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"title": "The Taylor Swift Ticket Fiasco Is Refocusing a Spotlight on Ticketmaster's Dominance",
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"content": "\u003cp>Ticket sales for Taylor Swift’s upcoming tour have not gone, in the words of the chart-topping singer, \u003ca href=\"https://www.npr.org/sections/now-playing/2021/11/12/1054886542/taylor-swift-all-too-well-10-minute-version-taylors-version-from-the-vault\">all too well\u003c/a>.\u003c/p>\n\u003cp>Mixed messages, long wait times and temporary \u003ca href=\"https://www.nbcnews.com/business/ticket-sales-taylor-swift-tour-reignite-fan-frustration-ticketmaster-rcna57164\">outages on the Ticketmaster website\u003c/a> left scores of fans frustrated and empty-handed when the first wave of tickets for the 52-date Eras Tour, scheduled for next year and Swift’s first since 2018, went on sale on Tuesday.\u003c/p>\n\u003cp>[aside postid='arts_13906513']Ticketmaster rescheduled additional rounds due to \u003ca href=\"https://twitter.com/Ticketmaster/status/1592579481449168898?s=20&t=aoZMp_rOwRJKG1d-0boJrQ\">what it called\u003c/a> “historically unprecedented demand,” saying “millions” had tried to buy pre-sale tickets and hundreds of thousands had done so successfully.\u003c/p>\n\u003cp>On Thursday afternoon, the day before tickets were due to open to the general public, \u003ca href=\"https://twitter.com/Ticketmaster/status/1593333211769106433?s=20&t=FUhACuptuukloKgaS0D_8A\">it announced\u003c/a> that the sale had been cancelled altogether due to “extraordinarily high demands on ticketing systems and insufficient remaining ticket inventory to meet that demand.”\u003c/p>\n\u003cp>The frenzy has brought renewed scrutiny to the giant Ticketmaster, which critics have long accused of abusing its market power at the expense of consumers. Would-be concertgoers have complained vocally about recent incidents with \u003ca href=\"https://www.npr.org/2021/12/10/1063237219/olivia-rodrigo-sour-tour-tickets\">near-instant sellouts\u003c/a> and \u003ca href=\"https://dailyhive.com/vancouver/ticketmaster-harry-styles-concert\">skyrocketing prices\u003c/a>, and artists like \u003ca href=\"https://www.nytimes.com/1994/07/01/arts/pearl-jam-musicians-testify-on-ticketmaster-s-prices.html\">Pearl Jam\u003c/a> and \u003ca href=\"https://www.rollingstone.com/music/music-news/bruce-springsteen-furious-at-ticketmaster-rails-against-live-nation-merger-97368/\">Bruce Springsteen\u003c/a> have feuded with it over the decades.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One common complaint is that there doesn’t seem to be a clear alternative or competitor to Ticketmaster, especially after it \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=122970946\">merged with concert provider Live Nation\u003c/a> in 2010 (a controversial move that required conditional approval from the U.S. Department of Justice).\u003c/p>\n\u003cp>Now Tennessee’s attorney general, a Republican, is opening a \u003ca href=\"https://www.cnbc.com/2022/11/17/tennessee-ag-investigating-ticketmaster-after-taylor-swift-ticket-chaos.html\">consumer protection investigation\u003c/a> into the incident and Democratic lawmakers are asking questions about the company’s dominance — not for the first time.\u003c/p>\n\u003cp>Ticketmaster has not responded to NPR’s request for comment, but did \u003ca href=\"https://business.ticketmaster.com/business-solutions/the-taylor-swift-on-sale-explained-2/\">publish a statement\u003c/a> on Thursday called ”The Taylor Swift On Sale Explained.”\u003c/p>\n\u003cp>“Taylor Swift’s tour sale is a perfect example of how the Live Nation/Ticketmaster merger harms consumers by creating a near-monopoly,” \u003ca href=\"https://twitter.com/SenBlumenthal/status/1592719426486693888?s=20&t=6NMdGIyJyVdkFRiIViR22Q\">tweeted \u003c/a>Sen. Richard Blumenthal (D-Conn.), one of several lawmakers who has long \u003ca href=\"https://twitter.com/SenBlumenthal/status/1593041603756986370?s=20&t=qDLR5WiReLMexu-3jldnmA\">called for investigation\u003c/a> and accountability into the company, especially after becoming a subsidiary of concert behemoth Live Nation.\u003c/p>\n\u003cp>And he took some inspiration from the lyrics of Swift herself: “Consumers deserve better than this \u003ca href=\"https://www.youtube.com/watch?v=b1kbLwvqugk\">anti-hero\u003c/a> behavior.”\u003c/p>\n\u003ch2>Lawmakers have long been skeptical of Ticketmaster’s ‘reputation’\u003c/h2>\n\u003cp>Various Democratic lawmakers have called for greater antitrust enforcement over the years, including urging the Justice Department to investigate the state of competition in the ticketing market as recently as \u003ca href=\"https://twitter.com/RepCicilline/status/1592631480563675136?s=20&t=f40vMZ71zLcqFzmvwY9JrA\">April 2021\u003c/a> and \u003ca href=\"https://www.blumenthal.senate.gov/newsroom/press/release/blumenthal-and-klobuchar-urge-doj-action-to-restore-competition-in-the-concert_live-entertainment-market\">March of this year\u003c/a>.\u003c/p>\n\u003cp>Some also want to hear from Ticketmaster directly — including Sen. Amy Klobuchar, chair of the Senate Judiciary Subcommittee on Competition Policy, Antitrust, and Consumer Rights.\u003c/p>\n\u003cp>Klobuchar announced on Thursday that she had \u003ca href=\"https://www.klobuchar.senate.gov/public/index.cfm/news-releases?ID=A32B7DB3-6D73-4ED7-94E5-BD6E205A0F8E\">sent a letter\u003c/a> to Ticketmaster president and CEO Michael Rapino expressing concern about the lack of competition and asking about certain company practices.\u003c/p>\n\u003cp>[aside postid='arts_13846754']“Ticketmaster’s power in the primary ticket market insulates it from the competitive pressures that typically push companies to innovate and improve their services,” she wrote. “That can result in the types of dramatic service failures we saw this week, where consumers are the ones that pay the price.”\u003c/p>\n\u003cp>Ticketmaster was only able to merge Live Nation under an antitrust consent decree, with certain conditions aimed at preventing it from abusing its market position. Citing numerous complaints, Klobuchar expressed concern about a “pattern of non-compliance” with those legal obligations.\u003c/p>\n\u003cp>She requested that Rapino respond in writing by Wednesday to a set of five questions, including: how much the company has invested in upgrading its systems to address demand surges, what percentage of high-profile tour tickets are typically available to the general public and whether it is aware of any complaints to government agencies about noncompliance in the past 12 months.\u003c/p>\n\u003cp>Klobuchar also notes that her concerns date back much further than that.\u003c/p>\n\u003cp>“I have been skeptical of the combination of these companies since you merged in 2011, when the Senate held a hearing into the merger,” she wrote. “At that hearing, you appeared as a witness and pledged to ‘develop an easy-access, one-stop platform that can deliver … tickets.’ And you said that you were ‘confident this plan will work.’ It appears that your confidence was misplaced.”\u003c/p>\n\u003ch2>Critics don’t want Ticketmaster to just ‘shake it off’\u003c/h2>\n\u003cp>Several Democrat lawmakers turned to Twitter to air their bad blood against the company, with many calling it a monopoly and calling for change.\u003c/p>\n\u003cp>“Daily reminder that Ticketmaster is a monopoly, its merger with Live Nation should never have been approved, and they need to be reigned in,” wrote Rep. \u003ca href=\"https://twitter.com/AOC/status/1592587226801934336?s=20&t=FTi6d-kBb5uiFF0QzlvgVw\">Alexandria Ocasio-Cortez\u003c/a> (D-N.Y.). “Break them up.”\u003c/p>\n\u003cp>[aside postid='arts_13841293']Rep. \u003ca href=\"https://twitter.com/RepCicilline/status/1592631477463707650?s=20&t=CTuO9eWVmVEpL-AB5otrgA\">David Cicilline \u003c/a>(D-R.I.), who chairs the House Subcommittee of Antitrust, Commercial and Administrative Law, described Ticketmaster’s wait times and fees as “the symptom of a larger problem.”\u003c/p>\n\u003cp>“It’s no secret that Live Nation-Ticketmaster is an unchecked monopoly,” he added.\u003c/p>\n\u003cp>Rep. Bill Pascrell (D-N.J.) wasted no time weighing in on the Swift fiasco.\u003c/p>\n\u003cp>“You’d think with their endless list of fees Ticketmaster could have a working website,” he \u003ca href=\"https://twitter.com/BillPascrell/status/1593261951664136193?s=20&t=vRyIClxSWX9A_8pzJn60Kw\">tweeted on Thursday\u003c/a>, reiterating comments he made on Tuesday. “Break up the Live Nation-Ticketmaster monopoly.”\u003c/p>\n\u003ch2>Ticketmaster says the sale broke records — and its website\u003c/h2>\n\u003cp>In its Thursday statement, Ticketmaster explained how it prepared for the pre-sale period, noting that 3.5 million people pre-registered for the Verified Fan program, the largest such number in its history and one that “informed the artist team’s decision to add additional dates” to the tour.\u003c/p>\n\u003cp>The company says that using Verified Fan invite codes has historically helped manage the volume of users visiting the website to buy tickets, though that wasn’t the case on Tuesday.\u003c/p>\n\u003cp>“The staggering number of bot attacks as well as fans who didn’t have invite codes drove unprecedented traffic on our site, resulting in 3.5 billion total system requests — 4x our previous peak,” it said, adding that it slowed down some sales and pushed back others to stabilize its systems, resulting in longer wait times for some users.\u003c/p>\n\u003cp>It estimates that about 15% of interactions across the website experienced issues, which it said is “15% too many.” But it also said a record-breaking number of fans were able to buy tickets: More than 2 million were sold on Tuesday for Swift’s tour, the most ever for an artist in a single day.\u003c/p>\n\u003cp>[aside postid='arts_13884673']Ticketmaster acknowledged that in-demand sales pose technical challenges, and says that even if that were not the case, many fans would still be left without tickets.\u003c/p>\n\u003cp>“For example: based on the volume of traffic to our site, Taylor would need to perform over 900 stadium shows (almost 20x the number of shows she is doing),” it said. “That’s a stadium show every single night for the next 2.5 years.”\u003c/p>\n\u003cp>Ticketmaster’s largest shareholder also appeared to place the blame on Swift in an interview on Thursday.\u003c/p>\n\u003cp>Greg Maffei, CEO of Liberty Media, which owns a majority stake of Live Nation, told \u003ca href=\"https://www.cnbc.com/2022/11/17/taylor-swift-ticketmaster-fiasco-due-to-demand-bots-liberty-media-ceo-says.html\">CNBC’s \u003cem>Squawk on the Street\u003c/em>\u003c/a> that the company is sympathetic to fans but the demand was simply too great, which he suggested was due to the fact that Swift hasn’t toured in five years.\u003c/p>\n\u003cp>“It’s a function of Taylor Swift,” he said. “The site was supposed to open up for 1.5 million verified Taylor Swift fans. We had 14 million people hit the site, including bots, which are not supposed to be there.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Fans did not take kindly to that explanation, if the outpouring of \u003ca href=\"https://twitter.com/matthewstoller/status/1593257010702692354/retweets/with_comments\">angry tweets\u003c/a> has been any indication. Swift hasn’t commented publicly on the Ticketmaster fiasco, though a quick scan of her \u003ca href=\"https://www.instagram.com/taylorswift/\">Instagram account\u003c/a> shows that her bio still bears the lyrics from one of her latest hits: “I’m the problem, it’s me.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Taylor+Swift+ticket+fiasco+is+refocusing+a+spotlight+on+Ticketmaster%27s+dominance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ticket sales for Taylor Swift’s upcoming tour have not gone, in the words of the chart-topping singer, \u003ca href=\"https://www.npr.org/sections/now-playing/2021/11/12/1054886542/taylor-swift-all-too-well-10-minute-version-taylors-version-from-the-vault\">all too well\u003c/a>.\u003c/p>\n\u003cp>Mixed messages, long wait times and temporary \u003ca href=\"https://www.nbcnews.com/business/ticket-sales-taylor-swift-tour-reignite-fan-frustration-ticketmaster-rcna57164\">outages on the Ticketmaster website\u003c/a> left scores of fans frustrated and empty-handed when the first wave of tickets for the 52-date Eras Tour, scheduled for next year and Swift’s first since 2018, went on sale on Tuesday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ticketmaster rescheduled additional rounds due to \u003ca href=\"https://twitter.com/Ticketmaster/status/1592579481449168898?s=20&t=aoZMp_rOwRJKG1d-0boJrQ\">what it called\u003c/a> “historically unprecedented demand,” saying “millions” had tried to buy pre-sale tickets and hundreds of thousands had done so successfully.\u003c/p>\n\u003cp>On Thursday afternoon, the day before tickets were due to open to the general public, \u003ca href=\"https://twitter.com/Ticketmaster/status/1593333211769106433?s=20&t=FUhACuptuukloKgaS0D_8A\">it announced\u003c/a> that the sale had been cancelled altogether due to “extraordinarily high demands on ticketing systems and insufficient remaining ticket inventory to meet that demand.”\u003c/p>\n\u003cp>The frenzy has brought renewed scrutiny to the giant Ticketmaster, which critics have long accused of abusing its market power at the expense of consumers. Would-be concertgoers have complained vocally about recent incidents with \u003ca href=\"https://www.npr.org/2021/12/10/1063237219/olivia-rodrigo-sour-tour-tickets\">near-instant sellouts\u003c/a> and \u003ca href=\"https://dailyhive.com/vancouver/ticketmaster-harry-styles-concert\">skyrocketing prices\u003c/a>, and artists like \u003ca href=\"https://www.nytimes.com/1994/07/01/arts/pearl-jam-musicians-testify-on-ticketmaster-s-prices.html\">Pearl Jam\u003c/a> and \u003ca href=\"https://www.rollingstone.com/music/music-news/bruce-springsteen-furious-at-ticketmaster-rails-against-live-nation-merger-97368/\">Bruce Springsteen\u003c/a> have feuded with it over the decades.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One common complaint is that there doesn’t seem to be a clear alternative or competitor to Ticketmaster, especially after it \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=122970946\">merged with concert provider Live Nation\u003c/a> in 2010 (a controversial move that required conditional approval from the U.S. Department of Justice).\u003c/p>\n\u003cp>Now Tennessee’s attorney general, a Republican, is opening a \u003ca href=\"https://www.cnbc.com/2022/11/17/tennessee-ag-investigating-ticketmaster-after-taylor-swift-ticket-chaos.html\">consumer protection investigation\u003c/a> into the incident and Democratic lawmakers are asking questions about the company’s dominance — not for the first time.\u003c/p>\n\u003cp>Ticketmaster has not responded to NPR’s request for comment, but did \u003ca href=\"https://business.ticketmaster.com/business-solutions/the-taylor-swift-on-sale-explained-2/\">publish a statement\u003c/a> on Thursday called ”The Taylor Swift On Sale Explained.”\u003c/p>\n\u003cp>“Taylor Swift’s tour sale is a perfect example of how the Live Nation/Ticketmaster merger harms consumers by creating a near-monopoly,” \u003ca href=\"https://twitter.com/SenBlumenthal/status/1592719426486693888?s=20&t=6NMdGIyJyVdkFRiIViR22Q\">tweeted \u003c/a>Sen. Richard Blumenthal (D-Conn.), one of several lawmakers who has long \u003ca href=\"https://twitter.com/SenBlumenthal/status/1593041603756986370?s=20&t=qDLR5WiReLMexu-3jldnmA\">called for investigation\u003c/a> and accountability into the company, especially after becoming a subsidiary of concert behemoth Live Nation.\u003c/p>\n\u003cp>And he took some inspiration from the lyrics of Swift herself: “Consumers deserve better than this \u003ca href=\"https://www.youtube.com/watch?v=b1kbLwvqugk\">anti-hero\u003c/a> behavior.”\u003c/p>\n\u003ch2>Lawmakers have long been skeptical of Ticketmaster’s ‘reputation’\u003c/h2>\n\u003cp>Various Democratic lawmakers have called for greater antitrust enforcement over the years, including urging the Justice Department to investigate the state of competition in the ticketing market as recently as \u003ca href=\"https://twitter.com/RepCicilline/status/1592631480563675136?s=20&t=f40vMZ71zLcqFzmvwY9JrA\">April 2021\u003c/a> and \u003ca href=\"https://www.blumenthal.senate.gov/newsroom/press/release/blumenthal-and-klobuchar-urge-doj-action-to-restore-competition-in-the-concert_live-entertainment-market\">March of this year\u003c/a>.\u003c/p>\n\u003cp>Some also want to hear from Ticketmaster directly — including Sen. Amy Klobuchar, chair of the Senate Judiciary Subcommittee on Competition Policy, Antitrust, and Consumer Rights.\u003c/p>\n\u003cp>Klobuchar announced on Thursday that she had \u003ca href=\"https://www.klobuchar.senate.gov/public/index.cfm/news-releases?ID=A32B7DB3-6D73-4ED7-94E5-BD6E205A0F8E\">sent a letter\u003c/a> to Ticketmaster president and CEO Michael Rapino expressing concern about the lack of competition and asking about certain company practices.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Ticketmaster’s power in the primary ticket market insulates it from the competitive pressures that typically push companies to innovate and improve their services,” she wrote. “That can result in the types of dramatic service failures we saw this week, where consumers are the ones that pay the price.”\u003c/p>\n\u003cp>Ticketmaster was only able to merge Live Nation under an antitrust consent decree, with certain conditions aimed at preventing it from abusing its market position. Citing numerous complaints, Klobuchar expressed concern about a “pattern of non-compliance” with those legal obligations.\u003c/p>\n\u003cp>She requested that Rapino respond in writing by Wednesday to a set of five questions, including: how much the company has invested in upgrading its systems to address demand surges, what percentage of high-profile tour tickets are typically available to the general public and whether it is aware of any complaints to government agencies about noncompliance in the past 12 months.