Tyler, the Creator – Flower Boy Thing I’m mad about: No love for Tribe Called Quest’s Thank You For Your Service. I mean for real. That album was incredible. I am super sad it’s not on this list. Sorry Migos fans, but I’d take Quest over ya boys. Then again, it seems like the baton is being passed a little bit here. We’ve got Rapsody, which is cool; we’ve got Tyler, which is unexpected and cool; and then the big names of the last few years with Migos, Kendrick, and of course godfather Jay-Z. Kendrick’s the obvious choice here. 

Best Country Solo Performance Sam Hunt – Body Like a Back Road (should win) Alison Krauss – Losing You Miranda Lambert – Tin Man (will win) Maren Morris – I Could Use a Love Song Chris Stapleton – Either Way (runner up) I’ll admit I don’t have a lot of expertise in country so I’m going with my gut on this one. My fave on this list is Sam Hunt, but I think Miranda has more fans. Chris Stapleton has gotten a ton of Grammy love in the past and may continue to do so. 

Best Country Duo/Group Performance Brothers Osborne – It Ain’t My Fault (should win) Zac Brown Band – My Old Man Lady Antebellum – You Look Good Little Big Town – Better Man (will win) Midland – Drinkin’ Problem I’m picking the one that made me tap my foot the most. But Grammy voters have shown love to Little Big Town and that song was written by none other than Taylor Swift, so it’s hard to argue against those odds.

Best Country Song Little Big Town – Better Man (will win) Sam Hunt – Body Like a Back Road (should win) Chris Stapleton – Broken Halos (runner up) Midland – Drinkin’ Problem Miranda Lambert – Tin Man Again, I think voters will see Taylor Swift’s name and their eyes will cross and they will have an out of body experience and they will just watch themselves casting a vote for the crossover queen. But I’d prefer to see Sam Hunt get the prize. 

Best New Age Album Brian Eno – Reflection (will win) India.Arie – Songversation: Medicine Peter Kater – Dancing on Water Kitaro – Sacred Journey of Ku-Kai, Volume 5 Steve Roach – Spiral Revelation (should win) This is a pretty good list, although I have a hard time thinking of India.Arie as a new age artist. The album did have some ecumenical spirituality and Eastern instrumentation but I wouldn’t play it to meditate or anything. Steve Roach is a prolific composer and performer in this genre, and he’s well respected within the community of ambient and new age musicians. This album is one of his best and one of the year’s best as well, in any category. However, Brian Eno has the name recognition and has worked with everyone including many of the voters. So I think he will win even though this album isn’t on the same level as some of his past groundbreaking work. 

Best American Roots Performance Alabama Shakes – Killer Diller Blues (should win) Blind Boys of Alabama – Let My Mother Live Glen Campbell – Arkansas Farmboy (will win) Leonard Cohen – Steer Your Way Alison Krauss – I Never Cared For You “Hey wait, isn’t Leonard Cohen nominated for best Rock Performance?” I hear you asking. Why yes, yes he is. “And didn’t Alabama Shakes get Grammys in both Alternative Album and Rock Performance in the past?” Why yes, they certainly did. “And isn’t Alison Krauss up for a country award also?” Oh, you bet she is. To be honest, this category is filled with silliness as are many others. But I am betting on Glen Campbell, since he is no longer with us. I love the Alabama Shakes song. I don’t know whether it’s “American Roots” or just awesome, but it deserves some love. 

Best American Roots Song Dave Rawlings – Cumberland Gap The Mavericks – I Wish You Well Jason Isbell and the 400 Unit – If We Were Vampires (should win/will win) Rodney Crowell feat. Rosanne Cash & John Paul White – It Ain’t Over Yet Gregg Allman – My Only True Friend I’m only putting this category here so I can talk about how great the Jason Isbell song is. It makes me cry, I adore his music, and he and Amanda Shires are total #relationshipgoals for me. So I think he’ll win, and I hope he does, and I am sorry if anyone disagrees.

Best Americana Album Gregg Allman – Southern Blood Brent Cobb – Shine On Rainy Day Iron & Wine – Beast Epic Jason Isbell and the 400 Unit – Nashville Sound (should win/will win) The Mavericks – Brand New Day See everything I wrote above. Also, hey, Iron & Wine are still around. 

Producer of the Year, Non-Classical Calvin Harris Greg Kurstin (will win/should win) Blake Mills No ID (runner up) The Stereotypes Greg Kurstin produced Kendrick, Beck, Foo Fighters, Liam Gallagher, Sia, Zayn, Halsey... I mean dude’s got a resume. And he’s clearly able to work across genres and bring out the best in the artists he’s collaborating with. I think he’ll get his due. If anyone could steal, it’s No ID, who produced Jay-Z’s album and also worked with Logic, Black Thought, Chuck D, and Vic Mensa. 

Best Picture I have to caveat that I have not yet seen The Post or Darkest Hour; the rest of the nominees I have seen and either like or love. My personal fave here is Get Out; closely followed by Call Me By Your Name and Lady Bird. Those are my top three movies of the year. My personal list for best picture would also include:

The Big Sick Colossal The Florida Project Good Time Logan Lucky Wonder Woman

I realize that some of these have not even been in the awards conversation, but those were my favorite films of 2017. In particular, I’m really sad that with ten possible slots, the Oscar voters didn’t find room in their hearts for Wonder Woman here. It received both positive critical acclaim and major box office love. I personally found it incredibly moving and inspiring, to an extent I can’t say I have ever felt about another superhero movie. In a year where Hollywood is trying to right many of the wrongs women have experienced, Diana is this amazing symbol of female power and goodwill. I know the movie itself is not perfect--the ending in particular faltered a bit for me--but a movie with a female director and star that did well with audiences worldwide... seems like a no-brainer. Especially when we have not one but two movies about the plight of British men in World War II nominated for best picture this year. 

Best Director So so so excited for both Greta Gerwig and Jordan Peele here. Also, despite my personal lack of investment in Dunkirk as a movie, I am really happy for Christopher Nolan since he has never been nominated despite being one of the best filmmakers working. Likewise, while I prefer their earlier films to this year’s offerings from both Paul Thomas Anderson and Guillermo Del Toro, I’m a fan of both those guys. Nonetheless! I still would’ve filled out my own ballot a bit differently, honoring Dee Rees for Mudbound and Sean Baker for The Florida Project. Both of them brought a lot of personal vision to their films, and put in the work to get the details right. 

Best Actress My money and my love are on Frances McDormand here. She’s a badass lady and totally killed it with this role. I also admire the other actresses on this list, in particular Saoirse Ronan as the title character in Lady Bird. That being said, once again my own picks diverge from those of the Academy. So here’s who I’d be nominating instead:

Anne Hathaway, Colossal Charlize Theron, Atomic Blonde Vicki Krieps, Phantom Thread Brooklynn Prince, The Florida Project

Also worthy of consideration: Haley Lu Richardson in Columbus, a subtle yet wonderful performance.

Best Actor I am thrilled for Daniel Kaluuya and Timothee Chalamet in particular here, even though smart money is on Gary Oldman to win. I can’t comment on his Churchill performance yet, so perhaps I should reserve judgment, but of the ones I have seen, here’s who would fill out the other three spots in my bracket:

Robert Pattinson, Good Time Hugh Jackman, Logan Andy Serkis, War for the Planet of the Apes

Best Supporting Actress I have my fingers crossed so hard for Laurie Metcalf on this one. She’s so real and raw as the mom in Lady Bird, making a potentially unlikable character sympathetic. I will jump for joy if she wins. However, it’s leaning toward Allison Janney, another actress I adore in a role that felt a bit one-note to me. I’m stoked that Mary J. Blige is on this list, and I would also be thrilled if she won. I have no beef with Lesley Manville (who is superb in Phantom Thread) or Octavia Spencer (who doesn’t have much to do in Shape of Water)... but my list would have to include Holly Hunter for The Big Sick and Tiffany Haddish for Girls Trip. I mean. Come on. I’d take those two over Spencer and Janney in a heartbeat. Kelly Marie Tran would have been a nice inclusion also, for her memorable turn in Star Wars: The Last Jedi.

