Check out Isaiah Stillwell’s photos of Bobby Rethwish, XINA, and SYM1 at the 7th St. Entry in Minneapolis on Wednesday, July 13. 


Isaiah Stillwell

Photos: Bobby Rethwish, XINA, and SYM1 at the 7th St. Entry

Julian Green built and manages the music library for Carbon Sound and oversees content creation.  


Julian Green

ACME Collective’s Paradox event series celebrates one year of platforming BIPOC DJs


Celebrating One Year of Paradox with ACME Collective

Starting this week, I’ll be sharing all the music added to the Carbon Sound library over the course of the week. 

Each week, we add new music, older tracks, which are known as “Gold adds”, and tracks that might not fit our general format, but still deserve a place in rotation because they serve our mission of showing the depth, breadth, and influence of Black musical expression - These are known as “Variety adds.”

For each new track, I write a brief description. These aren’t meant to be in-depth criticism, they’re just off-the-cuff info about the tracks. If you ever want actual in-depth reasoning, just reach out to me at jgreen@mpr.org.

We’re sharing this to get you excited to listen and to open up the floor for feedback and suggestions. If you want to request a song, 

. If you make music and want it considered for rotation, 

 If you want to give feedback directly, reach out to me at jgreen@mpr.org.

If you want to know what the track sounds like, scroll down to find Spotify playlists for the new, Gold, and Variety adds. Don’t forget to 

This week, there are great new tracks like Sudan Archives' "Selfish Soul" and Ken Carson's system-blowing "Freestyle 2". We've refined The Message to explore more themes through the week, which accounts for a lot of the Gold adds. This week, we're exploring karaoke tracks. We've also adjusted the clocks to make room for more electronica and jazz in the late night, or early morning, depending on how you look at it.

I have yet to hear a bad AJ Tracey song. “Seoul” sounds like a mix between UK Drill with Jersey Club-inspired kick drum patterns. Tracey’s rapid-fire flow and the pretty beat make for a very enjoyable listen. 

Our toxic king has returned for a new EP titled “Wasteland.” “PRICE OF FAME” is like three songs in one with its multiple beat switches. Through it all, Brent’s crooning and provocative lyrics keep your attention. 

Early ‘00’s inspired guitar riff + UK Garage style drums + angelic singing and string chords = a good time. “Drama” is from Erika de Casier’s 2021 release “Sensational”.  

I really love this track from Fana Hues. It feels very nostalgic, like remembering a kiss on a warm summer night. Or something like that, I guess. Fana Hues appeared on Tyler, the Creator’s 2021 album “CALL ME IF YOU GET LOST” on the track “SWEET / I THOUGHT YOU WANTED TO DANCE”.  

Listening to Future makes you feel very cool. “PUFFIN ON ZOOTIEZ” is no exception. If anyone wants a viral TikTok idea, just put this song over 

that one video of DJ Khaled driving with his shirt off

This song starts by punching you in the face. The combination of the Nextel chirp and “Wake up, F1lthy” producer tag inspires a primal reaction like pheromones in the air. Ken Carson’s latest project “X” is 20 tracks long but has a runtime of less than 50 minutes. The tracks do what they must, then get gone. “Freestyle 2” is the best example of that. This is a system blower. 

King Pari - “Love Me or Leave Me” (Local!)

Great cover performed by local band King Pari. I’m pretty sure redveil sampled the original song on a track from his project “learn to swim” that released earlier this year. 

Two great young UK rappers come together on this energetic track. It’s great to see the global convergence of the Drill movement. Every place, from Chicago to the Bronx, to the UK and even 

 has its own take on the popular rap subgenre. 

We’re all still figuring out what “urban alternative” is. One artist that I think is the exemplar for the new format is midwxst, a young artist that flips and subverts genres at will. “riddle” combines a pop punk style riff with hyperpop-inspired drums on the hook. midwxst's music is like a choose your own adventure book, where the turn of a page can leave you somewhere completely unexpected.  

This is an inspiring self-love anthem by Sudan Archives, another artist eschewing genre conventions to produce music that doesn’t sound like anyone else’s. Love this track! 