\u003c/p>\n\u003cp>Klobuchar also notes that her concerns date back much further than that.\u003c/p>\n\u003cp>“I have been skeptical of the combination of these companies since you merged in 2011, when the Senate held a hearing into the merger,” she wrote. “At that hearing, you appeared as a witness and pledged to ‘develop an easy-access, one-stop platform that can deliver … tickets.’ And you said that you were ‘confident this plan will work.’ It appears that your confidence was misplaced.”\u003c/p>\n\u003ch2>Critics don’t want Ticketmaster to just ‘shake it off’\u003c/h2>\n\u003cp>Several Democrat lawmakers turned to Twitter to air their bad blood against the company, with many calling it a monopoly and calling for change.\u003c/p>\n\u003cp>“Daily reminder that Ticketmaster is a monopoly, its merger with Live Nation should never have been approved, and they need to be reigned in,” wrote Rep. \u003ca href=\"https://twitter.com/AOC/status/1592587226801934336?s=20&t=FTi6d-kBb5uiFF0QzlvgVw\">Alexandria Ocasio-Cortez\u003c/a> (D-N.Y.). “Break them up.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Rep. \u003ca href=\"https://twitter.com/RepCicilline/status/1592631477463707650?s=20&t=CTuO9eWVmVEpL-AB5otrgA\">David Cicilline \u003c/a>(D-R.I.), who chairs the House Subcommittee of Antitrust, Commercial and Administrative Law, described Ticketmaster’s wait times and fees as “the symptom of a larger problem.”\u003c/p>\n\u003cp>“It’s no secret that Live Nation-Ticketmaster is an unchecked monopoly,” he added.\u003c/p>\n\u003cp>Rep. Bill Pascrell (D-N.J.) wasted no time weighing in on the Swift fiasco.\u003c/p>\n\u003cp>“You’d think with their endless list of fees Ticketmaster could have a working website,” he \u003ca href=\"https://twitter.com/BillPascrell/status/1593261951664136193?s=20&t=vRyIClxSWX9A_8pzJn60Kw\">tweeted on Thursday\u003c/a>, reiterating comments he made on Tuesday. “Break up the Live Nation-Ticketmaster monopoly.”\u003c/p>\n\u003ch2>Ticketmaster says the sale broke records — and its website\u003c/h2>\n\u003cp>In its Thursday statement, Ticketmaster explained how it prepared for the pre-sale period, noting that 3.5 million people pre-registered for the Verified Fan program, the largest such number in its history and one that “informed the artist team’s decision to add additional dates” to the tour.\u003c/p>\n\u003cp>The company says that using Verified Fan invite codes has historically helped manage the volume of users visiting the website to buy tickets, though that wasn’t the case on Tuesday.\u003c/p>\n\u003cp>“The staggering number of bot attacks as well as fans who didn’t have invite codes drove unprecedented traffic on our site, resulting in 3.5 billion total system requests — 4x our previous peak,” it said, adding that it slowed down some sales and pushed back others to stabilize its systems, resulting in longer wait times for some users.\u003c/p>\n\u003cp>It estimates that about 15% of interactions across the website experienced issues, which it said is “15% too many.” But it also said a record-breaking number of fans were able to buy tickets: More than 2 million were sold on Tuesday for Swift’s tour, the most ever for an artist in a single day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ticketmaster acknowledged that in-demand sales pose technical challenges, and says that even if that were not the case, many fans would still be left without tickets.\u003c/p>\n\u003cp>“For example: based on the volume of traffic to our site, Taylor would need to perform over 900 stadium shows (almost 20x the number of shows she is doing),” it said. “That’s a stadium show every single night for the next 2.5 years.”\u003c/p>\n\u003cp>Ticketmaster’s largest shareholder also appeared to place the blame on Swift in an interview on Thursday.\u003c/p>\n\u003cp>Greg Maffei, CEO of Liberty Media, which owns a majority stake of Live Nation, told \u003ca href=\"https://www.cnbc.com/2022/11/17/taylor-swift-ticketmaster-fiasco-due-to-demand-bots-liberty-media-ceo-says.html\">CNBC’s \u003cem>Squawk on the Street\u003c/em>\u003c/a> that the company is sympathetic to fans but the demand was simply too great, which he suggested was due to the fact that Swift hasn’t toured in five years.\u003c/p>\n\u003cp>“It’s a function of Taylor Swift,” he said. “The site was supposed to open up for 1.5 million verified Taylor Swift fans. We had 14 million people hit the site, including bots, which are not supposed to be there.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fans did not take kindly to that explanation, if the outpouring of \u003ca href=\"https://twitter.com/matthewstoller/status/1593257010702692354/retweets/with_comments\">angry tweets\u003c/a> has been any indication. Swift hasn’t commented publicly on the Ticketmaster fiasco, though a quick scan of her \u003ca href=\"https://www.instagram.com/taylorswift/\">Instagram account\u003c/a> shows that her bio still bears the lyrics from one of her latest hits: “I’m the problem, it’s me.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Taylor+Swift+ticket+fiasco+is+refocusing+a+spotlight+on+Ticketmaster%27s+dominance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Aklasan Fest, The Only Filipino Punk Festival in the U.S., Celebrates Its Return",
"headTitle": "Aklasan Fest, The Only Filipino Punk Festival in the U.S., Celebrates Its Return | KQED",
"content": "\u003cp>While the San Francisco Bay area was focused on the larger Outside Lands festival, where mainstream punk band Green Day took the main stage earlier this month, 3 miles south, in the city’s South of Market neighborhood, a smaller minority of predominantly POC and queer folks gathered at Bindlestiff Studios to enjoy the seventh annual Aklasan Fest. The punk scene as we know it is usually a space dominated by cis white men, but in true punk fashion, Aklasan Fest prioritized the often unheard and unseen voices of punk, creating an inclusive space that was not only educating attendees about Filpino oppression but also highlighting the struggles of marginalized identities through the lens of Filipinos and Filipino Americans.\u003c/p>\n\u003cp>Rupert Estanisalo, who founded the event in 2014, says Aklasan Fest is “the only Filipino punk festival or event like this.” He says he wanted to “create a space just for Filipino punks that looked like me and cared about the issues I cared about that are anti-imperialist, activist and pro-people of color.” In Tagalog, Aklasan means “Rise Up,” and after a two-year pandemic-induced hiatus, it returned, featuring 15 bands from across the country.\u003c/p>\n\u003cfigure id=\"attachment_13917915\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917915 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Attendees headbang and dance to the music at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a Filipino-American photographer, Aklasan is important because it creates a space for us to gather, as a community, to express ourselves and tell our stories artistically. Being the only Filipino punk show in the nation in itself is special. The festival is carving its path and place in the punk scene, surrounded by a robust and tight-knit community who cares about the music and the people.\u003c/p>\n\u003cfigure id=\"attachment_13917916\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917916 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-scaled.jpg\" alt=\"\" width=\"2560\" height=\"859\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-800x268.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-1020x342.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-160x54.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-768x258.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-1536x515.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-2048x687.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-1920x644.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Juan Salazar, the lead vocalist for Bomb PE, (left) and Brenton Aragon, a vocalist with Moxiebeat, (right) perform at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022 (\u003cspan class=\"credit\" aria-label=\"Image credit\">Justin Katigbak for NPR)\u003c/span> \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917919\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917919 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1913\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-800x589.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-1020x750.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-160x118.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-768x565.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-1536x1130.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-2048x1507.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-1920x1413.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Rupert Estanislao, the lead vocalist for Toxic Culture and Bolo, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the dark setting of Bindlestiff, you find yourself surrounded by straight-edge, immigrant, tatted, vegan, working class, Filipino and Filipino-American hardcore punks as well as fans who range in ages, races and genders, moshing to music in both Tagalog and English. Romeo Reyes-Pagdilao, the lead singer of Silakbo, says, “You got bands like us (Silakbo) or our friends like Material Support and Moxiebeat. They got songs talking about our experiences, being Filipino, working people, and growing up in the bell of the beast, the United States.”\u003c/p>\n\u003cfigure id=\"attachment_13917920\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917920\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">JJ Weber, of Obsolete Sun, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917921\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917921\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Jackie Maegan, the lead vocalist for Material Support, performs at the the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Material Support performed “Cost of Living,” written to highlight how difficult it is for working-class people to afford basic housing or food for their families in America. One of the most memorable moments of the festival was when Jackie Mariano, Material Support’s lead singer, gutturally sang out “racialized mass graves” to punctuate the end of the song. “When we wrote it,” Mariano says, “I was thinking of the concept of how we’re forced to navigate the world by class and race. My dad, who died in 2016, is buried in a nice Catholic cemetery in Queens (NY) in a conservative, white, middle-class neighborhood, and with that being our only ‘real estate,’ I still felt like we were out of place, didn’t belong there. What a different juxtaposition for my Filipino immigrant dad to be laid to rest in a nice place, versus many other people who die in war, occupation and are dumped in mass graves. When COVID happened, it’s like the concept of racialized mass graves was made real on Potter’s Field — people constantly forgotten because they were marginalized in life and in death.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like Material Support, most of the bands featured at the festival highlighted the social and economic issues faced by thousands of Filipinos and Filipino-Americans here in the United States and in the Philippines. About the song “World of Death,” Reyes-Pagdilo tells me: “It’s about the world around me and how it can seem very bleak — from climate change (to) living in San Francisco, (the city) with the highest homeless population (where) drug abuse is really rampant — meanwhile, we don’t make enough to eat and (we) work ourselves to the bone.”\u003c/p>\n\u003cfigure id=\"attachment_13917922\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917922\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Mango, of Mirrored Fatality, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917923\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917923 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Mango and Samar, of Mirrored Fatality, perform at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aklasan Fest is like no other, but it’s also become a place of community for many of those who played and attended. AJ Santos, of Material Support and a Filipino immigrant, says the festival is “one of the most important punk fests in the entire world … because it’s one of the festivals that feels like a genuine community — because most of the punk fests that I have been in don’t have the feeling of community.” Aklasan has created a space that centers the voices of Filipinos and Filipino-Americans to agitate, organize and mobilize their community to fight for genuine freedom in the Philippines.\u003c/p>\n\u003cfigure id=\"attachment_13917924\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917924\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1727\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-1536x1020.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-2048x1360.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-1920x1275.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Frankie Ortanez, the lead vocalist for Kanta Kanta, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917925\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917925\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-scaled.jpg\" alt=\"\" width=\"2560\" height=\"850\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-800x266.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-1020x339.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-768x255.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-1536x510.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-2048x680.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-1920x637.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Romeo Reyes-Pagdilao, the lead vocalist for Silakbo, performs (left) as attendees headbang and dance to the music (right) at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022.\u003c/figcaption>\u003c/figure>\n\u003cp>As someone new to punk music and who’s only been to a few shows, I felt connected to the people there through their music and how they showed up for each other. As in any gathering of Filipinos, you’re greeted by everyone, taken care of and walk away well fed. At the festival, people in the crowd were handing out water, socializing in between sets and picking up people who’d fallen down during the mosh pit. Bands let other bands borrow their instruments and then stuck around to watch the others play their sets in a show of support. At times, it felt more like I was spending time with family than at a festival.\u003c/p>\n\u003cp>Closing out the night’s lineup, after the last notes from Material Support, Rupert led the crowd in a chant of “Makibaka! Huwag matakot!,” which translates to “Fight! Do not be afraid!”, reminding fans that this festival is bigger than just the beats, screams and guitar riffs: More importantly, it’s about community and our fight for freedom.\u003c/p>\n\u003cfigure id=\"attachment_13917926\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917926\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Attendees dance to the music at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917927\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917927\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">JJ Weber, of Obsolete Sun, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917928\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917928\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Mango, of Mirrored Fatality, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Justin Katigbak is a Filipino-American documentary photographer and videographer. See more of Justin Katigbak’s work on his website, \u003c/em>\u003ca href=\"http://www.justinkatigbak.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>justinkatigbak.com\u003c/em>\u003c/a>\u003cem>, or on Instagram, at \u003c/em>\u003ca href=\"https://www.instagram.com/justin.katigbak/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>@justin.katigbak\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\n\u003cp>\u003cb>\u003ci>Copyright 2022 NPR. To see more, \u003c/i>\u003c/b>\u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cb>\u003ci>visit NPR\u003c/i>\u003c/b>\u003c/a>.\u003c/p>\n\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While the San Francisco Bay area was focused on the larger Outside Lands festival, where mainstream punk band Green Day took the main stage earlier this month, 3 miles south, in the city’s South of Market neighborhood, a smaller minority of predominantly POC and queer folks gathered at Bindlestiff Studios to enjoy the seventh annual Aklasan Fest. The punk scene as we know it is usually a space dominated by cis white men, but in true punk fashion, Aklasan Fest prioritized the often unheard and unseen voices of punk, creating an inclusive space that was not only educating attendees about Filpino oppression but also highlighting the struggles of marginalized identities through the lens of Filipinos and Filipino Americans.\u003c/p>\n\u003cp>Rupert Estanisalo, who founded the event in 2014, says Aklasan Fest is “the only Filipino punk festival or event like this.” He says he wanted to “create a space just for Filipino punks that looked like me and cared about the issues I cared about that are anti-imperialist, activist and pro-people of color.” In Tagalog, Aklasan means “Rise Up,” and after a two-year pandemic-induced hiatus, it returned, featuring 15 bands from across the country.