For the uninitiated, Blossom Dearie was a jazz singer and pianist with a distinctively sweet, breezy vocal style that evoked a youthful innocence and playful spirit. A modern comparison might be made to Zooey Deschanel’s vocal delivery in She & Him, although personally I think Blossom did it better. If you’ve only heard one Dearie song, it’s probably “A Doodlin’ Song” which has been used in a few commercials. However, she’s much more than a novelty act, and her final recording before she died was dedicated to 9/11 victims and survivors, titled “It’s Alright To Be Afraid.” My personal favorite Blossom Dearie tune is in my top ten songs of all time, “I Like You, You’re Nice,” which would have fit nicely on the soundtrack of Richard Linklater’s Before Sunset.  So on to the album at hand. Up to this point, Blossom Dearie had recorded exclusively for Verve, a jazz label, and was known primarily as a jazz singer. This album saw her crossing over into the pop realm, and covering the big hits of the day. It’s very up tempo and one could imagine hearing it in the background of a Mad Men episode. Just the opening bossa nova shuffle of “Days of Wine and Roses” makes me want to summon the nearest bartender to whip me up Tom Collins or San Martin.  Track 2, “I Left My Heart in San Francisco,” was ten years old by the time Blossom got around to recording her version, but it had been a hit the year before thanks to one Mr. Tony Bennett. It’s hard to touch Tony’s signature song, but I do love the subtle vibrato and unique phrasing of Blossom’s take. Unfortunately for both Tony and Blossom, a human can never equal the wonders of a parrot named Pancho, who recorded his own version of this song and forever established that it belongs to him. I strongly urge you to give Pancho’s version a listen, because it will change your life. And yes, I do own his version on vinyl.  I wasn’t familiar with “I Wanna Be Around” before I gave this a spin, but I dig its shade-throwing vengeance vibes. “I wanna be around... when she breaks your heart to bits; that’s when I’ll discover that revenge is sweet when I sit there applaudin’ from a front row seat,” sings Blossom. Turns out this song was penned by a hairstylist from Ohio who sent it to Johnny Mercer and he retooled it for the likes of Tony Bennett and Brenda Lee. It apparently has an eternal appeal, as evidenced by Michael Buble including it on his latest album.  Next up we have “The Sweetest Sounds,” from Rodgers and Hammerstein’s Cinderella. It occurs to me that Blossom Dearie would’ve been an adorable Cinderella, though I don’t know if she ever tried her hand at acting.  Blossom infuses a real melancholy to her version of “The Good Life,” another Tony Bennett tune, with lines like “The good life lets you hide all the sadness you feel/You won’t really fall in love for you can’t take the chance.” The way she sings it, you can’t help but wonder if this song holds personal meaning for her.  I adore “Lazy Hazy Days of Summer” no matter who sings it. I’m personally partial to Nat King Cole’s rendition, which came out the same year as this album. Blossom gives it a lot of pep, and the imagery of a summer picnic with beer and bikinis really comes to life as you hear her voice cascading along over a lively piano accompaniment.  Side A summation: A fun throwback to the early 60s, with a tinge of Blossom’s dark side coming through on a couple tracks.  As we flip the record over, Side B starts with another bossa nova track, “Desafinado.” This tune mourns a love that has turned lukewarm, but holds out hope that there could be a chance for recovery yet. “We used to harmonize, two souls in perfect time/Now the song is different and the words don't even rhyme,” goes one of the saddest lines. For me, the musical accompaniment doesn’t quite match up to the mood of the lyrics; but I’d love to hear a version with just Blossom and her piano as she muses about this mellowing romance. The Stan Getz/Antonio Carlos Jobim version is probably the most famous, but I love Ella Fitzgerald’s take on it. “Our Day Will Come” was originally by Ruby & the Romantics, and if the title sounds familiar, Amy Winehouse recorded it as well (although her version wasn’t released til after she passed away--it’s an outtake from the Frank sessions, and ended up on her Lioness collection). There’s a little too much flute in this version for my liking... but I do love the sweetness and teenage lovestruck feeling of the lyrics, which Blossom translates very well with her vocals.

25. Zootopia (Netflix) At a time when the world was finding reasons to divide itself into fractious subgroups, along came a winsome little animated film about tolerance and eschewing stereotypes. The animation is top notch, the story is funny and action-packed, and any scene featuring the sloth from the DMV threatened my ability to breathe because I was laughing so hard. If you missed it in theaters, be sure to catch up with it on Netflix. It’s a real gem. 

24. The Conjuring 2 (Amazon/iTunes rental) The first Conjuring got a ton of acclaim but I wasn’t that enamored with it. This one, on the other hand, totally delivers. Once again, Vera Farmiga and Patrick Wilson star as paranormal investigators who are plagued by dark forces. This time, the action centers on a family in England (inspired by the somewhat infamous Enfield Poltergeist) with an unwanted apparition who interacts with them in all kinds of upsetting ways. Rather than relying solely on jump scares, there’s a lot of great suspenseful sequences and practical effects that use the atmosphere and physical space to masterful effect. Plus, the characters are likable and we are rooting for them which goes a long way toward making this a better than average horror movie. 

23. The Edge of Seventeen (Theaters) Hailee Steinfeld plus Woody Harrelson equals brilliance. Add to the mix the savvy direction of first timer Kelly Fremon Craig and the charming supporting cast (particularly Hayden Szeto) and you have a winning combo that leaves other teen dramedies in the dust. The story is relatable for anyone who experienced high school: Nadine feels alienated at school and at home, partly because high school sucks and parents just don’t understand but also partly because she sees herself as just a little bit superior to her peers and family members. She’s a classic Holden Caulfield type, really. When her best friend starts dating Nadine’s brother and mortal enemy, she takes it as a personal betrayal. Between this, her crush on a bad boy type, and her tentative steps toward romance with a nerdy but sweet classmate, she’s got a lot on her plate. Naturally, she takes solace by venting to her favorite teacher, the bemused Harrelson who takes all of her abuse and whining with stoic aplomb. 

22. Jackie (Theaters) I was born in 1981, which means I don’t have any personal connection to Jackie O. the way people of my parents generation did. I don’t have recollections of seeing her on TV or experiencing the Kennedy assassination, but I’ve been hearing about it all my life and thus feel like I know the story. This movie took me by surprise by showing me something new, something I’d never considered: The personal grief of a tremendously public loss. Natalie Portman embodies the carefully manicured public persona as well as the private devastation of Jackie Kennedy in the days surrounding JFK’s death. It’s not a traditional biopic, and not a traditional historical drama. That makes sense coming from Chilean director Pablo Larrain, who also gave us the excellent political thriller/comedy No a few years ago. He captures pivotal moments and edits them together into a kind of fractured consciousness befitting the recently bereft Jackie. 

21. 10 Cloverfield Lane (Amazon/GooglePlay rental) I’ve still never seen the original Cloverfield (I know, I know), but I do love me some John Goodman being a possible creeper so I had to see this movie. The title really was an afterthought; the story was written independent of the horror franchise and marketing decided a built-in audience and some name recognition would boost ticket sales. All of this to say, you don’t need to know or love Cloverfield to know and love 10 Cloverfield Lane. Essentially it’s a chamber piece, modeled on some of Hitchcock’s techniques (Lifeboat/Rope/Dial M for Murder).  Oh and also the original script got a once-over by a certain Damien Chazelle, who was once slated to direct it as well until Whiplash got greenlit and then he got a little busy making a movie called La La Land which may or may not be definitely coming up later in this list so... yeah. But anyways. It’s got that breathlessness and intensity Chazelle brought to life in his other movies, but this time in an actual horror/suspense setting. Mary Elizabeth Winstead and John Gallagher, Jr. play Goodman’s reluctant houseguests in his underground bunker. Goodman claims to be protecting them from something horrible outside; they’re not sure whether to believe him or to trust their instinct that the something horrible is Goodman himself. All three performances are excellent, and your nerves will be frayed little bundles by the time 103 minutes is up. 

20. Certain Women (Theaters) Just watching this movie made me feel physically cold. It takes place in Montana, and is essentially a triptych that follows three different women in the same small town. The first, played by Laura Dern, is an attorney with a particularly high maintenance client (Jared Harris). The second is a woman (Michelle Williams) who feels alienated from her husband and their teenage daughter, even as the family is working on building a house together. The final story, and by far my favorite, focuses on a farmhand (the glorious Lily Gladstone in a breakout role) who chances upon a night class taught by Kristen Stewart and becomes transfixed. This is a quiet film, about women who yearn for more than their lives so far have given them. Each one deals with the small injustices and tiny victories that ordinary events bestow, but one senses beneath the surface a lingering question of “Is this all there is?” In that way, it’s totally relatable. There aren’t a lot of major plot arcs here, but that’s exactly the point of the film. In watching this movie, you realize that Henry David Thoreau’s quote about the masses leading lives of quiet desperation might well be answered by Simone de Beauvoir: “I think that where you go wrong is that you imagine that your reasons for living ought to fall on you, ready-made from heaven, whereas we have to find them for ourselves.” 

19. Don’t Think Twice (YouTube/GooglePlay rental) If you listen to podcasts at all (especially This American Life, WTF, or You Made It Weird), you should know the name Mike Birbiglia by now. He’s a comic turned actor/writer/director and this is his latest original work. This time, he enlisted fellow talented comics to join him onscreen: Chris Gethard, Gillian Jacobs, Keegan Michael Key, Kate Micucci, and Tami Sagher play his friends and fellow members of an improv troupe. They’re all people you know or have been--starving artist types who are holding onto a dream that comedy will one day pay the bills and take them to the next level. When that actually happens to one of them, the group dynamic shifts considerably. As Morrissey so accurately sings, “We hate it when our friends become successful.” But really, the truth is we hate ourselves when our friends become successful. It makes us question whether it’s a matter of deserving it or working hard or random chance.  The great thing about this movie is the blend of truly hilarious comedic moments and stirring emotional honesty. It’s about friendship, it’s about surviving your thirties, it’s about figuring out if the dreams you’ve had your whole life are the dreams you still actually want to come true. If you can get through Gillian Jacobs’ incredible solo improv performance toward the end of this movie without tears, you get to be the new Clear Eyes spokesperson instead of Ben Stein. 

