{"id":3126,"date":"2017-01-30T10:24:52","date_gmt":"2017-01-30T15:24:52","guid":{"rendered":"http:\/\/www.artsjournal.com\/riley\/?p=3126"},"modified":"2017-02-25T14:53:23","modified_gmt":"2017-02-25T19:53:23","slug":"january-leftovers","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/riley\/2017\/01\/january-leftovers\/","title":{"rendered":"January Leftovers:"},"content":{"rendered":"<p><a href=\"http:\/\/www.sierrahull.com\/\" target=\"_blank\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone\" src=\"https:\/\/static1.squarespace.com\/static\/56622870e4b078c56b452e11\/t\/566378a4e4b08333d1f72eed\/1449359530928\/weighted+mind+sierra+hull?format=250w\" alt=\"Sierra Hull\" width=\"300\" height=\"300\" align=\"left\" border=\"4\" \/><\/a> Happens every year, I haul out all my data and assemble a <a href=\"http:\/\/www.artsjournal.com\/riley\/2016\/12\/rip-2016\/\">best-of list<\/a> and submit to <em>Village Voice<\/em> <a href=\"http:\/\/www.villagevoice.com\/pazznjop\">pazznjop<\/a>\u00a0poll. Always find something new somebody else has discovered, always forget a couple titles that should have made my own list. This one&#8217;s weird: could have easily topped my list, and you don&#8217;t see it on too many others&#8217; either. Once I seized on it and started listening to it again, I couldn&#8217;t stop. At first you&#8217;ll hear Alison Kraus bells go off, then Hull takes you in different directions (as Kraus herself testifies). She writes almost as well as she sings, and that&#8217;s really the shit. At least the <a href=\"https:\/\/www.grammy.com\/nominees\">Grammys<\/a> noticed. But &#8220;Best Folk Album&#8221; sends the wrong signal: this counts as progressive Bluegrass, in the same league as Chris Thile and Punch Bros.<\/p>\n<p><a href=\"https:\/\/open.spotify.com\/album\/1Nhg69P4YB6wBXuP6Kmhbe\">Sierra Hull: <em>Weighted Mind<\/em><\/a><\/p>\n<p>See also:<br \/>\n<a href=\"https:\/\/open.spotify.com\/user\/triley60\/playlist\/2onroKQn2zqJfbSuHLGyPz\">Kelsey Waldon: <em>I&#8217;ve Got A Way<\/em><\/a><br \/>\n<a href=\"https:\/\/open.spotify.com\/album\/1NGgGEy69J3rMmVDAh2jfO\">Quilt: <em>Plaza<\/em><\/a>\u00a0(via <a href=\"https:\/\/mmiles777.wordpress.com\/\">Milo Miles<\/a>)<br \/>\n<a href=\"https:\/\/open.spotify.com\/user\/triley60\/playlist\/4m3MHQFlUo25PB8CMhr4yX\">The I Don&#8217;t <\/a><a href=\"https:\/\/open.spotify.com\/user\/triley60\/playlist\/4m3MHQFlUo25PB8CMhr4yX\">Care: <em>Wild Stab<\/em><\/a><br \/>\n<a href=\"https:\/\/open.spotify.com\/user\/triley60\/playlist\/3NEQ1US8RrvZlGHsBNA3Tr\">Car Seat Headrest: <em>Teens of Denial<\/em><\/a><\/p>\n<p><strong>Nat Hentoff 1925-2017<\/strong><br \/>\nHe spoke at Oberlin in the early 1980s about Skokie, the ACLU, the tabloids and how people don&#8217;t get the First Amendment, and he exemplified the journalist on a mission, enlarging the idea of &#8220;Music Critic&#8221; much as Calvin Trillin expanded the notion of Food Critic. He was as kind as could be to me in person: at one point when I asked him for a reference, he warned me that a lot of people had written him off with his pro-choice stands. I disagreed with that stance\u00a0but admired his originality and commitment to larger principles. Don&#8217;t miss his Playboy 1965 Playboy interview with Bob Dylan (<a href=\"http:\/\/www.interferenza.com\/bcs\/interw\/66-jan.htm\" target=\"_blank\">print<\/a> or <a href=\"http:\/\/www.openculture.com\/2014\/09\/hear-bob-dylans-unedited-bewildering-interview-with-nat-hentoff.html\">audio<\/a>).<br \/>\n<a href=\"https:\/\/www.nytimes.com\/2017\/01\/07\/nyregion\/nat-hentoff-dead.html?_r=0\" target=\"_blank\">NYTimes obit<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Happens every year, I haul out all my data and assemble a best-of list and submit to Village Voice pazznjop\u00a0poll. Always find something new somebody else has discovered, always forget a couple titles that should have made my own list. This one&#8217;s weird: could have easily topped my list, and you don&#8217;t see it on [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-3126","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/posts\/3126","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/comments?post=3126"}],"version-history":[{"count":5,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/posts\/3126\/revisions"}],"predecessor-version":[{"id":3139,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/posts\/3126\/revisions\/3139"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/media?parent=3126"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/categories?post=3126"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/tags?post=3126"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}