“Stars and Satellites” Trampled by Turtles, 2012
The hyper-picking band slowed down and embellished its string work with a serene touch while singer Dave Simonett got personal and expressive in songs like “Alone.”
By Chris Riemenschneider
Local music reporter
By Chris Riemenschneider • Local music reporter
The hyper-picking band slowed down and embellished its string work with a serene touch while singer Dave Simonett got personal and expressive in songs like “Alone.”
The soft-voiced Minneapolis indie-folker made a hard case for his more boisterous, Beatles-y, orchestral pop-rocker side on this elaborate-sounding collection built around the simple theme of love.
Few albums under the Americana music tag have burned so slowly or shimmered so elegantly as this atmospheric, occasionally political, heart-tuggingly poetic masterwork.
Hooky indie-rocker Johnny Solomon delivered a quiet, desperate but wondrous-sounding collection that presaged his own personal downturn. He’s doing great now, and songs like “Speed of Sound” have held up equally well.
From rapping over homemade beats in a bedroom closet to delivering them in front of a 70-piece orchestra, it’s amazing how natural the transition felt on this genre-busting and at times heart-stopping collection.
Already an evocative songwriter by the time she got to Duluth for college, the alluringly voiced singer stepped it up as a bandleader and forceful rocker on her fifth record, delivering such cranked-up highlights as the Cure-whirry “Kill the Fun.”
Pairing up with producers Lazerbeak and Ryan Olson, the future “Truth Hurts” hitmaker made her first mark as a sly, fiery, feminist rapper with this dizzying and sometimes dastardly debut LP.
This electrifying two-LP anthology cast a bright new light on royally overshadowed Minnesota groovers such as the Valdons, Maurice McKinnes and Wanda Davis and helped make stars of Sonny Knight and Willie Walker — both sadly lost by decade’s end.
Truth is, any of the quietly stormy Duluth rock trio’s four 2010s albums are worthy of consideration. No Minnesota music unit had a more artistically vibrant decade. This is the most potently written and gorgeously sung of the bunch.
Arguably the best Minnesota hip-hop album of all time, this madly energetic digi-romp still sounds radical and maybe more relevant at decade’s end as the punky Doomtree rapper riffed on truly doomy topics such as corporate greed, political corruption and racial issues.
By Laurie Hertzel
Books editor
By Laurie Hertzel • Books editor
How better to cap the 70-year-career of a literary lion than with a stunning retrospective of poems?
Poems grounded in love and violent death made Smith a finalist for the National Book Award.
Original, bizarre, funny and tragic, these stories lit up the literary sky like a rocket.
Yang’s second memoir is the story of her father’s life in Laos and the family’s migration to America.
Ten graceful, subtle stories, split between virtues and vices, by a winner of the Rea Award for the Short Story.
Brutal and ambitious, this novel was the first by a Jamaican writer to win the Booker Prize.
Hilarious letters by a frustrated academic won Schumacher the title of funniest person in America.
Searing debut about a brother’s death — winner of the Walt Whitman Award.
The tale of a girl and a squirrel got DiCamillo her second Newbery Medal.
The second in Erdrich’s “justice trilogy” won the National Book Award.
Pedro Almodóvar’s magnificent return to form is an autobiographical drama with Antonio Banderas as an artist trying to regain his mojo.
Both “Paddington” movies are great but this one has Hugh Grant, lampooning his own vanity with glee.
Screwball comedy with the freshest actor in the biz, Greta Gerwig, before she became the freshest writer/director, alongside Julianne Moore’s sidesplitting “Danish” accent.
Luca Guadagnino would go on to bigger recognition with “Call Me by Your Name,” but this stylish romantic drama is his best, with a stunner of a performance from Tilda Swinton.
The best superhero movie of the decade is also the funniest, the most inclusive and the most poignant.
More than any of these movies, this elegant study of a deeply odd BDSM relationship has lingered and deepened in my memory.
Wes Anderson’s farce is a grab bag of hilarious, tender weirdness, and Ralph Fiennes is uproarious in the lead.
Oscar (eventually) got it right with this compassionate, boldly structured beauty.
From France, a Hitchcockian thriller about devastating loneliness, set at a remote spot where men hook up for sex.
A spellbinding thrill ride and an exhilarating demo of what the movies can do.