\u003c/p>\n\u003cfigure id=\"attachment_13917915\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917915 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Attendees headbang and dance to the music at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a Filipino-American photographer, Aklasan is important because it creates a space for us to gather, as a community, to express ourselves and tell our stories artistically. Being the only Filipino punk show in the nation in itself is special. The festival is carving its path and place in the punk scene, surrounded by a robust and tight-knit community who cares about the music and the people.\u003c/p>\n\u003cfigure id=\"attachment_13917916\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917916 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-scaled.jpg\" alt=\"\" width=\"2560\" height=\"859\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-800x268.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-1020x342.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-160x54.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-768x258.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-1536x515.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-2048x687.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-1920x644.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Juan Salazar, the lead vocalist for Bomb PE, (left) and Brenton Aragon, a vocalist with Moxiebeat, (right) perform at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022 (\u003cspan class=\"credit\" aria-label=\"Image credit\">Justin Katigbak for NPR)\u003c/span> \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917919\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917919 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1913\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-800x589.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-1020x750.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-160x118.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-768x565.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-1536x1130.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-2048x1507.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-1920x1413.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Rupert Estanislao, the lead vocalist for Toxic Culture and Bolo, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the dark setting of Bindlestiff, you find yourself surrounded by straight-edge, immigrant, tatted, vegan, working class, Filipino and Filipino-American hardcore punks as well as fans who range in ages, races and genders, moshing to music in both Tagalog and English. Romeo Reyes-Pagdilao, the lead singer of Silakbo, says, “You got bands like us (Silakbo) or our friends like Material Support and Moxiebeat. They got songs talking about our experiences, being Filipino, working people, and growing up in the bell of the beast, the United States.”\u003c/p>\n\u003cfigure id=\"attachment_13917920\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917920\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">JJ Weber, of Obsolete Sun, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917921\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917921\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Jackie Maegan, the lead vocalist for Material Support, performs at the the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Material Support performed “Cost of Living,” written to highlight how difficult it is for working-class people to afford basic housing or food for their families in America. One of the most memorable moments of the festival was when Jackie Mariano, Material Support’s lead singer, gutturally sang out “racialized mass graves” to punctuate the end of the song. “When we wrote it,” Mariano says, “I was thinking of the concept of how we’re forced to navigate the world by class and race. My dad, who died in 2016, is buried in a nice Catholic cemetery in Queens (NY) in a conservative, white, middle-class neighborhood, and with that being our only ‘real estate,’ I still felt like we were out of place, didn’t belong there. What a different juxtaposition for my Filipino immigrant dad to be laid to rest in a nice place, versus many other people who die in war, occupation and are dumped in mass graves. When COVID happened, it’s like the concept of racialized mass graves was made real on Potter’s Field — people constantly forgotten because they were marginalized in life and in death.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like Material Support, most of the bands featured at the festival highlighted the social and economic issues faced by thousands of Filipinos and Filipino-Americans here in the United States and in the Philippines. About the song “World of Death,” Reyes-Pagdilo tells me: “It’s about the world around me and how it can seem very bleak — from climate change (to) living in San Francisco, (the city) with the highest homeless population (where) drug abuse is really rampant — meanwhile, we don’t make enough to eat and (we) work ourselves to the bone.”\u003c/p>\n\u003cfigure id=\"attachment_13917922\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917922\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Mango, of Mirrored Fatality, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917923\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917923 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Mango and Samar, of Mirrored Fatality, perform at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aklasan Fest is like no other, but it’s also become a place of community for many of those who played and attended. AJ Santos, of Material Support and a Filipino immigrant, says the festival is “one of the most important punk fests in the entire world … because it’s one of the festivals that feels like a genuine community — because most of the punk fests that I have been in don’t have the feeling of community.” Aklasan has created a space that centers the voices of Filipinos and Filipino-Americans to agitate, organize and mobilize their community to fight for genuine freedom in the Philippines.\u003c/p>\n\u003cfigure id=\"attachment_13917924\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917924\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1727\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-1536x1020.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-2048x1360.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-1920x1275.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Frankie Ortanez, the lead vocalist for Kanta Kanta, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917925\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917925\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-scaled.jpg\" alt=\"\" width=\"2560\" height=\"850\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-800x266.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-1020x339.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-768x255.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-1536x510.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-2048x680.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-1920x637.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Romeo Reyes-Pagdilao, the lead vocalist for Silakbo, performs (left) as attendees headbang and dance to the music (right) at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022.\u003c/figcaption>\u003c/figure>\n\u003cp>As someone new to punk music and who’s only been to a few shows, I felt connected to the people there through their music and how they showed up for each other. As in any gathering of Filipinos, you’re greeted by everyone, taken care of and walk away well fed. At the festival, people in the crowd were handing out water, socializing in between sets and picking up people who’d fallen down during the mosh pit. Bands let other bands borrow their instruments and then stuck around to watch the others play their sets in a show of support. At times, it felt more like I was spending time with family than at a festival.\u003c/p>\n\u003cp>Closing out the night’s lineup, after the last notes from Material Support, Rupert led the crowd in a chant of “Makibaka! Huwag matakot!,” which translates to “Fight! Do not be afraid!”, reminding fans that this festival is bigger than just the beats, screams and guitar riffs: More importantly, it’s about community and our fight for freedom.\u003c/p>\n\u003cfigure id=\"attachment_13917926\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917926\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Attendees dance to the music at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917927\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917927\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">JJ Weber, of Obsolete Sun, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917928\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917928\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Mango, of Mirrored Fatality, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Justin Katigbak is a Filipino-American documentary photographer and videographer. See more of Justin Katigbak’s work on his website, \u003c/em>\u003ca href=\"http://www.justinkatigbak.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>justinkatigbak.com\u003c/em>\u003c/a>\u003cem>, or on Instagram, at \u003c/em>\u003ca href=\"https://www.instagram.com/justin.katigbak/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>@justin.katigbak\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\n\u003cp>\u003cb>\u003ci>Copyright 2022 NPR. To see more, \u003c/i>\u003c/b>\u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cb>\u003ci>visit NPR\u003c/i>\u003c/b>\u003c/a>.\u003c/p>\n\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "How to Help Uvalde Families Following the Texas Elementary School Shooting",
"headTitle": "How to Help Uvalde Families Following the Texas Elementary School Shooting | KQED",
"content": "\u003cp>\u003cstrong>Updated May 25, 2022 at 2:50 PM ET.\u003c/strong>\u003c/p>\n\u003cp>Uvalde, Texas, is reeling from the \u003ca href=\"https://www.npr.org/2022/05/24/1101037902/texas-elementary-school-shooting-uvalde\" target=\"_blank\" rel=\"noopener noreferrer\">second-deadliest school shooting\u003c/a> in U.S. history after a gunman killed at least 19 children and two adults at Robb Elementary School on Tuesday.\u003c/p>\n\u003cp>Many family members—some of whom \u003ca href=\"https://www.businessinsider.com/families-texas-school-shooting-give-dna-swabs-help-identify-victims-2022-5\" target=\"_blank\" rel=\"noopener noreferrer\">gave DNA swabs\u003c/a> to help investigators identify victims—waited for hours for news of their loved ones.\u003c/p>\n\u003cp>Onlookers in and beyond Texas may be wondering what support they can offer. The community is looking for blood donations, legal assistance and funds for victims’ families. Read on to learn how you can help.\u003c/p>\n\u003ch3>Donate blood in the days and weeks ahead\u003c/h3>\n\u003cp>University Health System—the \u003ca href=\"https://www.npr.org/live-updates/texas-school-shooting-2022-05-24#blood-drives-have-been-set-up-across-uvalde-for-shooting-victims\" target=\"_blank\" rel=\"noopener noreferrer\">largest transfuser of blood\u003c/a> in the San Antonio area—is encouraging community members to donate blood to hospitals and centers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Your donation can help ensure we have supplies immediately available for the victims of this tragic shooting,” \u003ca href=\"https://twitter.com/UnivHealthSA/status/1529218935803023360?s=20&t=veAMHOkaO_o05ntqt6dZdA\" target=\"_blank\" rel=\"noopener noreferrer\">it tweeted\u003c/a>. Many of its online appointments are booked through the end of the month.\u003c/p>\n\u003cp>[aside postid='news_11764070']South Texas Blood & Tissue \u003ca href=\"https://biobridgeglobal.org/community/our-thoughts-right-now-are-with-the-community-of-uvalde/\" target=\"_blank\" rel=\"noopener noreferrer\">said on Tuesday\u003c/a> that thanks to donors, it was able to send 15 units of blood to the school and local hospitals immediately after the shooting, and another 10 to an area hospital later in the day upon request.\u003c/p>\n\u003cp>“We will continue to work with hospitals in the area to make blood available as it’s needed and to rebuild their supply for other patients in need,” the organization said.\u003c/p>\n\u003cp>The blood center is holding an \u003ca href=\"https://donor.southtexasblood.org/donor/schedules/drive_schedule/136932\" target=\"_blank\" rel=\"noopener noreferrer\">emergency blood drive\u003c/a> in Uvalde on today, which it said has already filled up with appointments. It \u003ca href=\"https://twitter.com/connectforlife/status/1529260646117916672?s=20&t=veAMHOkaO_o05ntqt6dZdA\" target=\"_blank\" rel=\"noopener noreferrer\">later tweeted\u003c/a> that donors were experiencing a 2-hour wait time and that all of its appointments were booked through Saturday. But the center stressed that help would still be needed after beyond that point, added slots to its \u003ca href=\"https://biobridgeglobal.org/events/list/?tribe_eventcategory%5B0%5D=468&skin=donors\" target=\"_blank\" rel=\"noopener noreferrer\">Memorial Day blood drive\u003c/a> and encouraged people to \u003ca href=\"https://biobridgeglobal.org/donors/\" target=\"_blank\" rel=\"noopener noreferrer\">schedule (and keep) appointments\u003c/a> for the following week.\u003c/p>\n\u003cp>“This tragedy highlights the importance of always having blood available on the shelf and before it’s needed,” the center said.\u003c/p>\n\u003cp>\u003ca href=\"https://www.redcrossblood.org/faq.html\" target=\"_blank\" rel=\"noopener noreferrer\">Learn more about the blood donation process.\u003c/a>\u003c/p>\n\u003ch3>Support verified fundraisers\u003c/h3>\n\u003cp>GoFundMe has established an online hub of verified fundraisers supporting victims and loved ones affected by the shooting, which \u003ca href=\"https://www.gofundme.com/c/act/donate-to-texas-elementary-school-shooting-relief\" target=\"_blank\" rel=\"noopener noreferrer\">you can find here\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13881725']Those include \u003ca href=\"https://www.gofundme.com/f/mtdrdc-texas-elementary-school-shooting-victims-fund\" target=\"_blank\" rel=\"noopener noreferrer\">a fundraiser organized by VictimsFirst\u003c/a> (a network of survivors and relatives affected by previous mass shootings) to provide victims’ family members with no-strings-attached cash payments.\u003c/p>\n\u003cp>The group said it started the fund “to make sure that 100% of what is collected goes DIRECTLY to the victim base so the victims’ families and those wounded/injured are protected from fraud and exploitation.”\u003c/p>\n\u003cp>As of Wednesday morning, all three verified fundraisers—the VictimsFirst fund, a campaign raising money for funeral expenses for the \u003ca href=\"https://www.gofundme.com/f/please-help-us-put-our-newly-angel-to-rest\" target=\"_blank\" rel=\"noopener noreferrer\">family of Xavier Lopez\u003c/a> and a fundraiser by Austin-based \u003ca href=\"https://www.gofundme.com/f/robb-elementary-school-shooting\" target=\"_blank\" rel=\"noopener noreferrer\">Los Verdes Supporter Group\u003c/a>—had exceeded their financial goals.\u003c/p>\n\u003cp>Two funeral homes in the area, \u003ca href=\"https://www.facebook.com/RushEstesKnowMortUvalde/\" target=\"_blank\" rel=\"noopener noreferrer\">Rushing-Estes Mortuary Uvalde\u003c/a> and \u003ca href=\"https://www.facebook.com/hillcrestfh/photos/a.317618715397540/1334905853668816/\" target=\"_blank\" rel=\"noopener noreferrer\">Hillcrest Memorial Funeral Home\u003c/a>, said in social media posts that they would offer their services to families for free.\u003c/p>\n\u003ch3>More places to donate\u003c/h3>\n\u003cp>The \u003ca href=\"https://www.ucisd.net/\" target=\"_blank\" rel=\"noopener noreferrer\">school district\u003c/a> in Uvalde has opened \u003ca href=\"https://twitter.com/Uvalde_CISD/status/1529515364152901633?s=20&t=RJqsE_eeWdJcG6v1MH5uzw\" target=\"_blank\" rel=\"noopener noreferrer\">an official account\u003c/a> with \u003ca href=\"https://www.fsbuvalde.com/\" target=\"_blank\" rel=\"noopener noreferrer\">First State Bank of Uvalde\u003c/a> to support Robb Elementary families affected by the tragedy. People can send checks through the mail (payable to the “Robb School Memorial Fund”) or donate money through Zelle to robbschoolmemorialfund@gmail.com\u003c/p>\n\u003cp>Other institutions and organizations are also raising money for the community.\u003c/p>\n\u003cp>[aside postid='mindshift_59143']People can donate directly to a \u003ca href=\"https://www.universityhealthsystem.com/ways-to-give/donate-to-a-fund\" target=\"_blank\" rel=\"noopener noreferrer\">Uvalde Victims Relief Fund created\u003c/a> by University Health, for example.\u003c/p>\n\u003cp>The League of United Latin American Citizens (LULAC) has created \u003ca href=\"https://lulac.org/uvaldefund/\" target=\"_blank\" rel=\"noopener noreferrer\">a fund for victims and survivors\u003c/a>, and says 100% of contributions will go directly to their families.\u003c/p>\n\u003cp>“Where 90 percent of the students of Robb Elementary School identify as Hispanics and more than four-fifths are economically disadvantaged, this community NEEDS our collective prayers, help, and support,” the group wrote.\u003c/p>\n\u003ch3>The community is seeking volunteer legal services\u003c/h3>\n\u003cp>The San Antonio Legal Services Association is seeking volunteer attorneys who are licensed to practice in the state of Texas, according to \u003ca href=\"https://www.facebook.com/SALSASanAntonio/posts/550018863333129\" target=\"_blank\" rel=\"noopener noreferrer\">a Facebook post\u003c/a>.\u003c/p>\n\u003cp>“Volunteer NOW to assist Uvalde Shooting Victims and Families with Unmet Legal Needs,” it wrote. “SALSA will respond with pro bono assistance as called upon to do so by community partners and civil leaders over the coming weeks.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The organization is asking qualified attorneys to email them with their area of practice and availability through the month of June.