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I was at O'Hare late with a few others ready to get on a plane to Eau Claire. They held it as long as they could and just in time Rodgers hit Cook with a fastball, Crosby hit a wobbly kick, and up in the air we went, passing over a state in celebration.
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Every season of BoJack thus far has been solid, but Season Four hits a new level, delving into BoJack's family history, taking dementia head on, and staying hilarious when it needs to. I'm consistently amazed at the depth they can get out of their characters.
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I've spent at least 65% of my time this year with "Boys" stuck in my head. It's a perfect pop song that blew right through the summer and is still on my near-daily rotation. Then there's the video, a GIF machine that's lighthearted, weird, and has a message.
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For years Brooklyn's own Cuddle Magic has been producing quirky, interesting, complex pop and they continue that in full. Ashes/Axis takes a slightly darker tone, though, and it fits them as you can tell in bangers like "Slow Rider" and "Trojan Horse."
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The self-titled Dirty Projectors release this year was essentially a break-up record with a lot of hits and a lot of misses, but this longing love song stands tall above everything else, showing the best of David Longstreth's songwriting and arrangement.
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Fair State isn't a new brewery, but their output this year has been phenomenal. Every visit has a new sour that blows me away (the recent Lactobac stands out in my mind particularly) and their new Giantsbane stout has been a go-to for me this winter.
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This weirdo power couple collaborated on the standout "Summer Friends" last year, but Chance's verse on the already great "May I Have This Dance," paired with the classic, single-shot Francis video created a near perfect song for the summer and beyond.
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Frank Ocean is a powerhouse in his own right and had a hell of a year for not putting out an album, but then pair him with an old Jay-Z verse and a quickly resurgent Tyler The Creator and you create a song that is equal parts swagger and raw emotion.
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If you enjoy feeling a never ending sense of dread and anger, then this year and this documentary are for you. It's a frustrating train wreck that details Roger Stone – the man behind some of the most evil, ugliest moments in American political history.
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I usually go to restaurants more than once before judgment, but it took one meal at Giant in Chicago to know that this was one of the best experiences I would have. It was fresh, flavorful, and exquisitely planned, without pretension that usually comes along.
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The words of James Baldwin cast over affecting visuals created one of the most powerful pieces of art in general this year, at one time beautiful, gripping, and terrifying. It's only more relevant in our fractured society, making this an absolute must-watch.
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I tend to not be a lyrics-centric person, but something about Jason Isbell's "If We Were Vampires" stopped me dead in my tracks. It's a simply told, beautiful story with enough balance between melancholy and optimism to strike you right in the heart.
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I've been mildly obsessed with Jonathan Sunde’s songwriting since first hearing The Daredevil Christopher Wright in college. His songs are so emotive and poetic, yet relatable. He hits again with this beautiful duet with the help of Monica Martin of PHOX.
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Kamasi Washington's Harmony of Difference was a go-to for me this year, with gorgeous melodies and locked in rhythms. But Washington's work shone brighter for me as a sidekick to Ibeyi and Kendrick, adding an extra element to those already great albums.
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I mean, it’s no surprise that Kendrick would put out one of the best – if not the best – record of the year. It seems almost commonplace. So take this moment to stop, take a deep breath, and go back and listen to DAMN. with fresh ears. It’s still amazing.
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There's a lot of background to Kesha's Rainbow and her defiant reemergence but even beyond that, songs like "Praying" are what pop music needed in 2017: Full, bold, and packed with emotion. Also, I've been waiting for a good kill-em-with-kindness anthem.
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I first heard Land Of Talk while waiting in line for coffee in college. Finally, almost a decade later, I got to see one of my favorite songwriters and one of the best three-piece (OK, now four-piece) rock band in recent memory. It was as good as I imagined.
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Besides being emblematic of the new wave of emo hip hop (RIP Lil Peep) to hit the airwaves this year, Lil Uzi Vert's "XO Tour Llif3" stands on its own as a modern anthem firing in all the right places, finding a perfect balance between catchy and heavy.
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Aziz Ansari's Master Of None is full of unchecked decadence (especially in its second season) but still comes off as relatable, human, and intimate due to phenomenal storytelling, a perfect soundtrack and masterclass acting that ties it all together.
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Mina Kimes has been a rising star at ESPN for a few years, but for obvious reasons her profile on Aaron Rodgers was a personal favorite of mine (though so was her piece on e-sports). Her writing is so human and so empathetic, it's impossible to put down.