Traiveon - “Choose to be Well” feat. Jackson

Very smooth R&B track from Twin Cities R&B artist Traiveon. I really enjoy the uplifting lyrics on the track mixed with the nourishing instrumental. It’s like lathering on some cocoa butter. 

This week on The Message, Sanni B. will explore great choices for karaoke songs. Monday will be R&B, Tuesday will be soulful and sultry choices, Wednesday will be funk, and Thursday will be Afrobeats. 

We’ve adjusted our schedule to make more time for instrumental, electronic, and jazz music. You’ll have to be up late (early?) to hear it, but it’s worth it, trust me. The tracks by Chaos In the CBD, LTJ Bukem, and Lonnie Liston & The Cosmic Echoes will make you float. 

Other Gold adds this week include selections from Kelela’s 2017 album “Take Me Apart,” some tracks by Kilo Kish, and more! Check it out below: 

Chaos In the CBD - “78 to Stanley Bay”

Lonnie Liston Smith & The Cosmic Echoes - “Astral Travelling”

“Let Us Go Into The House Of The Lord”

Mac DeMarco - “Chamber of Reflection”

“Words 2B Heard Meets Planetary Funk Alert”

Pastor T.L. Barrett & The Youth for Christ Choir - “Blessed Quietness”

All of the tracks added to rotation on Carbon Sound the week of July 11, 2022.


Designed by Cornel Beard

New Music on Carbon Sound - Week of July 11, 2022

 is a 19-year-old artist from Minneapolis, Minnesota. His music sounds like being lifted into a tornado. It lifts you out of your seat, spins you around, and makes you dizzy. 

 hits your ears like a ton of bricks. It holds you underwater for its entire length and will leave you gasping for air. 

Cacophonous echoes, frenetic and saccharine synth leads, and extreme vocal performances have set his sound apart from others in the local music scene. He’s also known for his mosh-heavy live performances. Even the rehearsal for his upcoming show got so loud that the police threatened him with a noise citation.  

 Zodiak and his close friend and booking agent Sebas spoke with Carbon Sound Content Director Julian Green to discuss Zodiak’s ethos as an artist, the intentions and process behind “Lust,” and the “Lust” release party that will take place in Minneapolis on Friday, July 8th. 

Note: This interview has been edited for length and clarity.

What originally made me start was being a fan of Tyler (the Creator) as a youngin’ and seeing how he started making music. He just downloaded a program and started making beats. So, I downloaded FL Studio when I was like 12 and I started making beats. Then I started recording myself, eventually.  

Music is the only thing that makes me genuinely happy. Of course, other things in life make me happy, but music is the one thing I can turn to at any time and find genuine joy in. Whether it's just listening to music or making music, just any part of the process. That’s what keeps me going basically, the love of music and wanting to create new shit

Would you define yourself as a “rapper”? Most of your tracks are labeled as “Ambient,” “Electronic,” or “Alternative Rock.”

I make a lot of different kinds of music. There's stuff that's not out that doesn't sound like anything that's on my SoundCloud... I don't know how I describe my music. Basically, I just smoke sometimes and... With my most recent track (

), I thought it was more electronic. That's just how it felt. 

Or with my song “Empire.” That's a rap song, but I'm damn near yelling the whole time. And with how the drums hit, it’s lowkey a rock song. But it's a rap song, you know?  

It's hard because I make a lot of different things. So, I don't try to label myself because I'm friends with a lot of different people that make a lot of different things, too. So, I never try to label anybody. I just make cool shit, in my opinion. 

One label that you seem comfortable with, at least for yourself, is “Vamp.” What does it mean to be a Vamp?

Well, waking up at night or staying up at night... Staying up until the morning, bro... There are a lot of other things to being a Vamp, but you can listen to my music and find that out. Especially with this new tape, too 

But, I don't know... It's just cool as fuck. It’s just a cool-ass aesthetic. I was fucking with that shit since I was a kid with “Blade” and other things like that. 

What inspired you during the creation of your new project, “Lust”?

A lot of life shit. I try to push my sound to the absolute best it can go. Every time I drop something I try to top myself. I just want to be better, and better, and better. 