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+to+help+Uvalde+families+following+yesterday%27s+elementary+school+shooting&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated May 25, 2022 at 2:50 PM ET.\u003c/strong>\u003c/p>\n\u003cp>Uvalde, Texas, is reeling from the \u003ca href=\"https://www.npr.org/2022/05/24/1101037902/texas-elementary-school-shooting-uvalde\" target=\"_blank\" rel=\"noopener noreferrer\">second-deadliest school shooting\u003c/a> in U.S. history after a gunman killed at least 19 children and two adults at Robb Elementary School on Tuesday.\u003c/p>\n\u003cp>Many family members—some of whom \u003ca href=\"https://www.businessinsider.com/families-texas-school-shooting-give-dna-swabs-help-identify-victims-2022-5\" target=\"_blank\" rel=\"noopener noreferrer\">gave DNA swabs\u003c/a> to help investigators identify victims—waited for hours for news of their loved ones.\u003c/p>\n\u003cp>Onlookers in and beyond Texas may be wondering what support they can offer. The community is looking for blood donations, legal assistance and funds for victims’ families. Read on to learn how you can help.\u003c/p>\n\u003ch3>Donate blood in the days and weeks ahead\u003c/h3>\n\u003cp>University Health System—the \u003ca href=\"https://www.npr.org/live-updates/texas-school-shooting-2022-05-24#blood-drives-have-been-set-up-across-uvalde-for-shooting-victims\" target=\"_blank\" rel=\"noopener noreferrer\">largest transfuser of blood\u003c/a> in the San Antonio area—is encouraging community members to donate blood to hospitals and centers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Your donation can help ensure we have supplies immediately available for the victims of this tragic shooting,” \u003ca href=\"https://twitter.com/UnivHealthSA/status/1529218935803023360?s=20&t=veAMHOkaO_o05ntqt6dZdA\" target=\"_blank\" rel=\"noopener noreferrer\">it tweeted\u003c/a>. Many of its online appointments are booked through the end of the month.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>South Texas Blood & Tissue \u003ca href=\"https://biobridgeglobal.org/community/our-thoughts-right-now-are-with-the-community-of-uvalde/\" target=\"_blank\" rel=\"noopener noreferrer\">said on Tuesday\u003c/a> that thanks to donors, it was able to send 15 units of blood to the school and local hospitals immediately after the shooting, and another 10 to an area hospital later in the day upon request.\u003c/p>\n\u003cp>“We will continue to work with hospitals in the area to make blood available as it’s needed and to rebuild their supply for other patients in need,” the organization said.\u003c/p>\n\u003cp>The blood center is holding an \u003ca href=\"https://donor.southtexasblood.org/donor/schedules/drive_schedule/136932\" target=\"_blank\" rel=\"noopener noreferrer\">emergency blood drive\u003c/a> in Uvalde on today, which it said has already filled up with appointments. It \u003ca href=\"https://twitter.com/connectforlife/status/1529260646117916672?s=20&t=veAMHOkaO_o05ntqt6dZdA\" target=\"_blank\" rel=\"noopener noreferrer\">later tweeted\u003c/a> that donors were experiencing a 2-hour wait time and that all of its appointments were booked through Saturday. But the center stressed that help would still be needed after beyond that point, added slots to its \u003ca href=\"https://biobridgeglobal.org/events/list/?tribe_eventcategory%5B0%5D=468&skin=donors\" target=\"_blank\" rel=\"noopener noreferrer\">Memorial Day blood drive\u003c/a> and encouraged people to \u003ca href=\"https://biobridgeglobal.org/donors/\" target=\"_blank\" rel=\"noopener noreferrer\">schedule (and keep) appointments\u003c/a> for the following week.\u003c/p>\n\u003cp>“This tragedy highlights the importance of always having blood available on the shelf and before it’s needed,” the center said.\u003c/p>\n\u003cp>\u003ca href=\"https://www.redcrossblood.org/faq.html\" target=\"_blank\" rel=\"noopener noreferrer\">Learn more about the blood donation process.\u003c/a>\u003c/p>\n\u003ch3>Support verified fundraisers\u003c/h3>\n\u003cp>GoFundMe has established an online hub of verified fundraisers supporting victims and loved ones affected by the shooting, which \u003ca href=\"https://www.gofundme.com/c/act/donate-to-texas-elementary-school-shooting-relief\" target=\"_blank\" rel=\"noopener noreferrer\">you can find here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Those include \u003ca href=\"https://www.gofundme.com/f/mtdrdc-texas-elementary-school-shooting-victims-fund\" target=\"_blank\" rel=\"noopener noreferrer\">a fundraiser organized by VictimsFirst\u003c/a> (a network of survivors and relatives affected by previous mass shootings) to provide victims’ family members with no-strings-attached cash payments.\u003c/p>\n\u003cp>The group said it started the fund “to make sure that 100% of what is collected goes DIRECTLY to the victim base so the victims’ families and those wounded/injured are protected from fraud and exploitation.”\u003c/p>\n\u003cp>As of Wednesday morning, all three verified fundraisers—the VictimsFirst fund, a campaign raising money for funeral expenses for the \u003ca href=\"https://www.gofundme.com/f/please-help-us-put-our-newly-angel-to-rest\" target=\"_blank\" rel=\"noopener noreferrer\">family of Xavier Lopez\u003c/a> and a fundraiser by Austin-based \u003ca href=\"https://www.gofundme.com/f/robb-elementary-school-shooting\" target=\"_blank\" rel=\"noopener noreferrer\">Los Verdes Supporter Group\u003c/a>—had exceeded their financial goals.\u003c/p>\n\u003cp>Two funeral homes in the area, \u003ca href=\"https://www.facebook.com/RushEstesKnowMortUvalde/\" target=\"_blank\" rel=\"noopener noreferrer\">Rushing-Estes Mortuary Uvalde\u003c/a> and \u003ca href=\"https://www.facebook.com/hillcrestfh/photos/a.317618715397540/1334905853668816/\" target=\"_blank\" rel=\"noopener noreferrer\">Hillcrest Memorial Funeral Home\u003c/a>, said in social media posts that they would offer their services to families for free.\u003c/p>\n\u003ch3>More places to donate\u003c/h3>\n\u003cp>The \u003ca href=\"https://www.ucisd.net/\" target=\"_blank\" rel=\"noopener noreferrer\">school district\u003c/a> in Uvalde has opened \u003ca href=\"https://twitter.com/Uvalde_CISD/status/1529515364152901633?s=20&t=RJqsE_eeWdJcG6v1MH5uzw\" target=\"_blank\" rel=\"noopener noreferrer\">an official account\u003c/a> with \u003ca href=\"https://www.fsbuvalde.com/\" target=\"_blank\" rel=\"noopener noreferrer\">First State Bank of Uvalde\u003c/a> to support Robb Elementary families affected by the tragedy. People can send checks through the mail (payable to the “Robb School Memorial Fund”) or donate money through Zelle to robbschoolmemorialfund@gmail.com\u003c/p>\n\u003cp>Other institutions and organizations are also raising money for the community.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>People can donate directly to a \u003ca href=\"https://www.universityhealthsystem.com/ways-to-give/donate-to-a-fund\" target=\"_blank\" rel=\"noopener noreferrer\">Uvalde Victims Relief Fund created\u003c/a> by University Health, for example.\u003c/p>\n\u003cp>The League of United Latin American Citizens (LULAC) has created \u003ca href=\"https://lulac.org/uvaldefund/\" target=\"_blank\" rel=\"noopener noreferrer\">a fund for victims and survivors\u003c/a>, and says 100% of contributions will go directly to their families.\u003c/p>\n\u003cp>“Where 90 percent of the students of Robb Elementary School identify as Hispanics and more than four-fifths are economically disadvantaged, this community NEEDS our collective prayers, help, and support,” the group wrote.\u003c/p>\n\u003ch3>The community is seeking volunteer legal services\u003c/h3>\n\u003cp>The San Antonio Legal Services Association is seeking volunteer attorneys who are licensed to practice in the state of Texas, according to \u003ca href=\"https://www.facebook.com/SALSASanAntonio/posts/550018863333129\" target=\"_blank\" rel=\"noopener noreferrer\">a Facebook post\u003c/a>.\u003c/p>\n\u003cp>“Volunteer NOW to assist Uvalde Shooting Victims and Families with Unmet Legal Needs,” it wrote. “SALSA will respond with pro bono assistance as called upon to do so by community partners and civil leaders over the coming weeks.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The organization is asking qualified attorneys to email them with their area of practice and availability through the month of June.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+to+help+Uvalde+families+following+yesterday%27s+elementary+school+shooting&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>\u003cem>Editor’s note:\u003c/em>\u003c/strong>\u003cem> This story contains language that some may find offensive.\u003c/em>\u003c/p>\n\u003cp>Louis C.K. brought home a \u003ca href=\"https://www.npr.org/2022/04/03/1090342877/2022-grammys-full-list-winners-nominees\" target=\"_blank\" rel=\"noopener noreferrer\">Grammy\u003c/a> on Sunday despite having admitted to sexual misconduct and subsequently enduring almost five years in professional comedy purgatory.\u003c/p>\n\u003cp>C.K.’s album, \u003cem>Sincerely Louis C.K.\u003c/em>, beat out five other nominees—including Lewis Black, Kevin Hart and Chelsea Handler—for best comedy album at the \u003ca href=\"https://www.npr.org/2022/04/04/1090348793/2022-grammys-winners-jon-batiste-silk-sonic\" target=\"_blank\" rel=\"noopener noreferrer\">64\u003csup>th\u003c/sup> Grammy Awards\u003c/a>. The comeback album was his first release since the 54-year-old was \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/09/563116374/multiple-women-say-louis-c-k-masturbated-in-front-of-them-new-york-times-reports\" target=\"_blank\" rel=\"noopener noreferrer\">accused of\u003c/a> masturbating in front of multiple female colleagues in November 2017.\u003c/p>\n\u003cp>Twitter users lashed out almost immediately following the Recording Academy’s announcement, many of whom pointed out the irony that C.K.’s winning album made light of the very misconduct that \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/10/563316860/louis-c-k-admits-to-sexual-harassment-of-multiple-female-comedians\" target=\"_blank\" rel=\"noopener noreferrer\">derailed his career\u003c/a> years ago.\u003c/p>\n\u003cp>https://twitter.com/RecordingAcad/status/1510752491985522688\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Rewarding the man that makes light of sexual harassment and assault while having allegations levied against him?” one user \u003ca href=\"https://twitter.com/RecordingAcad/status/1510752491985522688?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1510752491985522688%7Ctwgr%5E%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fiframe.nbcnews.com%2FJH1wkNI%3F_showcaption%3Dtrueapp%3D1\" target=\"_blank\" rel=\"noopener noreferrer\">tweeted\u003c/a>.\u003c/p>\n\u003cp>“The Grammys are a great reminder that ‘cancel culture’ doesn’t exist and no white dude has ever been successfully cancelled for anything terrible that they do,” \u003ca href=\"https://twitter.com/heckinoverit/status/1510769928416251909\" target=\"_blank\" rel=\"noopener noreferrer\">posted another\u003c/a>.\u003c/p>\n\u003cp>In 2017, five women shared experiences with \u003cem>\u003ca href=\"https://www.nytimes.com/2017/11/09/arts/television/louis-ck-sexual-misconduct.html\" target=\"_blank\" rel=\"noopener noreferrer\">the New York Times\u003c/a>\u003c/em>, alleging that C.K masturbated in their presence along with other sexually inappropriate behavior. The comedian had initially denied the allegations, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/10/563316860/louis-c-k-admits-to-sexual-harassment-of-multiple-female-comedians\" target=\"_blank\" rel=\"noopener noreferrer\">NPR previously reported\u003c/a>, but ultimately admitted to his wrongdoing.\u003c/p>\n\u003cp>“At the time, I said to myself that what I did was OK because I never showed a woman my dick without asking first, which is also true. But what I learned later in life, too late, is that when you have power over another person, asking them to look at your dick isn’t a question. It’s a predicament for them,” C.K. said in a 2017 statement. “The power I had over these women is that they admired me. And I wielded that power irresponsibly.”\u003c/p>\n\u003cp>The fallout after his admission came almost instantaneously. On top of the public outcry, networks such as HBO, Netflix and FX cut ties with the formerly revered comedian and pulled past and upcoming programs alike.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Not even one year later, C.K. was back onstage at a comedy club in New York City. However, C.K. has more or less remained out of the spotlight until his latest album. But now he’s back on tour. According to his official \u003ca href=\"https://louisck.com/\" target=\"_blank\" rel=\"noopener noreferrer\">website\u003c/a>, C.K. will spend May and June visiting several European countries, with some of that tour’s shows have already sold out.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Louis+C.K.+cancels+his+cancellation%2C+wins+a+Grammy+and+triggers+a+backlash&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "The 54-year-old comedian admitted to sexual misconduct almost five years ago. He just won a Grammy for best comedy album.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>Editor’s note:\u003c/em>\u003c/strong>\u003cem> This story contains language that some may find offensive.\u003c/em>\u003c/p>\n\u003cp>Louis C.K. brought home a \u003ca href=\"https://www.npr.org/2022/04/03/1090342877/2022-grammys-full-list-winners-nominees\" target=\"_blank\" rel=\"noopener noreferrer\">Grammy\u003c/a> on Sunday despite having admitted to sexual misconduct and subsequently enduring almost five years in professional comedy purgatory.\u003c/p>\n\u003cp>C.K.’s album, \u003cem>Sincerely Louis C.K.\u003c/em>, beat out five other nominees—including Lewis Black, Kevin Hart and Chelsea Handler—for best comedy album at the \u003ca href=\"https://www.npr.org/2022/04/04/1090348793/2022-grammys-winners-jon-batiste-silk-sonic\" target=\"_blank\" rel=\"noopener noreferrer\">64\u003csup>th\u003c/sup> Grammy Awards\u003c/a>. The comeback album was his first release since the 54-year-old was \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/09/563116374/multiple-women-say-louis-c-k-masturbated-in-front-of-them-new-york-times-reports\" target=\"_blank\" rel=\"noopener noreferrer\">accused of\u003c/a> masturbating in front of multiple female colleagues in November 2017.\u003c/p>\n\u003cp>Twitter users lashed out almost immediately following the Recording Academy’s announcement, many of whom pointed out the irony that C.K.’s winning album made light of the very misconduct that \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/10/563316860/louis-c-k-admits-to-sexual-harassment-of-multiple-female-comedians\" target=\"_blank\" rel=\"noopener noreferrer\">derailed his career\u003c/a> years ago.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Rewarding the man that makes light of sexual harassment and assault while having allegations levied against him?” one user \u003ca href=\"https://twitter.com/RecordingAcad/status/1510752491985522688?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1510752491985522688%7Ctwgr%5E%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fiframe.nbcnews.com%2FJH1wkNI%3F_showcaption%3Dtrueapp%3D1\" target=\"_blank\" rel=\"noopener noreferrer\">tweeted\u003c/a>.\u003c/p>\n\u003cp>“The Grammys are a great reminder that ‘cancel culture’ doesn’t exist and no white dude has ever been successfully cancelled for anything terrible that they do,” \u003ca href=\"https://twitter.com/heckinoverit/status/1510769928416251909\" target=\"_blank\" rel=\"noopener noreferrer\">posted another\u003c/a>.\u003c/p>\n\u003cp>In 2017, five women shared experiences with \u003cem>\u003ca href=\"https://www.nytimes.com/2017/11/09/arts/television/louis-ck-sexual-misconduct.html\" target=\"_blank\" rel=\"noopener noreferrer\">the New York Times\u003c/a>\u003c/em>, alleging that C.K masturbated in their presence along with other sexually inappropriate behavior. The comedian had initially denied the allegations, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/10/563316860/louis-c-k-admits-to-sexual-harassment-of-multiple-female-comedians\" target=\"_blank\" rel=\"noopener noreferrer\">NPR previously reported\u003c/a>, but ultimately admitted to his wrongdoing.\u003c/p>\n\u003cp>“At the time, I said to myself that what I did was OK because I never showed a woman my dick without asking first, which is also true. But what I learned later in life, too late, is that when you have power over another person, asking them to look at your dick isn’t a question. It’s a predicament for them,” C.K. said in a 2017 statement. “The power I had over these women is that they admired me. And I wielded that power irresponsibly.”\u003c/p>\n\u003cp>The fallout after his admission came almost instantaneously. On top of the public outcry, networks such as HBO, Netflix and FX cut ties with the formerly revered comedian and pulled past and upcoming programs alike.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Not even one year later, C.K. was back onstage at a comedy club in New York City. However, C.K. has more or less remained out of the spotlight until his latest album. But now he’s back on tour. According to his official \u003ca href=\"https://louisck.com/\" target=\"_blank\" rel=\"noopener noreferrer\">website\u003c/a>, C.K. will spend May and June visiting several European countries, with some of that tour’s shows have already sold out.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Louis+C.K.+cancels+his+cancellation%2C+wins+a+Grammy+and+triggers+a+backlash&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Best and Worst Super Bowl Commercials: Lizzo, Cranky Zeus and More",
"headTitle": "The Best and Worst Super Bowl Commercials: Lizzo, Cranky Zeus and More | KQED",
