Point spreads and moneylines ran constantly through my head, mingling with the omnipresent Christmas carols to create a strange backbeat to the holiday season.
—
McKay Coppins,
The Atlantic,
12 Mar. 2026
Each year, Music Hall fills with twinkling lights, the sound of nostalgic carols and the joy of thousands of audience members at Holiday Pops.
The first is rewriting public-domain hymns with community members to sing at protests.
—
Hazlitt,
Hazlitt,
11 Mar. 2026
Instead, the words written in her autobiography served as the guide for the two-hour service filled with hymns and scriptures, as Christ Episcopal Church rector Father Jonathan Archer read a passage from the book which was published in 2000 during her memorial on Friday.
One fan’s decision to belt out power ballads instead of just screaming during Stanford’s free throws at the ACC Tournament has turned into the most shareable fan moment heading into March Madness.
—
Ryan Brennan,
Fort Worth Star-Telegram,
11 Mar. 2026
Born into an Ecuadorian-Guatemalan family, Southern California’s Trish Toledo first began signing cumbias and ballads before falling head-over-heels for the timeless pop, R&B and soul recordings from the ’60s and ’70s.
At Merkin Hall, Chanticleer rings in the semiquincentennial with a new work by Trevor Weston, which spotlights the legacy of African American spirituals.
—
Inkoo Kang,
New Yorker,
27 Feb. 2026
As iconic church songs that have crossed over into secular spirituals, they were written to be memorable and singable, crowd-tested for at least a couple of generations.
Gustave Doré, the celebrated French illustrator, did elaborate engravings for the three canticles in the mid-19th century and devoted 99 out of 135 of them to Dante Alighieri’s darkest scenes.
For an artist whose hits have leaned heavily into funk-pop anthems and retro-modern grooves, opening his first solo album in a decade with a bolero is an unexpected statement — but a fearless embrace of his cultural and artistic heritage.
—
Isabela Raygoza,
Billboard,
13 Mar. 2026
Country Joe McDonald, the Bay Area music legend who crafted one of the definitive protest anthems of the Vietnam War era, died on March 7.
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