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I was always surprised the Chippewa Valley seemed behind in craft beer. In some ways, Eric Rykal has built it up himself. After a stint at Lucette and helping to found Brewing Projekt, he's able to be himself with Modicum's crazy good traditional beers.
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Phil Elverum's A Crow Looked At Me is a gorgeous, close collection of grief, kicked off by the intimate opener "Real Death." The song is short and precise with a breathtaking humanity, simpler than a lot of Elverum's earlier work, but just as poignant.
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The print and radio work Nikole Hannah-Jones has been doing for the last few years is so deeply and well reported (and got her a Macarthur Genius grant), but her longform piece for the New York Times is a pinnacle of journalism on race and segregation.
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On the back of "Slip Away" – absolutely one of the songs of the year – Mike Hadreas' new record No Shape is touching, powerful, catchy, luscious, and everything you'd expect as his sound matures and grows with the help of a full band and a full studio.
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Brian Reed's literary-ish documentary podcast was a smash hit and worth all the praise it received. Beyond it's obviously stellar storytelling, though, it opened a much needed discussion around exploitation in journalism and who owns their own stories.
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Sampha has been in the background of everyone (Kanye, Drake, Solange, Jessie Ware, etc) for the last few years. But with Process he steps out front and shines with crushing songwriting, lucius production, and of course his voice that soars above it all.
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I'm not sure I've had as much fun reading anything else. Shea Serrano answers the right questions (What was the most disrespectful dunk in history? Was Kobe a dork?) with unmatched illustrations that tell the best modern history of The Association I've seen.
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You don't have to go far to find someone comparing 2017 to 1972 and Slow Burn definitely ties our current presidential situation to Watergate, but this Slate history of the Nixon scandal has a light touch that focuses on great storytelling above comparisons.
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I have spent most my life shopping at Target, but this year's Goodfellow line was a revelation. It's styled and produced at such a high level for the price allowing men to actually build a wardrobe that goes beyond five days without spending a year's salary.
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Quirky, modern dramedy by a comedian I already love set in Chicago? Yup, sign me up. But The Big Sick exceeded expectations with a touching, funny, well-written story by Kumail Nanjiani and phenomenal acting by Ray Romano and Holly Hunter, among others.
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Giannis Antetokounmpo has been lovable since he entered the league, but as a Bucks fan even more now that he's become an out-of-this-world player. His stat lines are only matched by his couple-times-a-game dunks or blocks that force you out of your seat.
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I'm increasingly amazed with The Daily's output. The weekday show from the New York Times uses their reporting might to cover timely news, breathtaking personal stories, and behind-the-scenes snippets, all backed by host Michael Barbaro's intimate affability.
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If I'm looking back at 2017 in a decade, the ten days of Anthony Scaramucci might be the most succinct explainer of the car crash thrill that permeated daily life. Minute by minute refreshing Twitter, each detail more ridiculous than the next before exploding.
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The World Is A Beautiful Place And I'm No Longer Afraid To Die takes up nearly 30% of my character count, but it leaves just enough space to say that this album might be the perfect rock 'n roll match for 2017 – loud, defiant, and realistically optimistic.
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Each day (sometimes twice) my alarm goes off and I spend 15 minutes buried in what might be the best app in years. The live trivia concept (for real money, no less) is genius, fun, and social in just the right ways. (FWIW, my referral code: thomfountain)
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Gimlet has no shortage of great podcasts, but Uncivil stood out above the rest this year. On the skills of professor Chenjerai Kumanyika and radio veteran Jack Hitt, Uncivil unpacks the real history of the Civil War in a time where that is all too relevant.
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For as much love as he’s gotten since Hell Can Wait it still sometimes feels like Vince Staples is criminally underrated. On Big Fish Theory, Staples tackles race, poverty, fame and politics over rich, heavy beats that are just begging for you to get tinnitus.
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Roman Mars pairs up with constitutional law professor Elizabeth Joh to use the news as a jumping off point into stories from courtrooms past. The mood is surprisingly light for a dense and often fraught topic, which is helped by Doomtree's soundtrack.
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It feels both accurate and reductive to call Ann Kim's new Minneapolis joint a pizza place. The pizza is unbelievable, but the success of Young Joni encompasses so much more: the atmosphere, the service, the sides, the drinks. And yes, definitely the pizza.
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Since being a rising star at Planet Money, Zoe Chace has become a star at This American Life, covering politics with a soft, human focused touch that delivers gripping stories of our country and its divides. Since the election, she has become a must listen.