"content": "\u003cp>As the country’s biggest celebration rolls out on TV’s most-watched platform, this year’s Super Bowl had to overcome an awful lot of bitter realities to focus on entertaining America.\u003c/p>\n\u003cp>There are recent allegations that the NFL \u003ca href=\"https://www.npr.org/2022/02/03/1077927110/brian-flores-nfl-lawsuit\" target=\"_blank\" rel=\"noopener noreferrer\">has shortchanged Black candidates\u003c/a> for head coaching jobs. Ongoing concerns about the \u003ca href=\"https://www.nytimes.com/article/cte-definition-nfl.html\" target=\"_blank\" rel=\"noopener noreferrer\">long-term effects of head trauma\u003c/a> on football players. And the general, disruptive state of the pandemic amid worries about inflation.\u003c/p>\n\u003cp>What’s obvious when looking at the commercials that ran during the Big Game: Most advertisers decided to punt on just about all this, using celebrity, humor, special effects and nostalgia to rush past the issues as if they didn’t exist.\u003c/p>\n\u003cp>[aside postid='arts_13873945']That may be a little disappointing—but not surprising—given that NBC racked up a high of more than $6.5 million for 30 seconds of advertising time. Sports betting, cryptocurrency exchanges, new electric car models and travel sites made big new appearances; with companies spending hundreds of thousands of dollars per second, it’s a small surprise there’s no ads with downer elements like facemasks or pandemic talk.\u003c/p>\n\u003cp>The result was a batch of mostly-middling commercials that didn’t really feel tethered to much. They didn’t offer unbridled partying or celebration, but weren’t often serious or poignant enough to speak to the modern moment, either.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Strategies for releasing ads also differed. Sam’s Club posted its ad online with Kevin Hart back in January; E-Trade saved the reveal of its ad’s special guest star for Super Bowl Sunday—yes, it was \u003ca href=\"https://www.youtube.com/watch?v=4XTdIxmY5UI\" target=\"_blank\" rel=\"noopener noreferrer\">the financial advice-spewing\u003c/a> E-trade baby—and Miller Lite \u003ca href=\"https://adage.com/article/special-report-super-bowl/see-miller-lites-super-bowl-commercial-metaverse/2400371\" target=\"_blank\" rel=\"noopener noreferrer\">stuck a virtual, Super Bowl\u003c/a> “adjacent” commercial inside an area of the metaverse for online consumers.\u003c/p>\n\u003cp>There’s not enough space to take apart all the notable Super Bowl ads—Jim Carrey \u003ca href=\"https://www.youtube.com/watch?v=Z6HbCcSKJGQ\" target=\"_blank\" rel=\"noopener noreferrer\">reprising \u003cem>The Cable Guy\u003c/em> \u003c/a>for Verizon and Mike Myers \u003ca href=\"https://www.youtube.com/watch?v=Y75CPXS9fXw\" target=\"_blank\" rel=\"noopener noreferrer\">playing Dr. Evil\u003c/a> in an electric car for GM were great spots that didn’t make my list.\u003c/p>\n\u003cp>But here’s a sample of the hippest, most entertaining, most telling ads of the Big Game.\u003c/p>\n\u003ch3>Best use of a celebrity power couple: Amazon Alexa’s “Mind Reader”\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=d0UEAr8I9G8\u003c/p>\n\u003cp>Jost and Johansson may sound like a Swedish law firm. But they’re also a puzzlement for some fans who can’t help but wonder what superstar actress Scarlett Johansson and \u003cem>Saturday Night Live\u003c/em> star Colin Jost’s marriage must be like behind closed doors. So props to the couple for scoring a Super Bowl-sized platform to joke about what it would be like if their Alexa digital assistant could read their minds (for example, Alexa, ever the tattletale, reminds Jost to fake his own death on the debut date of a horrible stage project Johansson is rehearsing around their house). Funny and full of fan service, this spot works well, even if it does commit one of my pet peeves about some Super Bowl ads; making the product they’re advertising look not that great to buy.\u003c/p>\n\u003ch3>The “C’mon Guys” award for straining credulity: Sam’s Club’s VIP with Kevin Hart\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=-scnlFAuAQM\u003c/p>\n\u003cp>Sure, it’s funny to see Hart cluelessly asserting that Sam’s Club’s new Scan & Go app was developed just for a VIP like him. But it’s tough to imagine a VIP like Hart spending any time shopping inside a Sam’s Club—even if he thinks the patio display at the center of the store is a lounge area made just for him.\u003c/p>\n\u003ch3>Best rehabilitation of a celebrity’s image: Planet Fitness’ “What’s Gotten Into Lindsay?”\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=SnoVFlMMdK8\u003c/p>\n\u003cp>For someone who has watched Lindsay Lohan struggle with fame over many years, it was kind of cool to see her starring in an ad—narrated by William Shatner, no less—featuring Lohan living a healthy life. She’s making paparazzi cry by sleeping in instead of partying late, outscoring Dennis Rodman on \u003cem>Jeopardy\u003c/em> questions about his own life and bejeweling an ankle bracelet for Danny Trejo while her life is narrated by Captain Kirk. Great message for the benefits of exercise and personal change.\u003c/p>\n\u003ch3>Most horrifying ad that isn’t meant to be: Pringles’ “Stuck In”\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=aP2up9N6H-g\u003c/p>\n\u003cp>We’ve all had that moment where your hand gets stuck in the Pringles can and you wonder if you can ever get it off. But this ad, featuring a guy who leaves the can on his right hand through dating, marriage, the birth of his child and death, feels more like a snack-centered \u003cem>Twilight Zone\u003c/em> episode. Especially when it ends with another young man getting another can stuck on his hand at the first guy’s funeral. I half expected a voice over from the Crypt Keeper. Ugh.\u003c/p>\n\u003ch3>Best use of a celebrity, Part 1: BMW USA’s “Zeus & Hera”\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=nUC1QA5gRcU\u003c/p>\n\u003cp>The only thing better than Arnold Schwarzenegger as a retired Zeus in a midlife crisis—bummed that everyone is asking him to charge their portable hedge clippers and golf carts—is Salma Hayek as his foxy wife, who knows a cool new car will recharge his batteries. Having them sing along to Eddy Grant’s \u003cem>Electric Avenue\u003c/em> while they tool down the road in their new all electric BMW was a bit much. But it was also a stylish way to pitch a cool new electric car to the demographic most likely to buy it.\u003c/p>\n\u003ch3>Best nod to Black folks: Google’s “Lizzo in Real Tone”\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=XhUgcYw9cj4\u003c/p>\n\u003cp>This ad aired not long after the most Black-centered Super Bowl halftime show in history—a deft move which made its message of inclusion even more powerful. As the commercial notes, Black folks have often struggled with cameras and photography technology aligned to work better with white faces, making it tougher to capture dark skin. Google’s Real Tone software, included on its Pixel 6 phones, promises to capture Black skin tones better. As Lizzo sings a poignant new song (“If you love me, you love all of me / Or none of me at all,”) the commercial’s final line of text says, “everyone deserves to be seen as they truly are.” A really touching ad that stands out in a sea of performative, less than relevant nods to diversity.\u003c/p>\n\u003ch3>Best low key shade without talking specifics: Salesforce’s “The New Frontier” and Planters’ “Feed the Debate”\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=tIp251KCz6k\u003c/p>\n\u003cp>I am all here for commercials offering low-key shade to others without naming them outright. Which is why I liked Salesforce’s ad, featuring Matthew McConaughey in a hot air balloon sticking it to Mark Zuckerberg and Elon Musk by telling viewers, “while the others look to the metaverse and Mars, lets stay here and restore ours… Cause the new frontier? It ain’t rocket science. It’s right here.” It’s also a commentary shading public support of rich technocrats’ space ambitions—which also warms my heart coming from a company that can afford millions to air a Super Bowl commercial.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=y0z8tdP9R8M\u003c/p>\n\u003cp>Planters’ ad centers on an argument between Ken Jeong and Joel McHale, former co-stars on the NBC sitcom \u003cem>Community\u003c/em>, clashing over the best way to eat mixed nuts. When they take their argument to social media, it sparks worldwide rioting. “Who knew America would tear itself apart over a relatively minor difference of opinion?” cracks McHale, conjuring images of crazy school board meetings and pandemic protest blockades without directly referencing anything. Well played, sir.\u003c/p>\n\u003ch3>Best nod to classic quality TV that still might not work: Chevrolet’s “New Generation”\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=2bZYqFsU72Y\u003c/p>\n\u003cp>I just finished a rewatch of HBO’s mob drama hit \u003cem>The Sopranos\u003c/em>, so it was a kick to see co-star Jamie-Lynn Sigler, who played daughter Meadow Soprano, driving around one of Chevrolet’s all-electric Silverado trucks until she met up with the guy who played her brother A.J., Robert Iler. (Guess they didn’t get whacked in the finale after all?) But this feels like an odd generational play; consumers old enough to know who they are—and buy the trucks—aren’t part of the “new generation.” Consumers young enough to be part of the new generation might not know who these actors are. Unless they read a piece like this, I guess.\u003c/p>\n\u003ch3>Worst commercial that insults its own product: Cutwater Spirit’s “Here to the Lazy Ones”\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=nOZWYY82ekU\u003c/p>\n\u003cp>As I noted earlier, my biggest pet peeve is commercials that insult the product—or its customers—for the sake of a clever idea. This ad lionizes folks who cut corners like using lawn sprinklers to wash their car or grab icicles off their house to cool a drink rather than use ice from a cooler. The visuals are funny, but I’m not sure it makes sense to compare knuckleheads like this to customers for the product, which promises bar-quality cocktails in a can.\u003c/p>\n\u003ch3>Best use of a celebrity, Part II: Nissan’s “Thrill Driver”\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=Bu56KAaIcac\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Yeah, it’s kinda goofy Nissan thinks we should find it awesome that driving the Nissan Z sportscar would turn Eugene Levy from an exemplar of urbane cool into an action star with hair like a graying Fabio. But it was kinda fun to see him blow by Catherine O’Hara, drive off a roof \u003cem>Fast and Furious\u003c/em>-style and open the passenger door for a tumbling Dave Bautista in midair. Nissan definitely crafted a commercial cooler than the car it’s selling, which may be the greatest Super Bowl TV triumph of all.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+best+%28and+worst%29+Super+Bowl+commercials%3A+Lizzo%2C+cranky+Zeus+and+more&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the country’s biggest celebration rolls out on TV’s most-watched platform, this year’s Super Bowl had to overcome an awful lot of bitter realities to focus on entertaining America.\u003c/p>\n\u003cp>There are recent allegations that the NFL \u003ca href=\"https://www.npr.org/2022/02/03/1077927110/brian-flores-nfl-lawsuit\" target=\"_blank\" rel=\"noopener noreferrer\">has shortchanged Black candidates\u003c/a> for head coaching jobs. Ongoing concerns about the \u003ca href=\"https://www.nytimes.com/article/cte-definition-nfl.html\" target=\"_blank\" rel=\"noopener noreferrer\">long-term effects of head trauma\u003c/a> on football players. And the general, disruptive state of the pandemic amid worries about inflation.\u003c/p>\n\u003cp>What’s obvious when looking at the commercials that ran during the Big Game: Most advertisers decided to punt on just about all this, using celebrity, humor, special effects and nostalgia to rush past the issues as if they didn’t exist.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That may be a little disappointing—but not surprising—given that NBC racked up a high of more than $6.5 million for 30 seconds of advertising time. Sports betting, cryptocurrency exchanges, new electric car models and travel sites made big new appearances; with companies spending hundreds of thousands of dollars per second, it’s a small surprise there’s no ads with downer elements like facemasks or pandemic talk.\u003c/p>\n\u003cp>The result was a batch of mostly-middling commercials that didn’t really feel tethered to much. They didn’t offer unbridled partying or celebration, but weren’t often serious or poignant enough to speak to the modern moment, either.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Strategies for releasing ads also differed. Sam’s Club posted its ad online with Kevin Hart back in January; E-Trade saved the reveal of its ad’s special guest star for Super Bowl Sunday—yes, it was \u003ca href=\"https://www.youtube.com/watch?v=4XTdIxmY5UI\" target=\"_blank\" rel=\"noopener noreferrer\">the financial advice-spewing\u003c/a> E-trade baby—and Miller Lite \u003ca href=\"https://adage.com/article/special-report-super-bowl/see-miller-lites-super-bowl-commercial-metaverse/2400371\" target=\"_blank\" rel=\"noopener noreferrer\">stuck a virtual, Super Bowl\u003c/a> “adjacent” commercial inside an area of the metaverse for online consumers.\u003c/p>\n\u003cp>There’s not enough space to take apart all the notable Super Bowl ads—Jim Carrey \u003ca href=\"https://www.youtube.com/watch?v=Z6HbCcSKJGQ\" target=\"_blank\" rel=\"noopener noreferrer\">reprising \u003cem>The Cable Guy\u003c/em> \u003c/a>for Verizon and Mike Myers \u003ca href=\"https://www.youtube.com/watch?v=Y75CPXS9fXw\" target=\"_blank\" rel=\"noopener noreferrer\">playing Dr. Evil\u003c/a> in an electric car for GM were great spots that didn’t make my list.\u003c/p>\n\u003cp>But here’s a sample of the hippest, most entertaining, most telling ads of the Big Game.\u003c/p>\n\u003ch3>Best use of a celebrity power couple: Amazon Alexa’s “Mind Reader”\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/d0UEAr8I9G8'\n title='//www.youtube.com/embed/d0UEAr8I9G8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jost and Johansson may sound like a Swedish law firm. But they’re also a puzzlement for some fans who can’t help but wonder what superstar actress Scarlett Johansson and \u003cem>Saturday Night Live\u003c/em> star Colin Jost’s marriage must be like behind closed doors. So props to the couple for scoring a Super Bowl-sized platform to joke about what it would be like if their Alexa digital assistant could read their minds (for example, Alexa, ever the tattletale, reminds Jost to fake his own death on the debut date of a horrible stage project Johansson is rehearsing around their house). Funny and full of fan service, this spot works well, even if it does commit one of my pet peeves about some Super Bowl ads; making the product they’re advertising look not that great to buy.\u003c/p>\n\u003ch3>The “C’mon Guys” award for straining credulity: Sam’s Club’s VIP with Kevin Hart\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-scnlFAuAQM'\n title='//www.youtube.com/embed/-scnlFAuAQM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sure, it’s funny to see Hart cluelessly asserting that Sam’s Club’s new Scan & Go app was developed just for a VIP like him. But it’s tough to imagine a VIP like Hart spending any time shopping inside a Sam’s Club—even if he thinks the patio display at the center of the store is a lounge area made just for him.\u003c/p>\n\u003ch3>Best rehabilitation of a celebrity’s image: Planet Fitness’ “What’s Gotten Into Lindsay?”\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/SnoVFlMMdK8'\n title='//www.youtube.com/embed/SnoVFlMMdK8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For someone who has watched Lindsay Lohan struggle with fame over many years, it was kind of cool to see her starring in an ad—narrated by William Shatner, no less—featuring Lohan living a healthy life. She’s making paparazzi cry by sleeping in instead of partying late, outscoring Dennis Rodman on \u003cem>Jeopardy\u003c/em> questions about his own life and bejeweling an ankle bracelet for Danny Trejo while her life is narrated by Captain Kirk. Great message for the benefits of exercise and personal change.\u003c/p>\n\u003ch3>Most horrifying ad that isn’t meant to be: Pringles’ “Stuck In”\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/aP2up9N6H-g'\n title='//www.youtube.com/embed/aP2up9N6H-g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We’ve all had that moment where your hand gets stuck in the Pringles can and you wonder if you can ever get it off. But this ad, featuring a guy who leaves the can on his right hand through dating, marriage, the birth of his child and death, feels more like a snack-centered \u003cem>Twilight Zone\u003c/em> episode. Especially when it ends with another young man getting another can stuck on his hand at the first guy’s funeral. I half expected a voice over from the Crypt Keeper. Ugh.\u003c/p>\n\u003ch3>Best use of a celebrity, Part 1: BMW USA’s “Zeus & Hera”\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/nUC1QA5gRcU'\n title='//www.youtube.com/embed/nUC1QA5gRcU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The only thing better than Arnold Schwarzenegger as a retired Zeus in a midlife crisis—bummed that everyone is asking him to charge their portable hedge clippers and golf carts—is Salma Hayek as his foxy wife, who knows a cool new car will recharge his batteries. Having them sing along to Eddy Grant’s \u003cem>Electric Avenue\u003c/em> while they tool down the road in their new all electric BMW was a bit much. But it was also a stylish way to pitch a cool new electric car to the demographic most likely to buy it.