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She's the associate editor at KQED Arts & Culture. She's the recipient of the 2018 Society of Professional Journalists-Northern California award for arts & culture reporting. In 2021, a retrospective of the 2010s she edited and creative directed, Our Turbulent Decade, received the SPJ-NorCal award for web design. Nastia's work has been published in NPR Music, \u003cem>San Francisco Chronicle\u003c/em>, VICE, Paste Magazine, Bandcamp and SF MoMA Open Space. Previously, she served as music editor at \u003cem>East Bay Express\u003c/em> and online editor at \u003cem>Hi-Fructose Magazine\u003c/em>. She holds a B.A. in comparative literature from UC Berkeley.","avatar":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g","twitter":"nananastia","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["administrator"]},{"site":"news","roles":["editor"]},{"site":"pop","roles":["administrator"]},{"site":"bayareabites","roles":["editor"]},{"site":"podcasts","roles":["editor"]},{"site":"hiphop","roles":["editor"]}],"headData":{"title":"Nastia Voynovskaya | KQED","description":"Associate Editor","ogImgSrc":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g","twImgSrc":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g"},"isLoading":false,"link":"/author/nvoynovskaya"},"ogpenn":{"type":"authors","id":"11491","meta":{"index":"authors_1591205172","id":"11491","found":true},"name":"Pendarvis Harshaw","firstName":"Pendarvis","lastName":"Harshaw","slug":"ogpenn","email":"ogpenn@gmail.com","display_author_email":false,"staff_mastheads":["arts"],"title":"Columnist and Host, Rightnowish","bio":"Pendarvis Harshaw is the host of \u003ca href=\"https://www.kqed.org/arts/tag/rightnowish\" rel=\"noopener noreferrer\">\u003cem>Rightnowish\u003c/em>\u003c/a> on KQED-FM, a columnist at KQED Arts, and the author of \u003ci>OG Told Me,\u003c/i> a memoir about growing up in Oakland.","avatar":"https://secure.gravatar.com/avatar/093d33baff5354890e29ad83d58d2c49?s=600&d=blank&r=g","twitter":"ogpenn","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]},{"site":"bayareabites","roles":["author"]},{"site":"hiphop","roles":["editor"]}],"headData":{"title":"Pendarvis Harshaw | KQED","description":"Columnist and Host, Rightnowish","ogImgSrc":"https://secure.gravatar.com/avatar/093d33baff5354890e29ad83d58d2c49?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/093d33baff5354890e29ad83d58d2c49?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/ogpenn"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13818199":{"type":"posts","id":"arts_13818199","meta":{"index":"posts_1591205157","site":"arts","id":"13818199","score":null,"sort":[1514583718000]},"guestAuthors":[],"slug":"who-won-2017","title":"Who Won 2017?","publishDate":1514583718,"format":"image","headTitle":"Who Won 2017? | KQED","labelTerm":{"term":3461,"site":"arts"},"content":"\u003cp>I’ve been arguing with myself for the better half of the past two weeks, trying to figure out who actually won 2017. It’s not a matter of who made the most money, or who was the most popular. It’s not even a question of — as the kids say — who was living their best life.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>No, I want to know who had the greatest impact on public discourse this year. When we look back, five or ten years from now, what will we say 2017 was the year of?\u003c/p>\n\u003cp>In order to get the bottom of this question, I chose to use the good ol’ American method of comparative competition. I laid out all of the names (not just people, but places and things as well), and pit them against one and other in an NCAA March Madness-style bracket.\u003c/p>\n\u003cp>But before we get to the bracket, it’s important to note that not every “winner” of 2017 could fit — I only had 64 slots. So, while \u003ca href=\"https://www.theatlantic.com/politics/archive/2017/02/frederick-douglass-trump/515292/\" target=\"_blank\" rel=\"noopener noreferrer\">Frederick Douglass had a much better year\u003c/a> than some of us who are actually living, his name isn’t on the list.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Okay, here’s the bracket:\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13818276\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/BracketWeb1-800x1339.jpg\" alt=\"\" width=\"800\" height=\"1339\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/BracketWeb1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/BracketWeb1-160x268.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/BracketWeb1-768x1285.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/BracketWeb1-240x402.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/BracketWeb1-375x628.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/BracketWeb1-520x870.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The 16th seed in every division is someone who slid in: the underdog, the person/place/thing that finessed their way to victory this year. Whether it be through media antics or unhealthy relationships, the 16th seeds brought home a W. And if you ask me, a win is a win — even if they played dirty.\u003c/p>\n\u003cp>Immigration is included as a concept that impacted the news, not just in the United States but abroad. In terms of the States, this is about DACA, ICE and travel bans. Immigration as a concept won a lot of public discourse this year, for better and for worse.\u003c/p>\n\u003ch2>Round One\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13818281\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Div1.jpg\" alt=\"\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div1.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div1-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div1-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div1-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003cstrong>Natural disasters over Bhad Bhabie (the “Cash Me Outside” girl):\u003c/strong> While 14-year-old Bhad Bhabie \u003ca href=\"https://www.maxim.com/news/danielle-bregoli-pays-moms-mortgage-2017-12\" target=\"_blank\" rel=\"noopener noreferrer\">had a ball on social media\u003c/a> this year, even landing a multi-million dollar deal with Atlantic Records, she doesn’t hold a candle to the centripetal force that overtook the Atlantic Ocean this year — let alone the California wildfires and the earthquakes that hit our neighbor to the south.\u003c/p>\n\u003cp>\u003cstrong>Tiffany Haddish over Lin-Manuel Miranda:\u003c/strong> Lin-Manuel Miranda has been on a roll since the success of \u003cem>Hamilton\u003c/em> last year. I’ve seen him on everything from \u003cem>Sesame Street\u003c/em> to \u003cem>Saturday Night Live\u003c/em>. But the underdog, Tiffany Haddish, hit the silver screen and made a splash in \u003cem>Girls Trip\u003c/em>; she killed interviews on late-night TV and early-morning radio, and she was also on \u003cem>SNL\u003c/em> — making history as the first African American female comedian to ever host the show. She won!\u003c/p>\n\u003cp>\u003cstrong>Maxine Waters over Marshawn Lynch:\u003c/strong> Despite the Raiders’ mediocre season, the Oakland African king known as “Beastmode” has had an incredible year. Besides playing for his hometown team, his clothing line is thriving and he has a reality show on Facebook video — and it’s actually entertaining. But his year doesn’t compare to Maxine Waters’. She won 2017 with three simple words that carried more weight than even Marshawn’s most profoundly brief speeches: “\u003ca href=\"https://www.youtube.com/watch?v=0EvuBakBj3I\" target=\"_blank\" rel=\"noopener noreferrer\">Reclaiming my time\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13818301\" class=\"wp-caption alignright\" style=\"max-width: 534px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818301\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/B.Jayz_.jpg\" alt=\"Jay-Z speaks onstage during Time and Punishment: A Town Hall Discussion with Jay-Z and Harvey Weinstein on Spike TV at MTV Studios on March 8, 2017 in New York City. \" width=\"534\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Jayz_.jpg 534w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Jayz_-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Jayz_-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Jayz_-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Jayz_-520x779.jpg 520w\" sizes=\"(max-width: 534px) 100vw, 534px\">\u003cfigcaption class=\"wp-caption-text\">Jay-Z speaks onstage during Time and Punishment: A Town Hall Discussion with Jay-Z and Harvey Weinstein on Spike TV at MTV Studios on March 8, 2017 in New York City. \u003ccite>(Dave Kotinsky/Getty Images for Spike)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jay-Z over Aziz Ansari:\u003c/strong> Aziz had a great year with the successful second season of his show \u003cem>Master of None\u003c/em>. But Hov is second to none when it comes to the art of rap. Although Jay took some Ls on social media, overall he had an amazing year, welcoming his newborn twins and enjoying the success of his latest album.\u003c/p>\n\u003cp>\u003cstrong>The Cast of \u003cem>Moonlight\u003c/em> over Remy Ma:\u003c/strong> I’m all for formerly incarcerated people getting out and getting to work, and Remy did just that: She put in work. That “\u003ca href=\"https://www.youtube.com/watch?v=q1MsZWVg7nY\" target=\"_blank\" rel=\"noopener noreferrer\">ShEther\u003c/a>” track, a Nicki Minaj diss, turned heads. But the cast of the movie \u003cem>Moonlight\u003c/em> unintentionally dropped a diss track when they accepted the Oscar for Best Picture over \u003cem>La La Land\u003c/em>, and it was much more memorable.\u003c/p>\n\u003cp>\u003cstrong>Kim Jong-un over Tyler The Creator:\u003c/strong> I really just want to see these two guys compete — like, in real life. I don’t care if it’s a Hacky race, arm wrestling match or a game of NBA Jam on Sega. It’d just be entertaining. But for the sake of this bracket, Kim wins over Tyler off the strength of beefing with 45 and launching multiple missiles as a “test.”\u003c/p>\n\u003cp>\u003cstrong>Chance The Rapper over Kamala Harris:\u003c/strong> This is a tough one. Kamala is a force to be reckoned with, undoubtedly. Even though this is her first go-round as senator, she’s spearheaded some great work, from demanding that Al Franken step down to championing bail reform. But Chance the Rapper is a rapper, and he’s fighting a very similar legislative fight. Mr. Rapper pushed for education reform in his native Chicago, won three Grammys this year, recently tried on the role of a weatherman \u003cem>and\u003c/em> dropped a Christmas album.\u003c/p>\n\u003cp>\u003cstrong>45 over Chadwick Boseman:\u003c/strong> Actor Chadwick Boseman (a.k.a. Thurgood Marshall, a.k.a. Jackie Robinson, a.k.a. the Black Panther) has had a great year. But unfortunately, Mr. 45 was inaugurated as the President of the United States in January, and, somehow, he remains. He stirred the pot more times than Boseman this year.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13818282\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Div2.jpg\" alt=\"\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div2.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div2-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div2-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div2-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div2-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003cstrong>Domestic Terrorism over Joe Budden:\u003c/strong> Joe made his way back into the limelight via Complex’s \u003cem>Everyday Struggle\u003c/em> series, and his ongoing beef with Lil Yachty and Migos put him squarely in the middle of the old- vs. new-school hip-hop debate. But domestic terrorism, in the form of mass shootings, has claimed more lives than we can accept as a nation. Headline after headline, seemingly every week, there was another shooting.\u003c/p>\n\u003cp>\u003cstrong>Daniel Caesar over Kate McKinnon:\u003c/strong> While Kate brought light and laughter into our lives on many nights of wondering what the hell the people in Washington are doing, it was Daniel Caesar who provided the soundtrack to marriage proposals, weddings and young love. His words, while not nearly as funny as Kate’s, made us tear up all the same.\u003c/p>\n\u003cfigure id=\"attachment_13818299\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818299\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/B.Astros.jpg\" alt=\"Alex Bregman #2 and Jose Altuve #27 of the Houston Astros celebrate after defeating the Los Angeles Dodgers 5-1 in game seven to win the 2017 World Series at Dodger Stadium on November 1, 2017 in Los Angeles, California. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Astros.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Astros-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Astros-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Astros-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Astros-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Astros-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alex Bregman #2 and Jose Altuve #27 of the Houston Astros celebrate after defeating the Los Angeles Dodgers 5-1 in game seven to win the 2017 World Series at Dodger Stadium on November 1, 2017 in Los Angeles, California. \u003ccite>(Harry How/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The Houston Astros over Tracee Ellis Ross:\u003c/strong> Okay, Tracee is the bomb. Like, old-school, ’90s-slang the bomb. She’s a great media personality, an extremely accomplished actress and she’s freaking beautiful! Her accomplishments with \u003cem>Black-ish\u003c/em> should be acknowledged. But, I think even she’d agree how incredible it was that the Houston Astros brought the MLB World Series trophy to H-Town for the first time, especially after that massive hurricane. It was the work of heroes.\u003c/p>\n\u003cp>\u003cstrong>Colin Kaepernick over Dave Chappelle:\u003c/strong> Dave came out of retirement, dropped two stand-up specials on Netflix with more to come, made an appearance on Def Comedy Jam and rocked some local Bay Area shows. Meanwhile, Colin hasn’t played a single snap in the 2017-2018 NFL season, but he’s had the most influence on football at large and America’s ongoing conversation about civil rights. Hence, the \u003cem>GQ\u003c/em> Citizen of the Year nod.\u003c/p>\n\u003cp>\u003cstrong>Kevin Durant over Daveed Diggs:\u003c/strong> Daveed has been on a roll since the stage play \u003cem>Hamilton\u003c/em>. I’ve spotted him in TV shows and sitting courtside in Los Angeles. But Kevin Durant won his first NBA championship. And as a Bay Area native and Warriors fan, I know Daveed appreciates that.\u003c/p>\n\u003cp>\u003cstrong>Cardi B over Asahd Khaled:\u003c/strong> Look man, I don’t think there’s a kid who’s had a better first year of living. Asahd can brag for the rest of his life that his baby photo, an image of him draped in gold chains, is on the cover of a top-selling album. DJ Khaled and Nicole Tuck, you’re doing just fine. But Cardi B kicked in the door of the pop culture world, and we saw nothing but the red bottoms of her bloody shoes. She dropped a summer anthem and hasn’t turned back since. This was her year.\u003c/p>\n\u003cp>\u003cstrong>Issa Rae over SZA:\u003c/strong> In another close matchup, these two both put it down for the culture. SZA had an amazing run: She dropped a great album while being one of the flyest human beings on the internet. But Issa Rae’s success with the second season of her show, \u003cem>Insecure\u003c/em>, deserves praise. Plus, Issa’s comment about how she’s “\u003ca href=\"https://www.youtube.com/watch?v=WafoKj6MzcU\" target=\"_blank\" rel=\"noopener noreferrer\">rooting for everybody black\u003c/a>” on the Emmys red carpet stole the show. She wins.\u003c/p>\n\u003cp>\u003cstrong>Public Protests over Miss Texas, Margana Wood:\u003c/strong> Margana’s comment about 45 and white supremacy were amazing usage of her platform, but nothing compares to the people power exhibited in the form of protests this year. From protests at the San Francisco Airport challenging Trump’s travel ban to protests in Virginia against white supremacy, this year has seen an amazing amount of people coming together to demonstrate their beliefs.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13818283\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Div3.jpg\" alt=\"\" width=\"595\" height=\"595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div3.jpg 595w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div3-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div3-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div3-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div3-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div3-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div3-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div3-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div3-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div3-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div3-150x150.jpg 150w\" sizes=\"(max-width: 595px) 100vw, 595px\">\u003c/p>\n\u003cp>\u003cstrong>Healthcare over Chris Brown:\u003c/strong> While Mr. Brown won back some fans by releasing a documentary and 40-track album, his art paled in comparison to the healthcare debate, a tug-of-war between legislators that will have lasting impact for generations. When we look back at 2017, we’ll have no choice but to acknowledge it.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Star Wars\u003c/em> over Ed Sheeran:\u003c/strong> Sorry Ed, you had a hit song, great album and a good run. But this is \u003cem>Star Wars\u003c/em> we’re talking about.\u003c/p>\n\u003cp>\u003cstrong>Jordan Peele over Logic:\u003c/strong> Logic dropped a much-needed track about suicide awareness, but \u003cem>Get Out\u003c/em> brought a clever, necessary take on racial issues that have been plaguing America from the start. On top of that, Jordan took a step outside of his normal comedy writing and created a thriller. It’s not a comedy, no matter what the people who give awards say.\u003c/p>\n\u003cfigure id=\"attachment_13818304\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818304\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/B.Migos_.jpg\" alt=\"Rappers Quavo, Takeoff and Offset of Migos attend the BET Hip Hop Awards 2017 at The Fillmore Miami Beach at the Jackie Gleason Theater on October 6, 2017 in Miami Beach, Florida.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Migos_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Migos_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Migos_-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Migos_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Migos_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Migos_-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rappers Quavo, Takeoff and Offset of Migos attend the BET Hip Hop Awards 2017 at The Fillmore Miami Beach at the Jackie Gleason Theater on October 6, 2017 in Miami Beach, Florida. \u003ccite>(Paras Griffin/Getty Images for BET)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Migos over Doug Jones:\u003c/strong> While Doug Jones’ December win in the Alabama Senate race made headlines, the rap group Migos had pop culture in a headlock. Hit songs, appearances at award shows and countless memes — the W goes to the trio from Atlanta, not the politician from Alabama.\u003c/p>\n\u003cp>\u003cstrong>Bitcoin over Kofi Siriboe:\u003c/strong> Kofi, a handsome gentleman who stole the attention of my girlfriend and my momma, had a great year. His appearances in \u003cem>Queen Sugar\u003c/em> and \u003cem>Girls Trip\u003c/em> thrust him into the spotlight. But know what looks better than Kofi? A Bitcoin. The crypto-currency made headlines in the past couple months as its value rose astronomically, then crashed again. Winner goes to the intangible coins.\u003c/p>\n\u003cp>\u003cstrong>Beyoncé over LecRae:\u003c/strong> Uh… They’re both from Houston. And, um… they both make music. But the comparisons stop there. Queen B by a landslide.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Washington Post\u003c/em> over the cast from \u003cem>Stranger Things\u003c/em>:\u003c/strong> While 11 and her cast of lovable dweebs stole our hearts and pushed our imaginations to the limit, the staff at the \u003cem>Washington Post\u003c/em> brought reality to our doorsteps. I’m a fan of a good science fiction series, especially one that takes you to another dimension, but “Democracy Dies in Darkness” is an undeniably cold tagline. And true to form, \u003cem>WaPo’s\u003c/em> coverage of domestic politics, international war and much more kept me informed in the dark days of 2017. It’s like they’ve kept a finger on the pulse of “the upside down.”\u003c/p>\n\u003cp>\u003cstrong>Immigration over Rapsody:\u003c/strong> Rapsody dropped a top-tier rap album this year, but the issue of immigration is bigger than hip-hop. Sorry Rapsody — immigration wins this one.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13818284\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Div4.jpg\" alt=\"\" width=\"602\" height=\"602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div4.jpg 602w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div4-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div4-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div4-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div4-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div4-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div4-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div4-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div4-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div4-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div4-150x150.jpg 150w\" sizes=\"(max-width: 602px) 100vw, 602px\">\u003c/p>\n\u003cp>\u003cstrong>#MeToo over Blac Chyna:\u003c/strong> In short, Blac Chyna got over on her former romantic partner and secured the bag. Congrats. But the #MeToo movement was the biggest clap-back to all the men in positions of power who’ve been getting over on women for years. The #MeToo movement by a landslide.\u003c/p>\n\u003cp>\u003cstrong>Solange over Gucci Mane:\u003c/strong> This is a close one. It might even go into overtime. Solange slayed 2017. Her 2016 album \u003cem>A Seat At the Table\u003c/em> carried right over into a successful 2017 tour, TV appearances and magazine covers. Plus her hair is amazing — and no, you can’t touch it. But Gucci also built on the momentum of an amazing 2016, by getting married and dropping a book. Big life goals accomplished this year for Mr. Mane, a formerly incarcerated man. In the end, though, it’s Solange at the buzzer.\u003c/p>\n\u003cfigure id=\"attachment_13818306\" class=\"wp-caption alignright\" style=\"max-width: 534px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818306\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/B.Serena.jpg\" alt=\"Serena Williams of the US celebrates with the championship trophy during the awards ceremony after her victory against Venus Williams of the US in the women's singles final on day 13 of the Australian Open tennis tournament in Melbourne on January 28, 2017. \" width=\"534\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Serena.jpg 534w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Serena-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Serena-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Serena-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Serena-520x779.jpg 520w\" sizes=\"(max-width: 534px) 100vw, 534px\">\u003cfigcaption class=\"wp-caption-text\">Serena Williams of the US celebrates with the championship trophy during the awards ceremony after her victory against Venus Williams of the US in the women’s singles final on day 13 of the Australian Open tennis tournament in Melbourne on January 28, 2017. \u003ccite>(WILLIAM WEST/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Serena Williams over Blake Shelton:\u003c/strong> Okay, Blake was awarded Sexiest Man Alive by \u003cem>People Magazine\u003c/em>, and we’re still wondering if every other man on the planet is dead. Serena won 2017. The Australian Open, a building named after her at Nike’s HQ, \u003cem>and\u003c/em> a newborn child? Winner.\u003c/p>\n\u003cp>\u003cstrong>Taylor Swift over Tom Brady:\u003c/strong> This is a close one. You’ve got to give it to Tom — what he did in the Super Bowl was amazing. And then he came back to the 2017-2018 NFL season at age 40 and played better than almost every other quarterback. But I’m tired of Tom winning. So Taylor, with her No. 1 album, \u003cem>Saturday Night Live\u003c/em> appearance and new beau, gets the W.\u003c/p>\n\u003cp>\u003cstrong>LeBron over Miguel:\u003c/strong> This is another close one. Miguel dropped \u003ca href=\"https://en.wikipedia.org/wiki/War_%26_Leisure\" target=\"_blank\" rel=\"noopener noreferrer\">one of the best R&B albums of the year\u003c/a>. And LeBron did actually \u003cem>lose\u003c/em> the NBA finals in June. But \u003ca href=\"https://twitter.com/kingjames/status/911610455877021697?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">calling Trump a bum\u003c/a> on Twitter was pretty memorable. LeBron wins.\u003c/p>\n\u003cp>\u003cstrong>Rihanna over LaVar Ball:\u003c/strong> LaVar talks a lot. He’s gotten some play because of it, from ESPN mentions to a 45 Twitter diss. He’s had a great year. But come on, we’re talking about Rihanna, who took over the fashion and makeup worlds with Fenty this year. Case closed.\u003c/p>\n\u003cp>\u003cstrong>Kendrick Lamar over The Rock:\u003c/strong> I’m still not sure about this one. The Rock had a great year: movies, magazines and the news that he and his partner are expecting a second child. But the Good Kid from M.A.A.D. City, a.k.a. King Kunta, a.k.a. K.Dot dropped an album and all the other rappers took notes. And then he reversed the track listing and dropped the same album again later in the year, and now \u003cem>that’s\u003c/em> selling. Winner: Kung Fu Kenny.\u003c/p>\n\u003cp>\u003cstrong>Tax Reform over Michael Che:\u003c/strong> Michael got a Netflix special — plus he’s had a memorable run on \u003cem>Saturday Night Live\u003c/em>, so much so that he was promoted to co-head writer. But the authors of the 2017 tax reform bill stole the show — along with a lot of other things.\u003c/p>\n\u003ch2>Round Two\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13818285\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/2Div1.jpg\" alt=\"\" width=\"432\" height=\"593\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/2Div1.jpg 432w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/2Div1-160x220.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/2Div1-240x329.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/2Div1-375x515.jpg 375w\" sizes=\"(max-width: 432px) 100vw, 432px\">\u003c/p>\n\u003cp>\u003cstrong>Natural Disasters over Tiffany Haddish:\u003c/strong> Tiffany’s natural gift for comedic storytelling is no match for Mother Nature’s anger at the man-made issue of global warming.\u003c/p>\n\u003cfigure id=\"attachment_13818303\" class=\"wp-caption alignright\" style=\"max-width: 534px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818303\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/B.Maxine.jpg\" alt=\"House Financial Services Committee ranking member Rep. Maxine Waters (D-CA) moderates a panel discussion about the Trump Administration's proposed cuts to the Community Development Block Grant and HOME Investment Partnerships programs at the U.S. Capitol May 24, 2017 in Washington, DC. \" width=\"534\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Maxine.jpg 534w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Maxine-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Maxine-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Maxine-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Maxine-520x779.jpg 520w\" sizes=\"(max-width: 534px) 100vw, 534px\">\u003cfigcaption class=\"wp-caption-text\">House Financial Services Committee ranking member Rep. Maxine Waters (D-CA) moderates a panel discussion about the Trump Administration’s proposed cuts to the Community Development Block Grant and HOME Investment Partnerships programs at the U.S. Capitol May 24, 2017 in Washington, DC. \u003ccite>(Chip Somodevilla/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Maxine Waters over Jay-Z:\u003c/strong> Look, Jay-Z cheated on Beyoncé, put together some clever words over dope beats and dropped an album about it. He made a lot of money, too. Big whoop. Maxine Waters has put in work! She’s served in Congress since 1991, and this year she might’ve reached her pop culture apex. Beyond the work that she does for African Americans, women and the LGBTQ community, she dropped three words that were hotter than Hov’s whole album. “Reclaiming my time” is such a profound sentiment. \u003cem>That’s\u003c/em> how you speak truth to power. It’s perfect for the short attention span of the internet age. I even briefly considered getting it tattooed. No Jay-Z lyrics from \u003cem>4:44\u003c/em> spoke to me in the same way.\u003c/p>\n\u003cp>\u003cstrong>Kim Jong-un over the cast of \u003cem>Moonlight\u003c/em>:\u003c/strong> Sorry Hollywood, drama about the guy over in North Korea with his finger on nuclear arms garnered more attention this year.\u003c/p>\n\u003cp>\u003cstrong>45 over Chance the Rapper:\u003c/strong> Sorry Chance, all of your efforts are respectable and you’re doing your part. But 45 has a lock on this one. Maybe one day we’ll have Mr. Rapper run for president, but until then, the current person in the oval office wins this one.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13818286\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/2Div2.jpg\" alt=\"\" width=\"425\" height=\"596\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/2Div2.jpg 425w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/2Div2-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/2Div2-240x337.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/2Div2-375x526.jpg 375w\" sizes=\"(max-width: 425px) 100vw, 425px\">\u003c/p>\n\u003cp>\u003cstrong>Domestic Terrorism over Daniel Caesar:\u003c/strong> Sorry Daniel, unfortunately love doesn’t win this battle. Domestic Terrorism is too widespread, allowing fear to flourish in the hearts of many, and causing a love exodus.\u003c/p>\n\u003cfigure id=\"attachment_13818302\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818302\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/B.Kaep_.jpg\" alt=\"Colin Kaepernick receives the SI Muhammad Ali Legacy Award during Sports Illustrated's 2017 Sportsperson of the Year Show on December 5, 2017 at Barclays Center in New York City.\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Kaep_-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Kaep_-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Kaep_-375x564.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Colin Kaepernick receives the SI Muhammad Ali Legacy Award during Sports Illustrated’s 2017 Sportsperson of the Year Show on December 5, 2017 at Barclays Center in New York City. \u003ccite>(Michael Loccisano/Getty Images for Sports Illustrated)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Colin over the Houston Astros:\u003c/strong> While the accomplishments of the Astros on the baseball field were amazing, Colin won football without even putting on a jersey — evidence that this isn’t just a game.\u003c/p>\n\u003cp>\u003cstrong>Cardi B over Kevin Durant:\u003c/strong> Kevin dropped the ball with his \u003ca href=\"http://bleacherreport.com/articles/2733874-everything-you-need-to-know-about-kevin-durants-twitter-fail\" target=\"_blank\" rel=\"noopener noreferrer\">social media flub\u003c/a> over the summer while Cardi B broke chart records and flourished online.\u003c/p>\n\u003cp>\u003cstrong>Public Protests over Issa Rae:\u003c/strong> Issa held it down for the culture, but the mass amounts of protests were evidence that there’s a mass culture of people coming together to hold down their beliefs.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13818287\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/2Div3.jpg\" alt=\"\" width=\"425\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/2Div3.jpg 425w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/2Div3-160x226.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/2Div3-240x338.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/2Div3-375x529.jpg 375w\" sizes=\"(max-width: 425px) 100vw, 425px\">\u003c/p>\n\u003cp>\u003cstrong>Healthcare over \u003cem>Star Wars\u003c/em>:\u003c/strong> Because healthcare is real and impacts us all, and I’ve never seen \u003cem>Star Wars\u003c/em> before. Like, not a single movie. But I went to the doctor last week.\u003c/p>\n\u003cp>\u003cstrong>Migos over Jordan Peele:\u003c/strong> This one is debatable. Both have done it for the culture. But man, Migos have been \u003cem>everywhere\u003c/em>! I give it to them.\u003c/p>\n\u003cfigure id=\"attachment_13818300\" class=\"wp-caption alignright\" style=\"max-width: 617px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818300\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/B.Beyonce.jpg\" alt=\"Beyoncé's photo announcing her pregnancy with twins became the most-liked Instagram photo of all time.\" width=\"617\" height=\"700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Beyonce.jpg 617w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Beyonce-160x182.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Beyonce-240x272.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Beyonce-375x425.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Beyonce-520x590.jpg 520w\" sizes=\"(max-width: 617px) 100vw, 617px\">\u003cfigcaption class=\"wp-caption-text\">Beyoncé’s photo announcing her pregnancy with twins became the most-liked Instagram photo of all time. \u003ccite>(@beyonce/Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Beyoncé over Bitcoin:\u003c/strong> Bitcoin has grown since it came into existence in 2009, and this year it blew the ceiling off the financial world. But Beyoncé has been glowing since birth, and this year, she used her music to do philanthropy work, graced the cover of numerous magazines and gave birth to twins. Her husband and little sister both had great years, but Beyoncé is the highest paid woman in music. If she allowed her face to be on a form of currency, Bitcoin would be gone.\u003c/p>\n\u003cp>\u003cstrong>Immigration over \u003cem>The Washington Post\u003c/em>:\u003c/strong> As much as I appreciate a quality publication, the issue of immigration in American predates and might outlast this periodical. And this year in particular, the issue of immigration was one of the things that kept the newspaper going.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13818288\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/2Div4.jpg\" alt=\"\" width=\"423\" height=\"607\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/2Div4.jpg 423w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/2Div4-160x230.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/2Div4-240x344.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/2Div4-375x538.jpg 375w\" sizes=\"(max-width: 423px) 100vw, 423px\">\u003c/p>\n\u003cp>\u003cstrong>#MeToo over Solange:\u003c/strong> Witnessing how her music empowers women, I don’t think Solange would disagree.\u003c/p>\n\u003cp>\u003cstrong>Serena Williams over Taylor Swift:\u003c/strong> Taylor had a good year, no lie. Record sales, awards and even reports of a new love. And the whole “\u003ca href=\"http://nymag.com/selectall/2017/12/name-a-badder-bitch-than-taylor-swift-memes-take-twitter.html\" target=\"_blank\" rel=\"noopener noreferrer\">name a bitch badder than Taylor Swift\u003c/a>” thing brought about a wealth of lessons about powerful women in society, so I guess we should thank her. But let’s be real, Serena won the Australian open in January and set the record for most Grand Slams, she was on the cover of \u003cem>Sports Illustrated’s\u003c/em> swimsuit edition, and Nike recently named a building after her. Oh, and she gave birth to her first child. Serena is a *queen* badder than Taylor Swift.