18. Love and Friendship (Amazon Prime) This movie features one of the funniest characters of the year, an immensely clueless rich dolt named Sir James Martin (Tom Bennett), who marvels at the existence of peas and struggles to arrive at the correct number of commandments. Who could be responsible for such a creation? Well, who else but the writer whose best work pokes fun at social climbers and wealthy nitwits: Jane Austen. Whit Stillman adapted her little known work Lady Susan into this charming and hilarious period piece starring Kate Beckinsale, Chloe Sevigny, Stephen Fry, and Xavier Samuel. Beckinsale does her absolute greatest work in this movie--I had no idea she was capable of this kind of performance, and she absolutely slays. As far as Austen adaptations go, this one is my favorite since Clueless--and that’s about the highest praise I could offer. 

17. Don’t Breathe (YouTube/Amazon/Vudu Rental) The premise of Fede Alvarez’s sophomore thriller is simple: A trio of young Detroit opportunists break into the home of a blind veteran (Stephen Lang) after hearing he’s got a lot of cash in the house, figuring it’ll be an easy score. But they underestimate this particular blind man and his ability to protect his home and property. The result is a fast-paced cat and mouse game that will definitely have you holding your breath for long chunks of time. I had a blast watching this movie, even if it should have ended a few scenes earlier than it did. 

16. Hell or High Water (Amazon/iTunes/GooglePlay Rental) One of my favorite pieces of music, classical or otherwise, is Aaron Copeland’s Fanfare for the Common Man. This composition was directly inspired by a speech delivered by Henry Wallace in 1942, which outlined the cause of freedom and the stakes of World War II while also setting a tone for the whole century as one in which ordinary people--the common man--would share the same standard of living, of educational and economic opportunity, of scientific discovery.  An excerpt of this speech reads thusly: “When the freedom-loving people march; when the farmers have an opportunity to buy land at reasonable prices and to sell the produce of their land through their own organizations, when workers have the opportunity to form unions and bargain through them collectively, and when the children of all the people have an opportunity to attend schools which teach them truths of the real world in which they live — when these opportunities are open to everyone, then the world moves straight ahead.” Well, the world has continued moving since those words were spoken, but those opportunities are certainly not yet open to everyone despite promises all around that anyone in America should be able to succeed on grit and good will alone. When grit and good will fail to deliver, some people give up and some people become outlaws. That’s where we find our protagonists in this movie, Toby and Tanner Howard (Chris Pine and Ben Foster, respectively), as it opens. They’re robbing banks out of perceived necessity, and also out of a sense of Karma not acting quite fast enough for their liking. Meanwhile, a pair of Texas Rangers (Jeff Bridges and Gil Birmingham) get assigned to the case and aim to catch up with whoever’s responsible and give ‘em hell.  The film is beautifully shot by cinematographer Giles Nuttgens, and the screenplay contains scintillating dialogue and the kind of characters you might find in a classic Western, plus a final showdown for the ages. On the performance side, there’s not a weak one in the bunch. Chris Pine proves he’s more than just a pretty face and Jeff Bridges sheds his Dude persona to give an even better performance here than in his Oscar-winning turn in Crazy Heart. If you need a movie to watch with your Dad that you can both enjoy, this is that movie. 

15. De Palma (Amazon Prime) Sisters. Carrie. Dressed to Kill. Blow Out. Mission Impossible. Body Double. Scarface. The Untouchables. Casualties of War. About 20 other films--all directed by Brian De Palma, the subject of this documentary. For some, he’s alienating. For me, this guy is legendary. His films pick up where Hitchcock left off and go running off in their own bonkers directions, oozing style and excess and delivering tawdry and thrilling twists along the way. I’m convinced that one day he’ll be revered by film students and not just genre lovers, and at that point this doc will serve as a Hitchcock/Truffaut type text.  The doc is really just De Palma going through his filmography chronologically, shots of him talking edited together with clips from every one of his movies and archival behind the scenes footage. That might sound boring but I promise you it is not. He tells lots of stories, does not shy away from pointing out the flaws and issues in his movies, and reflects on the reception his movies have received from critics and cultural scholars over the years. He also tells some fascinating stories from his youth that shed light on the types of movies he grew up to make. He also talks a lot about his techniques and the way his shooting style developed. If you are interested in filmmaking or De Palma or both, this movie will have you riveted from start to finish.

14. Manchester by the Sea (Theaters) For a meditation on grief and loss, this movie made me laugh a lot. That might sound inappropriate, but if you’ve ever experienced loss yourself, you know it’s not linear and doesn’t follow rules or codes of conduct. Sometimes you laugh at inopportune times. Sometimes you want to cry and can’t. Sometimes you melt down at the sight of frozen food (see what I did there? Melt/frozen! Ahh I kill me sometimes).  Casey Affleck and Lucas Hedges make a great onscreen team, with Affleck playing Lee Chandler and Hedges playing Patrick, Lee’s teenage nephew. They’ve both lost someone important to them, but neither is great at opening up on the subject. Lee does his best to take care of his nephew, but he feels ill-equipped to be the stable parental figure Patrick needs. For his part, Patrick would prefer to keep things the way they are. “I have two girlfriends and I’m in a band!” he points out, and who is Lee to argue with that kind of logic? 

Of course I can’t finish discussing this movie without highlighting the luminous presence of Michelle Williams, who owns every second she’s onscreen (which isn’t very long). Her final scene with Affleck broke me right in two. 

13. Born to be Blue (Digital Purchase) Every year springs new musical biopics upon us, to varying degrees of creativity and critical acclaim or derision. My favorite one from 2016 was Robert Budreau’s nonlinear narrative inspired by incidents from the life of Chet Baker as portrayed by Ethan Hawke, who gives his best performance outside a movie with “Before” in the title. For the unfamiliar, Chet Baker is best known as the singer of “My Funny Valentine” today, but he was also a prominent jazz trumpet player and part of the West Coast jazz scene in the 1950s and 60s. As so many artist types, his genius was often threatened by his dalliances with substances and people whose momentary glamor gave way to decay and destruction. 

Hawke captures Baker’s charming qualities as well as his tendencies toward self-sabotage, and the movie does not feel like a typical biopic as it incorporates a more meditative approach than a chronological one. There’s also a movie-within-the-movie which adds to the novel feel and keeps this from just hitting all the major events in Baker’s life in order. Carmen Ejogo is excellent as Baker’s primary love interest, a complex and well-drawn foil for the troubled musician. Her character is an amalgam of real life people, but she stands out as more than just your typical long-suffering wife/lover trope. 

12. Fences (Theaters) August Wilson’s intimate play gets the cinematic treatment at the hands of Denzel Washington, who both directed and stars here. Troy (Washington) is a garbage man who drinks a lot and talks a lot more to his wife Rose (Viola Davis), his friend Bono (Stephen Henderson), his son Cory (Jovan Adeppo), and others who show up at his doorstep.  The story is simple, but the characters are anything but. This may be my favorite ever Denzel performance, and certainly my pick for Best Actor in a Leading Role of 2016. Davis is phenomenal too, in a quiet but steady way. And not as many people are talking about Stephen Henderson, who played Bono in the play as well as the movie, but he’s excellent.  If you want to hear beautifully written dialogue (and monologues), see some of the year’s best performances, and be moved by a family drama that feels relevant even though it was written and set in a bygone era, go see Fences. 

11. Midnight Special (On Demand) In the first of two Jeff Nichols-directed movies that came out in 2016, Michael Shannon (a frequent Nichols collaborator) is a father trying to protect his son. The boy has some unique abilities, to say the least, and everyone from cult leaders to government agencies wants to exploit those abilities. It’s part superhero origin story, part Close Encounters of the Third Kind, and all about the joy, terror, and unbridled love that come with being a parent.  The movie features memorable visuals as well as supporting performances from Joel Edgerton, Kirsten Dunst, and Adam Driver. The ending may leave you with more questions than answers, but the emotions it evokes are unmistakable.

10. Tower (iTunes) In 1966, a lone gunman stood atop a tower on the University of Texas campus and opened fire on the unsuspecting people below. For the next 96 minutes, chaos and carnage took over the scene as law enforcement and campus officials tried to devise a way to stop the shooter without endangering more lives. This documentary tells the story of that day from the perspective of people who were there, using interviews and re-staging events using rotoscoping animation.  The result is one of the most powerful documentaries in recent memory (outside of Joshua Oppenheimer’s The Act of Killing and The Look of Silence). Hearing from victims, bystanders, police officers, journalists, and students who experienced this firsthand reveals so much about the nature of trauma, the way we react in extreme circumstances, and the contrast between what was then a first-of-its kind incident and what is now an all too frequent occurrence: The campus shooting spree. It’s never preachy, just lets each person tell their own story. Always, the focus is on the people on the ground rather than the person behind the violence. It’s a must-see film.