By Neal Justin
Media reporter and columnist
By Neal Justin • Media reporter and columnist
“The Irishman” feels like blarney compared with Martin Scorsese’s previous ode to the gangster world.
Anyone who wasn’t sold on this stylish series, representing the best of American life, must have had smoke in their eyes.
Forget your troubles, c’mon get happy in this great escape, with one impossibly quick zinger after another.
Donald Glover burned all the rule books in this utterly unique dramedy.
The Coens had little to do with this anthology series, but their warped sense of humor was all over each unforgettable season.
The “American Crime Story” season that focused on the O.J. Simpson trial got more buzz, but this doc did a better job addressing the case’s causes and effects.
This animated gem gave a whole new meaning to equine therapy.
No other late-night host rode the bully pulpit with quite as much anger, or wit, as John Oliver.
Louis C.K.’s off-set sins would derail his career, but not before he crafted a masterpiece that inspired fellow comics to reinvent the sitcom.
In the end, Walter White got what he deserved — and so did viewers willing to watch a saint’s slow transition into Satan: the most stunning character study in TV history.
He’s often a creative genius — as well as wack, and lacking a filter. Please make Kanye great again.
He brings an odd-man-out edginess to Nashville and redefines the country-music concert in a Springsteenian way.
For years, Minnesotans have known what an invigorating, empowering musical omnivore she is, and this year the rest of the world learned the 100% truth about this flute-playing force.
High concept, high fashion, high performance. And totally funky. Not to mention an Oscar-nominated actress, too.
His plan is to sing and rap with equal chill authority — and get the whole world to stream his stuff by the millions.
With a prideful twang, she delivered four superb country albums filled with a range of emotions.
No one did heartache and resiliency better. And what a charming live performer.
Three masterful hip-hop albums, “Black Panther” soundtrack and a Pulitzer. Damn. What a decade.
She’s fearless, ambitious and full of ideas. Four of her five albums in the ’10s were outstanding.
She’s fearless, artful and socially conscious. Three terrific solo albums, unparalleled concerts and remarkable films and videos. Raise a glass of lemonade to Queen Bey.
The Ojibwe artist became the first Native to win the state’s most prestigious artistic honor and its $50,000 prize.
A new entry at Vineland Place and Esker Grove Restaurant enhanced both the building’s accessibility and modern feel.
More than 250 objects from the ancient cities of Canopus and Thonis-Heracleion emerged from their watery tomb at Mia.
The Minnesota History Center inaugurated this permanent exhibition space with “Our Home: Native Minnesota.”
This grand exhibition at Mia assembled 30 paintings by the Dutch master.
The once-shuttered Minnesota Museum of American Art in St. Paul came back to life with a grand reopening in St. Paul’s historic Pioneer-Endicott buildings.
Olga Viso’s swan song as Walker director presented seven decades of work by Cuban artists who either stayed after the 1959 revolution or were born after it.
The Minneapolis Institute of Art celebrated its centennial with a secretly planned exhibition, “American Modernism,” drawn from the rich collection of the late Regis Corp. founder.
The original 1993 Weisman Art Museum launched architect Frank Gehry’s career. He came back to oversee an addition that finally made his vision complete.
The acclaimed Minnesota photographer’s huge survey at Walker Art Center featured photos of more than 100 strangers.
By Neal Justin
Media reporter and columnist
By Neal Justin • Media reporter and columnist
No one was better when it came to sticking to this special’s title.
The Hot Pockets gourmand took on more substantial fare without losing his whimsical touch.
Skip the overwatered feature film and binge the streaming shorts, especially the one in which our hapless host gets skewered by Barack Obama.
This special set the stage for C.K. owning the decade, until scandal relegated him to the sidelines.
By challenging the very practice of stand-up, Hannah Gadsby turned her profession on its head.
For a sidesplitting seven years, Ricky Gervais (who’s back this year), Tina Fey and Amy Poehler proved that hosting doesn’t have to be a thankless assignment.
The thought-provoking new voice of the decade.
The best of Chappelle’s “comeback” specials — and that’s saying something.
A star was born, just two months before her first child was in the most hilarious Lamaze class ever.
A master class led by the late artist who never shirked from sweating the small stuff.
There’s a reason History Theatre keeps bringing back its inspired and oddly merry musical about the real-life Duluth murders: It’s entertaining as hell.