\u003c/p>\n\u003cfigure id=\"attachment_13818305\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818305\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/B.Rihanna.jpg\" alt=\"Singer Rihanna attends the 'Fenty Beauty' photocall at Callao cinema on September 23, 2017 in Madrid, Spain. \" width=\"600\" height=\"677\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Rihanna.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Rihanna-160x181.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Rihanna-240x271.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Rihanna-375x423.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Rihanna-520x587.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Singer Rihanna attends the ‘Fenty Beauty’ photocall at Callao cinema on September 23, 2017 in Madrid, Spain. \u003ccite>(Eduardo Parra/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Rihanna over LeBron:\u003c/strong> Look man, LeBron won at birth. I know he grew up in a rough childhood and worked hard to get where he is, but the man was blessed with physical attributes that make mere mortals look weak in comparison. This year, he also lost the NBA championship to Kevin Durant & Co. Meanwhile, Rihanna, who sat courtside for a few of those NBA Finals games, put her stamp on this year, from fashion to music. Her beauty line Fenty was all over social media as fans flocked to support her latest venture. She became outspoken on political issues, using social media to voice her opinions. And, as if that weren’t enough, Bad Girl Riri got a \u003ca href=\"https://www.instagram.com/p/BXgaVpsDzfL/?hl=en&taken-by=badgalriri\" target=\"_blank\" rel=\"noopener noreferrer\">noticeably healthier physique\u003c/a> this past year, setting Instagram aflame with conversation.\u003c/p>\n\u003cp>\u003cstrong>Tax Reform over Kendrick Lamar:\u003c/strong> Sorry Kendrick, your music is good and all, but this Tax Reform bill was pretty big news.\u003c/p>\n\u003ch2>Round Three\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13818289\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/3Div1.jpg\" alt=\"\" width=\"554\" height=\"586\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3Div1.jpg 554w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3Div1-160x169.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3Div1-240x254.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3Div1-375x397.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3Div1-520x550.jpg 520w\" sizes=\"(max-width: 554px) 100vw, 554px\">\u003c/p>\n\u003cp>\u003cstrong>Natural Disasters over Maxine Waters:\u003c/strong> Maxine had a good run, and will continue to do incredible work. But natural disasters won this in a blowout.\u003c/p>\n\u003cp>\u003cstrong>45 over Kim Jong-un:\u003c/strong> First off, \u003cem>I really don’t want to see this battle actually happen\u003c/em>. And I’m not trying to fuel the flames by suggesting that 45 had a better year than Kim Jong-un, but without the 45th President of the United States of America saying Kim Jong-un’s name (or other things that he’s called him), I don’t know how much limelight the President of North Korea would’ve received. Even if you don’t like 45, you have to acknowledge that he accomplished one thing this year: He didn’t get fired. Not yet! So, kudos to him for that. Now, let’s hope these two can move toward a resolution and keep us from total global thermonuclear destruction.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13818290\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/3Div2.jpg\" alt=\"\" width=\"559\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3Div2.jpg 559w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3Div2-160x171.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3Div2-240x257.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3Div2-375x402.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3Div2-520x557.jpg 520w\" sizes=\"(max-width: 559px) 100vw, 559px\">\u003c/p>\n\u003cp>\u003cstrong>Domestic Terrorism over Colin Kaepernick:\u003c/strong> Colin can work with youth, make social media comments and kneel all he wants, but people are still dying by way of random mass shootings — and I think Colin would agree. He’d even have a rational point if he were to lump police shootings into the definition of domestic terrorism.\u003c/p>\n\u003cp>\u003cstrong>Public Protests over Cardi B:\u003c/strong> Sorry Cardi, pop culture and fashion are cool, but there’s nothing like seeing democracy at work. I’m a fan of seeing people come together for parties, but an even bigger fan for people coming together to rally for a collective cause.\u003c/p>\n\u003cfigure id=\"attachment_13818315\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818315\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/CardiB.jpg\" alt=\"Cardi B performs at E11EVEN on November 22, 2017 in Miami, Florida. \" width=\"800\" height=\"559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CardiB.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CardiB-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CardiB-768x537.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CardiB-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CardiB-375x262.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CardiB-520x363.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cardi B performs at E11EVEN on November 22, 2017 in Miami, Florida. \u003ccite>(Gustavo Caballero/Getty Images for E11EVEN)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13818291\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/3Div3.jpg\" alt=\"\" width=\"555\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3Div3.jpg 555w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3Div3-160x170.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3Div3-240x255.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3Div3-375x398.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3Div3-520x552.jpg 520w\" sizes=\"(max-width: 555px) 100vw, 555px\">\u003c/p>\n\u003cp>\u003cstrong>Healthcare over Migos:\u003c/strong> Migos, it was fun while it lasted, but the healthcare debate is real. Sorry guys — you lose this one by a lot.\u003c/p>\n\u003cp>\u003cstrong>Immigration over Beyoncé:\u003c/strong> Believe it or not, there \u003cem>is\u003c/em> something more important than Beyoncé. Immigration isn’t just an American issue, it’s a global issue. And while Beyoncé’s music is known around the world, the issue of immigration was front and center all over the world this year.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13818292\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/3Div4.jpg\" alt=\"\" width=\"546\" height=\"590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3Div4.jpg 546w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3Div4-160x173.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3Div4-240x259.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3Div4-375x405.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3Div4-520x562.jpg 520w\" sizes=\"(max-width: 546px) 100vw, 546px\">\u003c/p>\n\u003cp>\u003cstrong>#MeToo over Serena:\u003c/strong> Serena had a great year, but as an accomplished athlete who doesn’t get nearly as much recognition as her male counterparts, I’m sure she would agree that the #MeToo movement’s progress this year is extremely important.\u003c/p>\n\u003cp>\u003cstrong>Tax Reform over Rihanna:\u003c/strong> Sorry Bad Gal, I love all that you’ve got going on, but this tax reform bill is one for the ages.\u003c/p>\n\u003ch2>Round Four\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13818294\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/4Div-800x1051.jpg\" alt=\"\" width=\"800\" height=\"1051\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/4Div.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/4Div-160x210.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/4Div-768x1009.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/4Div-240x315.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/4Div-375x493.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/4Div-520x683.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>Natural Disasters over 45:\u003c/strong> The lights are still off in Puerto Rico. 45 is a loser.\u003c/p>\n\u003cp>\u003cstrong>Public Protests over Domestic Terrorism:\u003c/strong> This is a close one. It’s my hope that people will look back at this year and say “wow” at both things, but they’ll note that the protests had a larger impact than mass shootings — hopefully.\u003c/p>\n\u003cfigure id=\"attachment_13818307\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818307\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/CoffeyPark.jpg\" alt=\"Fire damage is seen from the air in the Coffey Park neighborhood October 11, 2017, in Santa Rosa, California.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CoffeyPark.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CoffeyPark-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CoffeyPark-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CoffeyPark-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CoffeyPark-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CoffeyPark-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fire damage is seen from the air in the Coffey Park neighborhood October 11, 2017, in Santa Rosa, California. \u003ccite>(ELIJAH NOUVELAGE/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Immigration over Healthcare:\u003c/strong> In an upset, the underdog becomes the winner.\u003cbr>\n\u003cstrong>\u003cbr>\n#MeToo over Tax Reform:\u003c/strong> While the tax reform bill impacts a large amount of people, the #MeToo movement brought about more headlines unique to this year. What’s really new about corrupt politicians pushing policies to pad their pockets?\u003c/p>\n\u003ch2>Round Five\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13818295\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/5Div.jpg\" alt=\"\" width=\"626\" height=\"980\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/5Div.jpg 626w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/5Div-160x250.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/5Div-240x376.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/5Div-375x587.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/5Div-520x814.jpg 520w\" sizes=\"(max-width: 626px) 100vw, 626px\">\u003c/p>\n\u003cp>\u003cstrong>Natural Disasters over Public Protests:\u003c/strong> Humans can organize all they want, but mother nature wins every time. Especially this year.\u003c/p>\n\u003cfigure id=\"attachment_13818308\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818308\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/RoseTarana.jpg\" alt=\"US actress Rose McGowan and Founder of #MeToo Campaign Tarana Burke, embrace on stage at the Women's March / Women's Convention in Detroit, Michigan, on October 27, 2017. \" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RoseTarana.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RoseTarana-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RoseTarana-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RoseTarana-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RoseTarana-375x245.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RoseTarana-520x340.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">US actress Rose McGowan and Founder of #MeToo Campaign Tarana Burke, embrace on stage at the Women’s March / Women’s Convention in Detroit, Michigan, on October 27, 2017. \u003ccite>(RENA LAVERTY/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>#MeToo over Immigration:\u003c/strong> This is a close one. But I believe the community of undocumented blue-collar workers would concur that something needs to be done about toxic masculinity, unwanted sexual advances and rape. #MeToo wins.\u003c/p>\n\u003ch2>And the Winner Is…\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13818297\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/BracketFINALweb-800x649.jpg\" alt=\"\" width=\"800\" height=\"649\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/BracketFINALweb.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/BracketFINALweb-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/BracketFINALweb-768x623.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/BracketFINALweb-240x195.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/BracketFINALweb-375x304.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/BracketFINALweb-520x422.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>In a close one, natural disasters win over the #MeToo movement. It’s close because both issues are very similar: they’re both \u003cem>man\u003c/em>-made, they stem from issues that were ignored for years, they both became truly evident this year, and neither are going away anytime soon. But the thing that makes 2017 the year of natural disasters and not the year of the #MeToo campaign is the fact that this year was a terrifying anomaly for climate, crops, and calamities — and though the chatter about sexual harassment and assault was a little louder this year, the risks of it for women in and out of the workplace didn’t change… they’ve always been there.\u003c/p>\n\u003cfigure id=\"attachment_13818311\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818311\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Harvey.jpg\" alt=\"A man returns from the grocery store through high water along a street in Orange as Texas slowly moves toward recovery from the devastation of Hurricane Harvey on September 6, 2017 in Orange, Texas. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Harvey.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Harvey-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Harvey-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Harvey-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Harvey-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Harvey-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A man returns from the grocery store through high water along a street in Orange as Texas slowly moves toward recovery from the devastation of Hurricane Harvey on September 6, 2017 in Orange, Texas. \u003ccite>(Spencer Platt/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So five or ten years from now, we’ll look back at this year and say that Daniel Caesar made a soundtrack for love. Beyoncé and Serena brought life into the world. Maxine Waters and Chance the Rapper both fought for righteousness in politics. LaVar Ball, Cardi B and Ed Sheeran all made their mark.\u003c/p>\n\u003cp>But natural disasters won by a longshot — and, unfortunately, will probably continue.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A huge March Madness-style face-off with 64 contenders — celebrities, athletes, politicians, global issues — for the year's biggest impact. ","status":"publish","parent":0,"modified":1705028842,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":92,"wordCount":4597},"headData":{"title":"Who Won 2017? | KQED","description":"A huge March Madness-style face-off with 64 contenders — celebrities, athletes, politicians, global issues — for the year's biggest impact. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Who Won 2017?","datePublished":"2017-12-29T21:41:58.000Z","dateModified":"2024-01-12T03:07:22.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13818199/who-won-2017","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’ve been arguing with myself for the better half of the past two weeks, trying to figure out who actually won 2017. It’s not a matter of who made the most money, or who was the most popular. It’s not even a question of — as the kids say — who was living their best life.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>No, I want to know who had the greatest impact on public discourse this year. When we look back, five or ten years from now, what will we say 2017 was the year of?\u003c/p>\n\u003cp>In order to get the bottom of this question, I chose to use the good ol’ American method of comparative competition. I laid out all of the names (not just people, but places and things as well), and pit them against one and other in an NCAA March Madness-style bracket.\u003c/p>\n\u003cp>But before we get to the bracket, it’s important to note that not every “winner” of 2017 could fit — I only had 64 slots. So, while \u003ca href=\"https://www.theatlantic.com/politics/archive/2017/02/frederick-douglass-trump/515292/\" target=\"_blank\" rel=\"noopener noreferrer\">Frederick Douglass had a much better year\u003c/a> than some of us who are actually living, his name isn’t on the list.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Okay, here’s the bracket:\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13818276\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/BracketWeb1-800x1339.jpg\" alt=\"\" width=\"800\" height=\"1339\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/BracketWeb1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/BracketWeb1-160x268.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/BracketWeb1-768x1285.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/BracketWeb1-240x402.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/BracketWeb1-375x628.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/BracketWeb1-520x870.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The 16th seed in every division is someone who slid in: the underdog, the person/place/thing that finessed their way to victory this year. Whether it be through media antics or unhealthy relationships, the 16th seeds brought home a W. And if you ask me, a win is a win — even if they played dirty.\u003c/p>\n\u003cp>Immigration is included as a concept that impacted the news, not just in the United States but abroad. In terms of the States, this is about DACA, ICE and travel bans. Immigration as a concept won a lot of public discourse this year, for better and for worse.\u003c/p>\n\u003ch2>Round One\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13818281\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Div1.jpg\" alt=\"\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div1.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div1-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div1-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div1-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003cstrong>Natural disasters over Bhad Bhabie (the “Cash Me Outside” girl):\u003c/strong> While 14-year-old Bhad Bhabie \u003ca href=\"https://www.maxim.com/news/danielle-bregoli-pays-moms-mortgage-2017-12\" target=\"_blank\" rel=\"noopener noreferrer\">had a ball on social media\u003c/a> this year, even landing a multi-million dollar deal with Atlantic Records, she doesn’t hold a candle to the centripetal force that overtook the Atlantic Ocean this year — let alone the California wildfires and the earthquakes that hit our neighbor to the south.\u003c/p>\n\u003cp>\u003cstrong>Tiffany Haddish over Lin-Manuel Miranda:\u003c/strong> Lin-Manuel Miranda has been on a roll since the success of \u003cem>Hamilton\u003c/em> last year. I’ve seen him on everything from \u003cem>Sesame Street\u003c/em> to \u003cem>Saturday Night Live\u003c/em>. But the underdog, Tiffany Haddish, hit the silver screen and made a splash in \u003cem>Girls Trip\u003c/em>; she killed interviews on late-night TV and early-morning radio, and she was also on \u003cem>SNL\u003c/em> — making history as the first African American female comedian to ever host the show. She won!\u003c/p>\n\u003cp>\u003cstrong>Maxine Waters over Marshawn Lynch:\u003c/strong> Despite the Raiders’ mediocre season, the Oakland African king known as “Beastmode” has had an incredible year. Besides playing for his hometown team, his clothing line is thriving and he has a reality show on Facebook video — and it’s actually entertaining. But his year doesn’t compare to Maxine Waters’. She won 2017 with three simple words that carried more weight than even Marshawn’s most profoundly brief speeches: “\u003ca href=\"https://www.youtube.com/watch?v=0EvuBakBj3I\" target=\"_blank\" rel=\"noopener noreferrer\">Reclaiming my time\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13818301\" class=\"wp-caption alignright\" style=\"max-width: 534px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818301\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/B.Jayz_.jpg\" alt=\"Jay-Z speaks onstage during Time and Punishment: A Town Hall Discussion with Jay-Z and Harvey Weinstein on Spike TV at MTV Studios on March 8, 2017 in New York City. \" width=\"534\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Jayz_.jpg 534w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Jayz_-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Jayz_-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Jayz_-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Jayz_-520x779.jpg 520w\" sizes=\"(max-width: 534px) 100vw, 534px\">\u003cfigcaption class=\"wp-caption-text\">Jay-Z speaks onstage during Time and Punishment: A Town Hall Discussion with Jay-Z and Harvey Weinstein on Spike TV at MTV Studios on March 8, 2017 in New York City. \u003ccite>(Dave Kotinsky/Getty Images for Spike)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jay-Z over Aziz Ansari:\u003c/strong> Aziz had a great year with the successful second season of his show \u003cem>Master of None\u003c/em>. But Hov is second to none when it comes to the art of rap. Although Jay took some Ls on social media, overall he had an amazing year, welcoming his newborn twins and enjoying the success of his latest album.\u003c/p>\n\u003cp>\u003cstrong>The Cast of \u003cem>Moonlight\u003c/em> over Remy Ma:\u003c/strong> I’m all for formerly incarcerated people getting out and getting to work, and Remy did just that: She put in work. That “\u003ca href=\"https://www.youtube.com/watch?v=q1MsZWVg7nY\" target=\"_blank\" rel=\"noopener noreferrer\">ShEther\u003c/a>” track, a Nicki Minaj diss, turned heads. But the cast of the movie \u003cem>Moonlight\u003c/em> unintentionally dropped a diss track when they accepted the Oscar for Best Picture over \u003cem>La La Land\u003c/em>, and it was much more memorable.\u003c/p>\n\u003cp>\u003cstrong>Kim Jong-un over Tyler The Creator:\u003c/strong> I really just want to see these two guys compete — like, in real life. I don’t care if it’s a Hacky race, arm wrestling match or a game of NBA Jam on Sega. It’d just be entertaining. But for the sake of this bracket, Kim wins over Tyler off the strength of beefing with 45 and launching multiple missiles as a “test.”\u003c/p>\n\u003cp>\u003cstrong>Chance The Rapper over Kamala Harris:\u003c/strong> This is a tough one. Kamala is a force to be reckoned with, undoubtedly. Even though this is her first go-round as senator, she’s spearheaded some great work, from demanding that Al Franken step down to championing bail reform. But Chance the Rapper is a rapper, and he’s fighting a very similar legislative fight. Mr. Rapper pushed for education reform in his native Chicago, won three Grammys this year, recently tried on the role of a weatherman \u003cem>and\u003c/em> dropped a Christmas album.\u003c/p>\n\u003cp>\u003cstrong>45 over Chadwick Boseman:\u003c/strong> Actor Chadwick Boseman (a.k.a. Thurgood Marshall, a.k.a. Jackie Robinson, a.k.a. the Black Panther) has had a great year. But unfortunately, Mr. 45 was inaugurated as the President of the United States in January, and, somehow, he remains. He stirred the pot more times than Boseman this year.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13818282\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Div2.jpg\" alt=\"\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div2.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div2-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div2-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div2-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div2-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003cstrong>Domestic Terrorism over Joe Budden:\u003c/strong> Joe made his way back into the limelight via Complex’s \u003cem>Everyday Struggle\u003c/em> series, and his ongoing beef with Lil Yachty and Migos put him squarely in the middle of the old- vs. new-school hip-hop debate. But domestic terrorism, in the form of mass shootings, has claimed more lives than we can accept as a nation. Headline after headline, seemingly every week, there was another shooting.\u003c/p>\n\u003cp>\u003cstrong>Daniel Caesar over Kate McKinnon:\u003c/strong> While Kate brought light and laughter into our lives on many nights of wondering what the hell the people in Washington are doing, it was Daniel Caesar who provided the soundtrack to marriage proposals, weddings and young love. His words, while not nearly as funny as Kate’s, made us tear up all the same.\u003c/p>\n\u003cfigure id=\"attachment_13818299\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818299\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/B.Astros.jpg\" alt=\"Alex Bregman #2 and Jose Altuve #27 of the Houston Astros celebrate after defeating the Los Angeles Dodgers 5-1 in game seven to win the 2017 World Series at Dodger Stadium on November 1, 2017 in Los Angeles, California. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Astros.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Astros-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Astros-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Astros-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Astros-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Astros-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alex Bregman #2 and Jose Altuve #27 of the Houston Astros celebrate after defeating the Los Angeles Dodgers 5-1 in game seven to win the 2017 World Series at Dodger Stadium on November 1, 2017 in Los Angeles, California. \u003ccite>(Harry How/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The Houston Astros over Tracee Ellis Ross:\u003c/strong> Okay, Tracee is the bomb. Like, old-school, ’90s-slang the bomb. She’s a great media personality, an extremely accomplished actress and she’s freaking beautiful! Her accomplishments with \u003cem>Black-ish\u003c/em> should be acknowledged. But, I think even she’d agree how incredible it was that the Houston Astros brought the MLB World Series trophy to H-Town for the first time, especially after that massive hurricane. It was the work of heroes.\u003c/p>\n\u003cp>\u003cstrong>Colin Kaepernick over Dave Chappelle:\u003c/strong> Dave came out of retirement, dropped two stand-up specials on Netflix with more to come, made an appearance on Def Comedy Jam and rocked some local Bay Area shows. Meanwhile, Colin hasn’t played a single snap in the 2017-2018 NFL season, but he’s had the most influence on football at large and America’s ongoing conversation about civil rights. Hence, the \u003cem>GQ\u003c/em> Citizen of the Year nod.\u003c/p>\n\u003cp>\u003cstrong>Kevin Durant over Daveed Diggs:\u003c/strong> Daveed has been on a roll since the stage play \u003cem>Hamilton\u003c/em>. I’ve spotted him in TV shows and sitting courtside in Los Angeles. But Kevin Durant won his first NBA championship. And as a Bay Area native and Warriors fan, I know Daveed appreciates that.\u003c/p>\n\u003cp>\u003cstrong>Cardi B over Asahd Khaled:\u003c/strong> Look man, I don’t think there’s a kid who’s had a better first year of living. Asahd can brag for the rest of his life that his baby photo, an image of him draped in gold chains, is on the cover of a top-selling album. DJ Khaled and Nicole Tuck, you’re doing just fine. But Cardi B kicked in the door of the pop culture world, and we saw nothing but the red bottoms of her bloody shoes. She dropped a summer anthem and hasn’t turned back since. This was her year.\u003c/p>\n\u003cp>\u003cstrong>Issa Rae over SZA:\u003c/strong> In another close matchup, these two both put it down for the culture. SZA had an amazing run: She dropped a great album while being one of the flyest human beings on the internet. But Issa Rae’s success with the second season of her show, \u003cem>Insecure\u003c/em>, deserves praise. Plus, Issa’s comment about how she’s “\u003ca href=\"https://www.youtube.com/watch?v=WafoKj6MzcU\" target=\"_blank\" rel=\"noopener noreferrer\">rooting for everybody black\u003c/a>” on the Emmys red carpet stole the show. She wins.\u003c/p>\n\u003cp>\u003cstrong>Public Protests over Miss Texas, Margana Wood:\u003c/strong> Margana’s comment about 45 and white supremacy were amazing usage of her platform, but nothing compares to the people power exhibited in the form of protests this year. From protests at the San Francisco Airport challenging Trump’s travel ban to protests in Virginia against white supremacy, this year has seen an amazing amount of people coming together to demonstrate their beliefs.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13818283\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Div3.jpg\" alt=\"\" width=\"595\" height=\"595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div3.jpg 595w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div3-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div3-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div3-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div3-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div3-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div3-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div3-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div3-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div3-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div3-150x150.jpg 150w\" sizes=\"(max-width: 595px) 100vw, 595px\">\u003c/p>\n\u003cp>\u003cstrong>Healthcare over Chris Brown:\u003c/strong> While Mr. Brown won back some fans by releasing a documentary and 40-track album, his art paled in comparison to the healthcare debate, a tug-of-war between legislators that will have lasting impact for generations. When we look back at 2017, we’ll have no choice but to acknowledge it.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Star Wars\u003c/em> over Ed Sheeran:\u003c/strong> Sorry Ed, you had a hit song, great album and a good run. But this is \u003cem>Star Wars\u003c/em> we’re talking about.\u003c/p>\n\u003cp>\u003cstrong>Jordan Peele over Logic:\u003c/strong> Logic dropped a much-needed track about suicide awareness, but \u003cem>Get Out\u003c/em> brought a clever, necessary take on racial issues that have been plaguing America from the start. On top of that, Jordan took a step outside of his normal comedy writing and created a thriller. It’s not a comedy, no matter what the people who give awards say.\u003c/p>\n\u003cfigure id=\"attachment_13818304\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818304\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/B.Migos_.jpg\" alt=\"Rappers Quavo, Takeoff and Offset of Migos attend the BET Hip Hop Awards 2017 at The Fillmore Miami Beach at the Jackie Gleason Theater on October 6, 2017 in Miami Beach, Florida.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Migos_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Migos_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Migos_-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Migos_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Migos_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Migos_-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rappers Quavo, Takeoff and Offset of Migos attend the BET Hip Hop Awards 2017 at The Fillmore Miami Beach at the Jackie Gleason Theater on October 6, 2017 in Miami Beach, Florida. \u003ccite>(Paras Griffin/Getty Images for BET)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Migos over Doug Jones:\u003c/strong> While Doug Jones’ December win in the Alabama Senate race made headlines, the rap group Migos had pop culture in a headlock. Hit songs, appearances at award shows and countless memes — the W goes to the trio from Atlanta, not the politician from Alabama.\u003c/p>\n\u003cp>\u003cstrong>Bitcoin over Kofi Siriboe:\u003c/strong> Kofi, a handsome gentleman who stole the attention of my girlfriend and my momma, had a great year. His appearances in \u003cem>Queen Sugar\u003c/em> and \u003cem>Girls Trip\u003c/em> thrust him into the spotlight. But know what looks better than Kofi? A Bitcoin. The crypto-currency made headlines in the past couple months as its value rose astronomically, then crashed again. Winner goes to the intangible coins.\u003c/p>\n\u003cp>\u003cstrong>Beyoncé over LecRae:\u003c/strong> Uh… They’re both from Houston. And, um… they both make music. But the comparisons stop there. Queen B by a landslide.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Washington Post\u003c/em> over the cast from \u003cem>Stranger Things\u003c/em>:\u003c/strong> While 11 and her cast of lovable dweebs stole our hearts and pushed our imaginations to the limit, the staff at the \u003cem>Washington Post\u003c/em> brought reality to our doorsteps. I’m a fan of a good science fiction series, especially one that takes you to another dimension, but “Democracy Dies in Darkness” is an undeniably cold tagline. And true to form, \u003cem>WaPo’s\u003c/em> coverage of domestic politics, international war and much more kept me informed in the dark days of 2017. It’s like they’ve kept a finger on the pulse of “the upside down.”\u003c/p>\n\u003cp>\u003cstrong>Immigration over Rapsody:\u003c/strong> Rapsody dropped a top-tier rap album this year, but the issue of immigration is bigger than hip-hop. Sorry Rapsody — immigration wins this one.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13818284\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Div4.jpg\" alt=\"\" width=\"602\" height=\"602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div4.jpg 602w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div4-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div4-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div4-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div4-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div4-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div4-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div4-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div4-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div4-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Div4-150x150.jpg 150w\" sizes=\"(max-width: 602px) 100vw, 602px\">\u003c/p>\n\u003cp>\u003cstrong>#MeToo over Blac Chyna:\u003c/strong> In short, Blac Chyna got over on her former romantic partner and secured the bag. Congrats. But the #MeToo movement was the biggest clap-back to all the men in positions of power who’ve been getting over on women for years. The #MeToo movement by a landslide.\u003c/p>\n\u003cp>\u003cstrong>Solange over Gucci Mane:\u003c/strong> This is a close one. It might even go into overtime. Solange slayed 2017. Her 2016 album \u003cem>A Seat At the Table\u003c/em> carried right over into a successful 2017 tour, TV appearances and magazine covers. Plus her hair is amazing — and no, you can’t touch it. But Gucci also built on the momentum of an amazing 2016, by getting married and dropping a book. Big life goals accomplished this year for Mr. Mane, a formerly incarcerated man. In the end, though, it’s Solange at the buzzer.