9. Arrival (Theaters) Denis Villeneuve has become one of my favorite directors of recent years, and it’s great to see a film of his get embraced so widely by audiences as well as critics. In case you haven’t yet seen it, this movie features Amy Adams as a linguist and Jeremy Renner as a scientist. Both of them have been recruited to help the government communicate with the aliens who have recently parked giant pods all over the world.  The movie opens with a much more human story, and if you cried at the beginning of Up you will certainly shed tears here too. I won’t give more away than that, but what happens informs the emotions and decisions made throughout the film in interesting ways.  I love the visuals of this film, and the emotional arc of the story. I also adored all the technical linguistic things that were going on, and I don’t know enough about science or language to know whether they were plausible so I’m just going to assume ignorance is bliss and aids in suspension of disbelief. There is one scene that seems to create a divide in audiences between loving and hating this movie. I won’t explain beyond saying it involves a phone call, so if you’ve seen it you know what I’m talking about. I can understand the criticism, but for me it was not enough to derail all that came before and after.  If you haven’t seen this yet and you like your science fiction with a few tugs on the heartstrings, this is definitely worth your time. 

8. The Lobster (Amazon/iTunes/GooglePlay Rental) I adore this movie, but that does not mean you will. I have to put that caveat right up front. In fact, at least one person I recommended this movie to absolutely hated it. So, take my opinion with a grain of salt but I will try to convey truth in advertising.  Yorgos Lanthimos, whose previous films were Dogtooth and Alps, makes his English language debut with this dystopian romantic comedy. Colin Farrell, John C. Reilly, Rachel Weisz, Ben Wishaw, Lea Seydoux, and Olivia Colman are the human subjects who populate the story. In their world, if you find yourself without a partner, you go to a hotel where you have 45 days to pair up with someone. If you do not find a suitable match, then at the end of 45 days you get turned into the animal of your choice. You can extend the time of your matchmaking opportunities by going out to the forest and hunting “loners,” people who have escaped from the hotel in the past and choose to live lives of solitude.  It’s a wacky premise, but leads to numerous laugh out loud scenarios in addition to the more plaintive moments. I should warn you that there is a scene or two of violence involving an animal, which may be tough to watch for some. That may be one of the reasons people hate it. But as a critique of human behavior and society’s obsessions, it’s quite an effective parable. 

The latter half of the film takes a different turn, and while I don’t want to give away what happens, that’s why I called this a “romantic” comedy. You may not want to watch it with your date on Valentine’s Day, but if you do it should certainly give you much to discuss afterward.

7. April and the Extraordinary World (YouTube/Vudu/GooglePlay/Amazon Rental) This animated steampunk French film features a talking cat and a whipsmart girl and an underground lair and a bunch of other wondrous things that I don’t dare attempt to describe. It’s an alternative history film, it features the voice of the marvelous Marion Cotillard, and it should’ve been nominated for Best Animated Feature at the Oscars. Alas, it was not. But if you want to watch a gorgeous, funny, charming film that might inspire a generation of girls to go into STEM careers, watch this. 

6. The Neon Demon (Amazon Prime) I feel intoxicated every time I even recall this sumptuous film. If you missed my review of it earlier this year, go check it out and then go watch this film... if you dare.

5. Sing Street (Netflix) This is, hands down, the feel good movie of the year. Written and directed by John Carney, who gave us Once and Begin Again, this film is set in Ireland in the early 1980s. The premise is simple, really: A boy starts a band to impress a girl that’s out of reach. Not only does he hope to impress her with the music, but he convinces her to star in their music videos since she’s seeking a career as a model. Then he has to actually form the band, and learn how to play instruments and write songs. Along the way, his older and cooler brother educates him on the cool musicians of the day: The Smiths, Duran Duran, The Clash, The Jam, Hall & Oates, The Cure, Spandau Ballet.  The original songs in this film are super catchy and fun, and serve as homages to the great bands referenced above. If you’re a sucker for the films of John Hughes, the music of the 80s, and stories about brothers and coming of age and following your dreams, this is the movie for you. 

4. The Handmaiden (Theaters) Take a novel  set in Victorian England about pickpockets, conmen, and insane asylums that’s been referred to as “lesbian Dickens” (Sarah Waters’ Fingersmith), and set it in colonial South Korea, and make sure it’s directed by the guy who made Oldboy. This is a recipe for the most gorgeously photographed, erotically charged, bonkers in the best way movie of the year.  I don’t want to get too far into the story which has so many delicious surprises, but the quick version is that an orphan pickpocket goes to live with a rich but possibly mentally ill young woman to serve as her handmaiden. This is all in an attempt to con said rich young woman into a marriage plot with a smooth talking ne’er do well man. And there’s also the added wrinkle of the rich girl’s creepy uncle, who collects banned erotic books and holds readings in his library for men who pass through. It’s a very unsettling atmosphere for two young ladies, and they form a bond with one another in spite of themselves.  There are moments of horror, laughter, and blush-inducing romance in this unrated film (don’t watch it with Grandma unless she has a very open mind and you have a very comfortable relationship). Its runtime is 145 minutes but I wanted to stay in this world forever. 

3. Green Room (Amazon/iTunes/GooglePlay Rental) We lost too many good people last year, and Anton Yelchin was one of the losses that hurt the most. In this movie, he gives arguably his best performance as a member of a punk band that gets in way over its head when they take a gig for gas money that takes place in a remote area where most of the audience is neo-Nazi skinheads. They get through the performance, uncomfortable as it is, but the real trouble happens later when one of them witnesses something their hosts really don’t want them to see. From there, it’s a tense stalemate as the band members have to improvise and evaluate who can be trusted. The movie is directed by Jeremy Saulnier, who gave us the excellent and underrated Blue Ruin a few years ago. This one has a similar blend of regular people in irregular situations, with plenty of blood and gore but also a fair bit of humor and a whole lot of real raw punk rock, both on the soundtrack and in the aesthetic. It helps that Saulnier was in a band himself back in the day, so he brings a real authenticity to the characters in the movie.  This stayed atop my “best of the year” list all the way into December, when I finally saw the last two films on my list. I’ve watched it multiple times and would watch it many more. If you took delight in a video of a Nazi getting punched a few weeks back, you should definitely watch this movie. And if you didn’t, well, you should still watch this movie. 

I do my best to keep up with a lot of genres of music, but there are plenty that I can’t claim any expertise on. If I left out your favorite category it’s because I don’t feel qualified to comment on it. I’d love to hear your input on those categories though! 

Best Music Film

I’ll Sleep When I’m Dead (Steve Aoki)

The Beatles: Eight Days A Week The Touring Years (The Beatles)

Lemonade (Beyonce) WILL WIN

The Music of Strangers (Yo-Yo Ma & The Silk Road Ensemble)

American Saturday Night: Live From the Grand Ole Opry (Various Artists)

Normally I don’t pay a ton of attention to this category, but this year it should be an early indicator of how some of the bigger categories will go. Why? Because if Beyonce loses this one, she may be poised for a night of disappointments. Lemonade was basically THE musical event of the year. I feel pretty comfortable predicting she’ll win this award. I haven’t seen the others so I won’t say who “should” win--but let’s just say I feel like the Beatles already had their time to shine. 

Best Music Video

Beyonce - Formation (WILL WIN / SHOULD WIN)

Leon Bridges - River

Coldplay - Up&Up

Jamie XX - Gosh

OK Go - Upside Down & Inside Out

Again, this is Bey’s to lose; but I am happy to see Jamie XX get some love and OK Go are always setting a high bar for innovation in the video department. 

Producer of the Year, Non-Classical

Benny Blanco (SHOULD WIN)

Greg Kurstin (WILL WIN)

Max Martin (RUNNER UP)

Nineteen85

Ricky Reed

Looking at the biggest songs of the Grammy year (which runs from September to September), Max Martin and Greg Kurstin are pretty evenly split. Martin had Can’t Stop the Feeling, Dangerous Woman, Into You, Send My Love To Your New Lover, Side To Side, and collabs with P!nk and Katy Perry. Kurstin had Sia’s Cheap Thrills, Tegan and Sara’s Love You To Death, and three giant Adele songs (Hello, Million Years Ago, Water Under the Bridge) plus Ellie Goulding’s Something in the Way You Move. Because the Grammy voters love Adele, I can see this one going to Kurstin. Nineteen85 is the biggest up and comer, but probably too hip hop oriented for voters to truly appreciate (Drake, DJ Khaled, and dvsn are on the list of hitmaker collabs here). Ricky Reed mostly has Meghan Trainor and Phantogram on the resume, although the insanely catchy HandClap by Fitz and the Tantrums is one of his so that could push him over the edge. My favorite, though, is Benny Blanco who worked with my beloved Francis & the Lights on several tracks as well as Justin Bieber’s Love Yourself, Major Lazer’s Cold Water, Selena Gomez’s Kill Em with Kindness, and Tory Lanez-Luv. I love the production on all those tracks and I think Blanco is the most deserving in the category.

Best Song Written for Visual Media

Justin Timberlake - Can’t Stop the Feeling (Trolls) WILL WIN

21 Pilots - Heathens (Suicide Squad)

P!nk - Just Like Fire (Alice Through the Looking Glass)

Skrillex & Rick Ross - Purple Lamborghini (Suicide Squad)

Shakira - Try Everything (Zootopia) SHOULD WIN

Peter Gabriel - The Veil (Snowden)

Look, Can’t Stop the Feeling is well named because you can’t stop that song. It landed on the charts about nine months before the actual movie came out, and remained inescapable the entire year. But for my money, the better song is Shakira’s and it fit so well with the themes of tolerance and diversity in Zootopia. I’d love to see an upset in this category but it seems highly unlikely. 