This project was created where I'm sitting right now. I would just be here all day.  

When I say I'm gonna make a project, sometimes I completely deprive myself. For this project, I haven't been eating or sleeping. So, it was just raw. I tried to make it as raw as possible. 

(Depravation) gives clarity, for me at least. It gives me no bounds. Some people do it for religion and stuff and it gives them that clarity, too, you know? 

I just treat it as that. I treat it with respect and just try to go crazy. 

With “Blööddungeøn,” “saturdaymoonlight,” and now “Lust,” this has been a very consistent project run over the last year. What's inspiring this output?

Before I dropped “Blööddungeøn,” I wasn't that consistent. Some things happened, and I got more time and my love for music sparked up again. I don't think it's ever gonna stop. I try to stay consistent. 

That's what the people want, bro. Sounds move so fast now that you got to keep up and you got to keep dropping. Some people aren't even up and they're waiting six months to drop something... That's not how it works.  

Music changes. That shit that you recorded a year ago that you think is so fire, you're gonna drop it and people aren't gonna like it cuz it's older, you know? 

Most of your music is only available on Soundcloud. Why do you use that service instead of Spotify or Apple Music?

I get asked this question every single day in the DMs, bro. Everybody’s always like, “Bro, please, please put on Spotify!” 

After this tape gets at least 5,000 views on every song, which shouldn't be too long, I'm gonna post my whole discography on all platforms all at once and see what happens. 

I’ve been keeping it on SoundCloud because I like how SoundCloud works. That’s how I've gained my following and it's worked so much so far. I just love SoundCloud, bro. It’s what I've been using since I was a kid. I want to grow my initial fan base there because that's how all the people that I originally looked up to built their original fan bases -- just through SoundCloud.  

I fuck with the UI and everything and how I can check who listened to my shit the most. Like, literally the single person that listens to my shit the most. 

It’s one of the few streaming platforms where you can have a direct connection with your fans.

There's a comment section and it gives me more of a connection because I listen to my music, and I look at the comments as they pop up to see what people are feeling. Sometimes a note hits that I  appreciate. Somebody's like, “Oh shit! This part right here is fire.” That's why I use SoundCloud.  

I also like the rarity factor. I could put something out and three people download it. If I delete it, they can repost it. Or, if I’m not feeling a track, I can make it private and make it back public whenever I want. 

I'm impulsive, too. If I make a song that I like, I'm probably gonna drop it the next day. You can't do that on other platforms. That’s another reason why I stick to SoundCloud. 

How do you want people to feel when they listen to “Lust”?

Like they’re floating. It depends on what you're doing. You go the deepest, darkest depths if you want, or you could just be floating. You could just vibe and walk around at night or sunset. 

There's stuff for everybody on this tape. I’m really happy with how it turned out. It's my favorite of all three projects.  

Sebas, 19, is a local show promoter. He is a close friend of Zodiak’s and advises him on his music and books shows for him in Minneapolis and across the country. He joins the conversation to give details about the “Lust” release party that will take place in Minneapolis on Friday, July 8th. Zodiak along with Zongoso, 4K Ultra, and special guests are slated to perform.

What can people expect at the “Lust” release party on Friday night?

Raw energy and a good time. This is a group release of emotion. People have been going through a lot of stuff recently. This party is going to be the time to let it out in a safe, semi-controlled environment. 

: People yearn for this shit. That's why I love performing. It feels great to see the reaction from people. It’s the best feeling ever.  

People should expect a lot of fun. Everybody can let loose because nobody's judging. That's why I love our shows. Everybody's just there to have fun. It's never a problem. Unless it’s what the police, but that's it. 

As I hear you two describe this environment, the word that comes to mind is “cathartic.” It almost seems connected to the recording environment that you described earlier. Even though not sleeping, not eating, or moshing is painful, these are things people do to find clarity like you were talking about.

What can people expect from you two in the future?

(We want to) take this environment we created and keep expanding it. Give people a safe space. We want the shows here to be like how punk shows were for kids in Cali in the ‘80s -- a place where you can go let everything out, have a fun time with your friends and be safe, not judged.  