\u003c/p>\n\u003cfigure id=\"attachment_13818306\" class=\"wp-caption alignright\" style=\"max-width: 534px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818306\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/B.Serena.jpg\" alt=\"Serena Williams of the US celebrates with the championship trophy during the awards ceremony after her victory against Venus Williams of the US in the women's singles final on day 13 of the Australian Open tennis tournament in Melbourne on January 28, 2017. \" width=\"534\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Serena.jpg 534w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Serena-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Serena-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Serena-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Serena-520x779.jpg 520w\" sizes=\"(max-width: 534px) 100vw, 534px\">\u003cfigcaption class=\"wp-caption-text\">Serena Williams of the US celebrates with the championship trophy during the awards ceremony after her victory against Venus Williams of the US in the women’s singles final on day 13 of the Australian Open tennis tournament in Melbourne on January 28, 2017. \u003ccite>(WILLIAM WEST/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Serena Williams over Blake Shelton:\u003c/strong> Okay, Blake was awarded Sexiest Man Alive by \u003cem>People Magazine\u003c/em>, and we’re still wondering if every other man on the planet is dead. Serena won 2017. The Australian Open, a building named after her at Nike’s HQ, \u003cem>and\u003c/em> a newborn child? Winner.\u003c/p>\n\u003cp>\u003cstrong>Taylor Swift over Tom Brady:\u003c/strong> This is a close one. You’ve got to give it to Tom — what he did in the Super Bowl was amazing. And then he came back to the 2017-2018 NFL season at age 40 and played better than almost every other quarterback. But I’m tired of Tom winning. So Taylor, with her No. 1 album, \u003cem>Saturday Night Live\u003c/em> appearance and new beau, gets the W.\u003c/p>\n\u003cp>\u003cstrong>LeBron over Miguel:\u003c/strong> This is another close one. Miguel dropped \u003ca href=\"https://en.wikipedia.org/wiki/War_%26_Leisure\" target=\"_blank\" rel=\"noopener noreferrer\">one of the best R&B albums of the year\u003c/a>. And LeBron did actually \u003cem>lose\u003c/em> the NBA finals in June. But \u003ca href=\"https://twitter.com/kingjames/status/911610455877021697?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">calling Trump a bum\u003c/a> on Twitter was pretty memorable. LeBron wins.\u003c/p>\n\u003cp>\u003cstrong>Rihanna over LaVar Ball:\u003c/strong> LaVar talks a lot. He’s gotten some play because of it, from ESPN mentions to a 45 Twitter diss. He’s had a great year. But come on, we’re talking about Rihanna, who took over the fashion and makeup worlds with Fenty this year. Case closed.\u003c/p>\n\u003cp>\u003cstrong>Kendrick Lamar over The Rock:\u003c/strong> I’m still not sure about this one. The Rock had a great year: movies, magazines and the news that he and his partner are expecting a second child. But the Good Kid from M.A.A.D. City, a.k.a. King Kunta, a.k.a. K.Dot dropped an album and all the other rappers took notes. And then he reversed the track listing and dropped the same album again later in the year, and now \u003cem>that’s\u003c/em> selling. Winner: Kung Fu Kenny.\u003c/p>\n\u003cp>\u003cstrong>Tax Reform over Michael Che:\u003c/strong> Michael got a Netflix special — plus he’s had a memorable run on \u003cem>Saturday Night Live\u003c/em>, so much so that he was promoted to co-head writer. But the authors of the 2017 tax reform bill stole the show — along with a lot of other things.\u003c/p>\n\u003ch2>Round Two\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13818285\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/2Div1.jpg\" alt=\"\" width=\"432\" height=\"593\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/2Div1.jpg 432w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/2Div1-160x220.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/2Div1-240x329.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/2Div1-375x515.jpg 375w\" sizes=\"(max-width: 432px) 100vw, 432px\">\u003c/p>\n\u003cp>\u003cstrong>Natural Disasters over Tiffany Haddish:\u003c/strong> Tiffany’s natural gift for comedic storytelling is no match for Mother Nature’s anger at the man-made issue of global warming.\u003c/p>\n\u003cfigure id=\"attachment_13818303\" class=\"wp-caption alignright\" style=\"max-width: 534px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818303\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/B.Maxine.jpg\" alt=\"House Financial Services Committee ranking member Rep. Maxine Waters (D-CA) moderates a panel discussion about the Trump Administration's proposed cuts to the Community Development Block Grant and HOME Investment Partnerships programs at the U.S. Capitol May 24, 2017 in Washington, DC. \" width=\"534\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Maxine.jpg 534w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Maxine-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Maxine-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Maxine-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Maxine-520x779.jpg 520w\" sizes=\"(max-width: 534px) 100vw, 534px\">\u003cfigcaption class=\"wp-caption-text\">House Financial Services Committee ranking member Rep. Maxine Waters (D-CA) moderates a panel discussion about the Trump Administration’s proposed cuts to the Community Development Block Grant and HOME Investment Partnerships programs at the U.S. Capitol May 24, 2017 in Washington, DC. \u003ccite>(Chip Somodevilla/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Maxine Waters over Jay-Z:\u003c/strong> Look, Jay-Z cheated on Beyoncé, put together some clever words over dope beats and dropped an album about it. He made a lot of money, too. Big whoop. Maxine Waters has put in work! She’s served in Congress since 1991, and this year she might’ve reached her pop culture apex. Beyond the work that she does for African Americans, women and the LGBTQ community, she dropped three words that were hotter than Hov’s whole album. “Reclaiming my time” is such a profound sentiment. \u003cem>That’s\u003c/em> how you speak truth to power. It’s perfect for the short attention span of the internet age. I even briefly considered getting it tattooed. No Jay-Z lyrics from \u003cem>4:44\u003c/em> spoke to me in the same way.\u003c/p>\n\u003cp>\u003cstrong>Kim Jong-un over the cast of \u003cem>Moonlight\u003c/em>:\u003c/strong> Sorry Hollywood, drama about the guy over in North Korea with his finger on nuclear arms garnered more attention this year.\u003c/p>\n\u003cp>\u003cstrong>45 over Chance the Rapper:\u003c/strong> Sorry Chance, all of your efforts are respectable and you’re doing your part. But 45 has a lock on this one. Maybe one day we’ll have Mr. Rapper run for president, but until then, the current person in the oval office wins this one.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13818286\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/2Div2.jpg\" alt=\"\" width=\"425\" height=\"596\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/2Div2.jpg 425w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/2Div2-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/2Div2-240x337.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/2Div2-375x526.jpg 375w\" sizes=\"(max-width: 425px) 100vw, 425px\">\u003c/p>\n\u003cp>\u003cstrong>Domestic Terrorism over Daniel Caesar:\u003c/strong> Sorry Daniel, unfortunately love doesn’t win this battle. Domestic Terrorism is too widespread, allowing fear to flourish in the hearts of many, and causing a love exodus.\u003c/p>\n\u003cfigure id=\"attachment_13818302\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818302\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/B.Kaep_.jpg\" alt=\"Colin Kaepernick receives the SI Muhammad Ali Legacy Award during Sports Illustrated's 2017 Sportsperson of the Year Show on December 5, 2017 at Barclays Center in New York City.\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Kaep_-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Kaep_-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Kaep_-375x564.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Colin Kaepernick receives the SI Muhammad Ali Legacy Award during Sports Illustrated’s 2017 Sportsperson of the Year Show on December 5, 2017 at Barclays Center in New York City. \u003ccite>(Michael Loccisano/Getty Images for Sports Illustrated)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Colin over the Houston Astros:\u003c/strong> While the accomplishments of the Astros on the baseball field were amazing, Colin won football without even putting on a jersey — evidence that this isn’t just a game.\u003c/p>\n\u003cp>\u003cstrong>Cardi B over Kevin Durant:\u003c/strong> Kevin dropped the ball with his \u003ca href=\"http://bleacherreport.com/articles/2733874-everything-you-need-to-know-about-kevin-durants-twitter-fail\" target=\"_blank\" rel=\"noopener noreferrer\">social media flub\u003c/a> over the summer while Cardi B broke chart records and flourished online.\u003c/p>\n\u003cp>\u003cstrong>Public Protests over Issa Rae:\u003c/strong> Issa held it down for the culture, but the mass amounts of protests were evidence that there’s a mass culture of people coming together to hold down their beliefs.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13818287\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/2Div3.jpg\" alt=\"\" width=\"425\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/2Div3.jpg 425w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/2Div3-160x226.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/2Div3-240x338.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/2Div3-375x529.jpg 375w\" sizes=\"(max-width: 425px) 100vw, 425px\">\u003c/p>\n\u003cp>\u003cstrong>Healthcare over \u003cem>Star Wars\u003c/em>:\u003c/strong> Because healthcare is real and impacts us all, and I’ve never seen \u003cem>Star Wars\u003c/em> before. Like, not a single movie. But I went to the doctor last week.\u003c/p>\n\u003cp>\u003cstrong>Migos over Jordan Peele:\u003c/strong> This one is debatable. Both have done it for the culture. But man, Migos have been \u003cem>everywhere\u003c/em>! I give it to them.\u003c/p>\n\u003cfigure id=\"attachment_13818300\" class=\"wp-caption alignright\" style=\"max-width: 617px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818300\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/B.Beyonce.jpg\" alt=\"Beyoncé's photo announcing her pregnancy with twins became the most-liked Instagram photo of all time.\" width=\"617\" height=\"700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Beyonce.jpg 617w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Beyonce-160x182.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Beyonce-240x272.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Beyonce-375x425.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Beyonce-520x590.jpg 520w\" sizes=\"(max-width: 617px) 100vw, 617px\">\u003cfigcaption class=\"wp-caption-text\">Beyoncé’s photo announcing her pregnancy with twins became the most-liked Instagram photo of all time. \u003ccite>(@beyonce/Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Beyoncé over Bitcoin:\u003c/strong> Bitcoin has grown since it came into existence in 2009, and this year it blew the ceiling off the financial world. But Beyoncé has been glowing since birth, and this year, she used her music to do philanthropy work, graced the cover of numerous magazines and gave birth to twins. Her husband and little sister both had great years, but Beyoncé is the highest paid woman in music. If she allowed her face to be on a form of currency, Bitcoin would be gone.\u003c/p>\n\u003cp>\u003cstrong>Immigration over \u003cem>The Washington Post\u003c/em>:\u003c/strong> As much as I appreciate a quality publication, the issue of immigration in American predates and might outlast this periodical. And this year in particular, the issue of immigration was one of the things that kept the newspaper going.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13818288\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/2Div4.jpg\" alt=\"\" width=\"423\" height=\"607\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/2Div4.jpg 423w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/2Div4-160x230.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/2Div4-240x344.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/2Div4-375x538.jpg 375w\" sizes=\"(max-width: 423px) 100vw, 423px\">\u003c/p>\n\u003cp>\u003cstrong>#MeToo over Solange:\u003c/strong> Witnessing how her music empowers women, I don’t think Solange would disagree.\u003c/p>\n\u003cp>\u003cstrong>Serena Williams over Taylor Swift:\u003c/strong> Taylor had a good year, no lie. Record sales, awards and even reports of a new love. And the whole “\u003ca href=\"http://nymag.com/selectall/2017/12/name-a-badder-bitch-than-taylor-swift-memes-take-twitter.html\" target=\"_blank\" rel=\"noopener noreferrer\">name a bitch badder than Taylor Swift\u003c/a>” thing brought about a wealth of lessons about powerful women in society, so I guess we should thank her. But let’s be real, Serena won the Australian open in January and set the record for most Grand Slams, she was on the cover of \u003cem>Sports Illustrated’s\u003c/em> swimsuit edition, and Nike recently named a building after her. Oh, and she gave birth to her first child. Serena is a *queen* badder than Taylor Swift.\u003c/p>\n\u003cfigure id=\"attachment_13818305\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818305\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/B.Rihanna.jpg\" alt=\"Singer Rihanna attends the 'Fenty Beauty' photocall at Callao cinema on September 23, 2017 in Madrid, Spain. \" width=\"600\" height=\"677\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Rihanna.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Rihanna-160x181.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Rihanna-240x271.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Rihanna-375x423.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/B.Rihanna-520x587.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Singer Rihanna attends the ‘Fenty Beauty’ photocall at Callao cinema on September 23, 2017 in Madrid, Spain. \u003ccite>(Eduardo Parra/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Rihanna over LeBron:\u003c/strong> Look man, LeBron won at birth. I know he grew up in a rough childhood and worked hard to get where he is, but the man was blessed with physical attributes that make mere mortals look weak in comparison. This year, he also lost the NBA championship to Kevin Durant & Co. Meanwhile, Rihanna, who sat courtside for a few of those NBA Finals games, put her stamp on this year, from fashion to music. Her beauty line Fenty was all over social media as fans flocked to support her latest venture. She became outspoken on political issues, using social media to voice her opinions. And, as if that weren’t enough, Bad Girl Riri got a \u003ca href=\"https://www.instagram.com/p/BXgaVpsDzfL/?hl=en&taken-by=badgalriri\" target=\"_blank\" rel=\"noopener noreferrer\">noticeably healthier physique\u003c/a> this past year, setting Instagram aflame with conversation.\u003c/p>\n\u003cp>\u003cstrong>Tax Reform over Kendrick Lamar:\u003c/strong> Sorry Kendrick, your music is good and all, but this Tax Reform bill was pretty big news.\u003c/p>\n\u003ch2>Round Three\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13818289\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/3Div1.jpg\" alt=\"\" width=\"554\" height=\"586\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3Div1.jpg 554w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3Div1-160x169.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3Div1-240x254.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3Div1-375x397.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3Div1-520x550.jpg 520w\" sizes=\"(max-width: 554px) 100vw, 554px\">\u003c/p>\n\u003cp>\u003cstrong>Natural Disasters over Maxine Waters:\u003c/strong> Maxine had a good run, and will continue to do incredible work. But natural disasters won this in a blowout.\u003c/p>\n\u003cp>\u003cstrong>45 over Kim Jong-un:\u003c/strong> First off, \u003cem>I really don’t want to see this battle actually happen\u003c/em>. And I’m not trying to fuel the flames by suggesting that 45 had a better year than Kim Jong-un, but without the 45th President of the United States of America saying Kim Jong-un’s name (or other things that he’s called him), I don’t know how much limelight the President of North Korea would’ve received. Even if you don’t like 45, you have to acknowledge that he accomplished one thing this year: He didn’t get fired. Not yet! So, kudos to him for that. Now, let’s hope these two can move toward a resolution and keep us from total global thermonuclear destruction.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13818290\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/3Div2.jpg\" alt=\"\" width=\"559\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3Div2.jpg 559w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3Div2-160x171.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3Div2-240x257.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3Div2-375x402.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3Div2-520x557.jpg 520w\" sizes=\"(max-width: 559px) 100vw, 559px\">\u003c/p>\n\u003cp>\u003cstrong>Domestic Terrorism over Colin Kaepernick:\u003c/strong> Colin can work with youth, make social media comments and kneel all he wants, but people are still dying by way of random mass shootings — and I think Colin would agree. He’d even have a rational point if he were to lump police shootings into the definition of domestic terrorism.\u003c/p>\n\u003cp>\u003cstrong>Public Protests over Cardi B:\u003c/strong> Sorry Cardi, pop culture and fashion are cool, but there’s nothing like seeing democracy at work. I’m a fan of seeing people come together for parties, but an even bigger fan for people coming together to rally for a collective cause.\u003c/p>\n\u003cfigure id=\"attachment_13818315\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818315\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/CardiB.jpg\" alt=\"Cardi B performs at E11EVEN on November 22, 2017 in Miami, Florida. \" width=\"800\" height=\"559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CardiB.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CardiB-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CardiB-768x537.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CardiB-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CardiB-375x262.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CardiB-520x363.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cardi B performs at E11EVEN on November 22, 2017 in Miami, Florida. \u003ccite>(Gustavo Caballero/Getty Images for E11EVEN)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13818291\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/3Div3.jpg\" alt=\"\" width=\"555\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3Div3.jpg 555w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3Div3-160x170.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3Div3-240x255.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3Div3-375x398.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3Div3-520x552.jpg 520w\" sizes=\"(max-width: 555px) 100vw, 555px\">\u003c/p>\n\u003cp>\u003cstrong>Healthcare over Migos:\u003c/strong> Migos, it was fun while it lasted, but the healthcare debate is real. Sorry guys — you lose this one by a lot.\u003c/p>\n\u003cp>\u003cstrong>Immigration over Beyoncé:\u003c/strong> Believe it or not, there \u003cem>is\u003c/em> something more important than Beyoncé. Immigration isn’t just an American issue, it’s a global issue. And while Beyoncé’s music is known around the world, the issue of immigration was front and center all over the world this year.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13818292\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/3Div4.jpg\" alt=\"\" width=\"546\" height=\"590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3Div4.jpg 546w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3Div4-160x173.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3Div4-240x259.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3Div4-375x405.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3Div4-520x562.jpg 520w\" sizes=\"(max-width: 546px) 100vw, 546px\">\u003c/p>\n\u003cp>\u003cstrong>#MeToo over Serena:\u003c/strong> Serena had a great year, but as an accomplished athlete who doesn’t get nearly as much recognition as her male counterparts, I’m sure she would agree that the #MeToo movement’s progress this year is extremely important.\u003c/p>\n\u003cp>\u003cstrong>Tax Reform over Rihanna:\u003c/strong> Sorry Bad Gal, I love all that you’ve got going on, but this tax reform bill is one for the ages.\u003c/p>\n\u003ch2>Round Four\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13818294\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/4Div-800x1051.jpg\" alt=\"\" width=\"800\" height=\"1051\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/4Div.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/4Div-160x210.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/4Div-768x1009.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/4Div-240x315.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/4Div-375x493.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/4Div-520x683.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>Natural Disasters over 45:\u003c/strong> The lights are still off in Puerto Rico. 45 is a loser.\u003c/p>\n\u003cp>\u003cstrong>Public Protests over Domestic Terrorism:\u003c/strong> This is a close one. It’s my hope that people will look back at this year and say “wow” at both things, but they’ll note that the protests had a larger impact than mass shootings — hopefully.\u003c/p>\n\u003cfigure id=\"attachment_13818307\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818307\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/CoffeyPark.jpg\" alt=\"Fire damage is seen from the air in the Coffey Park neighborhood October 11, 2017, in Santa Rosa, California.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CoffeyPark.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CoffeyPark-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CoffeyPark-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CoffeyPark-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CoffeyPark-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CoffeyPark-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fire damage is seen from the air in the Coffey Park neighborhood October 11, 2017, in Santa Rosa, California. \u003ccite>(ELIJAH NOUVELAGE/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Immigration over Healthcare:\u003c/strong> In an upset, the underdog becomes the winner.\u003cbr>\n\u003cstrong>\u003cbr>\n#MeToo over Tax Reform:\u003c/strong> While the tax reform bill impacts a large amount of people, the #MeToo movement brought about more headlines unique to this year. What’s really new about corrupt politicians pushing policies to pad their pockets?\u003c/p>\n\u003ch2>Round Five\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13818295\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/5Div.jpg\" alt=\"\" width=\"626\" height=\"980\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/5Div.jpg 626w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/5Div-160x250.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/5Div-240x376.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/5Div-375x587.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/5Div-520x814.jpg 520w\" sizes=\"(max-width: 626px) 100vw, 626px\">\u003c/p>\n\u003cp>\u003cstrong>Natural Disasters over Public Protests:\u003c/strong> Humans can organize all they want, but mother nature wins every time. Especially this year.\u003c/p>\n\u003cfigure id=\"attachment_13818308\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818308\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/RoseTarana.jpg\" alt=\"US actress Rose McGowan and Founder of #MeToo Campaign Tarana Burke, embrace on stage at the Women's March / Women's Convention in Detroit, Michigan, on October 27, 2017. \" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RoseTarana.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RoseTarana-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RoseTarana-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RoseTarana-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RoseTarana-375x245.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RoseTarana-520x340.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">US actress Rose McGowan and Founder of #MeToo Campaign Tarana Burke, embrace on stage at the Women’s March / Women’s Convention in Detroit, Michigan, on October 27, 2017. \u003ccite>(RENA LAVERTY/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>#MeToo over Immigration:\u003c/strong> This is a close one. But I believe the community of undocumented blue-collar workers would concur that something needs to be done about toxic masculinity, unwanted sexual advances and rape. #MeToo wins.\u003c/p>\n\u003ch2>And the Winner Is…\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13818297\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/BracketFINALweb-800x649.jpg\" alt=\"\" width=\"800\" height=\"649\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/BracketFINALweb.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/BracketFINALweb-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/BracketFINALweb-768x623.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/BracketFINALweb-240x195.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/BracketFINALweb-375x304.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/BracketFINALweb-520x422.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>In a close one, natural disasters win over the #MeToo movement. It’s close because both issues are very similar: they’re both \u003cem>man\u003c/em>-made, they stem from issues that were ignored for years, they both became truly evident this year, and neither are going away anytime soon. But the thing that makes 2017 the year of natural disasters and not the year of the #MeToo campaign is the fact that this year was a terrifying anomaly for climate, crops, and calamities — and though the chatter about sexual harassment and assault was a little louder this year, the risks of it for women in and out of the workplace didn’t change… they’ve always been there.\u003c/p>\n\u003cfigure id=\"attachment_13818311\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818311\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Harvey.jpg\" alt=\"A man returns from the grocery store through high water along a street in Orange as Texas slowly moves toward recovery from the devastation of Hurricane Harvey on September 6, 2017 in Orange, Texas. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Harvey.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Harvey-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Harvey-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Harvey-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Harvey-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Harvey-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A man returns from the grocery store through high water along a street in Orange as Texas slowly moves toward recovery from the devastation of Hurricane Harvey on September 6, 2017 in Orange, Texas. \u003ccite>(Spencer Platt/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So five or ten years from now, we’ll look back at this year and say that Daniel Caesar made a soundtrack for love. Beyoncé and Serena brought life into the world. Maxine Waters and Chance the Rapper both fought for righteousness in politics. LaVar Ball, Cardi B and Ed Sheeran all made their mark.\u003c/p>\n\u003cp>But natural disasters won by a longshot — and, unfortunately, will probably continue.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13818199/who-won-2017","authors":["11491"],"series":["arts_3461"],"categories":["arts_2303"],"tags":["arts_2767","arts_1118","arts_596","arts_2356","arts_3392"],"featImg":"arts_13818274","label":"arts_3461"},"arts_13818064":{"type":"posts","id":"arts_13818064","meta":{"index":"posts_1591205157","site":"arts","id":"13818064","score":null,"sort":[1513977710000]},"guestAuthors":[],"slug":"playlist-the-best-music-of-2017","title":"Playlist: The Best Music of 2017","publishDate":1513977710,"format":"standard","headTitle":"Playlist: The Best Music of 2017 | KQED","labelTerm":{"term":3461,"site":"arts"},"content":"\u003cp>With so many boundary-pushing releases in so many genres, choosing the top albums of 2017 was no easy task. But, with the help of a team of Bay Area music writers, we came up with not one but two lists. Here you’ll find our list of \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">top 10 Bay Area albums of the year\u003c/a>; it spans music scenes as diverse as rap, folk, electropop, and Ethio-jazz, recognizing local artists that honed their crafts and made magic this year.\u003c/p>\n\u003cp>Our second list features our \u003ca href=\"https://ww2.kqed.org/arts/2017/12/21/our-20-favorite-non-local-albums-of-2017/\" target=\"_blank\" rel=\"noopener\">top 20 mainstream and notable indie releases\u003c/a> from across the country, with artists who made significant cultural impacts, challenged genre conventions, and gave us respite from everything going on in our communities and in the news.\u003c/p>\n\u003cp>We know that’s a lot of music, so we made you one big Spotify playlist with songs from our local and mainstream favorites of 2017. Enjoy it over the holidays — there’s no Christmas music on here, we promise.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/user/ga2ldjo713dvtkdfxiik0wai6/playlist/5RbrnPaaCjc3louyEPtv0M\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>To read more about our favorite local albums of 2017, click \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>; to read more about our favorite mainstream albums of 2017, click \u003ca href=\"https://ww2.kqed.org/arts/2017/12/21/our-20-favorite-non-local-albums-of-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"KQED Arts' favorite local and mainstream releases of the year -- all in one playlist. ","status":"publish","parent":0,"modified":1705028850,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":192},"headData":{"title":"Playlist: The Best Music of 2017 | KQED","description":"KQED Arts' favorite local and mainstream releases of the year -- all in one playlist. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Playlist: The Best Music of 2017","datePublished":"2017-12-22T21:21:50.000Z","dateModified":"2024-01-12T03:07:30.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13818064/playlist-the-best-music-of-2017","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>With so many boundary-pushing releases in so many genres, choosing the top albums of 2017 was no easy task. But, with the help of a team of Bay Area music writers, we came up with not one but two lists. Here you’ll find our list of \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">top 10 Bay Area albums of the year\u003c/a>; it spans music scenes as diverse as rap, folk, electropop, and Ethio-jazz, recognizing local artists that honed their crafts and made magic this year.\u003c/p>\n\u003cp>Our second list features our \u003ca href=\"https://ww2.kqed.org/arts/2017/12/21/our-20-favorite-non-local-albums-of-2017/\" target=\"_blank\" rel=\"noopener\">top 20 mainstream and notable indie releases\u003c/a> from across the country, with artists who made significant cultural impacts, challenged genre conventions, and gave us respite from everything going on in our communities and in the news.\u003c/p>\n\u003cp>We know that’s a lot of music, so we made you one big Spotify playlist with songs from our local and mainstream favorites of 2017. Enjoy it over the holidays — there’s no Christmas music on here, we promise.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/user/ga2ldjo713dvtkdfxiik0wai6/playlist/5RbrnPaaCjc3louyEPtv0M\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>To read more about our favorite local albums of 2017, click \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>; to read more about our favorite mainstream albums of 2017, click \u003ca href=\"https://ww2.kqed.org/arts/2017/12/21/our-20-favorite-non-local-albums-of-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13818064/playlist-the-best-music-of-2017","authors":["11387"],"series":["arts_3461"],"categories":["arts_69"],"tags":["arts_1118","arts_596","arts_3392"],"featImg":"arts_13818069","label":"arts_3461"},"arts_13818045":{"type":"posts","id":"arts_13818045","meta":{"index":"posts_1591205157","site":"arts","id":"13818045","score":null,"sort":[1513958404000]},"guestAuthors":[],"slug":"the-10-best-bay-area-albums-of-2017-ah-mer-ah-su-rebecca","title":"The 10 Best Bay Area Albums of 2017: Ah Mer Ah Su, 'Rebecca'","publishDate":1513958404,"format":"standard","headTitle":"The 10 Best Bay Area Albums of 2017: Ah Mer Ah Su, ‘Rebecca’ | KQED","labelTerm":{"term":3461,"site":"arts"},"content":"\u003cp>Though it deals with heavy subjects, Ah Mer Ah Su’s sophomore EP \u003cem>Rebecca\u003c/em> cocoons her listeners in swathes of vocal loops and keyboard melodies that inspire one to imagine a world beyond oppressive forces.\u003c/p>\n\u003cp>But that’s not to say that \u003cem>Rebecca\u003c/em> is a utopia. Its most compelling track, “Klonopin,” frankly addresses the cocktail of prescription and party drugs Ah Mer Ah Su took to cope with a friend’s suicide. “Run, run / Hide, hide,” she sings in a dreamy falsetto, as if yearning to escape into the world she creates with her drum machine and twinkling keys that evoke a toy piano. \u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/playlists/292397825″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>With “Space,” which carries on at the urgent pace of Sia’s “Chandelier,” Ah Mer Ah Su processes the painful experience of dealing with men who are ashamed of their attraction to trans women. (In \u003ca href=\"http://www.papermag.com/premiere-check-out-ah-mer-ah-sus-new-song-space-2079619004.html\" target=\"_blank\" rel=\"noopener\">interviews\u003c/a>, she’s been candid in addressing violence against trans women at the hands of romantic partners.)\u003c/p>\n\u003cp>https://youtu.be/6PZHb8FiMfY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As Ah Mer Ah Su told me \u003ca href=\"https://ww2.kqed.org/arts/2017/02/22/star-amerasu-talks-transphobia-addiction-and-assault-with-an-upbeat-electro-pop-twist/\" rel=\"noopener\" target=\"_blank\">earlier this year\u003c/a>, the title \u003cem>Rebecca\u003c/em> comes from Beyoncé’s immortal words “He better call Becky with the good hair” on \u003cem>Lemonade\u003c/em>, and “Meg Ryan” is where Ah Mer Ah Su delves into the “Becky” concept: In the track’s music video, she saunters around town in a blond wig, repeating the refrain “I’m a white woman / I can do whatever I want” in a valley girl voice. \u003c/p>\n\u003cp>The track provides much-needed comedic relief for \u003cem>Rebecca\u003c/em>‘s difficult subject matter, but that’s not to say it’s a dour record. Quite the opposite, actually: Despite the hardships she’s endured, Ah Mer Ah Su finds ways to create gorgeous, imaginative sounds, interweaving clever societal commentary throughout.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Click \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see the rest of our favorite Bay Area albums of 2017. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":null,"status":"publish","parent":0,"modified":1705028852,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":376},"headData":{"title":"The 10 Best Bay Area Albums of 2017: Ah Mer Ah Su, 'Rebecca' | KQED","description":"Though it deals with heavy subjects, Ah Mer Ah Su's sophomore EP Rebecca cocoons her listeners in swathes of vocal loops and keyboard melodies that inspire one to imagine a world beyond oppressive forces. But that's not to say that Rebecca is a utopia. Its most compelling track, "Klonopin," frankly addresses the cocktail of prescription","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 10 Best Bay Area Albums of 2017: Ah Mer Ah Su, 'Rebecca'","datePublished":"2017-12-22T16:00:04.000Z","dateModified":"2024-01-12T03:07:32.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13818045/the-10-best-bay-area-albums-of-2017-ah-mer-ah-su-rebecca","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Though it deals with heavy subjects, Ah Mer Ah Su’s sophomore EP \u003cem>Rebecca\u003c/em> cocoons her listeners in swathes of vocal loops and keyboard melodies that inspire one to imagine a world beyond oppressive forces.\u003c/p>\n\u003cp>But that’s not to say that \u003cem>Rebecca\u003c/em> is a utopia. Its most compelling track, “Klonopin,” frankly addresses the cocktail of prescription and party drugs Ah Mer Ah Su took to cope with a friend’s suicide. “Run, run / Hide, hide,” she sings in a dreamy falsetto, as if yearning to escape into the world she creates with her drum machine and twinkling keys that evoke a toy piano. \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/playlists/292397825″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/playlists/292397825″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>With “Space,” which carries on at the urgent pace of Sia’s “Chandelier,” Ah Mer Ah Su processes the painful experience of dealing with men who are ashamed of their attraction to trans women. (In \u003ca href=\"http://www.papermag.com/premiere-check-out-ah-mer-ah-sus-new-song-space-2079619004.html\" target=\"_blank\" rel=\"noopener\">interviews\u003c/a>, she’s been candid in addressing violence against trans women at the hands of romantic partners.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6PZHb8FiMfY'\n title='//www.youtube.com/embed/6PZHb8FiMfY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As Ah Mer Ah Su told me \u003ca href=\"https://ww2.kqed.org/arts/2017/02/22/star-amerasu-talks-transphobia-addiction-and-assault-with-an-upbeat-electro-pop-twist/\" rel=\"noopener\" target=\"_blank\">earlier this year\u003c/a>, the title \u003cem>Rebecca\u003c/em> comes from Beyoncé’s immortal words “He better call Becky with the good hair” on \u003cem>Lemonade\u003c/em>, and “Meg Ryan” is where Ah Mer Ah Su delves into the “Becky” concept: In the track’s music video, she saunters around town in a blond wig, repeating the refrain “I’m a white woman / I can do whatever I want” in a valley girl voice. \u003c/p>\n\u003cp>The track provides much-needed comedic relief for \u003cem>Rebecca\u003c/em>‘s difficult subject matter, but that’s not to say it’s a dour record. Quite the opposite, actually: Despite the hardships she’s endured, Ah Mer Ah Su finds ways to create gorgeous, imaginative sounds, interweaving clever societal commentary throughout.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Click \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see the rest of our favorite Bay Area albums of 2017. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13818045/the-10-best-bay-area-albums-of-2017-ah-mer-ah-su-rebecca","authors":["11387"],"series":["arts_3461"],"categories":["arts_69"],"tags":["arts_3391","arts_1118","arts_596","arts_924"],"featImg":"arts_13818047","label":"arts_3461"},"arts_13817965":{"type":"posts","id":"arts_13817965","meta":{"index":"posts_1591205157","site":"arts","id":"13817965","score":null,"sort":[1513900255000]},"guestAuthors":[],"slug":"our-20-favorite-non-local-albums-of-2017","title":"Our 20 Favorite Non-Local Albums of 2017","publishDate":1513900255,"format":"standard","headTitle":"Our 20 Favorite Non-Local Albums of 2017 | KQED","labelTerm":{"term":3461,"site":"arts"},"content":"\u003cp>The consensus is in: 2017 was one of the worst years in recent memory. Creeping authoritarianism, erosion of civil liberties, mass shootings, natural disasters — what \u003cem>hasn’t\u003c/em> been thrown our way this year? But more so, 2017 has been a year of reckoning, forcing us to confront inequalities and injustices that have been part of American society from the beginning.\u003c/p>\n\u003cp>Even as we were inundated with tragedy after tragedy, music reminded us of love, beauty, and laughter. It kept us going, demonstrating the human spirit’s infinite capacity for resilience. Below you’ll find a list (in no particular order) of mainstream and notable indie releases that made 2017 not just bearable, but joyous and exciting.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Contributors\u003c/strong>: Rae Alexandra, Jody Amable, Claudia Escobar, Ruth Gebreyesus, Sarah Hotchkiss, Gabe Meline, Montse Reyes, Adrian Spinelli, Nick Veronin, and Nastia Voynovskaya.\u003c/em>\u003c/p>\n\u003cp>(\u003cem>Our separate list of the \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">Top 10 Bay Area Albums of the Year\u003c/a> is here.\u003c/em>)\u003c/p>\n\u003cp>https://youtu.be/hHXfCOjb3fk\u003c/p>\n\u003ch3>SZA, \u003cem>CTRL\u003c/em>\u003c/h3>\n\u003cp>Much in the way that Kristen Roupenian’s viral short story “Cat Person” tapped into a seldom-discussed side of dating for straight and bi women, SZA’s \u003cem>CTRL\u003c/em> nails the ways we arm ourselves while yearning for connection in an app-driven, feelings-devoid world. On the bubbly R&B record, SZA has had it with insincere hookups who don’t merit her vulnerability or efforts. Instead of waiting for dudes to break her heart, she’s one step ahead. You’re over me just like that? No problem, I’m already fooling around with your friend (“Supermodel”). He has two sidechicks? It’s okay, girl, I’ll take him on the weekends, you can have Monday through Friday (“The Weekend”). In singing about her quest to be invincible against noncommittal guys, she lets us into the multitudes of ways women stretch ourselves to manage our own and others’ emotional needs. Her voice is gorgeous and heartfelt, and her lyrics are tongue-in-cheek with a devilish grin. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/mkEmnrUzFFE\u003c/p>\n\u003ch3>Chicano Batman,\u003cem> Freedom is Free\u003c/em>\u003c/h3>\n\u003cp>Chicano Batman, from East LA, has long endeared listeners with their seamless patchwork of Latin American sonic histories — but this year’s \u003cem>Freedom is Free\u003c/em> stands out in their catalog as a vessel for emotional healing as well. In drawing from the lineage of funk, soul, and tropicalia — genres born of political strife, as a response and respite from inequity — the record becomes one of resilience. “The Taker Story” reminds us of that violence and exploitation — from the genocide of Native Americans to the displacement of communities of color — lie at the foundation of Western society. “La Jura” speaks to the epidemic of police violence affecting black and brown communities. The album is honest but hopeful, recalling the cyclic nature of history and lifting the power of community. \u003cem>— Montse Reyes\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/S-sJp1FfG7Q\u003c/p>\n\u003ch3>Migos, \u003cem>Culture\u003c/em>\u003c/h3>\n\u003cp>For every empty and compulsive use of the word “culture” this year, three young men from Lawrenceville, Georgia were actually doing the heavy lifting. Quavo, Offset, and Takeoff, known collectively as Migos, dropped \u003cem>Culture\u003c/em>, their second studio album, this January. The infectious “Bad and Boujee” went on to be the crew’s first No. 1 single, spawning countless memes on its way to the top. And though the song is irresistible — with a Lil Uzi Vert feature that grows on you like an unusual nail polish color chosen in haste — “Call Casting” is an unexpected standout, with Takeoff’s witty bars, a church organ, and playful chirp ad-libs. Equally noteworthy is “Get Right Witcha” and its understated beat, which encouraged minimal and potent poesy from the Migos. Though the album is top-heavy with hits, Culture’s last track, “Out Yo Way,” ends the album on a meditative and grateful note. And with the reflection that the end of a year brings, how can you not be thankful for Migos and their impact on culture this year? From \u003cem>Culture\u003c/em> to the royal engagement of Offset and Cardi B to their memorable BET Awards interview (\u003ca href=\"https://www.youtube.com/watch?v=6mq2ukdhyhQ\" target=\"_blank\" rel=\"noopener\">“Do it look like I was left off ‘Bad and Boujee’?”\u003c/a>), Migos put in overtime in 2017. \u003cem>— Ruth Gebreyesus\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/CMyRfIpNvPs\u003c/p>\n\u003ch3>Moses Sumney, \u003cem>Aromanticism\u003c/em>\u003c/h3>\n\u003cp>Moses Sumney’s \u003cem>Aromanticism\u003c/em> is an atmospheric, yearning album that sounds like it was beamed in from a distant planet. Throughout the vocal loop- and guitar-driven project, Sumney draws from smoky speakeasy jazz, freak folk strumming, and Winehousian R&B revival, but mostly, he lingers in some other, unnerving plane. Sometimes he approaches the tuneful sensibilities of American standards, but quickly swerves into sparkling, electronic sounds, taking listeners to some quiet, brooding galaxy. But all of \u003cem>Aromanticism’s\u003c/em> world-building doesn’t detract from Sumney’s arresting vocals, which gives it the gravity that makes it such a parallel for these uneasy times. It’s an album that can never quite figure out where it wants to go, but in 2017, can anyone? \u003cem>Aromanticism\u003c/em> is a sympathetic symphony for a nation groping at stability. \u003cem>— Jody Amable\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/tvTRZJ-4EyI\u003c/p>\n\u003ch3>Kendrick Lamar, \u003cem>DAMN.\u003c/em>\u003c/h3>\n\u003cp>Lamar’s role as a cultural figure is unquestionable. In a time of frustration, hate, anger, and exhaustion, Lamar eschewed the expectation to deliver an explicitly political statement (“XXX” is the closest you’d get). Rather, he turned inward. The result is an unflinching confrontation with the interior. Lamar grapples with the big questions — faith, morality, love, and the pressure of fame. He unpacks the impact of systemic oppression in a personal way, contending with the burden placed on him to be a spokesperson for black America. And of course, there’s the joy of getting to hear Lamar rap. He is nimble with his voice, the album’s most stunning instrument, and creates a landscape of textures — even gesturing to Juvenile’s “Ha” by borrowing his signature clipped flow on “Element.” \u003cem>— MR\u003c/em>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/339324287″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003ch3>OCS, \u003cem>Memory of a Cut Off Head\u003c/em>\u003c/h3>\n\u003cp>In the streaming age, it can be difficult to truly hone in on a favorite album. Great new music is always just a click away. Fans of the San Francisco-bred, L.A.-based musician John Dwyer — the man behind Thee Oh Sees — have it especially hard. Dude dropped two great records this year alone. However, while Orc was certainly a blast, Dwyer’s second release of 2017 is more memorable. On \u003cem>Memory of a Cut Off Head\u003c/em>, the psych-garage wizard reconnected with longtime collaborator Brigid Dawson, unplugged the amps, and turned in a quiet, compelling collection of mellow, meditative tunes. The album proves Dwyer is just as comfortable penning hushed freak folk and chamber pop arrangements as he is with cranking out “these go to eleven” acid freakouts. After a year that often has us wondering whether we were taking crazy pills, it was a welcome contribution. \u003cem>— Nick Veronin\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/76O3w4pt0CA\u003c/p>\n\u003ch3>Miguel, \u003cem>War & Leisure\u003c/em>\u003c/h3>\n\u003cp>Every song on this year’s \u003ci>War & Leisure\u003c/i> satisfies a particular mood. In need of a post-apocalyptic apology? Miguel gives us “City of Angels.” Want a Spanish-language dance floor anthem? Aquí está “Caramelo Duro”! A sultry James Brown-esque likening of sexual urges to a werewolf’s transformation? “Wolf” fulfills those desires. And as if we needed further proof he knows exactly what we want, \u003ci>War & Leisure\u003c/i>’s lead single “Sky Walker” came out right at the end of summer with a sweet “splish”: a lazy post-BBQ reminder to stay up just a little bit longer and “celebrate every day like a birthday.” \u003cem>— Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/sd5dcjXzuGk\u003c/p>\n\u003ch3>Kesha, \u003cem>Rainbow\u003c/em>\u003c/h3>\n\u003cp>In a year that started with the Woman’s March, ended with the toppling of high-profile sexual harassers, and inspired women all over the country to speak out about the wrongs done to them, the return of Kesha could not have been better timed. \u003cem>Rainbow\u003c/em> was the perfect, cathartic soundtrack to national events; a soulful expulsion of pain and trauma, a joyful anthem about strength in the face of adversity, and above all else, a guidebook on how to find the light in even the darkest of places, written by an expert on the subject. \u003cem>Rainbow\u003c/em> ultimately was one of the most inspiring albums of the year, Kesha’s unbreakable spirit woven into every track. “Rainbow” itself summed up her ethos perfectly: “Darling, our scars make us who we are.” \u003cem>— Rae Alexandra\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/Rxy8EYGWiPM\u003c/p>\n\u003ch3>Faye Webster, \u003cem>Faye Webster\u003c/em>\u003c/h3>\n\u003cp>Find me someone who predicted that the year’s best country album would be released by an indie hip-hop label and I’ll show you a liar. Thus is the case with Faye Webster’s nuanced self-titled sophomore album, out on the Atlanta-based, boundary-pushing rap label, Awful Records. The 19-year-old Webster weaves groovy love songs, twangy odes to her favorite baseball players, and emotionally-charged incantations of the highest order throughout the album’s lap steel-laden 10 tracks. She gracefully plays the role of Southern belle on “It’s Not a Sad Thing,” (“Well I wonder what he’s doing / And if he’s falling asleep / I wonder if the flight attendant’s prettier than me”) and paints stunning musical atmospheres, like on the carefully-calculated arrangement of the Rhodes keys- and lap steel-driven “I Know.” Webster is one of the most unique talents to emerge from the musical clutter of 2017 — her songs have a way of working their way into your head and rolling off your tongue in the most somber and comfortable moments alike. \u003cem>— Adrian Spinelli\u003c/em>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/323027673″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003ch3>Daphni, \u003cem>Joli Mai\u003c/em>\u003c/h3>\n\u003cp>Dan Snaith swapped atmospheric, fuzzy synths from his chillwave outfit, Caribou, for hard-edged club beats as Daphni, his dance music alter-ego. His sophomore Daphni album, \u003cem>Joli Mai\u003c/em>, builds fascinating rhythms from skeletal, four-on-the-floor beats, adding layers of vocal samples and live instruments for epic crescendos designed with the dancefloor in mind. There’s “Face to Face,” which scales up from a minimalist breakbeat with a bass line that sounds like the Clash; the whispery, falsetto “face to face” vocal sample transforms the bare-bones dance-punk tune into a disco odyssey. “Xing Tian” is a cacophony of bass drums, which forcefully ricochet off the barely-there synths, vocals, and tambourine, creating dimension and drama. \u003cem>Joli Mai\u003c/em> has the power to put one — whether partying or studying — into a trance, but Snaith breaks its regimented rhythmic structures with playful textures and wonky effects that offer plenty of surprises throughout. \u003cem>— NV\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/6xRJ-MuN46E\u003c/p>\n\u003ch3>Hurray for the Riff Raff, \u003cem>The Navigator\u003c/em>\u003c/h3>\n\u003cp>For the last decade, Hurray for the Riff Raff has mostly stuck to the down-home, good-time songs that their Americana-leaning fanbase lives for. But on \u003cem>The Navigator\u003c/em>, principal songwriter Alynda Segarra puts Americana’s long-established, rarely challenged conventions to the test. Following a central character, the album incorporates a variety of genre hallmarks — Caribbean rhythms, glitzy radio rock — throughout a series of vignettes about city living and the immigrant experience. By definition, it’s a concept album, but rather than writing a cloying collection of story-songs like a lot of modern-day rock operas (lookin’ at you, Green Day), Segarra keeps the cheesiness at bay by drawing from a deep well of honesty. \u003cem>The Navigator\u003c/em>’s departure from HFTRR’s previous sound is, at first, a shock to the system. But after a few listens, it seems so obvious that the daughter of Puerto Rican immigrants would write such a record under the Americana mantle. \u003cem>— JA\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/Wjq7x2d_s1w\u003c/p>\n\u003ch3>Kelela, \u003cem>Take Me Apart\u003c/em>\u003c/h3>\n\u003cp>Kelela is worth the wait. Her debut studio album, which follows her 2015 EP \u003cem>Hallucinogen\u003c/em> and her 2013 breakthrough mixtape \u003cem>Cut 4 Me\u003c/em>, took four years to complete. And \u003cem>Take Me Apart\u003c/em> is evidence of that time. Entwining club beats with soulful R&B melodies, the album is an exhaustive and honest account of the dissolution and aftermath of relationships. Though the premise might sound emotionally laborious, Kelela is both the sea and the lighthouse on \u003cem>Take Me Apart\u003c/em>, never asking her fans to go places she’s hasn’t dared to go herself. She sings of breaking points with self-assurance on the upbeat opener, “Frontline” and with weary resignation on “Enough” over Arca & co.’s ethereal and warped production. Kelela also covers desire — the restless sort (on “S.O.S.” she sings “When I’m full I take another / Never been so greedy with a lover”) and the urgent kind on the sexy, bass-heavy “Blue Light.” The quintessence of her sonic and lyrical triumph is “Bluff,” whose opening piano keys come down like a verdict before a screeching saccharine melody softens the blow. On the track, Kelela accepts the defeat of a relationship’s end but not without a final plea. Though “Bluff” lasts just over a minute long, in the space of an interlude, Kelela achieves a stunning vulnerability, a trademark of the gifted musician. \u003cem>— RG\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/1hINj54mIrM?list=PLPJuUTmj4jnA47qpkoy-E0BNBJIIK6gP_\u003c/p>\n\u003ch3>Nicole Mitchell, \u003cem>Mandorla Awakening II: Emerging Worlds\u003c/em>\u003c/h3>\n\u003cp>While Solange posted regularly about Sun Ra on Instagram and a new breed of Afrofuturism wove through the music of Moses Sumney and Thundercat, the true torch in 2017 was carried by Mitchell, an OG from Chicago who’s already released 20 albums. \u003cem>Mandorla Awakening II\u003c/em> is full of the long, stretched-out improvisations and poetic recitations that one expects with spiritual jazz, but there’s a fire and intensity here that the young lions could only hope to conjure. \u003cem>— Gabe Meline\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/_NSuIYwBxu4\u003c/p>\n\u003ch3>Sampha, \u003cem>Process\u003c/em>\u003c/h3>\n\u003cp>Grief never ends, really. When you’ve lost someone, reckoning with their absence can feel endless. It’s a process Sampha documents in his debut album, \u003cem>Process\u003c/em>, an ode to his mother who died of cancer. Over intimate arrangements that display the co-producer’s R&B, gospel and electronic sensibilities, Sampha shows you that grief is unyielding. Sometimes it overwhelms, nearly suffocating you in a wave of panic (“Blood on Me,” “Reverse Faults”). Other days, you’re left guilty and desperate (“Plastic 100°C”). And some days, you’re just empty (“(No One Knows Me) Like the Piano”). Often, it is all of the above. Sampha leaves us without any tidy platitudes about sorrow, just with the knowledge that the absence of your loved one follows you forever. \u003cem>— MR\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/uo14xGYwWd4\u003c/p>\n\u003ch3>Gucci Mane, \u003cem>Mr. Davis\u003c/em>\u003c/h3>\n\u003cp>If his bestseller \u003cem>The Autobiography of Gucci Mane\u003c/em> was where Guwop bared it all, then his album \u003cem>Mr. Davis\u003c/em> is its musical counterpart. On his second full-length release of 2017 (the first, \u003cem>Droptop Wop\u003c/em>, is also excellent), Gucci reckons with past versions of himself, before he became “Multi Millionaire LaFlare” with the gorgeous wife, enormous mansion, and diamond-encrusted everything. These past versions of Gucci — fatherless child, hustler, drug addict — aren’t glamorous, but throughout \u003cem>Dr. Davis\u003c/em>, Gucci doesn’t get overly sentimental or remorseful. Instead, he nobly accepts the hand he’s been dealt, realizing that the numerous obstacles he’s faced have only made him more resilient. The album provides no shortage of big-bass baller anthems (“I Get the Bag,” “Make Love,” “Tone It Down”), but “We Ride,” his ode to his love, Keyshia Ka’Oir Davis — and the work he’s put in to better himself and foster a healthy relationship — can make even the most stoic among us shed a thug tear. \u003cem>— NV\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/2d7U4CX0PHk\u003c/p>\n\u003ch3>Kehlani, \u003cem>SweetSexySavage\u003c/em>\u003c/h3>\n\u003cp>Fresh off her \u003cem>You Should Be Here\u003c/em> triumph, Oakland’s own melting-pot dynamo signed a major-label deal and delivered an R&B record that’s a little more formulaic than her homemade stuff, and a lot more slick. But Kehlani still has her heart firmly in her music, co-writing every song here with keen awareness of the human condition and singing them like her life depended on it. With subtle hooks and rewarding non-hits, and Kehlani’s don’t-give-a-damn approach, \u003cem>SweetSexySavage\u003c/em> is a slow burner that grows on you. \u003cem>— GM\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/NCEQX46L3KU\u003c/p>\n\u003ch3>Bomba Estéreo, \u003cem>Ayo\u003c/em>\u003c/h3>\n\u003cp>Electronic duo Bomba Estéreo’s \u003cem>Ayo\u003c/em> is like being at the beach in Colombia. Through colorful electronics and call-and-response, Spanish-language vocals, the Colombian two-piece creates a tropical, futuristic, Zen world full of colors, sensuality, and dancing. The lively “Internacionales” is a much-needed call for global unity — and feels like one huge party where everyone in the world is invited. \u003cem>— Claudia Escobar\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/RM7lw0Ovzq0\u003c/p>\n\u003ch3>Jay-Z, \u003cem>4:44\u003c/em>\u003c/h3>\n\u003cp>I suppose, in an alternate universe where Beyoncé did not dictate all cultural discourse, that Jay-Z could have curved out of the \u003cem>Lemonade\u003c/em> discussion altogether and released another album about business, blackness, and how great it is to be Jay-Z. Instead, he released an album about business, blackness, and how \u003cem>complicated\u003c/em> it is to be Jay-Z. What made \u003cem>4:44\u003c/em> work wasn’t just his frankness about infidelity; anyone in therapy will tell you that when they try to fix a problem, they discover a panoply of other related problems. That’s \u003cem>4:44\u003c/em>. In an unflinching, honest self-examination, Jay-Z is in rare form here. \u003cem>— GM\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/ozv4q2ov3Mk\u003c/p>\n\u003ch3>Calvin Harris, \u003cem>Funk Wav Bounces Vol. 1\u003c/em>\u003c/h3>\n\u003cp>Once known for mechanical EDM bangers, Calvin Harris created an unexpectedly soulful hip-hop and R&B smash with \u003cem>Funk Wav Bounces Vol. 1\u003c/em>, an album that sounds like drinking a tequila sunrise on a tropical island at dawn. For this funky collection of four-on-the-floor and two-step tracks, Harris enlisted a cast of A-list collaborators (Young Thug, Katy Perry, Pharrell) and well-chosen newcomers (Kehlani, Khalid, Lil Yachty). The result is not a 2001 “What’s Going On”-esque hodgepodge of celebrity vocalists, but rather a collection of thoughtful, unlikely collaborations. Harris gets Young Thug to belt it out on “Heatstroke” and elicits an animated take from the typically deadpan Big Sean on “Feels,” both feel-good tracks that sound just as great at a family function as they do at a club. But the album’s crown jewel is “Slide,” featuring Frank Ocean and Migos — the first true pop anthem from Ocean since \u003cem>Channel Orange\u003c/em>. \u003cem>— NV\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/xTjQHfP1KOo\u003c/p>\n\u003ch3>Washed Out, \u003cem>Mister Mellow\u003c/em>\u003c/h3>\n\u003cp>Washed Out’s Ernest Greene emerged as one of the key players in the “chillwave” movement with his 2009 track “Feel It All Around.” Best remembered as the \u003cem>Portlandia\u003c/em> theme song, it powered Greene into a deal with Sub Pop for his breakthrough LP, \u003cem>Within and Without\u003c/em> in 2011. He became a touring sensation, but endured a lacking effort on 2013’s \u003cem>Paracosm\u003c/em> that nearly faded him into the chill. Enter empresario Peanut Butter Wolf and his legendary Stones Throw label, who signed a re-energized Greene for his first release in four years, \u003cem>Mister Mellow\u003c/em>, far and away the best Washed Out album to date. Gone is the shell of a sub-genre which quickly exhausted Greene’s output, and in its place is welcome experimentation, enthralling psychedelia, and a funky core that slides right into the Stones Throw catalog. Bonus points for the album’s trippy track-by-track visual companion, starring Greene and \u003cem>SNL’s\u003c/em> Kyle Mooney. \u003cem>— AS\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"Despite the horrors 2017 threw our way, music reminded us of joy, love, and laughter enough to keep us going. ","status":"publish","parent":0,"modified":1705028855,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":29,"wordCount":3538},"headData":{"title":"Our 20 Favorite Non-Local Albums of 2017 | KQED","description":"Despite the horrors 2017 threw our way, music reminded us of joy, love, and laughter enough to keep us going. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Our 20 Favorite Non-Local Albums of 2017","datePublished":"2017-12-21T23:50:55.000Z","dateModified":"2024-01-12T03:07:35.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13817965/our-20-favorite-non-local-albums-of-2017","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The consensus is in: 2017 was one of the worst years in recent memory. Creeping authoritarianism, erosion of civil liberties, mass shootings, natural disasters — what \u003cem>hasn’t\u003c/em> been thrown our way this year? But more so, 2017 has been a year of reckoning, forcing us to confront inequalities and injustices that have been part of American society from the beginning.\u003c/p>\n\u003cp>Even as we were inundated with tragedy after tragedy, music reminded us of love, beauty, and laughter. It kept us going, demonstrating the human spirit’s infinite capacity for resilience. Below you’ll find a list (in no particular order) of mainstream and notable indie releases that made 2017 not just bearable, but joyous and exciting.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Contributors\u003c/strong>: Rae Alexandra, Jody Amable, Claudia Escobar, Ruth Gebreyesus, Sarah Hotchkiss, Gabe Meline, Montse Reyes, Adrian Spinelli, Nick Veronin, and Nastia Voynovskaya.\u003c/em>\u003c/p>\n\u003cp>(\u003cem>Our separate list of the \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">Top 10 Bay Area Albums of the Year\u003c/a> is here.\u003c/em>)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/hHXfCOjb3fk'\n title='//www.youtube.com/embed/hHXfCOjb3fk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>SZA, \u003cem>CTRL\u003c/em>\u003c/h3>\n\u003cp>Much in the way that Kristen Roupenian’s viral short story “Cat Person” tapped into a seldom-discussed side of dating for straight and bi women, SZA’s \u003cem>CTRL\u003c/em> nails the ways we arm ourselves while yearning for connection in an app-driven, feelings-devoid world. On the bubbly R&B record, SZA has had it with insincere hookups who don’t merit her vulnerability or efforts. Instead of waiting for dudes to break her heart, she’s one step ahead. You’re over me just like that? No problem, I’m already fooling around with your friend (“Supermodel”). He has two sidechicks? It’s okay, girl, I’ll take him on the weekends, you can have Monday through Friday (“The Weekend”). In singing about her quest to be invincible against noncommittal guys, she lets us into the multitudes of ways women stretch ourselves to manage our own and others’ emotional needs. Her voice is gorgeous and heartfelt, and her lyrics are tongue-in-cheek with a devilish grin. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/mkEmnrUzFFE'\n title='//www.youtube.com/embed/mkEmnrUzFFE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Chicano Batman,\u003cem> Freedom is Free\u003c/em>\u003c/h3>\n\u003cp>Chicano Batman, from East LA, has long endeared listeners with their seamless patchwork of Latin American sonic histories — but this year’s \u003cem>Freedom is Free\u003c/em> stands out in their catalog as a vessel for emotional healing as well. In drawing from the lineage of funk, soul, and tropicalia — genres born of political strife, as a response and respite from inequity — the record becomes one of resilience. “The Taker Story” reminds us of that violence and exploitation — from the genocide of Native Americans to the displacement of communities of color — lie at the foundation of Western society. “La Jura” speaks to the epidemic of police violence affecting black and brown communities. The album is honest but hopeful, recalling the cyclic nature of history and lifting the power of community. \u003cem>— Montse Reyes\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/S-sJp1FfG7Q'\n title='//www.youtube.com/embed/S-sJp1FfG7Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Migos, \u003cem>Culture\u003c/em>\u003c/h3>\n\u003cp>For every empty and compulsive use of the word “culture” this year, three young men from Lawrenceville, Georgia were actually doing the heavy lifting. Quavo, Offset, and Takeoff, known collectively as Migos, dropped \u003cem>Culture\u003c/em>, their second studio album, this January. The infectious “Bad and Boujee” went on to be the crew’s first No. 1 single, spawning countless memes on its way to the top. And though the song is irresistible — with a Lil Uzi Vert feature that grows on you like an unusual nail polish color chosen in haste — “Call Casting” is an unexpected standout, with Takeoff’s witty bars, a church organ, and playful chirp ad-libs. Equally noteworthy is “Get Right Witcha” and its understated beat, which encouraged minimal and potent poesy from the Migos. Though the album is top-heavy with hits, Culture’s last track, “Out Yo Way,” ends the album on a meditative and grateful note. And with the reflection that the end of a year brings, how can you not be thankful for Migos and their impact on culture this year? From \u003cem>Culture\u003c/em> to the royal engagement of Offset and Cardi B to their memorable BET Awards interview (\u003ca href=\"https://www.youtube.com/watch?v=6mq2ukdhyhQ\" target=\"_blank\" rel=\"noopener\">“Do it look like I was left off ‘Bad and Boujee’?”\u003c/a>), Migos put in overtime in 2017. \u003cem>— Ruth Gebreyesus\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/CMyRfIpNvPs'\n title='//www.youtube.com/embed/CMyRfIpNvPs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Moses Sumney, \u003cem>Aromanticism\u003c/em>\u003c/h3>\n\u003cp>Moses Sumney’s \u003cem>Aromanticism\u003c/em> is an atmospheric, yearning album that sounds like it was beamed in from a distant planet. Throughout the vocal loop- and guitar-driven project, Sumney draws from smoky speakeasy jazz, freak folk strumming, and Winehousian R&B revival, but mostly, he lingers in some other, unnerving plane. Sometimes he approaches the tuneful sensibilities of American standards, but quickly swerves into sparkling, electronic sounds, taking listeners to some quiet, brooding galaxy. But all of \u003cem>Aromanticism’s\u003c/em> world-building doesn’t detract from Sumney’s arresting vocals, which gives it the gravity that makes it such a parallel for these uneasy times. It’s an album that can never quite figure out where it wants to go, but in 2017, can anyone? \u003cem>Aromanticism\u003c/em> is a sympathetic symphony for a nation groping at stability. \u003cem>— Jody Amable\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/tvTRZJ-4EyI'\n title='//www.youtube.com/embed/tvTRZJ-4EyI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Kendrick Lamar, \u003cem>DAMN.\u003c/em>\u003c/h3>\n\u003cp>Lamar’s role as a cultural figure is unquestionable. In a time of frustration, hate, anger, and exhaustion, Lamar eschewed the expectation to deliver an explicitly political statement (“XXX” is the closest you’d get). Rather, he turned inward. The result is an unflinching confrontation with the interior. Lamar grapples with the big questions — faith, morality, love, and the pressure of fame. He unpacks the impact of systemic oppression in a personal way, contending with the burden placed on him to be a spokesperson for black America. And of course, there’s the joy of getting to hear Lamar rap. He is nimble with his voice, the album’s most stunning instrument, and creates a landscape of textures — even gesturing to Juvenile’s “Ha” by borrowing his signature clipped flow on “Element.” \u003cem>— MR\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/339324287″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/tracks/339324287″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003ch3>OCS, \u003cem>Memory of a Cut Off Head\u003c/em>\u003c/h3>\n\u003cp>In the streaming age, it can be difficult to truly hone in on a favorite album. Great new music is always just a click away. Fans of the San Francisco-bred, L.A.