\u003c/p>\n\u003ch3>Best nod to Black folks: Google’s “Lizzo in Real Tone”\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XhUgcYw9cj4'\n title='//www.youtube.com/embed/XhUgcYw9cj4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This ad aired not long after the most Black-centered Super Bowl halftime show in history—a deft move which made its message of inclusion even more powerful. As the commercial notes, Black folks have often struggled with cameras and photography technology aligned to work better with white faces, making it tougher to capture dark skin. Google’s Real Tone software, included on its Pixel 6 phones, promises to capture Black skin tones better. As Lizzo sings a poignant new song (“If you love me, you love all of me / Or none of me at all,”) the commercial’s final line of text says, “everyone deserves to be seen as they truly are.” A really touching ad that stands out in a sea of performative, less than relevant nods to diversity.\u003c/p>\n\u003ch3>Best low key shade without talking specifics: Salesforce’s “The New Frontier” and Planters’ “Feed the Debate”\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/tIp251KCz6k'\n title='//www.youtube.com/embed/tIp251KCz6k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I am all here for commercials offering low-key shade to others without naming them outright. Which is why I liked Salesforce’s ad, featuring Matthew McConaughey in a hot air balloon sticking it to Mark Zuckerberg and Elon Musk by telling viewers, “while the others look to the metaverse and Mars, lets stay here and restore ours… Cause the new frontier? It ain’t rocket science. It’s right here.” It’s also a commentary shading public support of rich technocrats’ space ambitions—which also warms my heart coming from a company that can afford millions to air a Super Bowl commercial.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/y0z8tdP9R8M'\n title='//www.youtube.com/embed/y0z8tdP9R8M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Planters’ ad centers on an argument between Ken Jeong and Joel McHale, former co-stars on the NBC sitcom \u003cem>Community\u003c/em>, clashing over the best way to eat mixed nuts. When they take their argument to social media, it sparks worldwide rioting. “Who knew America would tear itself apart over a relatively minor difference of opinion?” cracks McHale, conjuring images of crazy school board meetings and pandemic protest blockades without directly referencing anything. Well played, sir.\u003c/p>\n\u003ch3>Best nod to classic quality TV that still might not work: Chevrolet’s “New Generation”\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/2bZYqFsU72Y'\n title='//www.youtube.com/embed/2bZYqFsU72Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I just finished a rewatch of HBO’s mob drama hit \u003cem>The Sopranos\u003c/em>, so it was a kick to see co-star Jamie-Lynn Sigler, who played daughter Meadow Soprano, driving around one of Chevrolet’s all-electric Silverado trucks until she met up with the guy who played her brother A.J., Robert Iler. (Guess they didn’t get whacked in the finale after all?) But this feels like an odd generational play; consumers old enough to know who they are—and buy the trucks—aren’t part of the “new generation.” Consumers young enough to be part of the new generation might not know who these actors are. Unless they read a piece like this, I guess.\u003c/p>\n\u003ch3>Worst commercial that insults its own product: Cutwater Spirit’s “Here to the Lazy Ones”\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/nOZWYY82ekU'\n title='//www.youtube.com/embed/nOZWYY82ekU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As I noted earlier, my biggest pet peeve is commercials that insult the product—or its customers—for the sake of a clever idea. This ad lionizes folks who cut corners like using lawn sprinklers to wash their car or grab icicles off their house to cool a drink rather than use ice from a cooler. The visuals are funny, but I’m not sure it makes sense to compare knuckleheads like this to customers for the product, which promises bar-quality cocktails in a can.\u003c/p>\n\u003ch3>Best use of a celebrity, Part II: Nissan’s “Thrill Driver”\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Bu56KAaIcac'\n title='//www.youtube.com/embed/Bu56KAaIcac'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yeah, it’s kinda goofy Nissan thinks we should find it awesome that driving the Nissan Z sportscar would turn Eugene Levy from an exemplar of urbane cool into an action star with hair like a graying Fabio. But it was kinda fun to see him blow by Catherine O’Hara, drive off a roof \u003cem>Fast and Furious\u003c/em>-style and open the passenger door for a tumbling Dave Bautista in midair. Nissan definitely crafted a commercial cooler than the car it’s selling, which may be the greatest Super Bowl TV triumph of all.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+best+%28and+worst%29+Super+Bowl+commercials%3A+Lizzo%2C+cranky+Zeus+and+more&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Lawsuits Stream in Over the Deadly Tragedy at the Travis Scott Concert",
"headTitle": "Lawsuits Stream in Over the Deadly Tragedy at the Travis Scott Concert | KQED",
"content": "\u003cp>Houston’s Astroworld Festival is now considered one of the deadliest concerts in U.S. history.\u003c/p>\n\u003cp>Eight people are dead and many more injured after the crowd surged as the festival’s headliner, Travis Scott, performed Friday night. Scott launched his Astroworld Festival in 2018.\u003c/p>\n\u003cp>Houston Mayor Sylvester Turner \u003ca href=\"https://www.facebook.com/Houstonpolice/videos/1085660318641278/\" target=\"_blank\" rel=\"noopener noreferrer\">said Saturday \u003c/a>that, as far as he knew, the festival at NRG Park was the only time in about 40 years that such a large event in the city led to a loss of life.\u003c/p>\n\u003cp>There’s been “nothing of this magnitude,” Turner said during a press conference.\u003c/p>\n\u003cp>Police caution that the investigation into what went wrong during the show is still in the early stages. On Sunday, \u003ca href=\"https://twitter.com/houstonpolice/status/1457493713404444682\" target=\"_blank\" rel=\"noopener noreferrer\">officials with the Houston Police Department said \u003c/a>there was no new information to release but added that the investigation “remains very active.”\u003c/p>\n\u003cp>Over the weekend, details began to emerge about the moments before, during, and after the show that highlight possible failures of the festival’s organizers to keep the large crowd of about 50,000 under control.\u003c/p>\n\u003ch3>Victims range in age from 14 to 27 years old\u003c/h3>\n\u003cp>Authorities said they will officially release the names of the deceased later Monday, but family members have already begun confirming the identities of some of the victims.\u003c/p>\n\u003cp>Scott’s music appeals to a younger audience, and tragically, all of the victims were under the age of 30 and the youngest was just 14 years old.\u003c/p>\n\u003cp>Local reports say the youngest victim, John Hilgert, was a freshman at Memorial High School, \u003ca href=\"https://abc13.com/astroworld-htx-deaths-drianna-rodrigues-franco-patino-danish-baig/11207939/\" target=\"_blank\" rel=\"noopener noreferrer\">according to ABC13.\u003c/a>\u003c/p>\n\u003cp>“Our hearts go out to the student’s family and to his friends and our staff at Memorial,” MHS Principal Lisa Weir wrote in a letter to parents, according to the news station. “This is a terrible loss, and the entire MHS family is grieving today.”\u003c/p>\n\u003cp>Another young victim, Brianna Rodriguez, was 16 years old, her family told \u003ca href=\"https://people.com/music/teenage-astroworld-festival-victims-identified-travis-scott-houston/?utm_campaign=peoplemagazine&utm_content=new&utm_medium=social&utm_source=twitter.com&utm_term=61873144bcfcb300016a5cf9\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>People \u003c/em>magazine\u003c/a>. Her family shared on their GoFundMe page that she loved to dance. “Dancing was her passion and now she’s dancing her way to heaven’s pearly gates,” the page read.\u003c/p>\n\u003cp>Other \u003ca href=\"https://www.npr.org/2021/11/07/1053407383/houston-astroworld-victims-profiles\" target=\"_blank\" rel=\"noopener noreferrer\">victims include\u003c/a>: Axel Acosta, a 21-year-old computer science major at Western Washington University; Franco Patiño, a 21-year-old student at the University of Dayton in Ohio; Rudy Peña, a student at Laredo College; Jacob Jurinek, 20, a junior at Southern Illinois University Carbondale; and 27-year-old Danish Baig.\u003c/p>\n\u003cp>GoFundMe launched a \u003ca href=\"https://urldefense.com/v3/__https:/www.gofundme.com/c/act/astroworld-festival-fundraisers__;!!Iwwt!HNvjytMQeW9RyVMP0X187yh06tpUVnHoZbfCj3EGLdk48hpxUNlAnp3MN-g%24\" target=\"_blank\" rel=\"noopener noreferrer\">centralized hub\u003c/a> identifying all verified fundraising pages created in response to the tragedy.\u003c/p>\n\u003cp>Authorities have not yet released specific causes of deaths of the victims. City officials and police cautioned the public not to rely on rumors spread online about the possible cause.\u003c/p>\n\u003cp>More than a dozen other fans are still in the hospital. Police said 25 people were transported to a nearby hospital Friday night. As of Saturday afternoon, 13 were still hospitalized—five of whom were under 18.\u003c/p>\n\u003ch3>Travis Scott is under fire, and people are suing\u003c/h3>\n\u003cp>At least three lawsuits have already been filed against Scott and other festival organizers, as member station \u003ca href=\"https://www.houstonpublicmedia.org/articles/news/arts-culture-news/2021/11/08/412891/victims-from-travis-scotts-astroworld-have-begun-to-sue-the-houston-rapper-and-concert-organizers/\" target=\"_blank\" rel=\"noopener noreferrer\">Houston Public Media\u003c/a> reported.\u003c/p>\n\u003cp>Some Astroworld attendees allege Scott saw people near the front of the stage passed out or otherwise unconscious. They believe he and other organizers should’ve stopped the show immediately.\u003c/p>\n\u003cp>Astroworld attendee Manuel Souza filed a lawsuit this weekend against Scott, Live Nation and ScoreMore—another concert organizer, \u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/9656473/travis-scott-astroworld-live-nation-lawsuit-victim-lawsuit/?utm_medium=social\" target=\"_blank\" rel=\"noopener noreferrer\">according to Billboard. \u003c/a>He says he was injured and is seeking $1 million in damages.\u003c/p>\n\u003cp>\u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/9656473/travis-scott-astroworld-live-nation-lawsuit-victim-lawsuit/?utm_medium=social\" target=\"_blank\" rel=\"noopener noreferrer\">Souza said in his lawsuit\u003c/a> that the incident was a “predictable and preventable tragedy” and that organizers didn’t do enough to plan and prevent what unfolded. He also pointed to prior shows of Scott’s in which the rapper allegedly encouraged fans to act out.\u003c/p>\n\u003cp>Scott was arrested\u003ca href=\"https://www.billboard.com/articles/news/6649543/travi-scott-was-arrested-after-encouraging-lollapalooza-crowd-to-jump\" target=\"_blank\" rel=\"noopener noreferrer\"> in 2015 \u003c/a>after telling his fans to jump the barricades during his Lollapalooza performance and \u003ca href=\"https://apnews.com/article/853726537b3a4849aa968ded4937ca40\" target=\"_blank\" rel=\"noopener noreferrer\">in 2017\u003c/a> for encouraging people to rush the stage at a performance in Arkansas.\u003c/p>\n\u003cp>Attorney Ben Crump \u003ca href=\"https://twitter.com/BenCrumpLaw/status/1457496804275195904/photo/1\" target=\"_blank\" rel=\"noopener noreferrer\">has filed a lawsuit\u003c/a> on behalf of 21-year-old attendee Noah Gutierrez. Crump says Gutierrez and others in the VIP section scrambled to try to lift people off the floor as they screamed for help.\u003c/p>\n\u003cp>“We are hearing horrific accounts of the terror and helplessness people experienced—the horror of a crushing crowd and the awful trauma of watching people die while trying unsuccessfully to save them,” Crump said as he announced the suit. He also urged more people affected by the tragedy to contact his office.\u003c/p>\n\u003cp>The brother of victim Danish Baig, who was killed during the crowd rush, \u003ca href=\"https://abc13.com/astroworld-htx-deaths-drianna-rodrigues-franco-patino-danish-baig/11207939/\" target=\"_blank\" rel=\"noopener noreferrer\">told ABC13\u003c/a> that the family plans to hire an attorney.\u003c/p>\n\u003cp>Basil Baig told the news station that the family hadn’t heard from Scott or other event organizers.\u003c/p>\n\u003cp>“Travis Scott and his team and everyone associated in the event should and will be held responsible,” Baig told ABC13. “He [didn’t] stop the show even with people chanting to stop the show. He allowed it. This was a bloodbath and all of it is on his hands.”\u003c/p>\n\u003cp>Scott, whose real name is Jacques Webster, is a Grammy-nominated rapper and Houston native.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/trvisXX/status/1457018948109705217\">In a public statement\u003c/a> shared on Twitter, Scott said, “My prayers go out to the families and all those impacted by what happened at Astroworld Festival. I am committed to working together with the Houston community to heal and support the families in need.”\u003c/p>\n\u003cp>He also released videos to his Instagram account in which he appears distraught.\u003c/p>\n\u003cp>“I just want to send out prayers to the ones that were lost last night,” Scott said Saturday. “My fans really mean the world to me.”\u003c/p>\n\u003cp>He went on to urge people who know anything about what might’ve happened Friday night to contact authorities.\u003c/p>\n\u003ch3>Reports say the show went on for nearly 40 minutes while the emergency unfolded\u003c/h3>\n\u003cp>Before the concert even started on Friday, the festival appeared to get off to a rough start. \u003ca href=\"https://www.youtube.com/watch?v=9W_njKnR6Q0\" target=\"_blank\" rel=\"noopener noreferrer\">Videos posted by a local news channel \u003c/a>show large crowds of people rushing through collapsed gates to get into the concert.\u003c/p>\n\u003cp>No security guards were seen responding for over a minute, even as people, who can be heard screaming, became stuck underneath the crowd pushing to get in. Police arrived on horseback to the gate shortly after.\u003c/p>\n\u003cp>[aside postid='arts_13906011']As Scott’s set started, the crowd allegedly became chaotic. \u003ca href=\"https://twitter.com/seannafaithh/status/1456880672606498817\" target=\"_blank\" rel=\"noopener noreferrer\">One firsthand account shared on social media\u003c/a> describe an intense crush toward the stage, with no room for concertgoers to breathe or properly move. People started to collapse after several minutes of this.\u003c/p>\n\u003cp>Concertgoers say they attempted to get the attention of security and other staff at the show to help people having difficulty breathing or who collapsed.\u003c/p>\n\u003cp>Mayor Turner \u003ca href=\"https://www.facebook.com/Houstonpolice/videos/1085660318641278/\" target=\"_blank\" rel=\"noopener noreferrer\">said Saturday afternoon \u003c/a>that the city’s police and firefighters responded quickly to emergency calls at the show. Officials were already stationed at NRG Park to provide security.\u003c/p>\n\u003cp>There are conflicting details regarding the timeline of events and when officials started to respond on scene and when Scott stopped performing.\u003c/p>\n\u003cp>\u003ca href=\"https://www.houstonchronicle.com/news/houston-texas/houston/article/For-37-minutes-after-officials-declared-a-mass-16598473.php\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Houston Chronicle\u003c/em> reported\u003c/a> that police have said the concert’s promoter, Live Nation, agreed at 9:38 p.m. to cut the show shortly after multiple people were reported to have collapsed.\u003c/p>\n\u003cp>But for 37 minutes after the city’s police and firefighters responded to the concert grounds for a “mass casualty” event, Scott continued to play his entire set, ending at around 10:15 p.m., according to the \u003cem>Chronicle\u003c/em>.\u003c/p>\n\u003cp>Turner, however, repeatedly said Saturday that “everything stopped” at 10:10 p.m.\u003c/p>\n\u003cp>Videos and pictures shared on social media show two people attempting to get the attention of cameramen who were standing on a raised platform. \u003ca href=\"https://twitter.com/LDCMOA/status/1456883559810142208\" target=\"_blank\" rel=\"noopener noreferrer\">In at least one video, \u003c/a>the two people can be seen yelling at the cameramen to stop the show and pointing to the crowd.\u003c/p>\n\u003cp>City officials said their investigation will likely take some time as the festival’s organizers, performers, and audience members are interviewed and a collection of videos and pictures taken that night are reviewed.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003c/em>\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cdiv>[ad fullwidth]\u003c/div>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Houston’s Astroworld Festival is now considered one of the deadliest concerts in U.S. history.\u003c/p>\n\u003cp>Eight people are dead and many more injured after the crowd surged as the festival’s headliner, Travis Scott, performed Friday night. Scott launched his Astroworld Festival in 2018.\u003c/p>\n\u003cp>Houston Mayor Sylvester Turner \u003ca href=\"https://www.facebook.com/Houstonpolice/videos/1085660318641278/\" target=\"_blank\" rel=\"noopener noreferrer\">said Saturday \u003c/a>that, as far as he knew, the festival at NRG Park was the only time in about 40 years that such a large event in the city led to a loss of life.\u003c/p>\n\u003cp>There’s been “nothing of this magnitude,” Turner said during a press conference.\u003c/p>\n\u003cp>Police caution that the investigation into what went wrong during the show is still in the early stages. On Sunday, \u003ca href=\"https://twitter.com/houstonpolice/status/1457493713404444682\" target=\"_blank\" rel=\"noopener noreferrer\">officials with the Houston Police Department said \u003c/a>there was no new information to release but added that the investigation “remains very active.”