This is a global thing we're trying to work on. When I look at what I want to do and places that I want to see (Zodiak) go... It's bigger than all of us. The mission we're on right now is bigger than all of us. It’s gonna take the masses figuring it out, even though they might not at first. Once they catch on, that's when things will start to get crazy for us. 

I’m trying to plan a tour for (Zodiak). Four or five cities to get to the out-of-state fanbase. The show we did in LA was fun, and in Orlando, too... It’s something we think about a lot. To hear someone that you’ve never seen in your life sing the words to your song is the craziest feeling. 

Bigger and better things, man. I'm trying to grow. I want to be the biggest artist ever. I want to do a lot of cool shit. I want to travel the world, performing music and spreading a message. I just want to top myself every step of the way, honestly. 

Zodiak will perform at the “Lust” release part at 615 SE 12th Ave in Minneapolis on Friday, July 8th.

The 19-year-old artist is gearing up to be Minneapolis's next SoundCloud star.


Blööddungeøn by zodiak

Lust by zodiak

Courtesy of Zodiak

Zodiak rides the lightning with his new project "Lust"

One of the most intriguing new artists in the Twin Cities is 

, who fearlessly blends sounds from hip-hop, rock, R&B, and pop. Her debut album, 

, which has also released projects from Twin Cities artists Gully Boys and VIAL. 

Prior to the album’s release, Zora gained national press for singles “RUNNITUP” and “ALL AROUND THE WORLD!” The latter, she 

, stating, “I wanted to create a song to remind us just how powerful we are, and to remind the masses that we’re not going anywhere.”

The Chicago native, who studied at Berklee College of Music in Boston, has made Minneapolis her home in recent years. In a wide-ranging interview, we talked about her origins, how video games inspired her futuristic pop sound, and her desire to to stay true to herself in her work. 

How'd you get into music and who were some of your inspirations growing up?

 I come from a pretty musical family. My grandma taught me initially how to play piano when I was younger. I was raised on piano and my family is pretty much all jazz and classical musicians. So a lot of the music I grew up on was Beethoven and older jazz artists like Miles Davis. My dad is a DJ, so I started getting into a lot of ‘80s and ‘90s rap music, like Run DMC and A Tribe Called Quest, which is my favorite group of all time. And then I started getting into my own stuff, like Kendrick Lamar, Sophie, Rihanna, Beyonce, Britney Spears, and Tyler, The Creator — all the big people now. And that's what shaped my initial sound.

How do your grandparents feel about both you and your pops deviating from jazz and classical?

So my grandma actually passed away in 2015, but that was right when I made the transition from jazz to more pop and R&B, hip-hop, and rock. She was always super proud of me. She definitely instilled in me the meaning of what it means to be fully authentic to yourself — you always gotta stay true to exactly what you want to do. Because even with her, she was raised as a classical musician, but then she wanted to do jazz. So she started doing jazz singing and jazz playing.

What are you pulling from these different sources that ultimately gives you the Zora sound?

I think it's just how I perceive the world. I was really raised on a lot of music and a lot of video game sound influences as well. My sound is so widespread. I literally go from the 

 album in the same playlist. After a while, it just compiles in my brain as this weird mix of sounds.

I definitely heard the sample from Nickelodeon's 

 theme song on your single, "ALL AROUND THE WORLD!" That's crazy. You said you also pulled from some video games. What were some of the video game sounds that you loved growing up?

, a lot PlayStation 1 and 2 games, and our Nintendo games that I played as a kid. I would just study them and try to recreate them in Logic. "How do I make this sound like that?

Oh, yeah, definitely. I'm a PlayStation person. Most of my friends are Xbox people. So it's hard, but you know, you got to do what you got to do.

, your debut album. What does it represent for you?

 is the embodiment of just me in general. The album has all of the different facets and sides of my life and my story. It reflects the music, too, where you have a rock song one moment, and then a drum and bass song, and then a really sad pop ballad, or a super happy pop-rock song. It really is just showcasing all the different parts of my heart. I really put my entire being into this album.

 mentioned how the project was an anti-capitalist album. Would you describe it as such?