-based musician John Dwyer — the man behind Thee Oh Sees — have it especially hard. Dude dropped two great records this year alone. However, while Orc was certainly a blast, Dwyer’s second release of 2017 is more memorable. On \u003cem>Memory of a Cut Off Head\u003c/em>, the psych-garage wizard reconnected with longtime collaborator Brigid Dawson, unplugged the amps, and turned in a quiet, compelling collection of mellow, meditative tunes. The album proves Dwyer is just as comfortable penning hushed freak folk and chamber pop arrangements as he is with cranking out “these go to eleven” acid freakouts. After a year that often has us wondering whether we were taking crazy pills, it was a welcome contribution. \u003cem>— Nick Veronin\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/76O3w4pt0CA'\n title='//www.youtube.com/embed/76O3w4pt0CA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Miguel, \u003cem>War & Leisure\u003c/em>\u003c/h3>\n\u003cp>Every song on this year’s \u003ci>War & Leisure\u003c/i> satisfies a particular mood. In need of a post-apocalyptic apology? Miguel gives us “City of Angels.” Want a Spanish-language dance floor anthem? Aquí está “Caramelo Duro”! A sultry James Brown-esque likening of sexual urges to a werewolf’s transformation? “Wolf” fulfills those desires. And as if we needed further proof he knows exactly what we want, \u003ci>War & Leisure\u003c/i>’s lead single “Sky Walker” came out right at the end of summer with a sweet “splish”: a lazy post-BBQ reminder to stay up just a little bit longer and “celebrate every day like a birthday.” \u003cem>— Sarah Hotchkiss\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/sd5dcjXzuGk'\n title='//www.youtube.com/embed/sd5dcjXzuGk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Kesha, \u003cem>Rainbow\u003c/em>\u003c/h3>\n\u003cp>In a year that started with the Woman’s March, ended with the toppling of high-profile sexual harassers, and inspired women all over the country to speak out about the wrongs done to them, the return of Kesha could not have been better timed. \u003cem>Rainbow\u003c/em> was the perfect, cathartic soundtrack to national events; a soulful expulsion of pain and trauma, a joyful anthem about strength in the face of adversity, and above all else, a guidebook on how to find the light in even the darkest of places, written by an expert on the subject. \u003cem>Rainbow\u003c/em> ultimately was one of the most inspiring albums of the year, Kesha’s unbreakable spirit woven into every track. “Rainbow” itself summed up her ethos perfectly: “Darling, our scars make us who we are.” \u003cem>— Rae Alexandra\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Rxy8EYGWiPM'\n title='//www.youtube.com/embed/Rxy8EYGWiPM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Faye Webster, \u003cem>Faye Webster\u003c/em>\u003c/h3>\n\u003cp>Find me someone who predicted that the year’s best country album would be released by an indie hip-hop label and I’ll show you a liar. Thus is the case with Faye Webster’s nuanced self-titled sophomore album, out on the Atlanta-based, boundary-pushing rap label, Awful Records. The 19-year-old Webster weaves groovy love songs, twangy odes to her favorite baseball players, and emotionally-charged incantations of the highest order throughout the album’s lap steel-laden 10 tracks. She gracefully plays the role of Southern belle on “It’s Not a Sad Thing,” (“Well I wonder what he’s doing / And if he’s falling asleep / I wonder if the flight attendant’s prettier than me”) and paints stunning musical atmospheres, like on the carefully-calculated arrangement of the Rhodes keys- and lap steel-driven “I Know.” Webster is one of the most unique talents to emerge from the musical clutter of 2017 — her songs have a way of working their way into your head and rolling off your tongue in the most somber and comfortable moments alike. \u003cem>— Adrian Spinelli\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/323027673″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/tracks/323027673″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003ch3>Daphni, \u003cem>Joli Mai\u003c/em>\u003c/h3>\n\u003cp>Dan Snaith swapped atmospheric, fuzzy synths from his chillwave outfit, Caribou, for hard-edged club beats as Daphni, his dance music alter-ego. His sophomore Daphni album, \u003cem>Joli Mai\u003c/em>, builds fascinating rhythms from skeletal, four-on-the-floor beats, adding layers of vocal samples and live instruments for epic crescendos designed with the dancefloor in mind. There’s “Face to Face,” which scales up from a minimalist breakbeat with a bass line that sounds like the Clash; the whispery, falsetto “face to face” vocal sample transforms the bare-bones dance-punk tune into a disco odyssey. “Xing Tian” is a cacophony of bass drums, which forcefully ricochet off the barely-there synths, vocals, and tambourine, creating dimension and drama. \u003cem>Joli Mai\u003c/em> has the power to put one — whether partying or studying — into a trance, but Snaith breaks its regimented rhythmic structures with playful textures and wonky effects that offer plenty of surprises throughout. \u003cem>— NV\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6xRJ-MuN46E'\n title='//www.youtube.com/embed/6xRJ-MuN46E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Hurray for the Riff Raff, \u003cem>The Navigator\u003c/em>\u003c/h3>\n\u003cp>For the last decade, Hurray for the Riff Raff has mostly stuck to the down-home, good-time songs that their Americana-leaning fanbase lives for. But on \u003cem>The Navigator\u003c/em>, principal songwriter Alynda Segarra puts Americana’s long-established, rarely challenged conventions to the test. Following a central character, the album incorporates a variety of genre hallmarks — Caribbean rhythms, glitzy radio rock — throughout a series of vignettes about city living and the immigrant experience. By definition, it’s a concept album, but rather than writing a cloying collection of story-songs like a lot of modern-day rock operas (lookin’ at you, Green Day), Segarra keeps the cheesiness at bay by drawing from a deep well of honesty. \u003cem>The Navigator\u003c/em>’s departure from HFTRR’s previous sound is, at first, a shock to the system. But after a few listens, it seems so obvious that the daughter of Puerto Rican immigrants would write such a record under the Americana mantle. \u003cem>— JA\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Wjq7x2d_s1w'\n title='//www.youtube.com/embed/Wjq7x2d_s1w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Kelela, \u003cem>Take Me Apart\u003c/em>\u003c/h3>\n\u003cp>Kelela is worth the wait. Her debut studio album, which follows her 2015 EP \u003cem>Hallucinogen\u003c/em> and her 2013 breakthrough mixtape \u003cem>Cut 4 Me\u003c/em>, took four years to complete. And \u003cem>Take Me Apart\u003c/em> is evidence of that time. Entwining club beats with soulful R&B melodies, the album is an exhaustive and honest account of the dissolution and aftermath of relationships. Though the premise might sound emotionally laborious, Kelela is both the sea and the lighthouse on \u003cem>Take Me Apart\u003c/em>, never asking her fans to go places she’s hasn’t dared to go herself. She sings of breaking points with self-assurance on the upbeat opener, “Frontline” and with weary resignation on “Enough” over Arca & co.’s ethereal and warped production. Kelela also covers desire — the restless sort (on “S.O.S.” she sings “When I’m full I take another / Never been so greedy with a lover”) and the urgent kind on the sexy, bass-heavy “Blue Light.” The quintessence of her sonic and lyrical triumph is “Bluff,” whose opening piano keys come down like a verdict before a screeching saccharine melody softens the blow. On the track, Kelela accepts the defeat of a relationship’s end but not without a final plea. Though “Bluff” lasts just over a minute long, in the space of an interlude, Kelela achieves a stunning vulnerability, a trademark of the gifted musician. \u003cem>— RG\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1hINj54mIrM'\n title='//www.youtube.com/embed/1hINj54mIrM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Nicole Mitchell, \u003cem>Mandorla Awakening II: Emerging Worlds\u003c/em>\u003c/h3>\n\u003cp>While Solange posted regularly about Sun Ra on Instagram and a new breed of Afrofuturism wove through the music of Moses Sumney and Thundercat, the true torch in 2017 was carried by Mitchell, an OG from Chicago who’s already released 20 albums. \u003cem>Mandorla Awakening II\u003c/em> is full of the long, stretched-out improvisations and poetic recitations that one expects with spiritual jazz, but there’s a fire and intensity here that the young lions could only hope to conjure. \u003cem>— Gabe Meline\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/_NSuIYwBxu4'\n title='//www.youtube.com/embed/_NSuIYwBxu4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Sampha, \u003cem>Process\u003c/em>\u003c/h3>\n\u003cp>Grief never ends, really. When you’ve lost someone, reckoning with their absence can feel endless. It’s a process Sampha documents in his debut album, \u003cem>Process\u003c/em>, an ode to his mother who died of cancer. Over intimate arrangements that display the co-producer’s R&B, gospel and electronic sensibilities, Sampha shows you that grief is unyielding. Sometimes it overwhelms, nearly suffocating you in a wave of panic (“Blood on Me,” “Reverse Faults”). Other days, you’re left guilty and desperate (“Plastic 100°C”). And some days, you’re just empty (“(No One Knows Me) Like the Piano”). Often, it is all of the above. Sampha leaves us without any tidy platitudes about sorrow, just with the knowledge that the absence of your loved one follows you forever. \u003cem>— MR\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/uo14xGYwWd4'\n title='//www.youtube.com/embed/uo14xGYwWd4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Gucci Mane, \u003cem>Mr. Davis\u003c/em>\u003c/h3>\n\u003cp>If his bestseller \u003cem>The Autobiography of Gucci Mane\u003c/em> was where Guwop bared it all, then his album \u003cem>Mr. Davis\u003c/em> is its musical counterpart. On his second full-length release of 2017 (the first, \u003cem>Droptop Wop\u003c/em>, is also excellent), Gucci reckons with past versions of himself, before he became “Multi Millionaire LaFlare” with the gorgeous wife, enormous mansion, and diamond-encrusted everything. These past versions of Gucci — fatherless child, hustler, drug addict — aren’t glamorous, but throughout \u003cem>Dr. Davis\u003c/em>, Gucci doesn’t get overly sentimental or remorseful. Instead, he nobly accepts the hand he’s been dealt, realizing that the numerous obstacles he’s faced have only made him more resilient. The album provides no shortage of big-bass baller anthems (“I Get the Bag,” “Make Love,” “Tone It Down”), but “We Ride,” his ode to his love, Keyshia Ka’Oir Davis — and the work he’s put in to better himself and foster a healthy relationship — can make even the most stoic among us shed a thug tear. \u003cem>— NV\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/2d7U4CX0PHk'\n title='//www.youtube.com/embed/2d7U4CX0PHk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Kehlani, \u003cem>SweetSexySavage\u003c/em>\u003c/h3>\n\u003cp>Fresh off her \u003cem>You Should Be Here\u003c/em> triumph, Oakland’s own melting-pot dynamo signed a major-label deal and delivered an R&B record that’s a little more formulaic than her homemade stuff, and a lot more slick. But Kehlani still has her heart firmly in her music, co-writing every song here with keen awareness of the human condition and singing them like her life depended on it. With subtle hooks and rewarding non-hits, and Kehlani’s don’t-give-a-damn approach, \u003cem>SweetSexySavage\u003c/em> is a slow burner that grows on you. \u003cem>— GM\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/NCEQX46L3KU'\n title='//www.youtube.com/embed/NCEQX46L3KU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Bomba Estéreo, \u003cem>Ayo\u003c/em>\u003c/h3>\n\u003cp>Electronic duo Bomba Estéreo’s \u003cem>Ayo\u003c/em> is like being at the beach in Colombia. Through colorful electronics and call-and-response, Spanish-language vocals, the Colombian two-piece creates a tropical, futuristic, Zen world full of colors, sensuality, and dancing. The lively “Internacionales” is a much-needed call for global unity — and feels like one huge party where everyone in the world is invited. \u003cem>— Claudia Escobar\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/RM7lw0Ovzq0'\n title='//www.youtube.com/embed/RM7lw0Ovzq0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Jay-Z, \u003cem>4:44\u003c/em>\u003c/h3>\n\u003cp>I suppose, in an alternate universe where Beyoncé did not dictate all cultural discourse, that Jay-Z could have curved out of the \u003cem>Lemonade\u003c/em> discussion altogether and released another album about business, blackness, and how great it is to be Jay-Z. Instead, he released an album about business, blackness, and how \u003cem>complicated\u003c/em> it is to be Jay-Z. What made \u003cem>4:44\u003c/em> work wasn’t just his frankness about infidelity; anyone in therapy will tell you that when they try to fix a problem, they discover a panoply of other related problems. That’s \u003cem>4:44\u003c/em>. In an unflinching, honest self-examination, Jay-Z is in rare form here. \u003cem>— GM\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ozv4q2ov3Mk'\n title='//www.youtube.com/embed/ozv4q2ov3Mk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Calvin Harris, \u003cem>Funk Wav Bounces Vol. 1\u003c/em>\u003c/h3>\n\u003cp>Once known for mechanical EDM bangers, Calvin Harris created an unexpectedly soulful hip-hop and R&B smash with \u003cem>Funk Wav Bounces Vol. 1\u003c/em>, an album that sounds like drinking a tequila sunrise on a tropical island at dawn. For this funky collection of four-on-the-floor and two-step tracks, Harris enlisted a cast of A-list collaborators (Young Thug, Katy Perry, Pharrell) and well-chosen newcomers (Kehlani, Khalid, Lil Yachty). The result is not a 2001 “What’s Going On”-esque hodgepodge of celebrity vocalists, but rather a collection of thoughtful, unlikely collaborations. Harris gets Young Thug to belt it out on “Heatstroke” and elicits an animated take from the typically deadpan Big Sean on “Feels,” both feel-good tracks that sound just as great at a family function as they do at a club. But the album’s crown jewel is “Slide,” featuring Frank Ocean and Migos — the first true pop anthem from Ocean since \u003cem>Channel Orange\u003c/em>. \u003cem>— NV\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xTjQHfP1KOo'\n title='//www.youtube.com/embed/xTjQHfP1KOo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Washed Out, \u003cem>Mister Mellow\u003c/em>\u003c/h3>\n\u003cp>Washed Out’s Ernest Greene emerged as one of the key players in the “chillwave” movement with his 2009 track “Feel It All Around.” Best remembered as the \u003cem>Portlandia\u003c/em> theme song, it powered Greene into a deal with Sub Pop for his breakthrough LP, \u003cem>Within and Without\u003c/em> in 2011. He became a touring sensation, but endured a lacking effort on 2013’s \u003cem>Paracosm\u003c/em> that nearly faded him into the chill. Enter empresario Peanut Butter Wolf and his legendary Stones Throw label, who signed a re-energized Greene for his first release in four years, \u003cem>Mister Mellow\u003c/em>, far and away the best Washed Out album to date. Gone is the shell of a sub-genre which quickly exhausted Greene’s output, and in its place is welcome experimentation, enthralling psychedelia, and a funky core that slides right into the Stones Throw catalog. Bonus points for the album’s trippy track-by-track visual companion, starring Greene and \u003cem>SNL’s\u003c/em> Kyle Mooney. \u003cem>— AS\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13817965/our-20-favorite-non-local-albums-of-2017","authors":["11387"],"series":["arts_3461"],"categories":["arts_69"],"tags":["arts_1118","arts_596"],"featImg":"arts_13818032","label":"arts_3461"},"arts_13817362":{"type":"posts","id":"arts_13817362","meta":{"index":"posts_1591205157","site":"arts","id":"13817362","score":null,"sort":[1513872024000]},"guestAuthors":[],"slug":"the-10-best-bay-area-albums-of-2017-nef-the-pharaoh-the-chang-project","title":"The 10 Best Bay Area Albums of 2017: Nef the Pharaoh, 'The Chang Project'","publishDate":1513872024,"format":"standard","headTitle":"The 10 Best Bay Area Albums of 2017: Nef the Pharaoh, ‘The Chang Project’ | KQED","labelTerm":{"term":3461,"site":"arts"},"content":"\u003cp>Long before the Migos flow saturated the FM dial, a Vallejo rapper named Mac Dre was perfecting the absurdist call-and-response. Now, more than a decade after Dre’s untimely passing, the Bay Area has another promising hip-hop hero: Nef The Pharaoh, a young E-40 protégé hailing from the Valley-Jo.\u003c/p>\n\u003cp>Nef’s 2017 mixtape, \u003cem>The Chang Project\u003c/em>, is unmistakably a Bay Area affair. But Nef demonstrates his broader ambitions from the jump, merging 707 swag with prevailing trends in chart-topping hip-hop. The lead track, “Chang You Are My Life,” features production that borrows from the Dirty South: trilling, rapid-fire hi-hats, screwed-down vocal manipulations, and a spacey, EDM-inflected sheen. However, the song’s bass line makes it clear that Neffie remains loyal to his hometown. It’s raspy, raw, and undeniably buoyant, recalling some of the grittiest passages from the Luniz’s seminal \u003cem>Operation Stackola\u003c/em> and the bacchanal energy of Mac Dre’s “Feelin’ Myself.”\u003c/p>\n\u003cp>https://youtu.be/FJVxiyiVflg\u003c/p>\n\u003cp>If “Chang You Are My Life” fuses ’90s Bay grooves and modern trap flourishes, the tape’s second track, “Out There,” grafts tropical bass tones onto a golden-era East Coast classic, merging a clonking marimba melody with the shimmying, tribal beat from Busta Rhymes’ innovative 1997 track “Put Your Hands Where My Eyes Can See.”\u003c/p>\n\u003cp>Although \u003cem>The Chang Project\u003c/em> makes gestures of respect to those who have come before, it also looks with determination toward the future. Nef’s biggest name collaborator, Ty Dolla $ign, is applied appropriately on the Architekz-produced “Back Out,” the mixtape’s unabashed lovemaking anthem. Here, Ty croons over another reverberant tropical bass beat, spitting the kind of autotuned lines (“the booty got a mind of its own”) that only he could hope to sing with a straight face.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/playlists/318578914″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>While Nef the Pharaoh is best known for party songs, \u003cem>The Chang Project\u003c/em> proves that he has range. Throughout the tape, Nef repeatedly reminds the listener of the bleak realities of his hometown, though he’s never more direct than he is on “LOE Gino’s Interlude.” Featuring Berkeley MC LOE Gino, the contemplative song gives a shout-out to Maya Angelou and laments violence, generational trauma, and the paralyzing fear of police brutality.\u003c/p>\n\u003cp>Still, there’s little doubt Neffie knows how to turn up. Case in point: “Bling Blaow,” \u003cem>The Chang Project’s\u003c/em> strongest track by far. With a bombastically simple chorus (“Look at my neck / Bling! Blaow!”) and a fiery guest verse from SOB x RBE’s Slimmy B, the song exemplifies Nef’s ability to seamlessly integrate a multitude of styles, from Mac Dre’s sardonic uptalk to flashy triplet flows.\u003c/p>\n\u003cp>It may just be the perfect bridge between the North Bay and North Atlanta.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>We’ll be posting our top ten local albums of 2017 everyday through Dec. 22. Check back \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see which other albums made our list. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"With its hyphy backbone and trap sensibilities, Nef the Pharaoh's 'The Chang Project' might be the perfect bridge between the North Bay and North Atlanta.","status":"publish","parent":0,"modified":1705028856,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":577},"headData":{"title":"The 10 Best Bay Area Albums of 2017: Nef the Pharaoh, 'The Chang Project' | KQED","description":"With its hyphy backbone and trap sensibilities, Nef the Pharaoh's 'The Chang Project' might be the perfect bridge between the North Bay and North Atlanta.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 10 Best Bay Area Albums of 2017: Nef the Pharaoh, 'The Chang Project'","datePublished":"2017-12-21T16:00:24.000Z","dateModified":"2024-01-12T03:07:36.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Nick Veronin","path":"/arts/13817362/the-10-best-bay-area-albums-of-2017-nef-the-pharaoh-the-chang-project","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Long before the Migos flow saturated the FM dial, a Vallejo rapper named Mac Dre was perfecting the absurdist call-and-response. Now, more than a decade after Dre’s untimely passing, the Bay Area has another promising hip-hop hero: Nef The Pharaoh, a young E-40 protégé hailing from the Valley-Jo.\u003c/p>\n\u003cp>Nef’s 2017 mixtape, \u003cem>The Chang Project\u003c/em>, is unmistakably a Bay Area affair. But Nef demonstrates his broader ambitions from the jump, merging 707 swag with prevailing trends in chart-topping hip-hop. The lead track, “Chang You Are My Life,” features production that borrows from the Dirty South: trilling, rapid-fire hi-hats, screwed-down vocal manipulations, and a spacey, EDM-inflected sheen. However, the song’s bass line makes it clear that Neffie remains loyal to his hometown. It’s raspy, raw, and undeniably buoyant, recalling some of the grittiest passages from the Luniz’s seminal \u003cem>Operation Stackola\u003c/em> and the bacchanal energy of Mac Dre’s “Feelin’ Myself.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FJVxiyiVflg'\n title='//www.youtube.com/embed/FJVxiyiVflg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If “Chang You Are My Life” fuses ’90s Bay grooves and modern trap flourishes, the tape’s second track, “Out There,” grafts tropical bass tones onto a golden-era East Coast classic, merging a clonking marimba melody with the shimmying, tribal beat from Busta Rhymes’ innovative 1997 track “Put Your Hands Where My Eyes Can See.”\u003c/p>\n\u003cp>Although \u003cem>The Chang Project\u003c/em> makes gestures of respect to those who have come before, it also looks with determination toward the future. Nef’s biggest name collaborator, Ty Dolla $ign, is applied appropriately on the Architekz-produced “Back Out,” the mixtape’s unabashed lovemaking anthem. Here, Ty croons over another reverberant tropical bass beat, spitting the kind of autotuned lines (“the booty got a mind of its own”) that only he could hope to sing with a straight face.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/playlists/318578914″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/playlists/318578914″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>While Nef the Pharaoh is best known for party songs, \u003cem>The Chang Project\u003c/em> proves that he has range. Throughout the tape, Nef repeatedly reminds the listener of the bleak realities of his hometown, though he’s never more direct than he is on “LOE Gino’s Interlude.” Featuring Berkeley MC LOE Gino, the contemplative song gives a shout-out to Maya Angelou and laments violence, generational trauma, and the paralyzing fear of police brutality.\u003c/p>\n\u003cp>Still, there’s little doubt Neffie knows how to turn up. Case in point: “Bling Blaow,” \u003cem>The Chang Project’s\u003c/em> strongest track by far. With a bombastically simple chorus (“Look at my neck / Bling! Blaow!”) and a fiery guest verse from SOB x RBE’s Slimmy B, the song exemplifies Nef’s ability to seamlessly integrate a multitude of styles, from Mac Dre’s sardonic uptalk to flashy triplet flows.\u003c/p>\n\u003cp>It may just be the perfect bridge between the North Bay and North Atlanta.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>We’ll be posting our top ten local albums of 2017 everyday through Dec. 22. Check back \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see which other albums made our list. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13817362/the-10-best-bay-area-albums-of-2017-nef-the-pharaoh-the-chang-project","authors":["byline_arts_13817362"],"series":["arts_3461"],"categories":["arts_69"],"tags":["arts_3391","arts_1118","arts_831","arts_3420","arts_596"],"featImg":"arts_13817824","label":"arts_3461"},"arts_13817852":{"type":"posts","id":"arts_13817852","meta":{"index":"posts_1591205157","site":"arts","id":"13817852","score":null,"sort":[1513814262000]},"guestAuthors":[],"slug":"the-year-in-kqed-arts","title":"The Year in KQED Arts","publishDate":1513814262,"format":"image","headTitle":"The Year in KQED Arts | KQED","labelTerm":{"term":3461,"site":"arts"},"content":"\u003cp>If 2017 taught us anything, it’s that Bay Area artists are stronger and more creative than ever. Below, you’ll find samples of our coverage in KQED Arts from the moments, movements and stories that defined the tumultuous year.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VCYweWXph_U\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>The Inauguration \u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12659159\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/allison-west-1-800x600.jpeg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/allison-west-1-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/allison-west-1-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/allison-west-1-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/allison-west-1-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/allison-west-1-1920x1440.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/allison-west-1-1180x885.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/allison-west-1-960x720.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/allison-west-1-240x180.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/allison-west-1-375x281.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/allison-west-1-520x390.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/allison-west-1.jpeg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>\u003ca href=\"https://ww2.kqed.org/arts/2017/01/21/at-bay-area-womens-marches-creativity-out-in-force/\" target=\"_blank\" rel=\"noopener\">At Bay Area Women’s Marches, Creativity Out in Force\u003c/a>\u003c/h2>\n\u003cp>The year began with massive marches in protest of President Donald Trump, with no shortage of artists, dancers, musicians and other creatives in the streets. Our \u003ca href=\"https://ww2.kqed.org/arts/2017/01/21/at-bay-area-womens-marches-creativity-out-in-force/\" target=\"_blank\" rel=\"noopener\">live coverage\u003c/a> from around the Bay Area captured it all; from the \u003ca href=\"https://ww2.kqed.org/arts/2017/01/22/pro-lifers-marching-in-san-francisco-met-with-unusual-reaction-singing/\" target=\"_blank\" rel=\"noopener\">anti-abortion demonstrators met with singing\u003c/a> to the \u003ca href=\"https://youtu.be/WcB9JT9HUXs\" target=\"_blank\" rel=\"noopener\">Bandaloop dancers descending down the face of Oakland City Hall\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GTuFm_Al7Uw\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>Black Lives [Still] Matter\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809576\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Kaep.Mural1_-800x475.jpg\" alt=\"\" width=\"800\" height=\"475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kaep.Mural1_-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kaep.Mural1_-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kaep.Mural1_-768x456.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kaep.Mural1_-1020x606.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kaep.Mural1_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kaep.Mural1_-1180x701.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kaep.Mural1_-960x570.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kaep.Mural1_-240x143.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kaep.Mural1_-375x223.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kaep.Mural1_-520x309.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>\u003ca href=\"https://ww2.kqed.org/arts/2017/09/26/america-and-colin-kaepernick-needs-a-new-contract/\" target=\"_blank\" rel=\"noopener\">America — and Colin Kaepernick — Need a New Contract\u003c/a>\u003c/h2>\n\u003cp>No Bay Area athlete transfixed the nation more than Colin Kaepernick this year, as the quarterback’s \u003ca href=\"https://ww2.kqed.org/arts/2017/09/26/america-and-colin-kaepernick-needs-a-new-contract/\" target=\"_blank\" rel=\"noopener\">#TakeAKnee protest of police brutality\u003c/a> sparked long and necessary conversations. As Twitter allowed neo-Nazis to run rampant, East Bay rapper Lil B \u003ca href=\"https://ww2.kqed.org/arts/2017/10/26/why-lil-bs-facebook-ban-is-bigger-than-just-lil-b/\" rel=\"noopener\" target=\"_blank\">shifted the free speech debate\u003c/a> after Facebook \u003ca href=\"https://ww2.kqed.org/arts/2017/10/26/why-lil-bs-facebook-ban-is-bigger-than-just-lil-b/\" target=\"_blank\" rel=\"noopener\">banned him\u003c/a> for speaking out against white supremacy. Meanwhile, a school district in San Jose \u003ca href=\"https://ww2.kqed.org/arts/2017/02/01/black-history-month-art-removed-after-parents-complain/\" target=\"_blank\" rel=\"noopener\">removed Black History Month art\u003c/a> from its offices, and the artist bounced back with a series of \u003ca href=\"https://ww2.kqed.org/arts/2017/04/11/mark-harris-creates-postage-stamps-for-a-trumpian-world/\" rel=\"noopener\" target=\"_blank\">political postage stamp art\u003c/a>. And after East Bay rapper \u003ca href=\"https://ww2.kqed.org/arts/2017/04/03/public-safety-or-racial-profiling-mistah-f-a-b-alleges-harassment-by-the-opd/\" target=\"_blank\" rel=\"noopener\">Mistah F.A.B. alleged racial profiling by the police\u003c/a>, his store was mysteriously \u003ca href=\"https://ww2.kqed.org/arts/2017/04/20/oakland-store-owned-by-mistah-f-a-b-damaged-in-fire/\" target=\"_blank\" rel=\"noopener\">firebombed\u003c/a> — fortunately, his business made a quick recovery. Black filmmakers also \u003ca href=\"https://ww2.kqed.org/arts/2017/07/26/danny-glover-patton-oswalt-join-boots-riley-film-in-oakland/\" rel=\"noopener\" target=\"_blank\">thrived\u003c/a> in \u003ca href=\"https://ww2.kqed.org/arts/2017/09/11/the-north-pole-i-feel-you/\" rel=\"noopener\" target=\"_blank\">Oakland\u003c/a> this year.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bMLH84NA1vY\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>Trump’s First 100 Days\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12641292\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100days_final01BG1-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100days_final01BG1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100days_final01BG1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100days_final01BG1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100days_final01BG1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100days_final01BG1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100days_final01BG1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100days_final01BG1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100days_final01BG1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100days_final01BG1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100days_final01BG1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>\u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">Art in the Age of Trump\u003c/a>\u003c/h2>\n\u003cp>As massive changes shook the country, KQED Arts documented the resilience and resistance from artists in daily stories all through Trump’s first 100 days. This included at least \u003ca href=\"https://ww2.kqed.org/arts/2017/04/29/in-the-early-days-of-the-trump-empire-the-protest-song-springs-to-life/\" target=\"_blank\" rel=\"noopener\">13 different protest songs\u003c/a> from Bay Area musicians; \u003ca href=\"https://ww2.kqed.org/arts/2017/03/27/emily-wicks-inverted-stars-and-stripes-reflect-new-political-reality/\" target=\"_blank\" rel=\"noopener\">reversed images\u003c/a> of the American flag; a \u003ca href=\"https://ww2.kqed.org/arts/2017/03/30/deaf-photographer-protests-trump-with-strong-words/\" target=\"_blank\" rel=\"noopener\">deaf photographer’s protest series\u003c/a>; and a “\u003ca href=\"https://ww2.kqed.org/arts/2017/02/16/a-prayformance-confronting-islamophobia-stakes-claim-for-common-ground/\" target=\"_blank\" rel=\"noopener\">prayformance\u003c/a>” combating Islamophobia. Even \u003ca href=\"https://ww2.kqed.org/arts/2017/03/20/a-legacy-of-resistance-celebrated-at-soundboxs-rebel-concert/\" target=\"_blank\" rel=\"noopener\">classical musicians\u003c/a> stood up for their rights, as did composer \u003ca href=\"https://ww2.kqed.org/arts/2017/02/07/why-john-adams-wont-write-an-opera-about-president-trump/\" target=\"_blank\" rel=\"noopener\">John Adams\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WUeydpL15Y8\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>Summer of Love 50th Anniversary\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13351250\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Elaine-800x529.jpg\" alt=\"A portrait of Elaine Mayes by Suki Hill, circa 1968.\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Elaine-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Elaine-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Elaine-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Elaine-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Elaine-1180x780.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Elaine-960x635.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Elaine-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Elaine-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Elaine-520x344.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Elaine.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>\u003ca href=\"https://ww2.kqed.org/arts/2017/06/05/she-photographed-jimi-hendrix-without-knowing-his-name/\" target=\"_blank\" rel=\"noopener\">She Photographed Jimi Hendrix Without Knowing His Name\u003c/a>\u003c/h2>\n\u003cp>Did you hear? The 50th anniversary of the Summer of Love was this year, and virtually every art institution commemorated the event (sometimes with \u003ca href=\"https://ww2.kqed.org/arts/2017/04/12/de-young-summer-of-love-50th-anniversary/\" target=\"_blank\" rel=\"noopener\">mixed results\u003c/a>). At KQED Arts, we prioritized the under-reported stories of 1967: the \u003ca href=\"https://ww2.kqed.org/arts/2017/06/05/she-photographed-jimi-hendrix-without-knowing-his-name/\" rel=\"noopener\" target=\"_blank\">young woman photographer who shot the Monterey Pop Festival, the Fantasy Fair and Magic Mountain Music Festival and the Haight-Ashbury scene\u003c/a> but never became a household name; the way Bill Graham \u003ca href=\"https://ww2.kqed.org/arts/2017/06/14/without-charles-sullivan-thered-be-no-fillmore-as-we-know-it/\" target=\"_blank\" rel=\"noopener\">took over the Fillmore Auditorium\u003c/a> from a black entrepreneur who wound up mysteriously dead within the year; the amazing \u003ca href=\"https://ww2.kqed.org/arts/2017/06/21/free-love-for-some-in-the-lgbt-underground-newspapers-of-1967/\" target=\"_blank\" rel=\"noopener\">underground LGBT magazines\u003c/a> in San Francisco from 1967; the \u003ca href=\"https://ww2.kqed.org/arts/2017/05/17/peace-love-and-credit-where-its-due-women-of-the-counterculture/\" target=\"_blank\" rel=\"noopener\">women who worked behind the scenes\u003c/a> at concerts, festivals and communes; and what two disparate generations can learn from each other through \u003ca href=\"https://ww2.kqed.org/arts/2017/06/18/taking-dad-to-oldchella-desert-trip-fathers-day/\" target=\"_blank\" rel=\"noopener\">a shared love of 1960s rock\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XP3uMR1CEeY\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>A Year of Women’s Voices\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13806503\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/W2W-facebook-template-9x16-_-Sept_2-1-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/W2W-facebook-template-9x16-_-Sept_2-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/W2W-facebook-template-9x16-_-Sept_2-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/W2W-facebook-template-9x16-_-Sept_2-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/W2W-facebook-template-9x16-_-Sept_2-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/W2W-facebook-template-9x16-_-Sept_2-1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/W2W-facebook-template-9x16-_-Sept_2-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/W2W-facebook-template-9x16-_-Sept_2-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/W2W-facebook-template-9x16-_-Sept_2-1-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/W2W-facebook-template-9x16-_-Sept_2-1.jpg 1152w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>\u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch\u003c/a>\u003c/h2>\n\u003cp>From the Jan. 21 Women’s March to #MeToo, women’s voices got louder throughout 2017, and KQED Arts amplified them with our \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener\">second annual Women to Watch\u003c/a> series, profiling 20 brilliant, creative women in Bay Area arts and culture — \u003ca href=\"https://ww2.kqed.org/arts/2017/08/03/women-to-watch-chinaka-hodge/\" target=\"_blank\" rel=\"noopener\">writers\u003c/a>, \u003ca href=\"https://ww2.kqed.org/arts/2017/07/23/women-to-watch-rayana-jay/\" target=\"_blank\" rel=\"noopener\">musicians\u003c/a>, \u003ca href=\"https://ww2.kqed.org/arts/2017/07/22/women-to-watch-el-beh/\" target=\"_blank\" rel=\"noopener\">actors\u003c/a>, \u003ca href=\"https://ww2.kqed.org/arts/2017/07/19/women-to-watch-zahra-noorbakhsh/\" target=\"_blank\" rel=\"noopener\">comedians\u003c/a>, \u003ca href=\"https://ww2.kqed.org/arts/2017/07/18/women-to-watch-avery-trufelman/\" target=\"_blank\" rel=\"noopener\">podcast hosts\u003c/a> and more. The year also brought reports of \u003ca href=\"https://ww2.kqed.org/arts/2017/11/30/sf-gallery-tally-gender-parity-bay-area-art-galleries/\" target=\"_blank\" rel=\"noopener\">gender inequality in Bay Area art galleries\u003c/a>, and continued stories about how the media keeps \u003ca href=\"https://ww2.kqed.org/arts/2017/10/27/how-we-keep-killing-talented-women-over-and-over/\" target=\"_blank\" rel=\"noopener\">slowly killing talented women\u003c/a>, over and over.