\u003c/p>\n\u003cp>Over the weekend, details began to emerge about the moments before, during, and after the show that highlight possible failures of the festival’s organizers to keep the large crowd of about 50,000 under control.\u003c/p>\n\u003ch3>Victims range in age from 14 to 27 years old\u003c/h3>\n\u003cp>Authorities said they will officially release the names of the deceased later Monday, but family members have already begun confirming the identities of some of the victims.\u003c/p>\n\u003cp>Scott’s music appeals to a younger audience, and tragically, all of the victims were under the age of 30 and the youngest was just 14 years old.\u003c/p>\n\u003cp>Local reports say the youngest victim, John Hilgert, was a freshman at Memorial High School, \u003ca href=\"https://abc13.com/astroworld-htx-deaths-drianna-rodrigues-franco-patino-danish-baig/11207939/\" target=\"_blank\" rel=\"noopener noreferrer\">according to ABC13.\u003c/a>\u003c/p>\n\u003cp>“Our hearts go out to the student’s family and to his friends and our staff at Memorial,” MHS Principal Lisa Weir wrote in a letter to parents, according to the news station. “This is a terrible loss, and the entire MHS family is grieving today.”\u003c/p>\n\u003cp>Another young victim, Brianna Rodriguez, was 16 years old, her family told \u003ca href=\"https://people.com/music/teenage-astroworld-festival-victims-identified-travis-scott-houston/?utm_campaign=peoplemagazine&utm_content=new&utm_medium=social&utm_source=twitter.com&utm_term=61873144bcfcb300016a5cf9\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>People \u003c/em>magazine\u003c/a>. Her family shared on their GoFundMe page that she loved to dance. “Dancing was her passion and now she’s dancing her way to heaven’s pearly gates,” the page read.\u003c/p>\n\u003cp>Other \u003ca href=\"https://www.npr.org/2021/11/07/1053407383/houston-astroworld-victims-profiles\" target=\"_blank\" rel=\"noopener noreferrer\">victims include\u003c/a>: Axel Acosta, a 21-year-old computer science major at Western Washington University; Franco Patiño, a 21-year-old student at the University of Dayton in Ohio; Rudy Peña, a student at Laredo College; Jacob Jurinek, 20, a junior at Southern Illinois University Carbondale; and 27-year-old Danish Baig.\u003c/p>\n\u003cp>GoFundMe launched a \u003ca href=\"https://urldefense.com/v3/__https:/www.gofundme.com/c/act/astroworld-festival-fundraisers__;!!Iwwt!HNvjytMQeW9RyVMP0X187yh06tpUVnHoZbfCj3EGLdk48hpxUNlAnp3MN-g%24\" target=\"_blank\" rel=\"noopener noreferrer\">centralized hub\u003c/a> identifying all verified fundraising pages created in response to the tragedy.\u003c/p>\n\u003cp>Authorities have not yet released specific causes of deaths of the victims. City officials and police cautioned the public not to rely on rumors spread online about the possible cause.\u003c/p>\n\u003cp>More than a dozen other fans are still in the hospital. Police said 25 people were transported to a nearby hospital Friday night. As of Saturday afternoon, 13 were still hospitalized—five of whom were under 18.\u003c/p>\n\u003ch3>Travis Scott is under fire, and people are suing\u003c/h3>\n\u003cp>At least three lawsuits have already been filed against Scott and other festival organizers, as member station \u003ca href=\"https://www.houstonpublicmedia.org/articles/news/arts-culture-news/2021/11/08/412891/victims-from-travis-scotts-astroworld-have-begun-to-sue-the-houston-rapper-and-concert-organizers/\" target=\"_blank\" rel=\"noopener noreferrer\">Houston Public Media\u003c/a> reported.\u003c/p>\n\u003cp>Some Astroworld attendees allege Scott saw people near the front of the stage passed out or otherwise unconscious. They believe he and other organizers should’ve stopped the show immediately.\u003c/p>\n\u003cp>Astroworld attendee Manuel Souza filed a lawsuit this weekend against Scott, Live Nation and ScoreMore—another concert organizer, \u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/9656473/travis-scott-astroworld-live-nation-lawsuit-victim-lawsuit/?utm_medium=social\" target=\"_blank\" rel=\"noopener noreferrer\">according to Billboard. \u003c/a>He says he was injured and is seeking $1 million in damages.\u003c/p>\n\u003cp>\u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/9656473/travis-scott-astroworld-live-nation-lawsuit-victim-lawsuit/?utm_medium=social\" target=\"_blank\" rel=\"noopener noreferrer\">Souza said in his lawsuit\u003c/a> that the incident was a “predictable and preventable tragedy” and that organizers didn’t do enough to plan and prevent what unfolded. He also pointed to prior shows of Scott’s in which the rapper allegedly encouraged fans to act out.\u003c/p>\n\u003cp>Scott was arrested\u003ca href=\"https://www.billboard.com/articles/news/6649543/travi-scott-was-arrested-after-encouraging-lollapalooza-crowd-to-jump\" target=\"_blank\" rel=\"noopener noreferrer\"> in 2015 \u003c/a>after telling his fans to jump the barricades during his Lollapalooza performance and \u003ca href=\"https://apnews.com/article/853726537b3a4849aa968ded4937ca40\" target=\"_blank\" rel=\"noopener noreferrer\">in 2017\u003c/a> for encouraging people to rush the stage at a performance in Arkansas.\u003c/p>\n\u003cp>Attorney Ben Crump \u003ca href=\"https://twitter.com/BenCrumpLaw/status/1457496804275195904/photo/1\" target=\"_blank\" rel=\"noopener noreferrer\">has filed a lawsuit\u003c/a> on behalf of 21-year-old attendee Noah Gutierrez. Crump says Gutierrez and others in the VIP section scrambled to try to lift people off the floor as they screamed for help.\u003c/p>\n\u003cp>“We are hearing horrific accounts of the terror and helplessness people experienced—the horror of a crushing crowd and the awful trauma of watching people die while trying unsuccessfully to save them,” Crump said as he announced the suit. He also urged more people affected by the tragedy to contact his office.\u003c/p>\n\u003cp>The brother of victim Danish Baig, who was killed during the crowd rush, \u003ca href=\"https://abc13.com/astroworld-htx-deaths-drianna-rodrigues-franco-patino-danish-baig/11207939/\" target=\"_blank\" rel=\"noopener noreferrer\">told ABC13\u003c/a> that the family plans to hire an attorney.\u003c/p>\n\u003cp>Basil Baig told the news station that the family hadn’t heard from Scott or other event organizers.\u003c/p>\n\u003cp>“Travis Scott and his team and everyone associated in the event should and will be held responsible,” Baig told ABC13. “He [didn’t] stop the show even with people chanting to stop the show. He allowed it. This was a bloodbath and all of it is on his hands.”\u003c/p>\n\u003cp>Scott, whose real name is Jacques Webster, is a Grammy-nominated rapper and Houston native.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/trvisXX/status/1457018948109705217\">In a public statement\u003c/a> shared on Twitter, Scott said, “My prayers go out to the families and all those impacted by what happened at Astroworld Festival. I am committed to working together with the Houston community to heal and support the families in need.”\u003c/p>\n\u003cp>He also released videos to his Instagram account in which he appears distraught.\u003c/p>\n\u003cp>“I just want to send out prayers to the ones that were lost last night,” Scott said Saturday. “My fans really mean the world to me.”\u003c/p>\n\u003cp>He went on to urge people who know anything about what might’ve happened Friday night to contact authorities.\u003c/p>\n\u003ch3>Reports say the show went on for nearly 40 minutes while the emergency unfolded\u003c/h3>\n\u003cp>Before the concert even started on Friday, the festival appeared to get off to a rough start. \u003ca href=\"https://www.youtube.com/watch?v=9W_njKnR6Q0\" target=\"_blank\" rel=\"noopener noreferrer\">Videos posted by a local news channel \u003c/a>show large crowds of people rushing through collapsed gates to get into the concert.\u003c/p>\n\u003cp>No security guards were seen responding for over a minute, even as people, who can be heard screaming, became stuck underneath the crowd pushing to get in. Police arrived on horseback to the gate shortly after.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As Scott’s set started, the crowd allegedly became chaotic. \u003ca href=\"https://twitter.com/seannafaithh/status/1456880672606498817\" target=\"_blank\" rel=\"noopener noreferrer\">One firsthand account shared on social media\u003c/a> describe an intense crush toward the stage, with no room for concertgoers to breathe or properly move. People started to collapse after several minutes of this.\u003c/p>\n\u003cp>Concertgoers say they attempted to get the attention of security and other staff at the show to help people having difficulty breathing or who collapsed.\u003c/p>\n\u003cp>Mayor Turner \u003ca href=\"https://www.facebook.com/Houstonpolice/videos/1085660318641278/\" target=\"_blank\" rel=\"noopener noreferrer\">said Saturday afternoon \u003c/a>that the city’s police and firefighters responded quickly to emergency calls at the show. Officials were already stationed at NRG Park to provide security.\u003c/p>\n\u003cp>There are conflicting details regarding the timeline of events and when officials started to respond on scene and when Scott stopped performing.\u003c/p>\n\u003cp>\u003ca href=\"https://www.houstonchronicle.com/news/houston-texas/houston/article/For-37-minutes-after-officials-declared-a-mass-16598473.php\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Houston Chronicle\u003c/em> reported\u003c/a> that police have said the concert’s promoter, Live Nation, agreed at 9:38 p.m. to cut the show shortly after multiple people were reported to have collapsed.\u003c/p>\n\u003cp>But for 37 minutes after the city’s police and firefighters responded to the concert grounds for a “mass casualty” event, Scott continued to play his entire set, ending at around 10:15 p.m., according to the \u003cem>Chronicle\u003c/em>.\u003c/p>\n\u003cp>Turner, however, repeatedly said Saturday that “everything stopped” at 10:10 p.m.\u003c/p>\n\u003cp>Videos and pictures shared on social media show two people attempting to get the attention of cameramen who were standing on a raised platform. \u003ca href=\"https://twitter.com/LDCMOA/status/1456883559810142208\" target=\"_blank\" rel=\"noopener noreferrer\">In at least one video, \u003c/a>the two people can be seen yelling at the cameramen to stop the show and pointing to the crowd.\u003c/p>\n\u003cp>City officials said their investigation will likely take some time as the festival’s organizers, performers, and audience members are interviewed and a collection of videos and pictures taken that night are reviewed.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003c/em>\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cdiv>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s easy to miss the poems carved into the walls of the immigration station on \u003ca href=\"https://www.parks.ca.gov/?page_id=468\">Angel Island\u003c/a> in the middle of the San Francisco Bay. But if you look carefully, thousands of Chinese characters start to emerge from the dingy layers of green and yellow paint. The roughly hundred-year-old verses tell a little-known story of what happened to many Chinese immigrants when they tried to get into the country at a time when they were not welcome here. \u003c/p>\n\u003cp>Now a California state park, Angel Island has a history as an immigration hub far less familiar than that of New York’s Ellis Island. It’s also much darker: U.S. authorities detained hundreds of thousands of Chinese immigrants there between 1910 and 1940, under harsh conditions.\u003c/p>\n\u003cp>Now, a Chinese-American composer based in New York has teamed up with a string quartet and vocal ensemble from San Francisco to bring to life, through music, the struggles of those immigrants. \u003c/p>\n\u003cp>\u003cstrong>Poems that shock\u003c/strong>\u003c/p>\n\u003cp>“Seeing these poems here in this context is pretty shocking,” says Charlton Lee, a violist with the \u003ca href=\"https://www.delsolquartet.com/\">Del Sol Quartet\u003c/a>, the San Francisco-based group that commissioned \u003ca href=\"https://www.delsolquartet.com/angelisland\">\u003cem>Angel Island\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The quartet will perform the work with the vocal ensemble \u003ca href=\"http://voltisf.org/\">Volti \u003c/a>on the island on Oct. 23—weather permitting. The world-premiere performance takes place tonight, at San Francisco’s Presidio Theatre.\u003c/p>\n\u003cp>Lee, a second-generation Chinese immigrant, is from the San Francisco Bay Area. But, he says, he only found out about Angel Island’s immigration history as a college student at the University of California, Berkeley.\u003c/p>\n\u003cp>“In other parts of the country — and probably even here, to some degree — it’s like you don’t learn anything about this history at all,” Lee says. \u003c/p>\n\u003cp>Even today, the subject isn’t widely taught in schools. “There are pockets of places and teachers who seek out this sort of content and are teaching it,” says Tuyen Tran, assistant director of the \u003ca href=\"https://chssp.ucdavis.edu/\">California History-Social Science Project\u003c/a>, a University of California Davis group that monitors history teaching and curricula in California K-12 schools. “But is it mandated? No.”\u003c/p>\n\u003cp>Indeed, many people interviewed for this story, including Chinese-Americans with family members who experienced Angel Island firsthand, talk about the suppression of this history. “When we were interviewing people about their days on Angel Island, my father was adamant that my mother not speak to us,” says \u003ca href=\"https://www.poetryfoundation.org/poets/genny-lim\">Genny Lim\u003c/a>, a San Francisco-based Chinese-American poet, educator, playwright and activist, whose mother immigrated via the island. Lim was part of a group of people who first translated the wall poems of Angel Island in the late 1970s and conducted research with people who’d been detained there. They published these poems in the 1980 book, \u003ca href=\"https://www.amazon.com/Island-History-Immigrants-1910-1940-Endowment/dp/029599407X\">\u003cem>Island: Poetry and History of Chinese Immigrants on Angel Island\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>“I’ve been an educator for 20 years — it’s really, really difficult to find people who know much about Angel Island,” says Andi Wong, whose own grandparents came through it.\u003c/p>\n\u003cp>\u003cstrong>A bleak history\u003c/strong>\u003c/p>\n\u003cp>The bleakness of Angel Island’s history partly explains why many people don’t like to talk about it.\u003c/p>\n\u003cp>“For the 30 years of operation, this facility, while nicknamed the ‘Ellis Island of the West,’ was called by the people that worked here the ‘Guardian of the Western Gate,’ ” says California State Parks interpreter Casey Dexter-Lee. “And their job was to keep people out.”\u003c/p>\n\u003cp>Dexter-Lee says the majority of the immigrants who traveled through Angel Island were from places like China, Japan and India. As a result of racist immigration laws, including the 1882 \u003ca href=\"https://en.wikipedia.org/wiki/Chinese_Exclusion_Act\">Chinese Exclusion Act\u003c/a>, Chinese newcomers faced particularly grueling interrogations and average stays of weeks or even months. Other applicants typically stayed just a couple of days. Dexter-Lee says deportation and appeal rates for Chinese people were also higher. “About 50 percent of Chinese immigrants failed their initial entry hearing,” she says.\u003c/p>\n\u003cp>After the Second World War, the station was decommissioned and eventually fell into neglect; it was nearly torn down in the 1960s. But in 1970, a visiting park ranger noticed poems carved into the walls which, Dexter-Lee says, sparked interest in preserving the grimy building. Today, it’s a national historic landmark.\u003c/p>\n\u003cp>“The poems on the walls are what saved this building from destruction,” Dexter-Lee says.\u003c/p>\n\u003cp>The composer \u003ca href=\"https://huangruo.com/\">Huang Ruo\u003c/a>, who came to the U.S. from China in the 1990s to study music, fell under the spell of Angel Island’s poems after learning about them. That interest eventually led, in 2018, to Ruo and the Del Sol Quartet staging a performance on Angel Island, comprised of music improvised around one of the wall poems.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FySqi5Xq7-Y\u003c/p>\n\u003cp>\u003cstrong>A musical journey\u003c/strong>\u003c/p>\n\u003cp>In a recent interview, Ruo said that the research trip was a visceral journey — he went from regaling in the beautiful outdoor scenery to understanding something of the horror of being confined indoors. \u003c/p>\n\u003cp>“I feel I could relate being there, looking out from inside,” he says. The music Ruo went on to compose takes the listener on a similar journey. \u003c/p>\n\u003cp>In addition to calling for musicians to read aloud several historic texts relating to attitudes towards Chinese immigrants — including a list of people killed in the Chinese Massacre of 1871 in Los Angeles and the anti-Chinese \u003ca href=\"https://en.wikipedia.org/wiki/Page_Act_of_1875\">Page Act\u003c/a> of 1875 — the work sets three of the Angel Island wall poems. \u003c/p>\n\u003cp>The arc of the piece follows a hopeful immigrant’s experience of traveling to America, through the shattering of hope as a detainee stuck for months on Angel Island, to a prisoner’s final, hopeless death on the island. \u003c/p>\n\u003cp>“The third poem is a funeral poem,” Ruo says. “Someone died, and this person’s friend carved a poem on the wall to mourn his friend: how his will was not fulfilled by coming this far, how he lays under the cold clay and mud.”