A big thing for me in music is everything I do is political, just down to being a Black woman. Even if I just wrote a song that wasn't about anything, it would just be political based off the fact that I'm just me. I think based off pure essence, 

 is definitely an anti-capitalist album, whether intentional or unintentional. I pretty much paid for everything on that album myself, all the production I did it. It's very much not feeding into the system, and going against the system by just existing.

Also, I'm very much inspired by people who have come before me, specifically, like Black artists who use music to say very important messages. I really hope to do that a lot and stronger, like NWA. People like them, they had their songs that they couldn't perform. If the police came, they can't perform at the stadium. They still did it, and ended up getting kicked out. But they still decided to make the message. I really resonate with that or with Kendrick, with Beyonce, Erykah Badu, Jill Scott. There's so many people saying such powerful things in their music, and just being who they are, is just powerful enough. Just by existing in this industry, in this world, you're already making a statement. Period.

You talk about wanting to burn up one of your ops in the song, "Burn," or in "RUNNITUP," you say, "Give me this money or catch these hands for free." It's a beautiful contrast because your voice is so soft and healing as a listener. What role does aggression and the things you're taking in from society, as a Black woman, play into in your music and your songwriting? How do you put that into song? 

It definitely comes from a lot of my inspirations like Janet Jackson and Britney Spears, specifically. I love how soft they both were considered in the music world, especially Janet, as a Black woman. She was the blueprint for so many artists. I really looked up to that. I want to have that same softness with my voice, but I want to be saying some “rah rah” stuff in the microphone — saying exactly how I feel. In some of my earlier music, I kind of shied away from that. I would be very afraid of cussing or saying things that certain people wouldn't want to hear.

Then I was like, "Well, wait. Do I want to say that?" Is this what I want to say, then I'll say it. "Give me the money you owe me a catch these hands for free," is like, “That's how I'm feeling and that's what I want to say right now.” With “Burn” also, that one was about an ex as well. So when I wrote it in the moment, I was thinking, “I want to watch you burn. Straight up, I need you to watch me live my dreams and you burn. Period.”

What has been your experience as a Black woman and artist in Minneapolis? 

I definitely love it here. And I love my Black community that I've established here. I think like every other city, it definitely has its problems. But I think the biggest thing is that I love watching the Black community specifically come together. Whenever there is something that attacks one of us, it attacks all of us. And that's not something that I really see in a lot of places, so that's something that I really like.

I do feel sometimes I get caught off guard when it comes to the shows that I play, because I don't make specifically just hip-hop, R&B, or just pop. I have some elements of rock in there. Sometimes, as a Black woman, in that kind of scene, in that genre, I can be overlooked in spaces that are more predominantly white. It is a little disheartening, to be honest, because Black people created all genres of popular music. Like, when we get to those shows and I'm playing a rock song, and they're like, "Who produced you? Who's this on the song?" I'm like, "That's me. I'm the person that did that."

How'd you choose the Twin Cities as the place to ground yourself in your music and set your roots?

I'm from Chicago, Illinois, originally, so I've always loved the Midwest. I'm kind of a homebody, so Chicago can get a little bit too busy for me. So I was thinking, “How do I get to a place that's a little bit calmer, but still has a nice city vibe, but also more progressive in their politics?”

I moved here around two years ago, actually. I had just turned 21, and I was kind of guarded and not really focusing on myself at that time. So once I kind of got here and started getting involved with the community. It just helped me look at everything in a much more positive environment, because there wasn't the stress of, "Am I good enough? What am I supposed to be doing in this world?” It just gave me the freedom in the space to just really create and just write, make all this music and that music turned into 

. I think this city really is one of those hidden gems for me. I thought, "Oh, yeah, I'll move here," and now I'm fully immersed in an amazing city with such amazing artists and people.

I really love downtown. That's where a lot of my favorite people live. I've also really liked Uptown, Whittier, Seward and North Minneapolis. That's where my ballroom mother lives and she's amazing. I really just like Minneapolis in general, all the different areas and circles that are here.

When can we expect some visuals or shows?