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7tLy6sOJ7aI\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>Arts and Tech\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13122839\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Sofar.Elle_-800x450.jpg\" alt=\"Elle Varner performs at a Sofar Sounds house show in Brooklyn. A new partnership between the house concert company and Airbnb has been criticized for providing musicians exposure but little to no pay.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Sofar.Elle_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Sofar.Elle_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Sofar.Elle_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Sofar.Elle_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Sofar.Elle_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Sofar.Elle_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Sofar.Elle_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Sofar.Elle_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Sofar.Elle_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Sofar.Elle_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>\u003ca href=\"https://ww2.kqed.org/arts/2017/04/28/sofar-sounds-house-shows-airbnb-middleman/\" target=\"_blank\" rel=\"noopener\">A New Guest at Your House Show: The Middleman\u003c/a>\u003c/h2>\n\u003cp>While technology continues to drive \u003ca href=\"https://ww2.kqed.org/arts/2017/09/19/now-playing-the-next-frontier-virtual-reality-at-the-exploratorium/\" target=\"_blank\" rel=\"noopener\">virtual reality and AI\u003c/a> in the arts, the relationship between arts and tech is \u003ca href=\"https://ww2.kqed.org/arts/2017/07/11/for-chamber-music-in-silicon-valley-hoodies-and-haydn-dont-mix/\" target=\"_blank\" rel=\"noopener\">still a fraught one\u003c/a> in the Bay Area. When \u003ca href=\"https://ww2.kqed.org/arts/2017/12/14/will-ed-lee-be-remembered-as-an-arts-advocate-its-complicated/\" rel=\"noopener\" target=\"_blank\">Mayor Ed Lee died this month\u003c/a>, his arts funding was overshadowed by his friendliness to tech, which translated into an \u003ca href=\"https://ww2.kqed.org/arts/2017/12/14/will-ed-lee-be-remembered-as-an-arts-advocate-its-complicated/\" rel=\"noopener\" target=\"_blank\">exodus of artists from the city due to high rent and evictions\u003c/a>. A world-renowned classical festival just minutes from Facebook HQ \u003ca href=\"https://ww2.kqed.org/arts/2017/07/11/for-chamber-music-in-silicon-valley-hoodies-and-haydn-dont-mix/\" target=\"_blank\" rel=\"noopener\">isn’t seeing attendance from coders\u003c/a>, and \u003ca href=\"https://ww2.kqed.org/arts/2017/10/04/where-have-all-the-warren-hellmans-gone/\" target=\"_blank\" rel=\"noopener\">funders are scarce\u003c/a>. But no story encapsulated the conflict between Bay Area arts and tech quite like Emma Silvers’ \u003ca href=\"https://ww2.kqed.org/about/2017/10/25/spj/\" target=\"_blank\" rel=\"noopener\">award-winning\u003c/a> longform \u003ca href=\"https://ww2.kqed.org/arts/2017/04/28/sofar-sounds-house-shows-airbnb-middleman/\" target=\"_blank\" rel=\"noopener\">expose of a startup company valued at $22 million\u003c/a> and how it promoted house concerts in partnership with Airbnb while \u003ca href=\"https://ww2.kqed.org/arts/2017/04/28/sofar-sounds-house-shows-airbnb-middleman/\" target=\"_blank\" rel=\"noopener\">paying the musicians nothing\u003c/a> — a sign of the times.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4frp1ZnjO0Q\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>The Far Right\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805443\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Solange.Main_-800x450.jpg\" alt=\"Solange performs Aug. 13, 2017, at the Outside Lands music festival in Golden Gate Park. Solange specifically offered support for her black, LGBTQ, and Muslim fans in the wake of the white nationalist violence in Charlottesville.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.Main_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.Main_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.Main_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.Main_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.Main_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.Main_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.Main_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.Main_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.Main_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.Main_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>\u003ca href=\"https://ww2.kqed.org/arts/2017/08/14/on-outside-lands-chartlottesville-and-conspicuous-silence/\" target=\"_blank\" rel=\"noopener\">On Outside Lands, Charlottesville, and Conspicuous Silence\u003c/a>\u003c/h2>\n\u003cp>Amidst the violent protests at UC Berkeley and groups like Patriot Prayer descending on the Bay Area, artists did what they do best: either \u003ca href=\"https://ww2.kqed.org/arts/2017/08/24/bay-area-preps-to-protest-alt-right-rallies-with-clowning-dance-song/\" target=\"_blank\" rel=\"noopener\">mocked them outright\u003c/a>, or fought back with \u003ca href=\"https://ww2.kqed.org/arts/2017/08/26/kids-and-parents-protest-far-right-at-golden-gate-park-conservatory-of-flowers/\" target=\"_blank\" rel=\"noopener\">flowers\u003c/a>. A day of canceled protests in San Francisco \u003ca href=\"https://ww2.kqed.org/news/2017/08/26/photos-san-francisco-protests-far-right-events/\" target=\"_blank\" rel=\"noopener\">turned into a citywide party\u003c/a> in August; meanwhile, it felt strange and disconcerting to be at \u003ca href=\"https://ww2.kqed.org/arts/2017/08/14/on-outside-lands-chartlottesville-and-conspicuous-silence/\" target=\"_blank\" rel=\"noopener\">a carefree music festival like Outside Lands during the deadly violence in Charlottesville\u003c/a> at the hands of neo-Nazis.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gAN58cgrits\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>North Bay Fires\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810990\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Fire2-e1509400044288-800x450.jpg\" alt=\"A photo from 30 seconds before we evacuated.A photo from 30 seconds before we evacuated.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Fire2-e1509400044288-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Fire2-e1509400044288-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Fire2-e1509400044288-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Fire2-e1509400044288-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Fire2-e1509400044288.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Fire2-e1509400044288-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Fire2-e1509400044288-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Fire2-e1509400044288-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Fire2-e1509400044288-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Fire2-e1509400044288-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>\u003ca href=\"https://ww2.kqed.org/arts/2017/10/09/my-city-is-on-fire-santa-rosa/\" target=\"_blank\" rel=\"noopener\">My City is on Fire\u003c/a>\u003c/h2>\n\u003cp>When our senior editor \u003ca href=\"https://ww2.kqed.org/arts/2017/10/09/my-city-is-on-fire-santa-rosa/\" target=\"_blank\" rel=\"noopener\">evacuated his home in Santa Rosa at 4am\u003c/a> on Oct. 9, he still wasn’t sure just how widespread the destruction would be from the fires. Over the next month, we profiled the artists who’d lost their homes: a \u003ca href=\"https://ww2.kqed.org/arts/2017/11/08/ashes-mixed-with-molten-glass-a-napa-sculptors-future-takes-shape/\" target=\"_blank\" rel=\"noopener\">sculptor\u003c/a>, a \u003ca href=\"https://ww2.kqed.org/arts/2017/11/08/amidst-its-own-loss-a-santa-rosa-violin-shop-assists-fire-victims/\" target=\"_blank\" rel=\"noopener\">violin shop owner\u003c/a>, a \u003ca href=\"https://ww2.kqed.org/arts/2017/11/04/a-musical-healing-on-the-airwaves/\" target=\"_blank\" rel=\"noopener\">radio host\u003c/a>, a \u003ca href=\"https://ww2.kqed.org/arts/2017/11/01/bill-gittins-fountaingrove-santa-rosa-fire/\" target=\"_blank\" rel=\"noopener\">landscape painter\u003c/a>, a \u003ca href=\"https://ww2.kqed.org/arts/2017/11/07/allen-sudduth-santa-rosa/\" target=\"_blank\" rel=\"noopener\">guitarist\u003c/a>, a \u003ca href=\"https://ww2.kqed.org/arts/2017/10/31/a-photographer-turns-the-lens-on-her-own-homes-charred-remains/\" target=\"_blank\" rel=\"noopener\">photographer\u003c/a> and more. After the national media left town, leaving the region \u003ca href=\"https://ww2.kqed.org/arts/2017/11/09/one-month-later/\" target=\"_blank\" rel=\"noopener\">in a strange purgatory\u003c/a>, we continued to follow the lives of those affected — especially the \u003ca href=\"https://ww2.kqed.org/arts/2017/11/20/for-undocumented-workers-an-uphill-journey-after-the-fires/\" target=\"_blank\" rel=\"noopener\">undocumented workers who make up the backbone of the region’s labor force\u003c/a>. We also hosted a \u003ca href=\"https://ww2.kqed.org/arts/2017/10/25/up-from-the-ashes-a-panel-discussion/\" target=\"_blank\" rel=\"noopener\">panel\u003c/a> that raised $5,000 for fire relief, but that’s nothing compared to the \u003ca href=\"https://ww2.kqed.org/arts/2017/11/01/after-the-fire-a-simple-rose-speaks-a-thousand-words/\" target=\"_blank\" rel=\"noopener\">Santa Rosa artist who drew a simple, perfect rose of resilience\u003c/a> and raised over $20,000.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YPQJKHCPOq4\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>The Year in Review\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13817749\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/YIR_banner-2017-800x200-2-1-800x200.jpg\" alt=\"\" width=\"800\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/YIR_banner-2017-800x200-2-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/YIR_banner-2017-800x200-2-1-160x40.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/YIR_banner-2017-800x200-2-1-768x192.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/YIR_banner-2017-800x200-2-1-240x60.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/YIR_banner-2017-800x200-2-1-375x94.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/YIR_banner-2017-800x200-2-1-520x130.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>\u003ca href=\"https://ww2.kqed.org/arts/series/year-in-review-2017/\" target=\"_blank\" rel=\"noopener\">What Got Us Through The Year\u003c/a>\u003c/h2>\n\u003cp>Now that the year is drawing to a close, we’ve been looking back at our favorite \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">local albums\u003c/a>, \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/the-top-seven-movie-moments-of-2017/\" target=\"_blank\" rel=\"noopener\">movie moments\u003c/a>, \u003ca href=\"https://ww2.kqed.org/arts/2017/12/18/the-best-bay-area-theater-of-2017/\" target=\"_blank\" rel=\"noopener\">theater productions\u003c/a>, \u003ca href=\"https://ww2.kqed.org/arts/2017/12/14/the-bay-areas-best-not-always-visual-art-of-2017/\" target=\"_blank\" rel=\"noopener\">art exhibitions\u003c/a>, \u003ca href=\"https://ww2.kqed.org/arts/2017/12/17/the-spines-top-five-books-of-2017-in-five-genres/\" target=\"_blank\" rel=\"noopener\">books\u003c/a> and more. Read up on the good stuff \u003ca href=\"https://ww2.kqed.org/arts/series/year-in-review-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>In the meantime, good luck \u003ca href=\"https://ww2.kqed.org/arts/2017/10/26/what-could-you-catch-fishing-in-lake-merritt/\" target=\"_blank\" rel=\"noopener\">fishing in Lake Merritt\u003c/a>, y’all, and remember: \u003ca href=\"https://ww2.kqed.org/arts/2017/09/12/resist-psychic-death/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>resist psychic death\u003c/strong>\u003c/a>.\u003c/p>\n\u003cp>See you in 2018!\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"Looking over the moments, movements and stories from the year in Bay Area arts and culture.","status":"publish","parent":0,"modified":1705028866,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":33,"wordCount":1066},"headData":{"title":"The Year in KQED Arts | KQED","description":"Looking over the moments, movements and stories from the year in Bay Area arts and culture.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Year in KQED Arts","datePublished":"2017-12-20T23:57:42.000Z","dateModified":"2024-01-12T03:07:46.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13817852/the-year-in-kqed-arts","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If 2017 taught us anything, it’s that Bay Area artists are stronger and more creative than ever. Below, you’ll find samples of our coverage in KQED Arts from the moments, movements and stories that defined the tumultuous year.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VCYweWXph_U'\n title='//www.youtube.com/embed/VCYweWXph_U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>The Inauguration \u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12659159\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/allison-west-1-800x600.jpeg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/allison-west-1-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/allison-west-1-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/allison-west-1-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/allison-west-1-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/allison-west-1-1920x1440.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/allison-west-1-1180x885.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/allison-west-1-960x720.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/allison-west-1-240x180.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/allison-west-1-375x281.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/allison-west-1-520x390.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/allison-west-1.jpeg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>\u003ca href=\"https://ww2.kqed.org/arts/2017/01/21/at-bay-area-womens-marches-creativity-out-in-force/\" target=\"_blank\" rel=\"noopener\">At Bay Area Women’s Marches, Creativity Out in Force\u003c/a>\u003c/h2>\n\u003cp>The year began with massive marches in protest of President Donald Trump, with no shortage of artists, dancers, musicians and other creatives in the streets. Our \u003ca href=\"https://ww2.kqed.org/arts/2017/01/21/at-bay-area-womens-marches-creativity-out-in-force/\" target=\"_blank\" rel=\"noopener\">live coverage\u003c/a> from around the Bay Area captured it all; from the \u003ca href=\"https://ww2.kqed.org/arts/2017/01/22/pro-lifers-marching-in-san-francisco-met-with-unusual-reaction-singing/\" target=\"_blank\" rel=\"noopener\">anti-abortion demonstrators met with singing\u003c/a> to the \u003ca href=\"https://youtu.be/WcB9JT9HUXs\" target=\"_blank\" rel=\"noopener\">Bandaloop dancers descending down the face of Oakland City Hall\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/GTuFm_Al7Uw'\n title='//www.youtube.com/embed/GTuFm_Al7Uw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>Black Lives [Still] Matter\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809576\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Kaep.Mural1_-800x475.jpg\" alt=\"\" width=\"800\" height=\"475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kaep.Mural1_-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kaep.Mural1_-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kaep.Mural1_-768x456.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kaep.Mural1_-1020x606.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kaep.Mural1_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kaep.Mural1_-1180x701.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kaep.Mural1_-960x570.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kaep.Mural1_-240x143.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kaep.Mural1_-375x223.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kaep.Mural1_-520x309.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>\u003ca href=\"https://ww2.kqed.org/arts/2017/09/26/america-and-colin-kaepernick-needs-a-new-contract/\" target=\"_blank\" rel=\"noopener\">America — and Colin Kaepernick — Need a New Contract\u003c/a>\u003c/h2>\n\u003cp>No Bay Area athlete transfixed the nation more than Colin Kaepernick this year, as the quarterback’s \u003ca href=\"https://ww2.kqed.org/arts/2017/09/26/america-and-colin-kaepernick-needs-a-new-contract/\" target=\"_blank\" rel=\"noopener\">#TakeAKnee protest of police brutality\u003c/a> sparked long and necessary conversations. As Twitter allowed neo-Nazis to run rampant, East Bay rapper Lil B \u003ca href=\"https://ww2.kqed.org/arts/2017/10/26/why-lil-bs-facebook-ban-is-bigger-than-just-lil-b/\" rel=\"noopener\" target=\"_blank\">shifted the free speech debate\u003c/a> after Facebook \u003ca href=\"https://ww2.kqed.org/arts/2017/10/26/why-lil-bs-facebook-ban-is-bigger-than-just-lil-b/\" target=\"_blank\" rel=\"noopener\">banned him\u003c/a> for speaking out against white supremacy. Meanwhile, a school district in San Jose \u003ca href=\"https://ww2.kqed.org/arts/2017/02/01/black-history-month-art-removed-after-parents-complain/\" target=\"_blank\" rel=\"noopener\">removed Black History Month art\u003c/a> from its offices, and the artist bounced back with a series of \u003ca href=\"https://ww2.kqed.org/arts/2017/04/11/mark-harris-creates-postage-stamps-for-a-trumpian-world/\" rel=\"noopener\" target=\"_blank\">political postage stamp art\u003c/a>. And after East Bay rapper \u003ca href=\"https://ww2.kqed.org/arts/2017/04/03/public-safety-or-racial-profiling-mistah-f-a-b-alleges-harassment-by-the-opd/\" target=\"_blank\" rel=\"noopener\">Mistah F.A.B. alleged racial profiling by the police\u003c/a>, his store was mysteriously \u003ca href=\"https://ww2.kqed.org/arts/2017/04/20/oakland-store-owned-by-mistah-f-a-b-damaged-in-fire/\" target=\"_blank\" rel=\"noopener\">firebombed\u003c/a> — fortunately, his business made a quick recovery. Black filmmakers also \u003ca href=\"https://ww2.kqed.org/arts/2017/07/26/danny-glover-patton-oswalt-join-boots-riley-film-in-oakland/\" rel=\"noopener\" target=\"_blank\">thrived\u003c/a> in \u003ca href=\"https://ww2.kqed.org/arts/2017/09/11/the-north-pole-i-feel-you/\" rel=\"noopener\" target=\"_blank\">Oakland\u003c/a> this year.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/bMLH84NA1vY'\n title='//www.youtube.com/embed/bMLH84NA1vY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>Trump’s First 100 Days\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12641292\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100days_final01BG1-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100days_final01BG1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100days_final01BG1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100days_final01BG1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100days_final01BG1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100days_final01BG1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100days_final01BG1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100days_final01BG1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100days_final01BG1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100days_final01BG1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100days_final01BG1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>\u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">Art in the Age of Trump\u003c/a>\u003c/h2>\n\u003cp>As massive changes shook the country, KQED Arts documented the resilience and resistance from artists in daily stories all through Trump’s first 100 days. This included at least \u003ca href=\"https://ww2.kqed.org/arts/2017/04/29/in-the-early-days-of-the-trump-empire-the-protest-song-springs-to-life/\" target=\"_blank\" rel=\"noopener\">13 different protest songs\u003c/a> from Bay Area musicians; \u003ca href=\"https://ww2.kqed.org/arts/2017/03/27/emily-wicks-inverted-stars-and-stripes-reflect-new-political-reality/\" target=\"_blank\" rel=\"noopener\">reversed images\u003c/a> of the American flag; a \u003ca href=\"https://ww2.kqed.org/arts/2017/03/30/deaf-photographer-protests-trump-with-strong-words/\" target=\"_blank\" rel=\"noopener\">deaf photographer’s protest series\u003c/a>; and a “\u003ca href=\"https://ww2.kqed.org/arts/2017/02/16/a-prayformance-confronting-islamophobia-stakes-claim-for-common-ground/\" target=\"_blank\" rel=\"noopener\">prayformance\u003c/a>” combating Islamophobia. Even \u003ca href=\"https://ww2.kqed.org/arts/2017/03/20/a-legacy-of-resistance-celebrated-at-soundboxs-rebel-concert/\" target=\"_blank\" rel=\"noopener\">classical musicians\u003c/a> stood up for their rights, as did composer \u003ca href=\"https://ww2.kqed.org/arts/2017/02/07/why-john-adams-wont-write-an-opera-about-president-trump/\" target=\"_blank\" rel=\"noopener\">John Adams\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/WUeydpL15Y8'\n title='//www.youtube.com/embed/WUeydpL15Y8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>Summer of Love 50th Anniversary\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13351250\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Elaine-800x529.jpg\" alt=\"A portrait of Elaine Mayes by Suki Hill, circa 1968.\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Elaine-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Elaine-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Elaine-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Elaine-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Elaine-1180x780.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Elaine-960x635.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Elaine-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Elaine-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Elaine-520x344.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Elaine.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>\u003ca href=\"https://ww2.kqed.org/arts/2017/06/05/she-photographed-jimi-hendrix-without-knowing-his-name/\" target=\"_blank\" rel=\"noopener\">She Photographed Jimi Hendrix Without Knowing His Name\u003c/a>\u003c/h2>\n\u003cp>Did you hear? The 50th anniversary of the Summer of Love was this year, and virtually every art institution commemorated the event (sometimes with \u003ca href=\"https://ww2.kqed.org/arts/2017/04/12/de-young-summer-of-love-50th-anniversary/\" target=\"_blank\" rel=\"noopener\">mixed results\u003c/a>). At KQED Arts, we prioritized the under-reported stories of 1967: the \u003ca href=\"https://ww2.kqed.org/arts/2017/06/05/she-photographed-jimi-hendrix-without-knowing-his-name/\" rel=\"noopener\" target=\"_blank\">young woman photographer who shot the Monterey Pop Festival, the Fantasy Fair and Magic Mountain Music Festival and the Haight-Ashbury scene\u003c/a> but never became a household name; the way Bill Graham \u003ca href=\"https://ww2.kqed.org/arts/2017/06/14/without-charles-sullivan-thered-be-no-fillmore-as-we-know-it/\" target=\"_blank\" rel=\"noopener\">took over the Fillmore Auditorium\u003c/a> from a black entrepreneur who wound up mysteriously dead within the year; the amazing \u003ca href=\"https://ww2.kqed.org/arts/2017/06/21/free-love-for-some-in-the-lgbt-underground-newspapers-of-1967/\" target=\"_blank\" rel=\"noopener\">underground LGBT magazines\u003c/a> in San Francisco from 1967; the \u003ca href=\"https://ww2.kqed.org/arts/2017/05/17/peace-love-and-credit-where-its-due-women-of-the-counterculture/\" target=\"_blank\" rel=\"noopener\">women who worked behind the scenes\u003c/a> at concerts, festivals and communes; and what two disparate generations can learn from each other through \u003ca href=\"https://ww2.kqed.org/arts/2017/06/18/taking-dad-to-oldchella-desert-trip-fathers-day/\" target=\"_blank\" rel=\"noopener\">a shared love of 1960s rock\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XP3uMR1CEeY'\n title='//www.youtube.com/embed/XP3uMR1CEeY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>A Year of Women’s Voices\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13806503\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/W2W-facebook-template-9x16-_-Sept_2-1-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/W2W-facebook-template-9x16-_-Sept_2-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/W2W-facebook-template-9x16-_-Sept_2-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/W2W-facebook-template-9x16-_-Sept_2-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/W2W-facebook-template-9x16-_-Sept_2-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/W2W-facebook-template-9x16-_-Sept_2-1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/W2W-facebook-template-9x16-_-Sept_2-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/W2W-facebook-template-9x16-_-Sept_2-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/W2W-facebook-template-9x16-_-Sept_2-1-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/W2W-facebook-template-9x16-_-Sept_2-1.jpg 1152w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>\u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch\u003c/a>\u003c/h2>\n\u003cp>From the Jan. 21 Women’s March to #MeToo, women’s voices got louder throughout 2017, and KQED Arts amplified them with our \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener\">second annual Women to Watch\u003c/a> series, profiling 20 brilliant, creative women in Bay Area arts and culture — \u003ca href=\"https://ww2.kqed.org/arts/2017/08/03/women-to-watch-chinaka-hodge/\" target=\"_blank\" rel=\"noopener\">writers\u003c/a>, \u003ca href=\"https://ww2.kqed.org/arts/2017/07/23/women-to-watch-rayana-jay/\" target=\"_blank\" rel=\"noopener\">musicians\u003c/a>, \u003ca href=\"https://ww2.kqed.org/arts/2017/07/22/women-to-watch-el-beh/\" target=\"_blank\" rel=\"noopener\">actors\u003c/a>, \u003ca href=\"https://ww2.kqed.org/arts/2017/07/19/women-to-watch-zahra-noorbakhsh/\" target=\"_blank\" rel=\"noopener\">comedians\u003c/a>, \u003ca href=\"https://ww2.kqed.org/arts/2017/07/18/women-to-watch-avery-trufelman/\" target=\"_blank\" rel=\"noopener\">podcast hosts\u003c/a> and more. The year also brought reports of \u003ca href=\"https://ww2.kqed.org/arts/2017/11/30/sf-gallery-tally-gender-parity-bay-area-art-galleries/\" target=\"_blank\" rel=\"noopener\">gender inequality in Bay Area art galleries\u003c/a>, and continued stories about how the media keeps \u003ca href=\"https://ww2.kqed.org/arts/2017/10/27/how-we-keep-killing-talented-women-over-and-over/\" target=\"_blank\" rel=\"noopener\">slowly killing talented women\u003c/a>, over and over.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/7tLy6sOJ7aI'\n title='//www.youtube.com/embed/7tLy6sOJ7aI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>Arts and Tech\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13122839\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Sofar.Elle_-800x450.jpg\" alt=\"Elle Varner performs at a Sofar Sounds house show in Brooklyn. A new partnership between the house concert company and Airbnb has been criticized for providing musicians exposure but little to no pay.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Sofar.Elle_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Sofar.Elle_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Sofar.Elle_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Sofar.Elle_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Sofar.Elle_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Sofar.Elle_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Sofar.Elle_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Sofar.Elle_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Sofar.Elle_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Sofar.Elle_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>\u003ca href=\"https://ww2.kqed.org/arts/2017/04/28/sofar-sounds-house-shows-airbnb-middleman/\" target=\"_blank\" rel=\"noopener\">A New Guest at Your House Show: The Middleman\u003c/a>\u003c/h2>\n\u003cp>While technology continues to drive \u003ca href=\"https://ww2.kqed.org/arts/2017/09/19/now-playing-the-next-frontier-virtual-reality-at-the-exploratorium/\" target=\"_blank\" rel=\"noopener\">virtual reality and AI\u003c/a> in the arts, the relationship between arts and tech is \u003ca href=\"https://ww2.kqed.org/arts/2017/07/11/for-chamber-music-in-silicon-valley-hoodies-and-haydn-dont-mix/\" target=\"_blank\" rel=\"noopener\">still a fraught one\u003c/a> in the Bay Area. When \u003ca href=\"https://ww2.kqed.org/arts/2017/12/14/will-ed-lee-be-remembered-as-an-arts-advocate-its-complicated/\" rel=\"noopener\" target=\"_blank\">Mayor Ed Lee died this month\u003c/a>, his arts funding was overshadowed by his friendliness to tech, which translated into an \u003ca href=\"https://ww2.kqed.org/arts/2017/12/14/will-ed-lee-be-remembered-as-an-arts-advocate-its-complicated/\" rel=\"noopener\" target=\"_blank\">exodus of artists from the city due to high rent and evictions\u003c/a>. A world-renowned classical festival just minutes from Facebook HQ \u003ca href=\"https://ww2.kqed.org/arts/2017/07/11/for-chamber-music-in-silicon-valley-hoodies-and-haydn-dont-mix/\" target=\"_blank\" rel=\"noopener\">isn’t seeing attendance from coders\u003c/a>, and \u003ca href=\"https://ww2.kqed.org/arts/2017/10/04/where-have-all-the-warren-hellmans-gone/\" target=\"_blank\" rel=\"noopener\">funders are scarce\u003c/a>. But no story encapsulated the conflict between Bay Area arts and tech quite like Emma Silvers’ \u003ca href=\"https://ww2.kqed.org/about/2017/10/25/spj/\" target=\"_blank\" rel=\"noopener\">award-winning\u003c/a> longform \u003ca href=\"https://ww2.kqed.org/arts/2017/04/28/sofar-sounds-house-shows-airbnb-middleman/\" target=\"_blank\" rel=\"noopener\">expose of a startup company valued at $22 million\u003c/a> and how it promoted house concerts in partnership with Airbnb while \u003ca href=\"https://ww2.kqed.org/arts/2017/04/28/sofar-sounds-house-shows-airbnb-middleman/\" target=\"_blank\" rel=\"noopener\">paying the musicians nothing\u003c/a> — a sign of the times.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4frp1ZnjO0Q'\n title='//www.youtube.com/embed/4frp1ZnjO0Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>The Far Right\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805443\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Solange.Main_-800x450.jpg\" alt=\"Solange performs Aug. 13, 2017, at the Outside Lands music festival in Golden Gate Park. Solange specifically offered support for her black, LGBTQ, and Muslim fans in the wake of the white nationalist violence in Charlottesville.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.Main_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.Main_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.Main_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.Main_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.Main_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.Main_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.Main_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.Main_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.Main_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.Main_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>\u003ca href=\"https://ww2.kqed.org/arts/2017/08/14/on-outside-lands-chartlottesville-and-conspicuous-silence/\" target=\"_blank\" rel=\"noopener\">On Outside Lands, Charlottesville, and Conspicuous Silence\u003c/a>\u003c/h2>\n\u003cp>Amidst the violent protests at UC Berkeley and groups like Patriot Prayer descending on the Bay Area, artists did what they do best: either \u003ca href=\"https://ww2.kqed.org/arts/2017/08/24/bay-area-preps-to-protest-alt-right-rallies-with-clowning-dance-song/\" target=\"_blank\" rel=\"noopener\">mocked them outright\u003c/a>, or fought back with \u003ca href=\"https://ww2.kqed.org/arts/2017/08/26/kids-and-parents-protest-far-right-at-golden-gate-park-conservatory-of-flowers/\" target=\"_blank\" rel=\"noopener\">flowers\u003c/a>. A day of canceled protests in San Francisco \u003ca href=\"https://ww2.kqed.org/news/2017/08/26/photos-san-francisco-protests-far-right-events/\" target=\"_blank\" rel=\"noopener\">turned into a citywide party\u003c/a> in August; meanwhile, it felt strange and disconcerting to be at \u003ca href=\"https://ww2.kqed.org/arts/2017/08/14/on-outside-lands-chartlottesville-and-conspicuous-silence/\" target=\"_blank\" rel=\"noopener\">a carefree music festival like Outside Lands during the deadly violence in Charlottesville\u003c/a> at the hands of neo-Nazis.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/gAN58cgrits'\n title='//www.youtube.com/embed/gAN58cgrits'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>North Bay Fires\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810990\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Fire2-e1509400044288-800x450.jpg\" alt=\"A photo from 30 seconds before we evacuated.A photo from 30 seconds before we evacuated.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Fire2-e1509400044288-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Fire2-e1509400044288-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Fire2-e1509400044288-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Fire2-e1509400044288-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Fire2-e1509400044288.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Fire2-e1509400044288-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Fire2-e1509400044288-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Fire2-e1509400044288-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Fire2-e1509400044288-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Fire2-e1509400044288-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>\u003ca href=\"https://ww2.kqed.org/arts/2017/10/09/my-city-is-on-fire-santa-rosa/\" target=\"_blank\" rel=\"noopener\">My City is on Fire\u003c/a>\u003c/h2>\n\u003cp>When our senior editor \u003ca href=\"https://ww2.kqed.org/arts/2017/10/09/my-city-is-on-fire-santa-rosa/\" target=\"_blank\" rel=\"noopener\">evacuated his home in Santa Rosa at 4am\u003c/a> on Oct. 9, he still wasn’t sure just how widespread the destruction would be from the fires. Over the next month, we profiled the artists who’d lost their homes: a \u003ca href=\"https://ww2.kqed.org/arts/2017/11/08/ashes-mixed-with-molten-glass-a-napa-sculptors-future-takes-shape/\" target=\"_blank\" rel=\"noopener\">sculptor\u003c/a>, a \u003ca href=\"https://ww2.kqed.org/arts/2017/11/08/amidst-its-own-loss-a-santa-rosa-violin-shop-assists-fire-victims/\" target=\"_blank\" rel=\"noopener\">violin shop owner\u003c/a>, a \u003ca href=\"https://ww2.kqed.org/arts/2017/11/04/a-musical-healing-on-the-airwaves/\" target=\"_blank\" rel=\"noopener\">radio host\u003c/a>, a \u003ca href=\"https://ww2.kqed.org/arts/2017/11/01/bill-gittins-fountaingrove-santa-rosa-fire/\" target=\"_blank\" rel=\"noopener\">landscape painter\u003c/a>, a \u003ca href=\"https://ww2.kqed.org/arts/2017/11/07/allen-sudduth-santa-rosa/\" target=\"_blank\" rel=\"noopener\">guitarist\u003c/a>, a \u003ca href=\"https://ww2.kqed.org/arts/2017/10/31/a-photographer-turns-the-lens-on-her-own-homes-charred-remains/\" target=\"_blank\" rel=\"noopener\">photographer\u003c/a> and more. After the national media left town, leaving the region \u003ca href=\"https://ww2.kqed.org/arts/2017/11/09/one-month-later/\" target=\"_blank\" rel=\"noopener\">in a strange purgatory\u003c/a>, we continued to follow the lives of those affected — especially the \u003ca href=\"https://ww2.kqed.org/arts/2017/11/20/for-undocumented-workers-an-uphill-journey-after-the-fires/\" target=\"_blank\" rel=\"noopener\">undocumented workers who make up the backbone of the region’s labor force\u003c/a>. We also hosted a \u003ca href=\"https://ww2.kqed.org/arts/2017/10/25/up-from-the-ashes-a-panel-discussion/\" target=\"_blank\" rel=\"noopener\">panel\u003c/a> that raised $5,000 for fire relief, but that’s nothing compared to the \u003ca href=\"https://ww2.kqed.org/arts/2017/11/01/after-the-fire-a-simple-rose-speaks-a-thousand-words/\" target=\"_blank\" rel=\"noopener\">Santa Rosa artist who drew a simple, perfect rose of resilience\u003c/a> and raised over $20,000.