Gremlin Theatre dusted off Clifford Odets’ rarely done play in a production that was hilarious, poignant and urgent.
Before Tarell Alvin McCraney won an Oscar for “Moonlight,” he crafted this stunner, which found its way to Broadway four years after the Guthrie did it.
Lucas Hnath’s piercing drama, presented by Walking Shadow, sometimes felt like theater and sometimes felt like church.
Playwright Lorraine Hansberry’s “Raisin in the Sun” inspired the Guthrie’s startling comedy about privilege and pride.
Branden Jacobs-Jenkins’ unsettling and ferociously funny play about slavery benefited from Mixed Blood Theatre’s swing-for-the-fences production.
The Moving Company’s poignant, inventive play without words was a perfect response to a world so broken it feels like there’s nothing left to say.
I’d have bet the hilarious alchemy of this sex farce, forgotten until Mark Rylance’s Broadway revival, could not be re-created, but Mo Perry, Stacia Rice and Sara Richardson left me gasping for breath.
We spend 90 minutes with the teenage characters and, by the end of the evening, it feels like we know them.
I loved Theater Latté Da’s “Sweeney Todd,” too, but this provocative Stephen Sondheim musical stuck with me more.
She delivered heartbreaking innocence in a transcendent production at the Guthrie.
The young cast of this soccer drama at Jungle Theater played Sarah DeLappe’s one-act like a taut drum.
The two veterans gave us chills in Theatre Latté Da’s staging of the Sondheim musical.
The pocket-sized star brought impeccable chops to the title role of this kinetic production at Children’s Theatre Company.
David Huynh, Sherwin Resurreccion and Meghan Kreidler helped make this refugee story a bracing must-see at Mixed Blood.
Patel evoked all the feels in the Guthrie’s shattering production of Ayad Akhtar’s Pulitzer Prize-winning drama.
Terry Bellamy, James Craven and Dame Jasmine Hughes led the sublime cast of Penumbra’s August Wilson revival.
She was an electric Anita in the Guthrie’s razzle-dazzle production before Steven Spielberg tapped her for his upcoming film version of the Bernstein musical.
From focused Christiana Clark (“In the Red and Brown Water”) to magisterial Gavin Lawrence (“The Brothers Size”) and grace-filled Nathan Barlow (“Marcus; or the Secret of Sweet”), Marion McClinton cast nimble players in Tarell Alvin McCraney’s plays for Pillsbury House.
Nik Walker’s Aaron Burr was an emotive everyman, but the entire touring cast of this revolutionary show didn’t miss a shot.
By Terry Blain
Freelance classical music critic
By Terry Blain • Freelance classical music critic
Philip Brunelle’s VocalEssence turned 50 with a joyful take on Bernstein’s operetta, brilliantly re-imagined as a 1930s radio broadcast by Peter Rothstein.
Discs of Sibelius by the Minnesota Orchestra (2014) and Schubert by the SPCO (2018) won the ultimate accolade.
Filling in for André Watts at Orchestra Hall, the Minneapolis native was imperious in Beethoven’s “Emperor” Concerto.
Minnesota Orchestra conductor laureate Stanislaw Skrowaczewski’s final performance of Bruckner’s Eighth Symphony was one for the ages.
Metropolitan Opera fired its longtime music director James Levine — a welcome sign the #MeToo movement had finally caught up with classical music.
In a decade that saw Dominick Argento’s passing, Dale Warland’s performance of the Minneapolis-based composer’s choral masterpiece lingers in the memory.
St. Paul Chamber Orchestra appointed principal violinist Kyu-Young Kim as artistic director — a first for a major U.S. orchestra.
Minnesota Opera thrilled Wagnerians with its first-ever staging of a work from the composer’s epic Ring cycle.
This August festival quickly became indispensable for its programming of art song and commitment to young singers.
Osmo Vänskä stormed Carnegie Hall with Sibelius’ masterpiece on an evening when the New Yorker’s Alex Ross thought “the Minnesota Orchestra sounded like the greatest orchestra in the world.”
Writing Chris Riemenschneider, Laurie Hertzel, Neal Justin, Chris Hewitt, Rohan Preston, Jon Bream, Alicia Eler, Terry Blain
Editing Tim Campbell, Hannah Sayle
Design Anna Boone, Jamie Hutt, Josh Penrod
Development Anna Boone, Jamie Hutt