Visuals are coming, and I'm so excited. I cannot wait to share them with everybody. I'm so excited. For the album and everything, I do have a few shows that I'm going to be playing very soon. There's one happening in August that I'm going to start posting about pretty soon. I think the biggest thing is just more performances, more visuals, and I really want to tour pretty soon.

 is now out on all platforms. Make sure to stream it wherever you get your music!

This interview has been edited for length and clarity.

{"type":"doc","content":[{"type":"paragraph","content":[{"text":"","type":"text"}]}]}

Jeffrey Bissoy-Mattis

How video games and a musical family inspired ‘Z1,’ an ambitious album that explores hip-hop, R&B, rock, pop, and more.


William Hawk

ZORA - RUNNITUP (FEAT. MYIA THORNTON) [Official Music Video]

Zora's debut album showcases "all the different parts of my heart"

Nikhil Kumaran

Concurrent Space brought energetic DJ sets to Artspace Jackson Flats in Northeast Minneapolis on Friday, July 1. 


Derrick Gichaba

Concurrent Space Brings The City Together

This year, NPR Music is celebrating Black Music Month with an array of brand new Tiny Desk concerts — both from home and from behind our beloved Desk. Together, these artists represent the past, present and future of Black music. This month of carefully curated shows is a celebration of Black artists expressing themselves in ways we've never seen before, and of the Tiny Desk's unique way of showcasing that talent. 

"We celebrate Black Music Month. This has been Black magic." Truer words may have never been spoken behind the Tiny Desk as R&B goliath Usher caps off our month-long celebration of Black music, highlighting a catalog chock-full of hits spanning 25 years. It's been over two years since NPR headquarters was abuzz with chatter of a legend in the building. After an early morning rehearsal for his set at the Something in the Water Festival in Washington, D.C., he made his way over to deliver an unforgettable performance.

Usher and his band, all dipped in black, set it off with an introduction over a funky horn-laced instrumental reminiscent of a Blaxploitation flick. They keep that groove going right into a reworked version of his 1997 breakout single, "You Make Me Wanna..." Twenty-five years later, Usher sits arguably as the king of R&B. Between 2000 and 2010, there was no debate whatsoever, with his string of records that included the biggest R&B album of the 21st century, 

What he's done in the vocal booth is only half of his claim to fame. The stage is where he's continued to shine as he prepares for the second leg of his Las Vegas residency. This loose and playful set touches on his many career phases; the crooning, the deeply personal, the club bangers and even the Tik Tok challenges indicate that he could just be reaching his prime. Recently, we've heard plenty of hot takes, wild battles and social media fodder about who sits at the mountaintop in the world of R&B. Usher Raymond has entered the chat.

Bobby Carter

The R&B Goliath caps off our Black Music Month celebration, highlighting a catalog chock-full of hits spanning 25 years.


Usher: Tiny Desk Concert

The disgraced R&B star R. Kelly was sentenced Wednesday to 30 years in prison. 

He was sentenced in New York by federal Judge Ann Donnelly, who spoke at length before issuing the sentence. At one point, she quoted a victim impact statement from a woman known in court as Stephanie, who told Kelly, "No price was too high for someone else to pay for your happiness." 

"This case is not about sex," the judge said. "It is about violence, cruelty and control." 

Donnelly acknowledged points made by defense, including that Kelly endured a very difficult childhood, with sexual abuse at the hands of his sister and a landlord. However, she added, "You are a person who had great advantages — worldwide fame and celebrity, untold money." 

Kelly declined to address the court himself. His lawyer cited pending cases: a second federal trial in Illinois, slated to begin Aug. 15, and separate criminal charges in Minnesota. The charges include child pornography and obstruction of justice.

 of charges including sexual exploitation of a child, racketeering, bribery and sex trafficking. The jury found the government proved Kelly was at the head of a criminal conspiracy to recruit and coerce girls, boys and women into sex.

During the weekslong trial, multiple victims established a pattern where they would see Kelly at a show or out in public, and an associate of Kelly would hand them a phone number to call. From there they would be ensnared in a system of sexual and psychological abuse. Kelly forced his victims to perform sexual acts for his gratification (which he often filmed). He set up strict rules dictating where his victims were allowed to go and who they were allowed to speak to. And he forced to them to write letters or video tape themselves claiming they were doing everything of their own free will.