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YPQJKHCPOq4'\n title='//www.youtube.com/embed/YPQJKHCPOq4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>The Year in Review\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13817749\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/YIR_banner-2017-800x200-2-1-800x200.jpg\" alt=\"\" width=\"800\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/YIR_banner-2017-800x200-2-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/YIR_banner-2017-800x200-2-1-160x40.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/YIR_banner-2017-800x200-2-1-768x192.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/YIR_banner-2017-800x200-2-1-240x60.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/YIR_banner-2017-800x200-2-1-375x94.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/YIR_banner-2017-800x200-2-1-520x130.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>\u003ca href=\"https://ww2.kqed.org/arts/series/year-in-review-2017/\" target=\"_blank\" rel=\"noopener\">What Got Us Through The Year\u003c/a>\u003c/h2>\n\u003cp>Now that the year is drawing to a close, we’ve been looking back at our favorite \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">local albums\u003c/a>, \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/the-top-seven-movie-moments-of-2017/\" target=\"_blank\" rel=\"noopener\">movie moments\u003c/a>, \u003ca href=\"https://ww2.kqed.org/arts/2017/12/18/the-best-bay-area-theater-of-2017/\" target=\"_blank\" rel=\"noopener\">theater productions\u003c/a>, \u003ca href=\"https://ww2.kqed.org/arts/2017/12/14/the-bay-areas-best-not-always-visual-art-of-2017/\" target=\"_blank\" rel=\"noopener\">art exhibitions\u003c/a>, \u003ca href=\"https://ww2.kqed.org/arts/2017/12/17/the-spines-top-five-books-of-2017-in-five-genres/\" target=\"_blank\" rel=\"noopener\">books\u003c/a> and more. Read up on the good stuff \u003ca href=\"https://ww2.kqed.org/arts/series/year-in-review-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>In the meantime, good luck \u003ca href=\"https://ww2.kqed.org/arts/2017/10/26/what-could-you-catch-fishing-in-lake-merritt/\" target=\"_blank\" rel=\"noopener\">fishing in Lake Merritt\u003c/a>, y’all, and remember: \u003ca href=\"https://ww2.kqed.org/arts/2017/09/12/resist-psychic-death/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>resist psychic death\u003c/strong>\u003c/a>.\u003c/p>\n\u003cp>See you in 2018!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13817852/the-year-in-kqed-arts","authors":["185"],"series":["arts_3461"],"categories":["arts_1"],"tags":["arts_1118","arts_596","arts_3392"],"featImg":"arts_13817859","label":"arts_3461"},"arts_13817168":{"type":"posts","id":"arts_13817168","meta":{"index":"posts_1591205157","site":"arts","id":"13817168","score":null,"sort":[1513800048000]},"guestAuthors":[],"slug":"calming-gifts-for-the-whole-family","title":"For Bay Area Parents, Calming Gifts the Whole Family Can Love","publishDate":1513800048,"format":"image","headTitle":"For Bay Area Parents, Calming Gifts the Whole Family Can Love | KQED","labelTerm":{"term":3461,"site":"arts"},"content":"\u003cp>As a busy mom, I am constantly amazed how many clothes, books, and toys accumulate in our house. And of course, my picky toddler is ridiculously discerning, with his favorites that he’s completely devoted to — his red cardigan, Richard Scarry’s \u003ca href=\"https://www.penguinrandomhouse.com/books/248265/richard-scarrys-what-do-people-do-all-day-by-written-and-illustrated-by-richard-scarry/9780553520590/\" target=\"_blank\" rel=\"noopener\">\u003cem>What Do People Do All Day\u003c/em>\u003c/a>, and stuffed penguin. So I’m often donating or (thoughtfully) re-gifting the excess.\u003c/p>\n\u003cp>Not into a cluttered house and a floor full of toys? Here are some gift ideas for families that place experiences over objects, and which might even help to relieve stress.\u003c/p>\n\u003cfigure id=\"attachment_13817162\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/San-Francisco-Botanical-Garden.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817162\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/San-Francisco-Botanical-Garden-800x1203.jpg\" alt=\"SF Botanical Garden\" width=\"800\" height=\"1203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/San-Francisco-Botanical-Garden-800x1203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/San-Francisco-Botanical-Garden-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/San-Francisco-Botanical-Garden-768x1155.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/San-Francisco-Botanical-Garden-1020x1534.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/San-Francisco-Botanical-Garden-960x1444.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/San-Francisco-Botanical-Garden-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/San-Francisco-Botanical-Garden-375x564.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/San-Francisco-Botanical-Garden-520x782.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/San-Francisco-Botanical-Garden.jpg 1064w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco Botanical Garden is a 55-acre oasis in Golden Gate Park showcasing over 8,500 plants from around the world. \u003ccite>(Photo: San Francisco Botanical Garden)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Botanical Gardens Membership\u003c/h2>\n\u003cp>Science has shown that \u003ca href=\"https://www.npr.org/sections/health-shots/2017/07/17/536676954/forest-bathing-a-retreat-to-nature-can-boost-immunity-and-mood\" target=\"_blank\" rel=\"noopener\">being in nature\u003c/a>, even in an \u003ca href=\"https://www.sciencealert.com/urban-tree-coverage-can-significantly-reduce-stress-study-finds\" target=\"_blank\" rel=\"noopener\">urban environment\u003c/a>, reduces stress. A membership to a nearby botanical garden is an easy way for families to escape the bustle of daily life without making a huge time commitment.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfbotanicalgarden.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Botanical Garden \u003c/a>in Golden Gate Park is a family-friendly choice, with a children’s garden and oodles of family programming, including crafts, story time, walks, and a summer reading club. The 55 acres and extensive collection of 8,000 plants create an oasis of calm. The daily 7:30am opening time is ideal for early birds — you can take in a few hours of greenery and still make it home for lunch and nap time without having to rush.\u003c/p>\n\u003cp>Admission to SF Botanical Garden is free for residents of the city, but a \u003ca href=\"https://www.sfbotanicalgarden.org/support/membership.html\" target=\"_blank\" rel=\"noopener\">family membership\u003c/a> includes children’s book borrowing privileges and invitations to members parties that include live music and refreshments. My three-year-old son absolutely loves the summer \u003ca href=\"https://www.sfbotanicalgarden.org/flowerpiano/\" target=\"_blank\" rel=\"noopener\">Flower Piano\u003c/a> event, in which pianos are placed throughout the garden for anyone to play, with scheduled performances as well.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the East Bay there’s the \u003ca href=\"http://botanicalgarden.berkeley.edu/\" target=\"_blank\" rel=\"noopener\">UC Botanical Garden\u003c/a> in Berkeley, which has a large and diverse collection of plants that includes endangered species. The \u003ca href=\"http://botanicalgarden.berkeley.edu/japanese-pool\" target=\"_blank\" rel=\"noopener\">Japanese Pool\u003c/a> with its waterfalls and waterlilies is especially serene, though oddly enough, in the early spring there are a lot of \u003ca href=\"http://botanicalgarden.berkeley.edu/newts\" target=\"_blank\" rel=\"noopener\">newts\u003c/a> getting busy at this spot. I’m also a big fan of the \u003ca href=\"http://botanicalgarden.berkeley.edu/tropical-house\" target=\"_blank\" rel=\"noopener\">Tropical House\u003c/a>, home of the \u003ca href=\"http://botanicalgarden.berkeley.edu/titan-arums\" target=\"_blank\" rel=\"noopener\">Corpse Flower\u003c/a> and a \u003ca href=\"http://botanicalgarden.berkeley.edu/bees\" target=\"_blank\" rel=\"noopener\">bee colony\u003c/a>.\u003c/p>\n\u003cp>For those in the North Bay, there’s \u003ca href=\"http://www.quarryhillbg.org/\" target=\"_blank\" rel=\"noopener\">Quarryhill Botanical Garden\u003c/a> in the Sonoma Valley, which just barely escaped the recent fires in October. In the South Bay sits \u003ca href=\"https://filoli.org/\" target=\"_blank\" rel=\"noopener\">Filioli\u003c/a>, a country estate dating from 1915 with a formal garden in Woodside. On Sundays the road between Filioli’s entrance and north to Highway 92 is closed to cars so that you can peacefully bicycle, hike, or roller-skate. Further south is \u003ca href=\"http://www.hakone.com/main.html\" target=\"_blank\" rel=\"noopener\">Hakone\u003c/a>, another estate of the same period, but in the Japanese style where those as young as five can take part in \u003ca href=\"http://www.hakone.com/visit-us/tours-tea-ceremony.html\" target=\"_blank\" rel=\"noopener\">zen meditation\u003c/a>. There’s also origami and storytelling for the little ones.\u003c/p>\n\u003cfigure id=\"attachment_13817163\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817163\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640-800x400.jpg\" alt=\"Children's Discovery Museum\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640-1180x590.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640-960x480.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640-520x260.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The mission of Children’s Discovery Museum of San Jose is to inspire creativity, curiosity, and lifelong learning. \u003ccite>(Photo: Children's Discovery Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Children’s Museum Membership\u003c/h2>\n\u003cp>While a membership to a museum filled with little kids might not seem the most tranquil gift, inspiring curiosity in children is definitely a wonderful thing. Aunts, uncles, or grandparents could also use the memberships to take the kiddies themselves, giving parents a break. It’s an opportunity to bond and learn through play.\u003c/p>\n\u003cp>One of the best children’s museums in the world is certainly the \u003ca href=\"https://www.cdm.org/\" target=\"_blank\" rel=\"noopener\">Children’s Discovery Museum of San Jose.\u003c/a> Housed in a very purple 52,000-sq.-ft. building designed by Ricardo Legorreta (known for his bright cubist architecture), the museum has over 100 exhibits and a new outdoor play space, giving kids a chance to explore outdoors and learn about nature.\u003c/p>\n\u003cp>San Francisco has the \u003ca href=\"https://creativity.org/\" target=\"_blank\" rel=\"noopener\">Children’s Creativity Museum\u003c/a> in Yerba Buena Gardens. The hands-on museum has both animation and music studios and emphasizes media creation over consumption. The museum also has the gorgeous \u003ca href=\"https://creativity.org/visit/childrens-creativity-carousel/\" target=\"_blank\" rel=\"noopener\">LeRoy King carousel\u003c/a> from 1906 that was once part of \u003ca href=\"https://sfpl.org/?pg=2000141401\" target=\"_blank\" rel=\"noopener\">Playland-at-the-Beach\u003c/a>.\u003c/p>\n\u003cp>In the East Bay is \u003ca href=\"http://www.habitot.org/\" target=\"_blank\" rel=\"noopener\">Habitot\u003c/a> in downtown Berkeley, which is great for very little children. Waterworks, the ongoing water exhibit, gives kids a chance to explore and splash, and the infant and toddler garden, a mural of plants next to foam structures for climbing, gives those under 20 months a place to safely explore.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.cmosc.org/\" target=\"_blank\" rel=\"noopener\">Children’s Museum of Sonoma County\u003c/a> in Santa Rosa opened recently in 2014, but is quite the attraction for the 10 and under set. The museum has an outdoor playground and a crawler and toddler-only space (and for \u003cem>Peanuts\u003c/em> fans, the Schulz Museum is next door). Sunday mornings are reserved for members only.\u003c/p>\n\u003cfigure id=\"attachment_13817164\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/zazen-sf-2017.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817164\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/zazen-sf-2017-800x533.jpg\" alt=\"Zazen San Francisco\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/zazen-sf-2017-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/zazen-sf-2017-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/zazen-sf-2017-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/zazen-sf-2017-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/zazen-sf-2017-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/zazen-sf-2017-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/zazen-sf-2017-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/zazen-sf-2017-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/zazen-sf-2017-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/zazen-sf-2017.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Zazen in Cow Hollow offers yoga, bodywork, acupuncture, floats, and meditation. \u003ccite>(Photo: Zazen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Yoga for Children\u003c/h2>\n\u003cp>Yoga is a great way for anyone to relax and de-stress, as I’ve learned from my 94 year-old grandma, who has done yoga everyday for over 40 years — and from my six-month-old daughter, who loves our regular mom and baby classes at \u003ca href=\"http://www.yogaalameda.com/index.php/classes-descriptions/item/12-mom-and-baby-yoga-pre-walkers\" target=\"_blank\" rel=\"noopener\">Yoga Alameda\u003c/a> and \u003ca href=\"https://www.leelayogaalameda.com/classes.html\" target=\"_blank\" rel=\"noopener\">Leela Yoga Studio\u003c/a>.\u003c/p>\n\u003cp>I have a \u003ca href=\"http://www.zazensf.com/mysore/schedule\" target=\"_blank\" rel=\"noopener\">regular routine\u003c/a> a couple mornings a week over at \u003ca href=\"http://www.zazensf.com/\" target=\"_blank\" rel=\"noopener\">Zazen\u003c/a> in Cow Hollow, which also offers \u003ca href=\"http://www.zazensf.com/floating-1/\" target=\"_blank\" rel=\"noopener\">flotation\u003c/a>, \u003ca href=\"http://www.zazensf.com/meditation-contemplative-practice/\" target=\"_blank\" rel=\"noopener\">meditation\u003c/a>, and \u003ca href=\"http://zazensfretreat.com/\" target=\"_blank\" rel=\"noopener\">retreats\u003c/a>. You can always book a class or treatment for your loved one \u003ca href=\"https://clients.mindbodyonline.com/ASP/main_appts.asp?studioid=19428&tg=&vt=&lvl=&stype=-9&view=&trn=0&page=&catid=&prodid=&date=12%2f11%2f2017&classid=0&prodGroupId=&sSU=&optForwardingLink=&qParam=&justloggedin=&nLgIn=&pMode=0&loc=2\" target=\"_blank\" rel=\"noopener\">online\u003c/a> or simply opt for a \u003ca href=\"https://clients.mindbodyonline.com/ASP/main_shop.asp?studioid=19428&tg=&vt=&lvl=&stype=42&view=&trn=0&page=&catid=&prodid=&date=12%2f11%2f2017&classid=0&prodGroupId=&sSU=&optForwardingLink=&qParam=&justloggedin=&nLgIn=&pMode=2&loc=2\" target=\"_blank\" rel=\"noopener\">gift card\u003c/a>. They have a cozy fire in the studio.\u003c/p>\n\u003cp>For those who would like to introduce yoga to their little ones, there’s \u003ca href=\"http://www.itsyogakids.com/\" target=\"_blank\" rel=\"noopener\">It’s Yoga, Kids\u003c/a> over in the Presidio. Unlike many yoga classes aimed at the young that are for moms with their pre-walkers in tow, this studio has classes for newborns to teens and can include fathers and other caregivers. There are drop-in classes, class packages, and memberships.\u003c/p>\n\u003cp>Established in 1975, \u003ca href=\"http://www.yogalayam.org/\" target=\"_blank\" rel=\"noopener\">Yogalayam\u003c/a> in Berkeley is well known for having postnatal and toddler yoga with childcare. They also offer classes for children up to 12.\u003c/p>\n\u003cp>Up north, \u003ca href=\"http://vibeyogastudios.com/class-schedule\" target=\"_blank\" rel=\"noopener\">Vibe Yoga Studios\u003c/a> in Santa Rosa has two children’s classes, one for tweens (9-14 year olds) and another for kids as young as 4 years old. To the south is \u003ca href=\"http://www.mindfulways.org/mindfulness-wellness-center\" target=\"_blank\" rel=\"noopener\">Mindful Ways\u003c/a> in San Jose, which has parent and child yoga classes in addition to classes for those 4 to 7 years old and 8 to 12 years old.\u003c/p>\n\u003cfigure id=\"attachment_13817165\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/crissy-field-overlook.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817165\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/crissy-field-overlook-800x533.jpg\" alt=\"Crissy Field\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/crissy-field-overlook.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/crissy-field-overlook-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/crissy-field-overlook-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/crissy-field-overlook-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/crissy-field-overlook-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/crissy-field-overlook-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Once an army airfield, Crissy Field offers urban hiking with views of the Golden Gate Bridge and the Marin Headlands. \u003ccite>(Photo: Golden Gate National Parks Conservancy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Family Hiking\u003c/h2>\n\u003cp>A surefire way to improve your mood is to \u003ca href=\"https://www.psychologytoday.com/blog/minding-the-body/201608/walking-can-lift-your-mood-even-when-you-dont-expect-it\" target=\"_blank\" rel=\"noopener\">take a walk\u003c/a> — even a short stroll around the block can give you a boost. Planning a hike with friends or family in the new year gives you a jump start on your resolutions too. There are plenty of \u003ca href=\"https://bahiker.com/kids.html\" target=\"_blank\" rel=\"noopener\">family-friendly Bay Area hikes\u003c/a> you can do with a stroller or baby carrier; I’m always taking my baby out to between \u003ca href=\"http://www.ebparks.org/parks/crown_beach\" target=\"_blank\" rel=\"noopener\">Crown Memorial State Beach\u003c/a> and the \u003ca href=\"https://ww2.kqed.org/science/2013/11/22/celebrating-the-legacy-of-local-conservationist-elsie-roemer/\" target=\"_blank\" rel=\"noopener\">Elsie Roemer Bird Sanctuary\u003c/a>. In the East Bay we love to go to \u003ca href=\"http://www.ebparks.org/parks/tilden\" target=\"_blank\" rel=\"noopener\">Tilden Regional Park\u003c/a>, which also has a small farm, pony rides, steam trains, and a carousel. \u003ca href=\"https://fremont.gov/317/Central-Park\" target=\"_blank\" rel=\"noopener\">Lake Elizabeth \u003c/a>in Fremont is also a popular destination for us.\u003c/p>\n\u003cp>In San Francisco, there are flat trails and sidewalks at \u003ca href=\"http://www.parksconservancy.org/programs/crissy-field-center/\" target=\"_blank\" rel=\"noopener\">Crissy Field\u003c/a>, plus beautiful views. Further north, Phoenix Lake in the \u003ca href=\"http://www.marinwater.org/188/Visiting-Watershed-Lands\" target=\"_blank\" rel=\"noopener\">Mount Tamalpais Watershed\u003c/a> is easy to get to and has lots to look at, including ducks and turtles. To the south, \u003ca href=\"https://www.openspace.org/preserves/rancho-san-antonio\" target=\"_blank\" rel=\"noopener\">Rancho San Antonio\u003c/a>, a nature preserve in Cupertino, offers easy access trails for those with strollers or wheelchairs. There’s also a small working farm and an educational nature center.\u003c/p>\n\u003cp>So where’s the gift in hiking? Besides making a donation to a local park in someone’s honor, you could go with the very practical, like getting the right permits for a particular hike, or printing out a map and figuring out a route beforehand. You could also get kids sun protection like a \u003ca href=\"https://www.sundayafternoons.com/p/kids-play-hat/\" target=\"_blank\" rel=\"noopener\">Sunday Afternoons Play Hat\u003c/a>, which protects the back of the neck and has a sturdy brim, or \u003ca href=\"https://babiators.com/collections/sunglasses\" target=\"_blank\" rel=\"noopener\">Babiators\u003c/a>, super cute sunglasses for infants, toddlers, and young kids.\u003c/p>\n\u003cfigure id=\"attachment_13817167\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817167\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237-800x1067.jpg\" alt=\"Elephants at the Oakland Zoo\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Oakland Zoo emphasizes education and conservation. \u003ccite>(Photo: Charlise Tiee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Attractions for Train and Animal Lovers\u003c/h2>\n\u003cp>For those who enjoy fauna more than flora, \u003ca href=\"https://tickets.oaklandzoo.org/Webstore/shop/viewitems.aspx?CG=TKTS&C=Daily\" target=\"_blank\" rel=\"noopener\">tickets\u003c/a> to the zoo or a \u003ca href=\"http://www.oaklandzoo.org/membership\" target=\"_blank\" rel=\"noopener\">membership\u003c/a> can be a good way of getting out. Contemplating the elephants or giraffes at the Oakland Zoo is a favorite pastime of many toddlers I know, as is riding the train in Adventure Landing, the amusement park portion of the zoo. Both being around animals and taking a quiet ride on a tiny train can be soothing. The \u003ca href=\"http://www.sfzoo.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Zoo\u003c/a> has no elephants, but it does have giraffes and rhinos. There’s also a miniature steam train that you can buy \u003ca href=\"http://www.sfzoo.org/visit/rides.html\" target=\"_blank\" rel=\"noopener\">tickets for online\u003c/a>.\u003c/p>\n\u003cp>Many other places with trains for kids seem also to have petting zoos or farms. My son is enamored of \u003ca href=\"http://fairyland.org/\" target=\"_blank\" rel=\"noopener\">Children’s Fairyland\u003c/a> over by Lake Merritt (though honestly, I find the attractions, based on children’s stories, a little creepy). The colorful Jolly Trolly from 1954 is always popular, as is the Beatrix Potter display that includes enormous rabbits.\u003c/p>\n\u003cp>Another East Bay spot with animals and a real train is \u003ca href=\"http://www.ebparks.org/parks/ardenwood\" target=\"_blank\" rel=\"noopener\">Ardenwood Historic Farm\u003c/a> in Fremont. The train runs on Thursdays, Fridays, and Sundays from April 1 to the weekend before Thanksgiving, and uses open-air picnic cars.\u003c/p>\n\u003cp>There are excellent things to be said about \u003ca href=\"https://www.traintown.com/\" target=\"_blank\" rel=\"noopener\">Sonoma TrainTown Railroad\u003c/a>, which was not damaged by the recent fires. On 10 acres, this minutely detailed miniature steam train from the 1950s takes 20 minutes to ride. They also have a petting zoo, a carousel, a roller coaster and a ferris wheel.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"Tired of toys? Try our gift ideas that place serene experiences over mass-produced objects.","status":"publish","parent":0,"modified":1705028868,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":27,"wordCount":1662},"headData":{"title":"For Bay Area Parents, Calming Gifts the Whole Family Can Love | KQED","description":"Tired of toys? Try our gift ideas that place serene experiences over mass-produced objects.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"For Bay Area Parents, Calming Gifts the Whole Family Can Love","datePublished":"2017-12-20T20:00:48.000Z","dateModified":"2024-01-12T03:07:48.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13817168/calming-gifts-for-the-whole-family","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a busy mom, I am constantly amazed how many clothes, books, and toys accumulate in our house. And of course, my picky toddler is ridiculously discerning, with his favorites that he’s completely devoted to — his red cardigan, Richard Scarry’s \u003ca href=\"https://www.penguinrandomhouse.com/books/248265/richard-scarrys-what-do-people-do-all-day-by-written-and-illustrated-by-richard-scarry/9780553520590/\" target=\"_blank\" rel=\"noopener\">\u003cem>What Do People Do All Day\u003c/em>\u003c/a>, and stuffed penguin. So I’m often donating or (thoughtfully) re-gifting the excess.\u003c/p>\n\u003cp>Not into a cluttered house and a floor full of toys? Here are some gift ideas for families that place experiences over objects, and which might even help to relieve stress.\u003c/p>\n\u003cfigure id=\"attachment_13817162\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/San-Francisco-Botanical-Garden.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817162\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/San-Francisco-Botanical-Garden-800x1203.jpg\" alt=\"SF Botanical Garden\" width=\"800\" height=\"1203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/San-Francisco-Botanical-Garden-800x1203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/San-Francisco-Botanical-Garden-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/San-Francisco-Botanical-Garden-768x1155.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/San-Francisco-Botanical-Garden-1020x1534.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/San-Francisco-Botanical-Garden-960x1444.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/San-Francisco-Botanical-Garden-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/San-Francisco-Botanical-Garden-375x564.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/San-Francisco-Botanical-Garden-520x782.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/San-Francisco-Botanical-Garden.jpg 1064w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco Botanical Garden is a 55-acre oasis in Golden Gate Park showcasing over 8,500 plants from around the world. \u003ccite>(Photo: San Francisco Botanical Garden)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Botanical Gardens Membership\u003c/h2>\n\u003cp>Science has shown that \u003ca href=\"https://www.npr.org/sections/health-shots/2017/07/17/536676954/forest-bathing-a-retreat-to-nature-can-boost-immunity-and-mood\" target=\"_blank\" rel=\"noopener\">being in nature\u003c/a>, even in an \u003ca href=\"https://www.sciencealert.com/urban-tree-coverage-can-significantly-reduce-stress-study-finds\" target=\"_blank\" rel=\"noopener\">urban environment\u003c/a>, reduces stress. A membership to a nearby botanical garden is an easy way for families to escape the bustle of daily life without making a huge time commitment.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfbotanicalgarden.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Botanical Garden \u003c/a>in Golden Gate Park is a family-friendly choice, with a children’s garden and oodles of family programming, including crafts, story time, walks, and a summer reading club. The 55 acres and extensive collection of 8,000 plants create an oasis of calm. The daily 7:30am opening time is ideal for early birds — you can take in a few hours of greenery and still make it home for lunch and nap time without having to rush.\u003c/p>\n\u003cp>Admission to SF Botanical Garden is free for residents of the city, but a \u003ca href=\"https://www.sfbotanicalgarden.org/support/membership.html\" target=\"_blank\" rel=\"noopener\">family membership\u003c/a> includes children’s book borrowing privileges and invitations to members parties that include live music and refreshments. My three-year-old son absolutely loves the summer \u003ca href=\"https://www.sfbotanicalgarden.org/flowerpiano/\" target=\"_blank\" rel=\"noopener\">Flower Piano\u003c/a> event, in which pianos are placed throughout the garden for anyone to play, with scheduled performances as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the East Bay there’s the \u003ca href=\"http://botanicalgarden.berkeley.edu/\" target=\"_blank\" rel=\"noopener\">UC Botanical Garden\u003c/a> in Berkeley, which has a large and diverse collection of plants that includes endangered species. The \u003ca href=\"http://botanicalgarden.berkeley.edu/japanese-pool\" target=\"_blank\" rel=\"noopener\">Japanese Pool\u003c/a> with its waterfalls and waterlilies is especially serene, though oddly enough, in the early spring there are a lot of \u003ca href=\"http://botanicalgarden.berkeley.edu/newts\" target=\"_blank\" rel=\"noopener\">newts\u003c/a> getting busy at this spot. I’m also a big fan of the \u003ca href=\"http://botanicalgarden.berkeley.edu/tropical-house\" target=\"_blank\" rel=\"noopener\">Tropical House\u003c/a>, home of the \u003ca href=\"http://botanicalgarden.berkeley.edu/titan-arums\" target=\"_blank\" rel=\"noopener\">Corpse Flower\u003c/a> and a \u003ca href=\"http://botanicalgarden.berkeley.edu/bees\" target=\"_blank\" rel=\"noopener\">bee colony\u003c/a>.\u003c/p>\n\u003cp>For those in the North Bay, there’s \u003ca href=\"http://www.quarryhillbg.org/\" target=\"_blank\" rel=\"noopener\">Quarryhill Botanical Garden\u003c/a> in the Sonoma Valley, which just barely escaped the recent fires in October. In the South Bay sits \u003ca href=\"https://filoli.org/\" target=\"_blank\" rel=\"noopener\">Filioli\u003c/a>, a country estate dating from 1915 with a formal garden in Woodside. On Sundays the road between Filioli’s entrance and north to Highway 92 is closed to cars so that you can peacefully bicycle, hike, or roller-skate. Further south is \u003ca href=\"http://www.hakone.com/main.html\" target=\"_blank\" rel=\"noopener\">Hakone\u003c/a>, another estate of the same period, but in the Japanese style where those as young as five can take part in \u003ca href=\"http://www.hakone.com/visit-us/tours-tea-ceremony.html\" target=\"_blank\" rel=\"noopener\">zen meditation\u003c/a>. There’s also origami and storytelling for the little ones.\u003c/p>\n\u003cfigure id=\"attachment_13817163\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817163\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640-800x400.jpg\" alt=\"Children's Discovery Museum\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640-1180x590.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640-960x480.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640-520x260.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/VC_ChildrensDiscoveryMuseumSanJose_Supplied_building_1280x640.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The mission of Children’s Discovery Museum of San Jose is to inspire creativity, curiosity, and lifelong learning. \u003ccite>(Photo: Children's Discovery Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Children’s Museum Membership\u003c/h2>\n\u003cp>While a membership to a museum filled with little kids might not seem the most tranquil gift, inspiring curiosity in children is definitely a wonderful thing. Aunts, uncles, or grandparents could also use the memberships to take the kiddies themselves, giving parents a break. It’s an opportunity to bond and learn through play.\u003c/p>\n\u003cp>One of the best children’s museums in the world is certainly the \u003ca href=\"https://www.cdm.org/\" target=\"_blank\" rel=\"noopener\">Children’s Discovery Museum of San Jose.\u003c/a> Housed in a very purple 52,000-sq.-ft. building designed by Ricardo Legorreta (known for his bright cubist architecture), the museum has over 100 exhibits and a new outdoor play space, giving kids a chance to explore outdoors and learn about nature.\u003c/p>\n\u003cp>San Francisco has the \u003ca href=\"https://creativity.org/\" target=\"_blank\" rel=\"noopener\">Children’s Creativity Museum\u003c/a> in Yerba Buena Gardens. The hands-on museum has both animation and music studios and emphasizes media creation over consumption. The museum also has the gorgeous \u003ca href=\"https://creativity.org/visit/childrens-creativity-carousel/\" target=\"_blank\" rel=\"noopener\">LeRoy King carousel\u003c/a> from 1906 that was once part of \u003ca href=\"https://sfpl.org/?pg=2000141401\" target=\"_blank\" rel=\"noopener\">Playland-at-the-Beach\u003c/a>.\u003c/p>\n\u003cp>In the East Bay is \u003ca href=\"http://www.habitot.org/\" target=\"_blank\" rel=\"noopener\">Habitot\u003c/a> in downtown Berkeley, which is great for very little children. Waterworks, the ongoing water exhibit, gives kids a chance to explore and splash, and the infant and toddler garden, a mural of plants next to foam structures for climbing, gives those under 20 months a place to safely explore.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.cmosc.org/\" target=\"_blank\" rel=\"noopener\">Children’s Museum of Sonoma County\u003c/a> in Santa Rosa opened recently in 2014, but is quite the attraction for the 10 and under set. The museum has an outdoor playground and a crawler and toddler-only space (and for \u003cem>Peanuts\u003c/em> fans, the Schulz Museum is next door). Sunday mornings are reserved for members only.\u003c/p>\n\u003cfigure id=\"attachment_13817164\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/zazen-sf-2017.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817164\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/zazen-sf-2017-800x533.jpg\" alt=\"Zazen San Francisco\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/zazen-sf-2017-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/zazen-sf-2017-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/zazen-sf-2017-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/zazen-sf-2017-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/zazen-sf-2017-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/zazen-sf-2017-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/zazen-sf-2017-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/zazen-sf-2017-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/zazen-sf-2017-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/zazen-sf-2017.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Zazen in Cow Hollow offers yoga, bodywork, acupuncture, floats, and meditation. \u003ccite>(Photo: Zazen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Yoga for Children\u003c/h2>\n\u003cp>Yoga is a great way for anyone to relax and de-stress, as I’ve learned from my 94 year-old grandma, who has done yoga everyday for over 40 years — and from my six-month-old daughter, who loves our regular mom and baby classes at \u003ca href=\"http://www.yogaalameda.com/index.php/classes-descriptions/item/12-mom-and-baby-yoga-pre-walkers\" target=\"_blank\" rel=\"noopener\">Yoga Alameda\u003c/a> and \u003ca href=\"https://www.leelayogaalameda.com/classes.html\" target=\"_blank\" rel=\"noopener\">Leela Yoga Studio\u003c/a>.