Best American Roots Song

Robbie Fulks - Alabama At Night (SHOULD WIN)

Jack White - City Lights (WILL WIN)

Roddie Romero and the Hub City All-Stars - Gulfstream

Vince Gill (performed by The Time Jumpers) - Kid Sister

Lori McKenna - Wreck You

I’m just excited to see Chicago favorite Robbie Fulks get nominated for a Grammy. Having seen him perform numerous times at The Hideout, having listened to him for the last 12 years, I just hope this leads to bigger things and more recognition to a very deserving performer. I’m sure Jack White’s the biggest name here and therefore he stands the best chance of winning, but damn if it would be a nice surprise if things went a different way. Jack’s got enough awards by now. 

Best Rap Album

Chance the Rapper - Coloring Book (SHOULD WIN/WILL WIN)

De La Soul - And the Anonymous Nobody

DJ Khaled - Major Key

Drake - Views (RUNNER UP)

Schoolboy Q - Blank Face LP

Kanye West - The Life of Pablo

I love this category. They mostly got it right--although I’d love to see Danny Brown in here over Khaled, personally. I’m thrilled to see Chance getting the love he deserves, I’m beyond excited to see Schoolboy Q get his due, and while I personally think Pablo is the most inconsistent Kanye album it’s nice to see it here because it’s ambitious as hell and its best moments are pretty fucking undeniable. Drake had a great year so it makes sense he’s on the list. De La Soul have deserved a Grammy forever so I’m happy to see them among all the newcomers. I feel like DJ Khaled is more relevant as a Snapchat star than a musician, but hey good for him nonetheless. I think Chance is the most universally loved so I’m expecting him to win here and that’s great. 

Best R&B Performance

BJ the Chicago Kid - Turnin’ Me Up

Ro James - Permission

Musiq Soulchild - I Do

Rihanna - Needed Me (SHOULD WIN)

Solange - Cranes in the Sky (WILL WIN)

This is a super solid category--no bad songs here, and all artists I’d be happy to see grab a statue. For me, Solange and Rihanna are almost equally deserving but I have listened to Needed Me about a trillion times in the last year, so I’m giving that my vote. I think Solange got a little more critical acclaim and it could be a Knowles night overall so I’m giving her the edge. 

Best Alternative Music Album

Bon Iver - 22, A Million

David Bowie - Blackstar (WILL/SHOULD WIN)

PJ Harvey - The Hope Six Demolition Project

Iggy Pop - Post Pop Depression

Radiohead - A Moon Shaped Pool (RUNNER UP)

First of all, this is the most hilariously named category because “alternative” means nothing if these all fall under it. We’ve got an indie singer songwriter, a glam rocker’s swan song, a punk rock god, and then two actual legit members of the 90s alternative cadre coming back into the spotlight. So saying who “should win” here is kind of difficult because I do not think they should be competing against each other at all. Nonetheless, my vote for who will and who should goes to David Bowie. I loved that album, and he’s got the posthumous love going on so I’m guessing Grammy voters will jump on board. If he weren’t there, I’d give my vote to Radiohead who really did make a huge comeback last year and actually ARE alternative at least in broad terms. 

BEST ROCK ALBUM

Blink 182 - California

Cage the Elephant - Tell Me I’m Pretty (WILL WIN)

Gojira - Magma (SHOULD WIN)

Panic! At the Disco - Death of a Bachelor

Weezer - Weezer

This is kind of a garbage category, and the only really good album on this list is by the absolutely killer Gojira. The rest are mediocre to bad in my humble opinion, but maybe I’m just bitter that Car Seat Headrest didn’t get nominated here. 

BEST ROCK SONG

David Bowie - Blackstar (SHOULD WIN)

Radiohead - Burn the Witch

Metallica - Hardwired

21 Pilots - Heathens (WILL WIN)

Highly Suspect - My Name Is Human

OK so two seconds ago Bowie and Radiohead were “alternative,” but now they’re “rock.” Make up your mind, Grammys. Out of this rather odd collection of songs, I think the one with the most airplay will get it so that’s 21 Pilots; but the actual best song on the list is the Bowie track. 

BEST DANCE RECORDING

Bob Moses - Tearing Me Up

The Chainsmokers feat. Daya - Don’t Let Me Down (IF THIS WINS I WILL BECOME A CHAINSMOKER MYSELF BECAUSE I WILL HATE EVERYTHING)

Flume feat. Kai - Never Be Like You (SHOULD WIN)

Riton feat. Kah-Lo - Rinse & Repeat

Sofi Tukker - Drinkee

The only horse I have in this race is Flume. I want Flume to win and if Chainsmokers win I will riot. But this category very rarely goes the way I want it to, so I should probably prepare for disappointment. 

BEST POP/DUO GROUP PERFORMANCE

The Chainsmokers feat. Halsey - Closer 

Lukas Graham - 7 Years (BARF SOUP)

Rihanna feat. Drake - Work (SHOULD WIN)

Sia feat. Sean Paul - Cheap Thrills (WILL WIN)

21 Pilots - Stressed Out

OK I may be turning into an old person but this category makes me kind of angry. There have to be better contenders out there than the ones they nominated here. At least my beloved Rihanna gets some love. I swear to god if Lukas Graham wins then we might as well stop listening to music altogether. That song is the most treacly awful ear destructor ever. It’s what I imagine is playing on the radio in Kurt Vonnegut’s short story “Harrison Bergeron.”

BEST POP SOLO PERFORMANCE

Adele - Hello (WILL WIN)

Beyonce - Hold Up (SHOULD WIN)

Justin Bieber - Love Yourself (RUNNER UP)

Kelly Clarkson - Piece by Piece (Idol Version)

Ariana Grande - Dangerous Woman 

I seriously hope Beyonce wins this, she deserves it the most and Hold Up is probably my favorite song on Lemonade. But we know how much the Grammy voters love Adele, despite 25 being a fairly lackluster album filled with boring ballads. (Sorry Adele. You know it’s true.) I’m not sure why Kelly Clarkson gets to coast into this category when Rihanna or Sia could be here instead. 

BEST NEW ARTIST

Kelsea Ballerini

The Chainsmokers (KILL ME)

Chance the Rapper (SHOULD WIN/WILL WIN)

Maren Morris

Anderson.Paak (MY RUNNER UP)

The two ladies in this category are both country, and this category hasn’t gone country since Zac Brown if I recall correctly so it seems like they’ll either cancel each other out or voters will gravitate toward a different genre. They are really talented though, so if you like country you should give them both a try. I’m super stoked to see Anderson.Paak show up here, and honestly since I think he’s an actual new artist and Chance has been around for a while, that might be a more accurate title to bestow to Anderson. As I’ve stated above, I despise Chainsmokers; so my vote of who will and should win is Chance. He had a huge year and he’s done it all on his own terms. Even a stodgy voting establishment like the Grammy voters should be able to get behind that. 

SONG OF THE YEAR

Beyonce - Formation (SHOULD WIN/WILL WIN)

Adele - Hello

Mike Posner - I Took A Pill in Ibiza

Justin Bieber - Love Yourself (RUNNER UP)

Lukas Graham - 7 Years (THE WORLD WILL UNMAKE ITSELF IF WE ALLOW THIS TO WIN)

I know I should probably predict Adele here but I just can’t bring myself to do that. It does seem like a distinct possibility but I’m just hoping that the Grammys can surprise us all and be a little more up to date by giving it to Beyonce. I’m surprised to see the Mike Posner track here, but hey good for him. It’s a decent song. We’ve been over my feelings on the others. If Beyonce and Adele split the vote and it goes to someone else, I really hope it’s Biebs and not Lukas. 

ALBUM OF THE YEAR

Adele - 25

Beyonce - Lemonade (WILL WIN/SHOULD WIN)

Justin Bieber - Purpose

Drake - Views

Sturgill Simpson - A Sailor’s Guide To Earth (RUNNER UP)

Again, I should probably expect Adele but I think song for song Beyonce’s got this. If the votes get split between the two heavy hitters, I could see Simpson pulling an Arcade Fire. That blend of roots rock and country is definitely the type of thing Grammy voters love. 

RECORD OF THE YEAR

Adele - Hello (YEAH I KNOW)

Beyonce - Formation (WILL WIN)

Lukas Graham - 7 Years

Rihanna feat. Drake - Work 

Twenty One Pilots - Stressed Out

I don’t understand why Lukas Graham gets in here but no JT with Can’t Stop the Feeling, no Drake with One Dance... the list of worthier contenders goes on and on. I’m going big on Beyonce but it could easily be Adele’s prize. That would be a pretty yawn inducing finish but it wouldn’t surprise me. I gotta give props to my girl RiRi who definitely is worthy of this appearance, and even though 21 Pilots aren’t really my thing I’m happy to see some new blood in this category.

Let’s start off with my honorable mentions: Literary Disco, which would rank higher except they haven’t released a new episode in several months when they previously came out with a new one every other week or so; Pop Culture Happy Hour, which is a fun and thoughtful weekly digest of cultural discussion hosted by some of the most pleasant humans you can hope to listen to; Slate’s Political Gabfest, which gave me plenty to digest although to be fair there were times when my own views aligned closely enough with one or more hosts that it probably fed my bubble tendencies a little; and Filmspotting: Streaming Video Unit, which I got to attend a live recording of not too long ago and it was awesome. 