Before the judge announced Kelly's sentence, seven women made their own statements to and about him and about the abuse they suffered. At no point did Kelly look at his accusers.

A woman identified in court as Angela said, "We will be able to live again."

She said, "I am a representation of every woman, boy, child, man that you have ever afflicted with your deplorable, inexplicable acts, and with that I leave you with yourself, Robert Sylvester Kelly." 

Another woman, known in court as Jane Doe 2, described enduring depression and stress related to Kelly's abuse. She paused in her comments to demand his attention when Kelly whispered to his attorney. "I'm sorry," she said. "I don't want to interrupt his conversation."

A man identified as Charles, the father of another woman, said in a resigned tone, "So many people love you and they hate us." He noted that Kelly hadn't expressed remorse. Charles urged Kelly to confess and to ask for God's forgiveness.

 against the multi-platinum singer. In 2008, he stood trial in his hometown of Chicago for child pornography. He was 

From there, Kelly continued to live his life of superstardom, performing across the world and selling out venues. 

 renewed interest in the sexual abuse allegations against Kelly and gave a sustained push to the activists who had been pushing for Kelly to be 

Andrew Limbong

Anastasia Tsioulcas

The R&B star was convicted in New York last year of sexual exploitation of a child, bribery, sex trafficking and racketeering.


Elizabeth Williams

Scott Olson/Getty Images

Elizabeth Williams/AP

R. Kelly is sentenced to 30 years in prison 

After taking a sip of his tea towards the end of his six-song set, 

 turns to his band and exclaims: "We lowkey breezed through this b****! That's great for two rehearsals!"

From the moment Curry and his people stepped foot into NPR headquarters to record their Tiny Desk concert, the vibes were right. With a 10-piece configuration — consisting of drums, bass, keys, guitar, horns and percussion — the rapper put on a flawless and inspired live performance of songs off his latest LP as well as some of his biggest hits, all freshly arranged for the Tiny Desk.

Over the course of a decade, Curry has released a number of albums and EPs, becoming one of the most versatile emcees in hip-hop today. His sixth studio album, 

marked a new artistic beginning for him: infusing neo-soul, jazz and traditional hip-hop influences into the album, with less "rah" and more mature introspection. Throughout this concert, you get a little bit of both.

Curry and the Cold-Blooded Soul Band open their set with "Melt Session #1," a feel-good neo-soul groove where Curry's introspective lyrics flow beautifully, taking center stage. Then kicking it up a notch, Curry performs "Walkin" and "Troubles" with an assist from DJ POSHtronaut, employing some serious bounce complimented by catchy horn lines. In the second half of his set, Curry takes us back with "DIET_." Evoking instant head-bops as bass and drums smoothly lock in, Curry charms our audience with his improvised rhymes and exuberant personality.

As Curry and the band closed out the concert going absolutely bonkers with "RICKY," I could feel how light the room had gotten as everyone in the audience fed off Curry's infectious energy fueled by distorted guitar and bass and punchy horns. "You know I killed that s***. You know I murked that s***!" Yes, Denzel Curry. Yes you did.

Ashley Pointer

From the moment the versatile emcee arrived at the Tiny Desk, the vibes were right. Watch a six-song set from Curry and a 10-piece live band.


A closeup portrait of a man looking directly at camera

Unkle Luc

Denzel Curry: Tiny Desk Concert

Some anniversaries are hard to celebrate. How should we greet the arrival of October, a year after the stories broke initiating the reckoning that soon became known as #MeToo? Since 

 published their exposés — on Oct. 5 and Oct. 10 of last year, respectively — of Hollywood producer Harvey Weinstein's long career as an alleged serial rapist, a new nationwide discussion has formed about sexual assault, abuse and harassment. Often, this ongoing reckoning feels like not a dialogue, but a war. It has upended lives — most of all, the lives of the women who've come forward with their stories for the first time. It's brought to light the horrific misogyny that some men hold within their hearts, as they have smeared their hateful words all over the Internet. At the same time, it's torn friends and families apart as part of the frightening process of dismantling fundamental ideas about what it even means to be a "man" or a "woman," about what constitutes intimacy and violation and about who deserves protection when the ground of our assumptions is slipping out from under us. The process often feels exhausting, liberating, urgent, impossible — and impossible to ignore.