\u003c/p>\n\u003cp>I have a \u003ca href=\"http://www.zazensf.com/mysore/schedule\" target=\"_blank\" rel=\"noopener\">regular routine\u003c/a> a couple mornings a week over at \u003ca href=\"http://www.zazensf.com/\" target=\"_blank\" rel=\"noopener\">Zazen\u003c/a> in Cow Hollow, which also offers \u003ca href=\"http://www.zazensf.com/floating-1/\" target=\"_blank\" rel=\"noopener\">flotation\u003c/a>, \u003ca href=\"http://www.zazensf.com/meditation-contemplative-practice/\" target=\"_blank\" rel=\"noopener\">meditation\u003c/a>, and \u003ca href=\"http://zazensfretreat.com/\" target=\"_blank\" rel=\"noopener\">retreats\u003c/a>. You can always book a class or treatment for your loved one \u003ca href=\"https://clients.mindbodyonline.com/ASP/main_appts.asp?studioid=19428&tg=&vt=&lvl=&stype=-9&view=&trn=0&page=&catid=&prodid=&date=12%2f11%2f2017&classid=0&prodGroupId=&sSU=&optForwardingLink=&qParam=&justloggedin=&nLgIn=&pMode=0&loc=2\" target=\"_blank\" rel=\"noopener\">online\u003c/a> or simply opt for a \u003ca href=\"https://clients.mindbodyonline.com/ASP/main_shop.asp?studioid=19428&tg=&vt=&lvl=&stype=42&view=&trn=0&page=&catid=&prodid=&date=12%2f11%2f2017&classid=0&prodGroupId=&sSU=&optForwardingLink=&qParam=&justloggedin=&nLgIn=&pMode=2&loc=2\" target=\"_blank\" rel=\"noopener\">gift card\u003c/a>. They have a cozy fire in the studio.\u003c/p>\n\u003cp>For those who would like to introduce yoga to their little ones, there’s \u003ca href=\"http://www.itsyogakids.com/\" target=\"_blank\" rel=\"noopener\">It’s Yoga, Kids\u003c/a> over in the Presidio. Unlike many yoga classes aimed at the young that are for moms with their pre-walkers in tow, this studio has classes for newborns to teens and can include fathers and other caregivers. There are drop-in classes, class packages, and memberships.\u003c/p>\n\u003cp>Established in 1975, \u003ca href=\"http://www.yogalayam.org/\" target=\"_blank\" rel=\"noopener\">Yogalayam\u003c/a> in Berkeley is well known for having postnatal and toddler yoga with childcare. They also offer classes for children up to 12.\u003c/p>\n\u003cp>Up north, \u003ca href=\"http://vibeyogastudios.com/class-schedule\" target=\"_blank\" rel=\"noopener\">Vibe Yoga Studios\u003c/a> in Santa Rosa has two children’s classes, one for tweens (9-14 year olds) and another for kids as young as 4 years old. To the south is \u003ca href=\"http://www.mindfulways.org/mindfulness-wellness-center\" target=\"_blank\" rel=\"noopener\">Mindful Ways\u003c/a> in San Jose, which has parent and child yoga classes in addition to classes for those 4 to 7 years old and 8 to 12 years old.\u003c/p>\n\u003cfigure id=\"attachment_13817165\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/crissy-field-overlook.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817165\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/crissy-field-overlook-800x533.jpg\" alt=\"Crissy Field\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/crissy-field-overlook.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/crissy-field-overlook-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/crissy-field-overlook-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/crissy-field-overlook-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/crissy-field-overlook-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/crissy-field-overlook-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Once an army airfield, Crissy Field offers urban hiking with views of the Golden Gate Bridge and the Marin Headlands. \u003ccite>(Photo: Golden Gate National Parks Conservancy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Family Hiking\u003c/h2>\n\u003cp>A surefire way to improve your mood is to \u003ca href=\"https://www.psychologytoday.com/blog/minding-the-body/201608/walking-can-lift-your-mood-even-when-you-dont-expect-it\" target=\"_blank\" rel=\"noopener\">take a walk\u003c/a> — even a short stroll around the block can give you a boost. Planning a hike with friends or family in the new year gives you a jump start on your resolutions too. There are plenty of \u003ca href=\"https://bahiker.com/kids.html\" target=\"_blank\" rel=\"noopener\">family-friendly Bay Area hikes\u003c/a> you can do with a stroller or baby carrier; I’m always taking my baby out to between \u003ca href=\"http://www.ebparks.org/parks/crown_beach\" target=\"_blank\" rel=\"noopener\">Crown Memorial State Beach\u003c/a> and the \u003ca href=\"https://ww2.kqed.org/science/2013/11/22/celebrating-the-legacy-of-local-conservationist-elsie-roemer/\" target=\"_blank\" rel=\"noopener\">Elsie Roemer Bird Sanctuary\u003c/a>. In the East Bay we love to go to \u003ca href=\"http://www.ebparks.org/parks/tilden\" target=\"_blank\" rel=\"noopener\">Tilden Regional Park\u003c/a>, which also has a small farm, pony rides, steam trains, and a carousel. \u003ca href=\"https://fremont.gov/317/Central-Park\" target=\"_blank\" rel=\"noopener\">Lake Elizabeth \u003c/a>in Fremont is also a popular destination for us.\u003c/p>\n\u003cp>In San Francisco, there are flat trails and sidewalks at \u003ca href=\"http://www.parksconservancy.org/programs/crissy-field-center/\" target=\"_blank\" rel=\"noopener\">Crissy Field\u003c/a>, plus beautiful views. Further north, Phoenix Lake in the \u003ca href=\"http://www.marinwater.org/188/Visiting-Watershed-Lands\" target=\"_blank\" rel=\"noopener\">Mount Tamalpais Watershed\u003c/a> is easy to get to and has lots to look at, including ducks and turtles. To the south, \u003ca href=\"https://www.openspace.org/preserves/rancho-san-antonio\" target=\"_blank\" rel=\"noopener\">Rancho San Antonio\u003c/a>, a nature preserve in Cupertino, offers easy access trails for those with strollers or wheelchairs. There’s also a small working farm and an educational nature center.\u003c/p>\n\u003cp>So where’s the gift in hiking? Besides making a donation to a local park in someone’s honor, you could go with the very practical, like getting the right permits for a particular hike, or printing out a map and figuring out a route beforehand. You could also get kids sun protection like a \u003ca href=\"https://www.sundayafternoons.com/p/kids-play-hat/\" target=\"_blank\" rel=\"noopener\">Sunday Afternoons Play Hat\u003c/a>, which protects the back of the neck and has a sturdy brim, or \u003ca href=\"https://babiators.com/collections/sunglasses\" target=\"_blank\" rel=\"noopener\">Babiators\u003c/a>, super cute sunglasses for infants, toddlers, and young kids.\u003c/p>\n\u003cfigure id=\"attachment_13817167\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817167\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237-800x1067.jpg\" alt=\"Elephants at the Oakland Zoo\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/elephants-oakland-zoo-e1513013892237-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Oakland Zoo emphasizes education and conservation. \u003ccite>(Photo: Charlise Tiee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Attractions for Train and Animal Lovers\u003c/h2>\n\u003cp>For those who enjoy fauna more than flora, \u003ca href=\"https://tickets.oaklandzoo.org/Webstore/shop/viewitems.aspx?CG=TKTS&C=Daily\" target=\"_blank\" rel=\"noopener\">tickets\u003c/a> to the zoo or a \u003ca href=\"http://www.oaklandzoo.org/membership\" target=\"_blank\" rel=\"noopener\">membership\u003c/a> can be a good way of getting out. Contemplating the elephants or giraffes at the Oakland Zoo is a favorite pastime of many toddlers I know, as is riding the train in Adventure Landing, the amusement park portion of the zoo. Both being around animals and taking a quiet ride on a tiny train can be soothing. The \u003ca href=\"http://www.sfzoo.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Zoo\u003c/a> has no elephants, but it does have giraffes and rhinos. There’s also a miniature steam train that you can buy \u003ca href=\"http://www.sfzoo.org/visit/rides.html\" target=\"_blank\" rel=\"noopener\">tickets for online\u003c/a>.\u003c/p>\n\u003cp>Many other places with trains for kids seem also to have petting zoos or farms. My son is enamored of \u003ca href=\"http://fairyland.org/\" target=\"_blank\" rel=\"noopener\">Children’s Fairyland\u003c/a> over by Lake Merritt (though honestly, I find the attractions, based on children’s stories, a little creepy). The colorful Jolly Trolly from 1954 is always popular, as is the Beatrix Potter display that includes enormous rabbits.\u003c/p>\n\u003cp>Another East Bay spot with animals and a real train is \u003ca href=\"http://www.ebparks.org/parks/ardenwood\" target=\"_blank\" rel=\"noopener\">Ardenwood Historic Farm\u003c/a> in Fremont. The train runs on Thursdays, Fridays, and Sundays from April 1 to the weekend before Thanksgiving, and uses open-air picnic cars.\u003c/p>\n\u003cp>There are excellent things to be said about \u003ca href=\"https://www.traintown.com/\" target=\"_blank\" rel=\"noopener\">Sonoma TrainTown Railroad\u003c/a>, which was not damaged by the recent fires. On 10 acres, this minutely detailed miniature steam train from the 1950s takes 20 minutes to ride. They also have a petting zoo, a carousel, a roller coaster and a ferris wheel.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13817168/calming-gifts-for-the-whole-family","authors":["8660"],"series":["arts_3461"],"categories":["arts_835"],"tags":["arts_654","arts_1118","arts_1006","arts_596","arts_3392"],"featImg":"arts_13817920","label":"arts_3461"},"arts_13817762":{"type":"posts","id":"arts_13817762","meta":{"index":"posts_1591205157","site":"arts","id":"13817762","score":null,"sort":[1513785634000]},"guestAuthors":[],"slug":"the-10-best-bay-area-albums-of-2017-rayana-jay-morning-after","title":"The 10 Best Bay Area Albums of 2017: Rayana Jay, 'Morning After'","publishDate":1513785634,"format":"standard","headTitle":"The 10 Best Bay Area Albums of 2017: Rayana Jay, ‘Morning After’ | KQED","labelTerm":{"term":3461,"site":"arts"},"content":"\u003cp>Current-day rap and R&B is full of woozy 3am heartbreak, maudlin poetry and embarrassing #TMI set to hazy burbling beats that — after 10 or 20 or 82 radio plays — all start to sound the same.\u003c/p>\n\u003cp>Rayana Jay could have ridden that wave: Xanax, introversion, passive-aggressive pleading. Instead, she dropped “Magic,” one of the single-most liberating and joyous songs ever to sprout from Bay Area soil, right in the middle of the harrowing claustrophobia of 2017.\u003c/p>\n\u003cp>Releasing a shameless love song with a buoyant melody amidst so much quasi-moody \u003ca href=\"https://www.youtube.com/watch?v=WrsFXgQk5UI\" target=\"_blank\" rel=\"noopener\">“push me to the edge / all my friends are dead”\u003c/a> pap on the airwaves would be enough to win me over. But the driving, unflinching eighth-note bass riff that carries the song and the playful call-and-response of the chorus is the stuff true hits are made of.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MRhlYlROndM\u003c/p>\n\u003cp>A similar optimism carries \u003cem>Morning After\u003c/em>’s other single, “Everything,” a confession of love over a lithe bounce and a weaving, buzzy sub-bass. Most of \u003cem>Morning After\u003c/em> could be a classic beat tape on its own. In fact, Jay has always had a knack for finding great producers. And though there are some familiar faces in the production credits here (Drew Banga, Mikos tha Gawd, Kev Choice), “Magic” (produced by ROMderful) and “Everything” (Gabriel Lambirth) come from relatively obscure names.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/playlists/352925687″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>But there’s discovering a great beat, and there’s knowing what to do with it. \u003cem>Morning After\u003c/em> is filled with Jay’s little, rhythmic vocal mini-hooks (especially in the verses of “Sunkissed” — a celebratory ode “about how much I love my people, how much I love black people,” as \u003ca href=\"https://ww2.kqed.org/arts/2017/07/23/women-to-watch-rayana-jay/\" target=\"_blank\" rel=\"noopener\">she told me\u003c/a> in July). She plays in and around the beat with a jazz singer’s gift — more Sarah than Ella — and makes her imagination sound like canon. Her melodies feel like they’ve always been there, in the air, before she captured them and put them in a song.\u003c/p>\n\u003cp>Imagination, optimism, playfulness — these are sensations that were all too foreign in 2017. With \u003cem>Morning After\u003c/em>, Rayana Jay reminded us that love and happiness aren’t dead yet.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>We’ll be posting our top ten local albums of 2017 everyday through Dec. 22. Check back \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see which other albums made our list. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Imagination, optimism, and playfulness — sensations all too foreign in 2017 — propel 'Morning After,' Rayana Jay's ode to love in all its forms.","status":"publish","parent":0,"modified":1705028870,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":463},"headData":{"title":"The 10 Best Bay Area Albums of 2017: Rayana Jay, 'Morning After' | KQED","description":"Imagination, optimism, and playfulness — sensations all too foreign in 2017 — propel 'Morning After,' Rayana Jay's ode to love in all its forms.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 10 Best Bay Area Albums of 2017: Rayana Jay, 'Morning After'","datePublished":"2017-12-20T16:00:34.000Z","dateModified":"2024-01-12T03:07:50.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13817762/the-10-best-bay-area-albums-of-2017-rayana-jay-morning-after","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Current-day rap and R&B is full of woozy 3am heartbreak, maudlin poetry and embarrassing #TMI set to hazy burbling beats that — after 10 or 20 or 82 radio plays — all start to sound the same.\u003c/p>\n\u003cp>Rayana Jay could have ridden that wave: Xanax, introversion, passive-aggressive pleading. Instead, she dropped “Magic,” one of the single-most liberating and joyous songs ever to sprout from Bay Area soil, right in the middle of the harrowing claustrophobia of 2017.\u003c/p>\n\u003cp>Releasing a shameless love song with a buoyant melody amidst so much quasi-moody \u003ca href=\"https://www.youtube.com/watch?v=WrsFXgQk5UI\" target=\"_blank\" rel=\"noopener\">“push me to the edge / all my friends are dead”\u003c/a> pap on the airwaves would be enough to win me over. But the driving, unflinching eighth-note bass riff that carries the song and the playful call-and-response of the chorus is the stuff true hits are made of.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/MRhlYlROndM'\n title='//www.youtube.com/embed/MRhlYlROndM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A similar optimism carries \u003cem>Morning After\u003c/em>’s other single, “Everything,” a confession of love over a lithe bounce and a weaving, buzzy sub-bass. Most of \u003cem>Morning After\u003c/em> could be a classic beat tape on its own. In fact, Jay has always had a knack for finding great producers. And though there are some familiar faces in the production credits here (Drew Banga, Mikos tha Gawd, Kev Choice), “Magic” (produced by ROMderful) and “Everything” (Gabriel Lambirth) come from relatively obscure names.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/playlists/352925687″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/playlists/352925687″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>But there’s discovering a great beat, and there’s knowing what to do with it. \u003cem>Morning After\u003c/em> is filled with Jay’s little, rhythmic vocal mini-hooks (especially in the verses of “Sunkissed” — a celebratory ode “about how much I love my people, how much I love black people,” as \u003ca href=\"https://ww2.kqed.org/arts/2017/07/23/women-to-watch-rayana-jay/\" target=\"_blank\" rel=\"noopener\">she told me\u003c/a> in July). She plays in and around the beat with a jazz singer’s gift — more Sarah than Ella — and makes her imagination sound like canon. Her melodies feel like they’ve always been there, in the air, before she captured them and put them in a song.\u003c/p>\n\u003cp>Imagination, optimism, playfulness — these are sensations that were all too foreign in 2017. With \u003cem>Morning After\u003c/em>, Rayana Jay reminded us that love and happiness aren’t dead yet.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>We’ll be posting our top ten local albums of 2017 everyday through Dec. 22. Check back \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see which other albums made our list. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13817762/the-10-best-bay-area-albums-of-2017-rayana-jay-morning-after","authors":["185"],"series":["arts_3461"],"categories":["arts_69"],"tags":["arts_3391","arts_1118","arts_596","arts_1723","arts_3392"],"featImg":"arts_13817764","label":"arts_3461"},"arts_13817737":{"type":"posts","id":"arts_13817737","meta":{"index":"posts_1591205157","site":"arts","id":"13817737","score":null,"sort":[1513724400000]},"guestAuthors":[],"slug":"the-top-seven-movie-moments-of-2017","title":"The Top 7 Movie Moments of 2017","publishDate":1513724400,"format":"standard","headTitle":"The Top 7 Movie Moments of 2017 | KQED","labelTerm":{"term":3461,"site":"arts"},"content":"\u003cp>The last thing the world needs is yet another critic’s list of the 10 Best Movies of 2017. If you need a guide to the worthwhile films you missed (or want to check your taste against the so-called experts), peruse any film publication’s website. (I recommend \u003ca href=\"http://www.bfi.org.uk/features/best-films-2017/\" rel=\"noopener\" target=\"_blank\">\u003cem>Sight & Sound\u003c/em>\u003c/a>).\u003c/p>\n\u003cp>My inclination is to instead catalog the moments, the scenes, the bits that stayed with me weeks and months later. Sometimes they stick like annoying songs you hate but can’t get out of your head, so be advised that at least one of my Top 7 is from a movie I disliked. \u003c/p>\n\u003cfigure id=\"attachment_13817816\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120.jpg\" alt=\"Timothée Chalamet as Elio in 'Call Me By Your Name.'\" width=\"1200\" height=\"649\" class=\"size-full wp-image-13817816\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-1020x552.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-520x281.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Timothée Chalamet as Elio in ‘Call Me By Your Name.’\u003cbr> \u003ccite>(Photo by Sayombhu Mukdeeprom; Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Call Me by Your Name\u003c/em>\u003c/h3>\n\u003cp>The passage of the year involved a breathtakingly spoiled yet awkwardly self-conscious teenager, a fresh peach, and, eventually, the lad’s charismatic, self-confident and older male lover. The sequence is photographed and paced to focus and amplify the teenager’s desire, ungainliness, neediness, vulnerability and sensual awakening. If it makes you uncomfortable, the film has succeeded in making you share his experience (or cast you back to your own). Either way, the scene encapsulates the movie. \u003c/p>\n\u003cp>https://youtu.be/SAp4gJwhNI0\u003c/p>\n\u003ch3>\u003cem>Get Out\u003c/em>\u003c/h3>\n\u003cp>A portrait of a society that adopts a bizarro-world veneer of normalcy to conceal its loathing and covetousness of black people, Jordan Peele’s horror-comedy gives us white privilege in its ultimate demented distillation. The moment that nails the surreal, disturbing nature of the setting — a large country house where a black man is meeting his white girlfriend’s family — is the zombie-like black groundskeeper running full tilt at the erstwhile hero before veering off into the dusky distance. \u003c/p>\n\u003cfigure id=\"attachment_13817819\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200.jpg\" alt=\"Allison Janney as LaVona Golden, with her pet bird in 'I, Tonya.'\" width=\"1200\" height=\"502\" class=\"size-full wp-image-13817819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-1020x427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-1180x494.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-960x402.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-240x100.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-375x157.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-520x218.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Allison Janney as LaVona Golden, with her pet bird in ‘I, Tonya.’ \u003ccite>(Courtesy of NEON and 30WEST)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>I, Tonya\u003c/em>\u003c/h3>\n\u003cp>Take any of the numerous instances when Margot Robbie’s Tonya Harding sits in her kitchen, looks straight at the camera and explicitly or implicitly dares us to disbelieve her version of the events that made her famous. Let’s be blunt: She’s challenging us to dismiss her as white trash and to withhold our empathy. Alison Janney’s direct addresses to the audience, as Tonya’s heinous mother LaVona, are also embedded in my cerebral cortex.\u003c/p>\n\u003cfigure id=\"attachment_13817822\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200.jpg\" alt=\"Christopher Rivera, Brooklynn Prince, and Valeria Cotto in 'The Florida Project.'\" width=\"1200\" height=\"503\" class=\"size-full wp-image-13817822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-1180x495.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-960x402.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-375x157.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-520x218.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Rivera, Brooklynn Prince, and Valeria Cotto in ‘The Florida Project.’ \u003ccite>(Photo courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Florida Project\u003c/em>\u003c/h3>\n\u003cp>Similarly, the images I keep from Sean Baker’s candy-colored, neo-neorealist mother-daughter saga are of faces: Brooklynn Prince conveys childish enthusiasm and candor along with calculated manipulation as the irrepressible, undisciplined Moonee. Hailey (Bria Vinaite), her desperately amoral mom, is scarcely more mature or capable of hiding her emotions. Like Tonya Harding’s mother, Hailey bulldozes through every drop of audience goodwill by the last reel. Moonee, however, transcends our judgments. She’s a child; she is blameless.\u003c/p>\n\u003cfigure id=\"attachment_13817823\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/12_brigsby_1200.jpg\" alt=\"Kyle Mooney and Jorge Lendeborg Jr. in 'Brigsby Bear.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13817823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kyle Mooney and Jorge Lendeborg Jr. in ‘Brigsby Bear.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Brigsby Bear\u003c/em>\u003c/h3>\n\u003cp>Kyle Mooney and Dave McCary’s gently touching fable imagines a sheltered young man forced to acclimate to the real world. Resisting the pressure to forget the fictional characters and sci-fi world that his parents created for his benefit, James writes and films a new chapter in the Hallmarkish but never mawkish fantasy — with the help of new friends. Unfamiliar with digital effects, James devises an explosion the old-fashioned (analog?) way, to the shock of his collaborators and (inevitably) the cops. \u003cem>Brigsby Bear\u003c/em> can be interpreted at varying points as a savage dig at the masses who worship the mythology of \u003cem>Star Wars\u003c/em> (Mark Hamill has a small role) or as an affectionate hug to people who bond over alternate universes populated by trustworthy heroes.\u003c/p>\n\u003cfigure id=\"attachment_13817825\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/7_square_1200.jpg\" alt=\"A disrupted dinner scene from 'The Square.'\" width=\"1200\" height=\"649\" class=\"size-full wp-image-13817825\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-1020x552.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-520x281.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A disrupted dinner scene from ‘The Square.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Square\u003c/em>\u003c/h3>\n\u003cp>An art installation provides a framework to consider morality as a social experiment, but it is the questionable behavior toward one another outside of the square that concerns Swedish writer-director Ruben Östlund. The centerpiece of his quietly confrontational film is a black-tie fundraising dinner for the museum at which a bare-chested performer, in the guise of an aggressive primate, puts his artistic integrity above the conventional norms of polite society. Östlund’s integrity is such that he extends the scene, and several others, beyond the point of audience discomfort.\u003c/p>\n\u003cfigure id=\"attachment_13817826\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/1945_1200.jpg\" alt=\"Hermann Sámuel (Iván Angelus) and his son (Marcell Nagy) arrive via train to a small village in Hungary full of secrets in '1945.'\" width=\"1200\" height=\"788\" class=\"size-full wp-image-13817826\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200-1180x775.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200-960x630.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200-520x341.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hermann Sámuel (Iván Angelus) and his son (Marcell Nagy) arrive via train to a small village in Hungary full of secrets in ‘1945.’ \u003ccite>(Lenke Szilagyi / Menemsha Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>1945\u003c/em>\u003c/h3>\n\u003cp>Two unsmiling men, dressed in black, purposefully step off a train somewhere in the Hungarian countryside shortly after World War II. What is their business? Their beards and long coats suggest they are Jewish; they look like emissaries from the 19th century. To the station master and other bystanders, the father-and-son duo could be exemplars of justice or, worse, avenging angels. With barely a line or two of dialogue, writer-director Ferenc Török introduces a mystery and stimulates acres of tension — grounded in a black, white and gray epoch of history we are aware of. And if we aren’t, we soon will be.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"From a child's beaming face to a teenager's awkward vulnerability to a performance artist's reckless provocations, movies left their mark in these moments.","status":"publish","parent":0,"modified":1705028879,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":921},"headData":{"title":"The Top 7 Movie Moments of 2017 | KQED","description":"From a child's beaming face to a teenager's awkward vulnerability to a performance artist's reckless provocations, movies left their mark in these moments.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Top 7 Movie Moments of 2017","datePublished":"2017-12-19T23:00:00.000Z","dateModified":"2024-01-12T03:07:59.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13817737/the-top-seven-movie-moments-of-2017","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The last thing the world needs is yet another critic’s list of the 10 Best Movies of 2017. If you need a guide to the worthwhile films you missed (or want to check your taste against the so-called experts), peruse any film publication’s website. (I recommend \u003ca href=\"http://www.bfi.org.uk/features/best-films-2017/\" rel=\"noopener\" target=\"_blank\">\u003cem>Sight & Sound\u003c/em>\u003c/a>).\u003c/p>\n\u003cp>My inclination is to instead catalog the moments, the scenes, the bits that stayed with me weeks and months later. Sometimes they stick like annoying songs you hate but can’t get out of your head, so be advised that at least one of my Top 7 is from a movie I disliked. \u003c/p>\n\u003cfigure id=\"attachment_13817816\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120.jpg\" alt=\"Timothée Chalamet as Elio in 'Call Me By Your Name.'\" width=\"1200\" height=\"649\" class=\"size-full wp-image-13817816\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-1020x552.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-520x281.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Timothée Chalamet as Elio in ‘Call Me By Your Name.’\u003cbr> \u003ccite>(Photo by Sayombhu Mukdeeprom; Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Call Me by Your Name\u003c/em>\u003c/h3>\n\u003cp>The passage of the year involved a breathtakingly spoiled yet awkwardly self-conscious teenager, a fresh peach, and, eventually, the lad’s charismatic, self-confident and older male lover. The sequence is photographed and paced to focus and amplify the teenager’s desire, ungainliness, neediness, vulnerability and sensual awakening. If it makes you uncomfortable, the film has succeeded in making you share his experience (or cast you back to your own). Either way, the scene encapsulates the movie. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/SAp4gJwhNI0'\n title='//www.youtube.com/embed/SAp4gJwhNI0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cem>Get Out\u003c/em>\u003c/h3>\n\u003cp>A portrait of a society that adopts a bizarro-world veneer of normalcy to conceal its loathing and covetousness of black people, Jordan Peele’s horror-comedy gives us white privilege in its ultimate demented distillation. The moment that nails the surreal, disturbing nature of the setting — a large country house where a black man is meeting his white girlfriend’s family — is the zombie-like black groundskeeper running full tilt at the erstwhile hero before veering off into the dusky distance. \u003c/p>\n\u003cfigure id=\"attachment_13817819\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200.jpg\" alt=\"Allison Janney as LaVona Golden, with her pet bird in 'I, Tonya.'\" width=\"1200\" height=\"502\" class=\"size-full wp-image-13817819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-1020x427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-1180x494.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-960x402.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-240x100.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-375x157.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-520x218.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Allison Janney as LaVona Golden, with her pet bird in ‘I, Tonya.’ \u003ccite>(Courtesy of NEON and 30WEST)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>I, Tonya\u003c/em>\u003c/h3>\n\u003cp>Take any of the numerous instances when Margot Robbie’s Tonya Harding sits in her kitchen, looks straight at the camera and explicitly or implicitly dares us to disbelieve her version of the events that made her famous. Let’s be blunt: She’s challenging us to dismiss her as white trash and to withhold our empathy. Alison Janney’s direct addresses to the audience, as Tonya’s heinous mother LaVona, are also embedded in my cerebral cortex.\u003c/p>\n\u003cfigure id=\"attachment_13817822\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200.jpg\" alt=\"Christopher Rivera, Brooklynn Prince, and Valeria Cotto in 'The Florida Project.'\" width=\"1200\" height=\"503\" class=\"size-full wp-image-13817822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-1180x495.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-960x402.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-375x157.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-520x218.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Rivera, Brooklynn Prince, and Valeria Cotto in ‘The Florida Project.’ \u003ccite>(Photo courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Florida Project\u003c/em>\u003c/h3>\n\u003cp>Similarly, the images I keep from Sean Baker’s candy-colored, neo-neorealist mother-daughter saga are of faces: Brooklynn Prince conveys childish enthusiasm and candor along with calculated manipulation as the irrepressible, undisciplined Moonee. Hailey (Bria Vinaite), her desperately amoral mom, is scarcely more mature or capable of hiding her emotions. Like Tonya Harding’s mother, Hailey bulldozes through every drop of audience goodwill by the last reel. Moonee, however, transcends our judgments. She’s a child; she is blameless.\u003c/p>\n\u003cfigure id=\"attachment_13817823\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/12_brigsby_1200.jpg\" alt=\"Kyle Mooney and Jorge Lendeborg Jr. in 'Brigsby Bear.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13817823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kyle Mooney and Jorge Lendeborg Jr. in ‘Brigsby Bear.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Brigsby Bear\u003c/em>\u003c/h3>\n\u003cp>Kyle Mooney and Dave McCary’s gently touching fable imagines a sheltered young man forced to acclimate to the real world. Resisting the pressure to forget the fictional characters and sci-fi world that his parents created for his benefit, James writes and films a new chapter in the Hallmarkish but never mawkish fantasy — with the help of new friends. Unfamiliar with digital effects, James devises an explosion the old-fashioned (analog?) way, to the shock of his collaborators and (inevitably) the cops. \u003cem>Brigsby Bear\u003c/em> can be interpreted at varying points as a savage dig at the masses who worship the mythology of \u003cem>Star Wars\u003c/em> (Mark Hamill has a small role) or as an affectionate hug to people who bond over alternate universes populated by trustworthy heroes.\u003c/p>\n\u003cfigure id=\"attachment_13817825\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/7_square_1200.jpg\" alt=\"A disrupted dinner scene from 'The Square.'\" width=\"1200\" height=\"649\" class=\"size-full wp-image-13817825\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-1020x552.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-520x281.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A disrupted dinner scene from ‘The Square.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Square\u003c/em>\u003c/h3>\n\u003cp>An art installation provides a framework to consider morality as a social experiment, but it is the questionable behavior toward one another outside of the square that concerns Swedish writer-director Ruben Östlund. The centerpiece of his quietly confrontational film is a black-tie fundraising dinner for the museum at which a bare-chested performer, in the guise of an aggressive primate, puts his artistic integrity above the conventional norms of polite society. Östlund’s integrity is such that he extends the scene, and several others, beyond the point of audience discomfort.\u003c/p>\n\u003cfigure id=\"attachment_13817826\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/1945_1200.jpg\" alt=\"Hermann Sámuel (Iván Angelus) and his son (Marcell Nagy) arrive via train to a small village in Hungary full of secrets in '1945.'\" width=\"1200\" height=\"788\" class=\"size-full wp-image-13817826\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200-1180x775.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200-960x630.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200-520x341.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hermann Sámuel (Iván Angelus) and his son (Marcell Nagy) arrive via train to a small village in Hungary full of secrets in ‘1945.’ \u003ccite>(Lenke Szilagyi / Menemsha Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>1945\u003c/em>\u003c/h3>\n\u003cp>Two unsmiling men, dressed in black, purposefully step off a train somewhere in the Hungarian countryside shortly after World War II. What is their business? Their beards and long coats suggest they are Jewish; they look like emissaries from the 19th century. To the station master and other bystanders, the father-and-son duo could be exemplars of justice or, worse, avenging angels. With barely a line or two of dialogue, writer-director Ferenc Török introduces a mystery and stimulates acres of tension — grounded in a black, white and gray epoch of history we are aware of. And if we aren’t, we soon will be.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13817737/the-top-seven-movie-moments-of-2017","authors":["22"],"series":["arts_3461"],"categories":["arts_74","arts_235"],"tags":["arts_1118","arts_1006","arts_3465","arts_596","arts_769","arts_3392"],"featImg":"arts_13817827","label":"arts_3461"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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You ask the questions. You decide what Bay Curious investigates. 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Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. 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