And now, for my top 10 list!  10. Radiolab Presents: More Perfect I catch up with Radiolab on occasion but it’s not on my weekly listen list. However, when they launched this spinoff over the summer I took notice. It’s devoted to stories regarding the Supreme Court, a topic I’ve always found intriguing. The reporting and storytelling is excellent, and of course anything affiliated with Radiolab is going to feature top notch production.  Best Episodes:  Object Anyway, The Imperfect Plaintiffs

9. Slate’s Culture Gabfest I love and listen to a long list of pop culture related podcasts, but what makes this one special is the perfect cocktail of hyper-intelligent discussion and the random bursts of profanity and arbitrary disagreement amongst the hosts. They each bring a unique perspective, and when they disagree it makes for the most engaging listening because each of them builds such a compelling and impassioned case for why they are right and their co-hosts are wrong. Best Episodes:  Beige Goo Edition, The Beautiful Ones Edition

8. Judge John Hodgman If you like your humor with a side of wisdom, this is the show for you. Somehow, Hodgman has turned a fake Internet courtroom into a place where real people can get thoughtful advice amidst lots of snark and hilarity. Whether it’s a dispute between friends, parents and their kids, or, most frequently, a couple--the judge will find the crux and mete out a sentence that takes into account the needs and quirks of both parties. My absolute favorite episode this season contained the best distillation I’ve heard about the power dynamic that exists between the customer and the person serving them. As someone who worked retail for ten years and YMCA front desk for 4 years before that, it was refreshing to hear someone describe the service industry with such empathy.  Best Episodes: Dad Nauseum, Bros Before Globes

7. The Next Picture Show I cried when The Dissolve ended. It was that once place on the internet where smart people could talk to each other about movies without devolving into trolling and ad hominem attacks, and the critics who wrote for that site found a way to contextualize current and classic films the way greats such as Roger Ebert once did. Imagine my delight, then, when a number of those gifted writers teamed up late last year to form this excellent podcast. The concept is pretty simple: They choose a new movie as their “movie of the week” and compare it with an older film in great detail to gain new insights into both movies. They always have great observations and often make me think of movies I love in a different way, something that’s not easy to do.  Best Episodes: In the Mood For Love/Moonlight; Wait Until Dark/Don’t Breathe

6. NPR Politics Podcast This year I went through a period of wanting nothing to do with news coverage or politics, but as the election drew closer I had to face reality and snap to attention. I felt overwhelmed by the barrage of online news outlets and Facebook posts, but this podcast helped me sort through the noise and get the facts as well as really thoughtful commentary from a group of reporters who were embedded with the campaigns of both Trump and Clinton. The podcast ordinarily broadcasts a couple short episodes per week, but in the weeks leading up to the presidential election they got into a daily routine and I found myself hanging on their every update, with events shifting so rapidly at times that even the daily updates didn’t seem like they were enough. The best thing about the show is how decidedly unpanicked their coverage is. Even when they are covering something unprecedented, they do their best to put it into historical context and be as objective as possible. So even if I was in the fetal position at times, they never seemed to be and that brought me great comfort. Best Episodes: Quick Take: Clinton’s Health / ‘Basket of Deplorables’ ; Covering 2016 as a Muslim

5. Little Gold Men This show is peak me. Like, it just feels like they took a survey of me and a hundred of my clones and developed a podcast around our interests, in particular, the obsession with the Oscars and other awards shows. The hosts talk plenty about predictions and contenders, but they also spend time contemplating what should and shouldn’t factor into voters’ decisions. I especially appreciated their open dialogue about topics like #OscarsSoWhite, Birth of a Nation’s fall from grace after the sexual assault accusations came to light, and issues of gender overall. At a time when awards show coverage might feel frivolous, their treatment of the topic examines deeper issues than one might expect and I appreciate that. Best Episodes: Can We Like Woody Allen Movies Anymore? ; Where Are All the Good Scripts in Hollywood? This Guy Knows Where

4. Reply All This show went from being an occasional listen to a must-listen for me this year. Their reporting got more in-depth, their stories diversified, and I got hooked. Still ostensibly “a show about the internet,” hosts PJ Vogt and Alex Goldman chased down topics that had real world impact and showed a different, more human side at times than in the past. Whether they were talking to a community of adults who have relationships with imaginary friends or tracking down a guy in a meme-friendly photograph to learn whether rumors of his death were in fact true, or trying to get to the bottom of hoax-prone websites that prey upon people in their most desperate moments, they relentlessly sought after the truth and balanced it with humor and awkwardness.  Best Episodes: The entire multi-episode arc of Sruthi Pinnamaneni’s “On the Inside” story; Voyage Into Pizzagate

3. You Must Remember This This year, we got two seasons of Karina Longworth’s amazing podcast devoted to the “secret/forgotten histories of Hollywood’s First Century.” The first season focused on the Blacklist, HUAC, and related stories. Each week gave a little more history and focused on one or two key players in the saga. The second season, which was really a miniseries rather than a full season, focused on Joan Crawford, a beloved cult figure with a fascinating backstory as well as a diverse filmography. Both seasons were riveting, and as usual featured a great deal of research and juicy details that I never would’ve known without Karina.  Best Episodes: Storm Warning: Ronald Reagan, The FBI, and HUAC; Six Degrees of Joan Crawford: Douglas Fairbanks Jr. 

2. The Run-Up While NPR Politics and Slate’s Political Gabfest were great at rounding up current events and reporting on them as they happened, NY Times podcast The Run-Up took a slightly different approach by going in-depth on a particular topic for each episode and interviewing primary sources whenever possible. What started as a short-term podcast leading up to election day has turned into a longer-term assignment, and the post election coverage has continued to be excellent and relevant.  Best Episodes: Post-Truth Media; Bonus: We Are All Now Rooting For His Success

Best Music of the Year So Far, Honorable Mentions: The 1975 - I Like It When You Sleep, For You Are So Beautiful Yet So Unaware Of It I love the dreamy quality of this album, and the way the band has doubled down on its 80s influences. For me, this album has yet to cast a spell equal to their self-titled, but it’s still growing on me with each new listen.

Memoryhouse - Soft Hate This Canadian indie duo bears comparisons to the lush sounds of Beach House, plus they both have “house” in their band name... but I think that this album helps them carve out their own niche a little more. I find them pretty charming. 

Radiohead - A Moon Shaped Pool I was pretty much over Radiohead, or so I thought. Their last few efforts just didn’t connect with me at all. This album, though, hits an emotional and musical (bitter)sweet spot. I could see this one climbing higher on my list as the year goes on.  Xenia Rubinos - Black Terry Cat A bold, soulful voice unites the disparate musical traditions and sonic experiments that make up Xenia Rubinos’ sophomore album. She can be funny, sexy, political, and poetic in the space of a single song without ever feeling forced. I look forward to spending more time digging into her artistry.  Frightened Rabbit - Portrait of a Panic Attack As usual, the lyrics are personal and poignant; musically, this album has more happening than the spare folk of earlier efforts. That could be in part due to a lineup change; plus the addition of The National’s Aaron Dessner as a producer which surely brought some new ideas to the table.  Miles Mosley - Abraham (single) This is basically a placeholder for whatever comes next musically from bass extraordinaire and musical genius Miles Mosley. He’s probably best known as part of the jazz collective the West Coast Get Down, where he frequently tours and records with Kamasi Washington. I just saw him play with Kamasi at Pitchfork and frankly it was the best set of the entire weekend. He’s also toured and recorded with the likes of Lauryn Hill, Chris Cornell, Rihanna, Jonathan Davis, Andra Day, Kendrick Lamar, Kimbra, Jeff Goldblum, and a bunch more folks. Get to know this name, ya’ll.  Bob Mould - Patch the Sky Once I spend more time with this album, I have no doubt it will move into my official best albums of the year list. Mould continues to release the kind of gimmick free rock that feels so rare these days; and this album documents a time of personal crisis and loss for him. The name, according to Mould in a great NPR All Songs Considered podcast episode, refers to his wish that people he loved would stop dying. He wanted to patch the sky so no one else he loved could leave this world. He also spoke about going weeks in isolation as he dealt with his depression, and knowing he came out on the other side of it gives me comfort during my own darker moments.  Soren Juul - This Moment As usual, I seek musical inspiration/salvation in the Nordic regions, and I am not disappointed. This album from Danish singer Soren Juul (who formerly recorded as Indians) takes up a little more space in my heart every time I hear it. Its relative simplicity makes it feel intimate and vulnerable in a way that really moves me.  A$AP Ferg - Always Strive and Prosper Ferg is my favorite of the A$AP Mob hip hop collective. He knows how to party, he’s great at coining a memorable couplet, and he knows how to get serious without getting corny. This album feels like a real leap forward for him artistically, and it deserves to be in any conversation about the best hip hop of 2016. LANY - kinda I have to thank a friend for introducing me to this playful, winning trio whose name is a reference to the two big coastal cites in America: Los Angeles and New York. This is an EP, but it shows a lot of promise and I can’t wait to hear what comes next.