In what felt like an almost unbearably cruel case of cosmic timing, the spirit of #MeToo surged again as its one-year mark coincided with the Senate Judiciary Committee's hearings around Brett Kavanaugh's nomination to the Supreme Court. Millions heard the testimony of Christine Blasey Ford that Kavanaugh described an attempt to sexually assault her when they were in high school, and we witnessed this singular women become a symbol right before our eyes – a hero and a pariah, a flag in a battle waged over mothers' fears, watered by a man's tears and obscured by the smoke of each witness's own beliefs and illusions. It has been deeply disheartening to confront, yet again, the ways in which the same culture that engendered some of our most familiar and treasured ideals — of teen romance, or masculine authority, or feminine openness — serves the power of some at the expense of others. And it has been necessary, but so painful, to hear more and more women's voices amplified, speaking about what they have endured so that those ideals can be maintained.

Anyone who calls herself a feminist knows, however, that this is just life –- the experience of going on, of even finding ways to be strong and kind and free, when the world is burning around you. (And, in your mind, might even deserve to burn.) It's something women have been talking about in songs since the dawn of popular music.

This weekend, I needed some edification within what was starting to feel like an unbearable struggle. So I did what I always do: I turned to music. I made a playlist. I called it "fed up," and started seeking out songs of women saying they'd had enough, that from this moment on things would be different. And if they couldn't be different, then 

I began at one of popular music's beginnings: the women's blues of the 1920s, in which, as Angela Y .Davis writes in her great study of the genre, "the problem of male violence is named, and varied patterns of implied or explicit criticism and resistance are woven into the artists' performance of them." Ma Rainey's "Cell Bound Blues" starkly outlines one such encounters, which lands the woman, whose resistance involves a gun, in jail. Country music's beginnings also highlight women's resistance: in "Single Girl, Married Girl," a folk song notably recorded without the presence of the family patriarch A.P. Carter, his bride Sara sings of the limits imposed by the ring on her finger. And then there's vaudeville great Sophie Tucker, totally owning the lyrics written for her by Billy Rose in "I'm Not Taking Orders for No One." Moving toward the mid-20th century, I discovered the beautifully cynical "This Will Make You Laugh," written by Irene Higginbotham — one of Tin Pan Alley's few African-American songwriters — and revisited Billie Holiday's stark declaration of independence, "God Bless the Child."

My search for women's angry or stone cold self-assertion yielded even greater results as I moved forward in time. Some songs I found were hits, like "No More Tears (Enough is Enough)," the firestorm of duet between Barbra Streisand and Donna Summer; others, like X-Ray Spex singer Poly Styrene's scream of self-definition, "Oh Bondage! Up Yours!" Then there are the forgotten gems, sometimes taking on not just individual men or even the strictures of romance, but the larger culture that continually puts women at risk. Dory Previn's amazing "Obscene Phone Call" and "Conversation With a Cop," by the all-woman band Fanny, exposed how the authorities can alternately ignore and harass women. Martina McBride's "Independence Day" and Rosanne Cash's "Rosie Strike Back" opened country fans' eyes to domestic violence. By the time we get to the 21st century, Alynda Segarra of Hurray for the Riff Raff is calling out the American songbook itself, rewriting the soul-damaging script of the murder ballad in "The Body Electric."


Some of the songs on this playlist use the language of failing romance to express the bigger need for personal agency and freedom. Others confront harassment or other ways women have been treated as less than human. Some are funny; others tap into anger so hot it's hard to listen to them. Many were written or recorded by young women finding their power in the moment. Others come from weathered voices, sharing wisdom. At four hours, I stopped compiling, but I could have kept going indefinitely, I think. What would you add? We need this soundtrack: a way of saying "no way" that's really inspiration to keep going on.


Ann Powers

Music critic Ann Powers curated a playlist of women expressing one thing: Enough is enough.


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Photos: Bobby Rethwish, XINA, and SYM1 at the 7th St. Entry

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