Ann Powers

Ann Powers is NPR Music's critic and correspondent. She writes for NPR's music news blog, The Record, and she can be heard on NPR's newsmagazines and music programs.

One of the nation's most notable music critics, Powers has been writing for The Record, NPR's blog about finding, making, buying, sharing and talking about music, since April 2011.

Powers served as chief pop music critic at the Los Angeles Times from 2006 until she joined NPR. Prior to the Los Angeles Times, she was senior critic at Blender and senior curator at Experience Music Project. From 1997 to 2001 Powers was a pop critic at The New York Times and before that worked as a senior editor at the Village Voice. Powers began her career working as an editor and columnist at San Francisco Weekly.

Her writing extends beyond blogs, magazines and newspapers. Powers co-wrote Tori Amos: Piece By Piece, with Amos, which was published in 2005. In 1999, Power's book Weird Like Us: My Bohemian America was published. She was the editor, with Evelyn McDonnell, of the 1995 book Rock She Wrote: Women Write About Rock, Rap, and Pop and the editor of Best Music Writing 2010.

After earning a Bachelor of Arts degree in creative writing from San Francisco State University, Powers went on to receive a Master of Arts degree in English from the University of California.

This week, Bob Dylan's first album of new music in eight years, Rough and Rowdy Ways, rose to No. 2 on the Billboard albums chart, making him the first ever artist to have a Top 40 album in every decade since the 1960s. But Bob Dylan is not alone in making vital new music well into what some might call his "retirement" years.

In the liner notes to John Coltrane's 1964 album Live At Birdland, Amiri Baraka (then writing as Le Roi Jones) contemplated the gift the saxophonist and his band offered with this music inspired by the horrific deaths of four Black girls in a Birmingham church bombing inspired by white supremacist hatred. "Listen," Baraka wrote. "What we're given is a slow delicate introspective sadness, almost hopelessness, except for Elvin [Jones], rising in the background like something out of nature... a fattening thunder, storm clouds or jungle war clouds.

"Say their names," the signs read in the streets of America. In 2020, one reckoning shares an unstable boundary with another as protesters masked against the coronavirus expose a different kind of deep debilitation: the racism that permeates American history and the present day, resulting in sudden deaths now recorded and shared on social media, but always present within history, from the arrival of enslaved Africans on the Virginia Coast in 1619 onward.

As technology evolves, so does protest. Awareness of George Floyd's killing at the hands of Minneapolis police officers could only inspire an international grassroots movement because a teenager, Darnella Frazier, decided to record his arrest using her phone and post it to social media. Activists are organizing marches and rallies on Twitter and Instagram, even as they warn participants to be careful of surveillance on those platforms.

Little Richard died on Saturday, May 9, 2020 in Tullahoma, Tenn. at the age of 87. This essay was originally published as part of the book Good Booty: Love and Sex, Black and White, Body and Soul in American Music, written by NPR Music's critic and correspondent Ann Powers and published by Dey Street Books in 2017.

To paraphrase one of her most evocative lyrics, there's something about what happens when you listen to a Lucinda Williams song. The plain but cultivated beauty of her phrase-turning draws you in, but it's another quality that makes a novice listener into an ardent fan. It's the feeling of watching something grow like a flower on a vine: a recollection, a fully fleshed-out image, a person's inner life unfolding.

Like a fast-moving echo of the pandemic itself, music that confronts coronavirus is multiplying rapidly. A playlist created by Spotify "data alchemist" Glenn McDonald has been tracking songs about the ongoing pandemic, and the resulting daily chart is astounding. More than 400 songs have made the list since McDonald created it two weeks ago.

The 21st-century truism that musicians need touring to survive financially in the streaming age has been proven true, brutally, by the COVID-19 outbreak. The shutdown of most venues and festivals has meant a major loss of income for most artists, and the music world is scrambling to come up with ways to ameliorate the crisis.

The latest round of Rock & Roll Hall of Fame inductions were announced today, and Whitney Houston is the only woman honored.

The last decade of music saw major artists break many of the rules about how to release an album. Beyoncé and Drake popularized the "surprise release" — putting out albums with little to no roll-out at all. So in the era of surprise digital drops, and at the beginning of a new year of music, how do you make predictions about what's coming?

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