First, I’m gonna throw out some honorable mentions that I also really liked that aren’t in my official top 30, even though maybe I would change my mind on another day: Courtney Barnett - Sometimes I Sit and Think and Sometimes I Just Sit; Dornik - Self-titled; Foals - What Went Down; Ashley Monroe - The Blade; Deafheaven - New Bermuda; Ryan Adams - 1989. 

30. God is an Astronaut - Helios/Erebus

GIAA is an Irish post rock band that makes the most majestic, I’m-just-a-speck-in-the-cosmos kind of music. This is their seventh album and they just get better all the time. The album’s title embraces both light and darkness, and the music reflects that dichotomy. 

29. Car Seat Headrest - Teens of Style

At some point maybe I’ll tire of the 90s DIY indie guitar dude aesthetic, but it hasn’t happened yet. Car Seat Headrest, which is basically just one guy from what I understand, writes smart lyrics that range from introspective or observational to deep and littered with heady references to literature and mythology. I don’t know why that works when it should seem pretentious; but it ends up endearing and personal and really relatable. 

28. Girlpool - Before the World Was Big

Speaking of 90s DIY indie, Girlpool feels like a band that could’ve been labelmates with The Softies, All Girl Summer Fun Band, Bratmobile, The Juliana Hatfield Three, Kimya Dawson, or any number of riot grrrl-adjacent projects. It’s stripped down--just a guitar and a bass, no drums; but it’s also really personal and real and lovable. There’s a little bit of yearning for better times mixed with the acknowledgement that times probably never were quite as good as we remember them. 

27. Carter Burwell - Carol (original score)

I enjoyed the film a great deal (even though it missed the cut for my best of the year list); but the music stood out even more to me: Moody, romantic, and perfect. Burwell’s composition is spare yet persistent, beginning softly like the hesitant flirtations of the movie’s subjects and building into something that won’t be ignored. I’ve enjoyed his work in other films (particularly collaborations with the Coen brothers), but this might be his best. 

26. Leona Lewis - I Am

Because the world is unjust and stupid, most people only know Leona Lewis as that X Factor contestant who sang Bleeding Love. That’s admittedly one of the great singles of the last ten years, but there’s a lot more where it came from. She follows in the Mariah/Christina school of vocal ability, and if you, like me, wish that Adele’s latest album had more up-tempo numbers, you’ve come to the right place. Why Jessie J keeps getting foisted upon us when we could be listening to Leona is beyond me. 

25. Shamir - Ratchet

A supple, soulful voice cascades over breezy, funky beats that meld 70s disco with modern electronic elements. Imagine if Dinosaur L and Sylvester formed a supergroup with Juan MacLean and Junior Boys--and you still won’t capture the kinetic energy of Shamir. He’s from Las Vegas, and some of that atmosphere seeps into the album. He also has a way with words (”Don’t try me--I’m not a free sample” from On the Regular). If I need a pick me up, this is the album I go to. 

24. Eskimeaux - OK

Let’s file this one under Most Likely To Induce Tears Of Relief. It’s the most intimate, comforting album of the year by many miles. Think about that one friend you had that you could tell anything to and they’d say just the right thing or know when not to say anything at all and then think about the way that friendship slowly but steadily eroded into an artifact of a previous life. Think about the unrequited loves and the unconfessed secrets and the looming anxieties that threaten to undo you every time you close your eyes in a darkened bedroom, the utter isolation you feel at a party where everyone else seems to be on another planet and you can’t get out of your own goddamn head for even five minutes. This album encompasses all of these feelings, and listening to it, you can almost feel singer Gabrielle Smith’s arms around you telling you it’s going to be OK. 

23. Jeremih - Late Nights: The Album

2015 was a treasure trove of phenomenal R&B, and Jeremih gave us a hell of an entry with this album. I spent most of the summer driving around listening to “Don’t Tell ‘Em,” which predates the album by almost a year and a half; but the rest of it is just as good if not better than that massive single. There are a ton of awesome collaborators on Late Nights, including Big Sean, Juicy J, Ty Dolla $ign, Future, Migos, YG, and J. Cole; but it’s definitely Jeremih’s vision, and his seductive voice permeates every track. When talking about the mood of this album, Jeremih told an interviewer, “I’m single as hell right now.” Regardless of your relationship status, play this album if you wanna get some because it will work. 

22. The World is a Beautiful Place and I Am No Longer Afraid To Die - Harmlessness

Are you still allowed to listen to emo as a happily married, gainfully employed 34-year-old? I hope so, because I can’t get enough of this band and album. I haven’t spent enough time with it to put it on the same pedestal as, say, Clarity by Jimmy Eat World or Deja Entendu by Brand New; but I could imagine one day holding it that dear. The band has something like eight members (I say “something like” because the lineup seems to be in a near-constant state of flux), and compositions bear some resemblance to the instrumental arrangements of Explosions in the Sky at times. The vocals range from Postal Service/Stars levels of softness to At the Drive In muscularity. There are violins, the tracks are called things like “Haircuts for Everybody” and  “I Can Be Afraid of Anything,” and if you have feelings of any kind, this band probably has written about them. 

21. Ane Brun - When I’m Free

I’m a sucker for Scandinavian music, so when a friend recommended this Norwegian singer, I was practically predestined to become obsessed. Turns out, she’s on her sixth studio album; but she’s new to me. Her voice is reminiscent of Kate Bush, Emiliana Torrini, Maire Brennan, and even Cocteau Twin’s Elizabeth Fraser at times. In other words, ethereal and lilting and hypnotic. Her musical accompaniments range from chamber pop to jazzy trip hop, occasionally borrowing elements from other cultural traditions as on Shape of a Heart with its Middle Eastern tinges. Ane Brun has spoken publicly about her ongoing battle with lupus, which landed her in the hospital on multiple occasions. Knowing the fragility of life in such a tangible way and dealing with the constant anxiety of another serious bout of illness translates to a real vulnerability that comes through in her music and occasionally lyrics. 

20. Colleen Green - I Want To Grow Up

If you miss Veruca Salt and The Breeders and Mary Lou Lord and the days when Liz Phair and Courtney Love were dominating the alt rock charts, you owe it to yourself to listen to this album. Plus, how often do you meet someone who claims both The Descendents and Akon as influences? Colleen Green rules my world with her buzzy guitars and catchy melodies and fun videos and lyrics so confessional she was nervous about sending the demos to her producing partners. Exhibit A: Deeper Than Love, which reveals her fear of intimacy and anxiety around relationships both romantic and platonic: “The closest to true love I ever came was with someone I kept many miles away...Cause I’m shitty and I’m lame and I’m dumb and I’m a bore, and once you get to know me you won’t love me anymore.” 

19. Disasterpiece - It Follows (original score)

A big part of what made It Follows one of my favorite movies of 2015 was the incredible score, which enhanced without intruding on the dread inherent in the film. Some of the most iconic horror films--The Exorcist, Halloween, Psycho, Suspiria, The Thing, Jaws--are known almost as much for their music as for their kill scenes. This movie, which pays tribute to the golden age of horror spanning the late 70s to the early 90s, gains some of that retro credibility from its score. Disasterpiece (aka Rich Vreeland) had scored video games and short films before, but this was his first feature and he pulled it off in three weeks using custom synth patches and probably some alien wizardry. He cited Goblin, John Cage, and John Carpenter as major influences, which definitely comes through; but this also doesn’t stop at mere imitation--these themes and creepy motifs stand on their own merit as something future film composers will draw on for inspiration. 

18. Torres - Sprinter

I think the peak usage of “fierce” as generic female compliment is behind us, which is why I’m gonna reclaim it to describe this album and its mastermind, Mackenzie Scott. She has this intensity and power in her delivery, and her lyrics hold nothing back. People have compared her to PJ Harvey, which is apt; but doesn’t give you a full picture of her unique delivery and songwriting. At 22, she’s singing about deeply held grudges and diseases that make parents forget their children’s faces and figuring out how to reconcile the faith you’re raised with and the doubts that creep in the longer you live in the world. She also delivers lines like, “You dove to save a child that must be drowned; you drowned to save yourself” in a way that will haunt you forever. 

17. CHVRCHES - Every Open Eye

This band, this album, makes me giddy. Listening to it is like jumping on a trampoline and occasionally bouncing all the way up to heaven for a minute before gravity brings you back down to the stretchy black canvas. Once again, Lauren Mayberry’s vocals soar above the synth pop backdrop, and blend exuberance with a tenderhearted wistfulness. If you don’t love this, I feel sorry for you. 

16. The Weeknd - Beauty Behind the Madness

He’s dark and moody and a little dangerous (or at least his character in some of these songs seems to be), but The Weeknd also brings such a playfulness to his songwriting. Comparisons to Michael Jackson are warranted, but the interesting thing about Abel Tesfaye is that he embodies both MJ’s early career sincerity and creativity and the world-weary cynicism that seemed to stifle the King of Pop. Instead of being stifled, though, Tesfaye draws on the grittier side of fame to craft some of his best songs. 

