Stephen Thompson

Stephen Thompson is an editor and reviewer for NPR Music, where he writes the advice column The Good Listener, fusses over the placement of commas and appears as a frequent panelist on All Songs Considered. Since 2010, Thompson has been a fixture on the weekly NPR roundtable podcast Pop Culture Happy Hour, which he created and developed with NPR correspondent Linda Holmes. In 2008, he and Bob Boilen created the NPR Music video series Tiny Desk Concerts, in which musicians perform at Boilen's desk.

In 1993, Thompson founded The Onion's entertainment section, The A.V. Club, which he edited until December 2004. In the years since, he has provided music-themed commentaries for the NPR programs Weekend Edition Sunday, All Things Considered and Morning Edition, on which he earned the distinction of becoming the first member of the NPR Music staff ever to sing on an NPR newsmagazine. (Later, the magic of AutoTune transformed him from a 12th-rate David Archuleta into a fourth-rate Cher.) Thompson's entertainment writing has also run in Paste magazine, The Washington Post and The London Guardian.

During his tenure at The Onion, Thompson edited the 2002 book The Tenacity Of The Cockroach: Conversations With Entertainment's Most Enduring Outsiders (Crown) and copy-edited six best-selling comedy books. While there, he also coached The Onion's softball team to a sizzling 21-42 record, and was once outscored 72-0 in a span of 10 innings. Later in life, Thompson redeemed himself by teaming up with the small gaggle of fleet-footed twentysomethings who won the 2008 NPR Relay Race, a triumph he documents in a hard-hitting essay for the book This Is NPR: The First Forty Years (Chronicle).

A 1994 graduate of the University of Wisconsin, Thompson now lives in Silver Spring, Md., with his two children, his girlfriend, their four cats and a room full of vintage arcade machines. His hobbies include watching reality television without shame, eating Pringles until his hand has involuntarily twisted itself into a gnarled claw, using the size of his Twitter following to assess his self-worth, touting the immutable moral superiority of the Green Bay Packers and maintaining a fierce rivalry with all Midwestern states other than Wisconsin.

The Sunday lineup of 2014's Newport Folk Festival will take thousands of fans to church, as it opens with the Berklee Gospel & Roots Choir and closes with the gospel and R&B titan Mavis Staples.

In the past, the Berklee Gospel & Roots Choir has been employed as a sort of Newport Folk Festival palate-cleanser: a way to kick off the day with something kind, approachable, reverent and rooted in many folk traditions. This year, with Mavis Staples on top of the bill, the group, which opens the proceedings on Sunday, functioned as both and a theme-setter.

John McCauley's ragged roots-rock band Deer Tick has become a Newport Folk Festival staple, along with McCauley's frequent collaborators in Dawes and Delta Spirit.

Nickel Creek's Sara Watkins, Sean Watkins and Chris Thile started out as child prodigies, then built their band into a Grammy-winning commercial force. At the height of their success, though, the three decided to break up and pursue other projects — albeit temporarily, as the title of 2007's "Farewell (For Now) Tour" suggested.

Equal parts rowdy and loving, the husband-and-wife South Carolina duo Shovels & Rope radiates knockabout charm. Cary Ann Hearst and Michael Trent are equally adept at crooning moonily while locking eyes and tearing through blistering folk-rock anthems without seeming to take a breath. Hearst and Trent often swap instruments, giving their sets a freewheeling, unpredictable quality.

You can bundle it up in MP3s and send it zinging through the ether, but Pokey LaFarge's music still seems as though it has emerged from the dustiest 78 at the thrift shop. LaFarge is a man out of time and a true wanderer, with the vintage clothing to match, but he never seems like a mere novelty act: His songs are too sturdy, with too much infectiously zippy energy, to feel anything but authentic.

Aoife O'Donovan got her start in a pair of folk-leaning groups, Sometymes Why and Crooked Still, the latter of which became one of the country's top modern string bands.

Cinematic sweep is hardwired into Band of Horses' sound: Ben Bridwell's voice always seems to be echoing through some canyon or other, whether the guitars are chiming to the rafters or drifting along drowsily. The group's most recent records, Infinite Arms and Mirage Rock, have tended toward the latter half of that equation, but Band of Horses remains versatile in tone, especially onstage.

Jenny Lewis' voice has helped provide a soundtrack to the last 15 years, but it's not part of one specific sound: She's sung heartsick ballads and spiky rock (in Rilo Kiley), summery surf-pop (in Jenny and Johnny), winsome electro-pop (in

A thumbnail description of The Devil Makes Three — "acoustic string-band music with no drummer" — makes its music seem old-fashioned, even quaint. But the California trio plays with boozy aggression and unhinged intensity. If there were a Newport Punk Festival (and, really, why shouldn't there be?), The Devil Makes Three wouldn't be out of place in its lineup, amplification be damned.

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