15. Bjork - Vulnicura

Bjork has evolved and transformed herself so many times in her career, from the post punk of the Sugarcubes to the trip hop of Post and the minimalist electronica of Vespertine. Each new musical excursion exposes a new layer, but with Vulnicura, it’s as if Bjork has ripped herself wide open and let us witness her raw, messy insides. She has been very transparent in explaining the album’s origins in her personal life and the end of a major relationship. The music is perfectly calibrated to be both devastating and healing, depending on your frame of mind while listening. 

14. Sufjan Stevens - Carrie & Lowell

On his best album since Illinois, Sufjan Stevens shares painful autobiographical details (“When I was three, maybe four, she left us at the video store”) and works through the residual scars of his mother’s abandonment and later death from cancer. So yeah, not a record you’re gonna put on at a party anytime soon. But it’s endlessly gorgeous and piercing and perfect, and exactly what you’ll need to hear someday even if you’d rather not think about it.

13. Kacey Musgraves - Pageant Material

“Life ain’t always roses and pantyhose,” sings Kacey on the title track of this buoyant follow up to her 2013 breakout Same Trailer, Different Park. In other words, she might be more famous these days, but she’s still the same old Kacey. “Nobody needs a thousand dollar suit to take out the trash... gonna turn off my phone and start catching up with the old me,” goes another line, this one from album opener High Time. She returns to this theme of staying true to her roots throughout the album, amongst references to Gram Parsons, Willie Nelson, wicker furniture, Friday night football, Mexican restaurants, and relatives behind bars. 

12. Beach Slang - The Things We Do To Find People Who Feel Like Us

As you may already know from previous posts, I adore The Replacements. Against all odds, they reunited and I saw two of their shows and my life had greater meaning. Right now, they’re broken up again, and I don’t dare hope for more miracles so I’m just accepting it and finding bands that pick up where they left off. Beach Slang does just that--in fact, they even opened for Tommy Stinson on some solo gigs. Singer James Alex has referenced Swervedriver and Jesus & Mary Chain as other influences, which goes a long way toward explaining why I love Beach Slang. I also dig the sincerity and open-heartedness of the lyrics, like these from Noisy Heaven: “Most of the words get stuck in my mouth, but I mean all the ones that punch their way out.” 

11. Sleater-Kinney - No Cities To Love

With a ten year break between albums, you might expect SK to ease back into things, maybe mellow a little the way so many hard-hitting bands do as they get older. After all, these women have been making music together on and off for over twenty years now. But the years haven’t softened them one iota--in fact, this set of songs sounds sharper and their voices more self-assured and the guitars more strident than ever. To paraphrase Wayne’s World, they really wail. If you feel like rock music has been stuck in a rut lately, this album is just the ticket to shake you to your foundations and crack that rut open and swallow whole everything and everyone that gets in the way. 

10. Jamie xx - In Colour

Disclosure’s sophomore album may not have quite lived up to the dizzying perfection of Settle, but thankfully another UK artist emerged to become the EDM standard bearer last year. Jamie xx pulls together UK garage, house music, and soulful samples into a melange of electronic bliss. It’s rare that an album works equally well in headphones or pumped over a club sound system, but this one doesn’t sound out of place in either setting. Like the music of The xx, it feels intimate; but the quieter moments build, giving way to grander sounds and immersive refrains. 

9. Godspeed You! Black Emperor - Asunder, Sweet, and Other Distress

Godspeed’s shortest album to date is also one of their best, second only to Lift Your Skinny Fists by my reckoning. If you like your post rock loud, epic, orchestrated, and created by Canadian anarchists, then this is the band for you. It’s intense and beautiful and mournful and foreboding, which is probably what you’ve come to expect from GYBE if you’re familiar with their work. Listening to instrumental music means you get to project whatever you’re feeling onto the songs, and that’s probably why this album feels so cathartic to me. Plus, when I’m having a bad time, I can crank the volume all the way up and burrow into cacophonous depths of guitar, violin, bass, and organ where my anxious thoughts can’t be heard.

8. Grimes - Art Angel

She might not be the only person who loves K-Pop, Skinny Puppy, and 12th century sacred chants equally, but she’s the only one who filters these and other disparate influences into a cohesive electro-pop aesthetic. The songs on Art Angel would feel right at home on a Top 40 station, but there’s a lot of experimentation and off kilter vibes happening under the bubbly surface. I’d love to see her tour with Selena Gomez, Tove Lo, or Rihanna to get some wider exposure and maybe cross pollinate and give those artists a little more weirdness by association. Speaking of weirdness by association, this album rises even higher in my estimation because Janelle Monae the ArchAndroid herself guests on one of the tracks. Be still my heart! 

7. Miguel - Wildheart

I must have listened to Kaleidoscope Dream, Miguel’s previous album, an average of twice a day for about three years straight. Seriously, it outlasted everything on my ever-rotating iPhone music library. My expectations could not have been higher for this follow up, and Miguel blew my mind with this sexy, eclectic, brilliant album. He dares to be a little playful in spots, he taps into the talents of Lenny Kravitz and Raphael Saadiq, he gets inspiration from The Smashing Pumpkins, he revels in the raunch the adult film industry, he mourns his mistakes, he celebrates the simple pleasures of coffee after a late night tryst, and he embraces the reality that maybe he’s not for everyone but he’s fully himself and that’s all anyone can really hope to be. 

6. Kamasi Washington - The Epic

I get it. The word “epic” gets tossed around pretty flippantly these days to describe everything from classroom decor to breakfast foods. I can see why you’d be skeptical of an album released in 2015 using that word as its title. But trust me. Kamasi Washington, jazz saxophonist and badass extraordinaire, contributor to albums by the likes of Kendrick Lamar and Flying Lotus, has schooled us all on what epic really means on this triple album. Featuring mostly original compositions, Washington showcases a modern jazz sensibility that’s informed by the greats: John Coltrane; Miles Davis; Weather Report/Jaco Pastorius; Herbie Hancock; Charles Mingus; Wayne Shorter; probably others I am not thinking of because I’m not as versed in jazz as I wish I could be. This is no Kenny G smooth jazz--it’s alive and pulsating, challenging at times and invigorating at others. It’s vital. Get it.

5. Donnie Trumpet & the Social Experiment - Surf

Chance the Rapper gets a bunch of friends together and makes one of the most hopeful, dynamic albums of the year. I’m reminded of projects by Digable Planets, Guru’s Jazzmatazz albums, and even Lauryn Hill--there’s a real poetry here, but also a playfulness. I also think of Sly & the Family Stone, both because that band was a collective and because Surf fuses soul, funk, and tripped out grooves the way Sly did. Check out the list of names that appear under the “Social Experiment” banner: Janelle Monae, J. Cole, Big Sean, Jeremih, B.O.B., Busta Rhymes, Erykah Badu, the list goes on. These are heavy hitters, and some of the best songs on this album aren’t even theirs. That’s how good it is. 

4. Jason Isbell - Something More Than Free

Jason Isbell is one of the best American songwriters still living. It’s not hyperbole, it’s just true. He and his band, The 400 Unit, comfortably shift between classic country grooves to Southern rock barn burners to lilting love ballads, and all of those sound equally compelling and note-perfect. Hearing this album and Southeastern back to back, I think, “So this is what it was like to grow up when Hank Williams was around. This is how people felt when they heard Willie Nelson for the first time.” I know some people dismiss country as a genre, but even if it’s usually not your thing, give this album a chance. And by all means, go see Jason Isbell in concert. You can thank me later. 

3. Carly Rae Jepsen - Emotion

I didn’t see this album coming. Sure, I belted out “Call Me Maybe” every time it came on the radio in the summer of 2012, but like most people I chalked it up to a one hit wonder and moved on. But then! CRJ had to go for that 80s jugular. For an 80s pop junkie like me, this album dazzled me from the get go. Plus, with collaborators like Dev Hynes, Rostam Batmanglij, Ariel Rechtsaid, Sia, and Shellback--I mean this could only be a recipe for the most massive pop album since Robyn’s Body Talk trilogy. The production is lush, the hooks are insane, and above all, those vocals soar and swoon and breathlessly evoke the nights you stay up way too late dancing and drinking and flirting and then you get home and you can’t even sleep because you’re still so caught up thinking about that person, and wondering if they might by chance be lying awake thinking about you, too. 

2. MUTEMATH - Vitals

In the four years since Odd Soul, members of this band have gotten married, become parents, ditched their old label, and started a record label of their own. Drummer Darren King has lent his talents to projects by Son Lux, Say Anything, Travis Scott, and Kanye West. Todd Gummerman became a permanent member, pulling double duty on guitar and keys in addition to backup vocals. I mention these extra-textual elements mainly to highlight that this band has evolved and, yes, grown up some too, since we last heard from them. While the last album was rooted in classic rock and soul, Vitals turns toward pristine synths and electronic arrangements. It’s more pop oriented, and it also features some of the cleanest and most heart-wrenching vocals Paul Meany has ever put to record. Lyrics are personal and relatable, embracing love and family on one hand while acknowledging fears and bitterness on the other. “I used to care, I had no fear of falling, I used to never feel like I do now,” goes the chorus of Used To. But a few songs later, the mood shifts to a more optimistic one: “We’ll never find our way back to days of innocence, but I know we’ll be safe if we don’t look down. Take my arm, hold your balance, rest assured we’re right where we belong.” 

1. Kendrick Lamar - To Pimp A Butterfly