\u003c/p>\n\u003cp>\u003cstrong>Connecting the past with the present\u003c/strong>\u003c/p>\n\u003cp>Though \u003cem>Angel Island\u003c/em> is steeped in historical material, the work carries resonance today. \u003c/p>\n\u003cp>“There’s nothing new about this treatment of immigrants,” says Wong, who in addition to being an “Angel Island descendant” herself, is managing the \u003ca href=\"https://www.delsolquartet.com/angelislandinsight\">community outreach effort\u003c/a> around the new musical work, such as public discussions and a community photography exhibition aimed at connecting Angel Island’s past with our own times. “It comes in waves.” \u003c/p>\n\u003cp>Wong’s grandmother came through Angel Island in 1929. Wong says her grandfather, who had already immigrated, was forced to pay a fee of $1,000 (around $16,000 in today’s money) for his wife’s release. \u003c/p>\n\u003cp>“She would have been sent back,” says Wong in response to the question of what would have happened to her grandmother, then pregnant with her father, if that fee hadn’t been paid. “So I wouldn’t be standing here, talking to you.” \u003c/p>\n\u003cp>Wong says this country’s attitude towards many immigrants hasn’t improved much since then — what with the ongoing issues at the U.S.-Mexico border, and the lack of leniency towards Haitian asylum seekers today. Plus, the waves of attacks against Asian immigrants and their descendants haven’t gone away since the earliest days of Chinese immigration here.\u003c/p>\n\u003cp>And that’s where art comes in: Wong says works like \u003cem>Angel Island\u003c/em> can help us reconnect with the past in a new way.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“The key thing is engendering empathy through hearing these stories,” Wong says. “If you know that all of us are here because somebody in our past made that journey, you’re more likely to care and be empathetic.” \u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>\u003c/em>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Composer+Huang+Ruo+gives+voice+to+the+dark+history+of+Angel+Island&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s easy to miss the poems carved into the walls of the immigration station on \u003ca href=\"https://www.parks.ca.gov/?page_id=468\">Angel Island\u003c/a> in the middle of the San Francisco Bay. But if you look carefully, thousands of Chinese characters start to emerge from the dingy layers of green and yellow paint. The roughly hundred-year-old verses tell a little-known story of what happened to many Chinese immigrants when they tried to get into the country at a time when they were not welcome here. \u003c/p>\n\u003cp>Now a California state park, Angel Island has a history as an immigration hub far less familiar than that of New York’s Ellis Island. It’s also much darker: U.S. authorities detained hundreds of thousands of Chinese immigrants there between 1910 and 1940, under harsh conditions.\u003c/p>\n\u003cp>Now, a Chinese-American composer based in New York has teamed up with a string quartet and vocal ensemble from San Francisco to bring to life, through music, the struggles of those immigrants. \u003c/p>\n\u003cp>\u003cstrong>Poems that shock\u003c/strong>\u003c/p>\n\u003cp>“Seeing these poems here in this context is pretty shocking,” says Charlton Lee, a violist with the \u003ca href=\"https://www.delsolquartet.com/\">Del Sol Quartet\u003c/a>, the San Francisco-based group that commissioned \u003ca href=\"https://www.delsolquartet.com/angelisland\">\u003cem>Angel Island\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The quartet will perform the work with the vocal ensemble \u003ca href=\"http://voltisf.org/\">Volti \u003c/a>on the island on Oct. 23—weather permitting. The world-premiere performance takes place tonight, at San Francisco’s Presidio Theatre.\u003c/p>\n\u003cp>Lee, a second-generation Chinese immigrant, is from the San Francisco Bay Area. But, he says, he only found out about Angel Island’s immigration history as a college student at the University of California, Berkeley.\u003c/p>\n\u003cp>“In other parts of the country — and probably even here, to some degree — it’s like you don’t learn anything about this history at all,” Lee says. \u003c/p>\n\u003cp>Even today, the subject isn’t widely taught in schools. “There are pockets of places and teachers who seek out this sort of content and are teaching it,” says Tuyen Tran, assistant director of the \u003ca href=\"https://chssp.ucdavis.edu/\">California History-Social Science Project\u003c/a>, a University of California Davis group that monitors history teaching and curricula in California K-12 schools. “But is it mandated? No.”\u003c/p>\n\u003cp>Indeed, many people interviewed for this story, including Chinese-Americans with family members who experienced Angel Island firsthand, talk about the suppression of this history. “When we were interviewing people about their days on Angel Island, my father was adamant that my mother not speak to us,” says \u003ca href=\"https://www.poetryfoundation.org/poets/genny-lim\">Genny Lim\u003c/a>, a San Francisco-based Chinese-American poet, educator, playwright and activist, whose mother immigrated via the island. Lim was part of a group of people who first translated the wall poems of Angel Island in the late 1970s and conducted research with people who’d been detained there. They published these poems in the 1980 book, \u003ca href=\"https://www.amazon.com/Island-History-Immigrants-1910-1940-Endowment/dp/029599407X\">\u003cem>Island: Poetry and History of Chinese Immigrants on Angel Island\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>“I’ve been an educator for 20 years — it’s really, really difficult to find people who know much about Angel Island,” says Andi Wong, whose own grandparents came through it.\u003c/p>\n\u003cp>\u003cstrong>A bleak history\u003c/strong>\u003c/p>\n\u003cp>The bleakness of Angel Island’s history partly explains why many people don’t like to talk about it.\u003c/p>\n\u003cp>“For the 30 years of operation, this facility, while nicknamed the ‘Ellis Island of the West,’ was called by the people that worked here the ‘Guardian of the Western Gate,’ ” says California State Parks interpreter Casey Dexter-Lee. “And their job was to keep people out.”\u003c/p>\n\u003cp>Dexter-Lee says the majority of the immigrants who traveled through Angel Island were from places like China, Japan and India. As a result of racist immigration laws, including the 1882 \u003ca href=\"https://en.wikipedia.org/wiki/Chinese_Exclusion_Act\">Chinese Exclusion Act\u003c/a>, Chinese newcomers faced particularly grueling interrogations and average stays of weeks or even months. Other applicants typically stayed just a couple of days. Dexter-Lee says deportation and appeal rates for Chinese people were also higher. “About 50 percent of Chinese immigrants failed their initial entry hearing,” she says.\u003c/p>\n\u003cp>After the Second World War, the station was decommissioned and eventually fell into neglect; it was nearly torn down in the 1960s. But in 1970, a visiting park ranger noticed poems carved into the walls which, Dexter-Lee says, sparked interest in preserving the grimy building. Today, it’s a national historic landmark.\u003c/p>\n\u003cp>“The poems on the walls are what saved this building from destruction,” Dexter-Lee says.\u003c/p>\n\u003cp>The composer \u003ca href=\"https://huangruo.com/\">Huang Ruo\u003c/a>, who came to the U.S. from China in the 1990s to study music, fell under the spell of Angel Island’s poems after learning about them. That interest eventually led, in 2018, to Ruo and the Del Sol Quartet staging a performance on Angel Island, comprised of music improvised around one of the wall poems.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FySqi5Xq7-Y'\n title='//www.youtube.com/embed/FySqi5Xq7-Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>A musical journey\u003c/strong>\u003c/p>\n\u003cp>In a recent interview, Ruo said that the research trip was a visceral journey — he went from regaling in the beautiful outdoor scenery to understanding something of the horror of being confined indoors. \u003c/p>\n\u003cp>“I feel I could relate being there, looking out from inside,” he says. The music Ruo went on to compose takes the listener on a similar journey. \u003c/p>\n\u003cp>In addition to calling for musicians to read aloud several historic texts relating to attitudes towards Chinese immigrants — including a list of people killed in the Chinese Massacre of 1871 in Los Angeles and the anti-Chinese \u003ca href=\"https://en.wikipedia.org/wiki/Page_Act_of_1875\">Page Act\u003c/a> of 1875 — the work sets three of the Angel Island wall poems. \u003c/p>\n\u003cp>The arc of the piece follows a hopeful immigrant’s experience of traveling to America, through the shattering of hope as a detainee stuck for months on Angel Island, to a prisoner’s final, hopeless death on the island. \u003c/p>\n\u003cp>“The third poem is a funeral poem,” Ruo says. “Someone died, and this person’s friend carved a poem on the wall to mourn his friend: how his will was not fulfilled by coming this far, how he lays under the cold clay and mud.”\u003c/p>\n\u003cp>\u003cstrong>Connecting the past with the present\u003c/strong>\u003c/p>\n\u003cp>Though \u003cem>Angel Island\u003c/em> is steeped in historical material, the work carries resonance today. \u003c/p>\n\u003cp>“There’s nothing new about this treatment of immigrants,” says Wong, who in addition to being an “Angel Island descendant” herself, is managing the \u003ca href=\"https://www.delsolquartet.com/angelislandinsight\">community outreach effort\u003c/a> around the new musical work, such as public discussions and a community photography exhibition aimed at connecting Angel Island’s past with our own times. “It comes in waves.” \u003c/p>\n\u003cp>Wong’s grandmother came through Angel Island in 1929. Wong says her grandfather, who had already immigrated, was forced to pay a fee of $1,000 (around $16,000 in today’s money) for his wife’s release. \u003c/p>\n\u003cp>“She would have been sent back,” says Wong in response to the question of what would have happened to her grandmother, then pregnant with her father, if that fee hadn’t been paid. “So I wouldn’t be standing here, talking to you.” \u003c/p>\n\u003cp>Wong says this country’s attitude towards many immigrants hasn’t improved much since then — what with the ongoing issues at the U.S.-Mexico border, and the lack of leniency towards Haitian asylum seekers today. Plus, the waves of attacks against Asian immigrants and their descendants haven’t gone away since the earliest days of Chinese immigration here.\u003c/p>\n\u003cp>And that’s where art comes in: Wong says works like \u003cem>Angel Island\u003c/em> can help us reconnect with the past in a new way.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The key thing is engendering empathy through hearing these stories,” Wong says. “If you know that all of us are here because somebody in our past made that journey, you’re more likely to care and be empathetic.” \u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>\u003c/em>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Composer+Huang+Ruo+gives+voice+to+the+dark+history+of+Angel+Island&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Lou Ottens, Inventor Of The Cassette Tape, Has Died",
"headTitle": "Lou Ottens, Inventor Of The Cassette Tape, Has Died | KQED",
"content": "\u003cfigure id=\"attachment_13893776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/gettyimages-1061788942_custom-8785ee7012d20b2b084e738e89af38af0602c272-800x755.jpg\" alt=\"A Philips cassette tape is shown in 1965. \" width=\"800\" height=\"755\" class=\"size-medium wp-image-13893776\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-1061788942_custom-8785ee7012d20b2b084e738e89af38af0602c272-800x755.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-1061788942_custom-8785ee7012d20b2b084e738e89af38af0602c272-1020x963.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-1061788942_custom-8785ee7012d20b2b084e738e89af38af0602c272-160x151.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-1061788942_custom-8785ee7012d20b2b084e738e89af38af0602c272-768x725.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-1061788942_custom-8785ee7012d20b2b084e738e89af38af0602c272-1536x1450.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-1061788942_custom-8785ee7012d20b2b084e738e89af38af0602c272-2048x1933.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-1061788942_custom-8785ee7012d20b2b084e738e89af38af0602c272-1920x1812.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Philips cassette tape is shown in 1965. Lou Ottens, who lead the invention of the first cassette tape, has died at 94. \u003ccite>(Alfred Assmann/Picture Alliance via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lou Ottens, who put music-lovers around the world on a path toward playlists and mixtapes by leading the invention of the first cassette tape, has died at age 94, according to media reports in the Netherlands. Ottens was a talented and influential engineer at Philips, where he also helped develop consumer compact discs.\u003c/p>\n\u003cp>Ottens died last Saturday, according to the Dutch news outlet \u003ca href=\"https://www.nrc.nl/nieuws/2021/03/09/de-man-van-philips-vindingen-als-cassettebandje-en-cd-had-geen-trotsmetertje-a4034819\">NRC Handelsblad\u003c/a>, which lists his age as 94. \u003c/p>\n\u003cp>The cassette tape was Ottens’ answer to the large reel-to-reel tapes that provided high-quality sound but were seen as too clunky and expensive. He took on the challenge of shrinking tape technology in the early 1960s, when he became the head of new product development in Hasselt, Belgium, for the Dutch-based Philips technology company. \u003c/p>\n\u003cp>“Lou wanted music to be portable and accessible,” says documentary filmmaker Zack Taylor, who spent days with Ottens for his film, \u003cem>Cassette: A Documentary Mixtape\u003c/em>. \u003c/p>\n\u003cp>Ottens’ goal was to make something simple and affordable for anyone to use. As Taylor says, “He advocated for Philips to license this new format to other manufacturers for free, paving the way for cassettes to become a worldwide standard.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But first, he had to invent it. Trying to envision something that didn’t yet exist, Ottens used a wooden block that was small and thin enough to fit in his pocket as the target for what the future of tape recording and playback should be.\u003c/p>\n\u003cp>The result was unveiled to the world in 1963, and the so-called “compact cassette” quickly took off: It was “a sensation” from the start, Ottens told \u003ca href=\"https://entertainment.time.com/2013/08/02/happy-50th-birthday-cassettes/\">Time\u003c/a> in 2013, on the cassette’s 50th anniversary.\u003c/p>\n\u003cp>Born in 1926, Ottens went from building a radio for his family during World War II – it reportedly had a directional antenna, so it could focus on radio signals despite Nazi jamming attempts — to developing technology that would democratize music. \u003c/p>\n\u003cp>“Cassettes taught us how to use our voice, even when the message came from someone else’s songs, compiled painstakingly on a mixtape,” Taylor said. Describing how little things have changed, he added, “So next time you make that perfect playlist on Spotify, or send a link to share a song, you can thank Lou Ottens.”\u003c/p>\n\u003cp>Ottens was famously unsentimental about the invention that has accounted for some 100 billion sales, according to NRC. In a career devoted to seeking higher fidelity and advancing technology, he dismissed tapes as primitive,\u003ca href=\"https://www.nrc.nl/nieuws/2018/02/15/het-cassettebandje-is-helemaal-terug-a1592250\"> prone to noise and distortion\u003c/a>.\u003c/p>\n\u003cp>True to their do-it-yourself roots, cassette mixtapes have long been a favorite of punk and rock fans. But their legacy also looms large in hip-hop, where aspiring rappers and producers have used the approach to showcase their ability to chop up other music and create something new. The mixtape ethos has survived, and even thrived, despite the move from magnetic tape to CDs and digital formats. \u003c/p>\n\u003cp>Nearly 20 years after Philips introduced cassette tapes, Ottens helped the company develop compact disc technology for the consumer market and, with Sony, to settle on a format that would become the industry standard.\u003c/p>\n\u003cp>“From now on, the conventional record player is obsolete,” Ottens declared when production CD players emerged, as \u003ca href=\"http://news.bbc.co.uk/2/hi/technology/6950933.stm\">the BBC\u003c/a> reported.\u003c/p>\n\u003cfigure id=\"attachment_13893775\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/cassette-tape-ottens-dead_wide-62c6e8cc67474b87f89def0675ae067fe99e3e78-800x449.jpg\" alt=\"A cassette tape sits on a conveyor belt that is carrying recyclable materials through a sorting machine at Recology's Recylce Central on November 16, 2016 in San Francisco, California.\" width=\"800\" height=\"449\" class=\"size-medium wp-image-13893775\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cassette-tape-ottens-dead_wide-62c6e8cc67474b87f89def0675ae067fe99e3e78-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cassette-tape-ottens-dead_wide-62c6e8cc67474b87f89def0675ae067fe99e3e78-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cassette-tape-ottens-dead_wide-62c6e8cc67474b87f89def0675ae067fe99e3e78-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cassette-tape-ottens-dead_wide-62c6e8cc67474b87f89def0675ae067fe99e3e78-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cassette-tape-ottens-dead_wide-62c6e8cc67474b87f89def0675ae067fe99e3e78.jpg 1059w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cassette tapes gave new control to music fans, allowing them to create and share their own collections of songs in a cheap and easily portable format. \u003ccite>(Justin Sullivan/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Similar predictions were made about the cassette tape. But interest in the format has surged in recent years, despite the remaking of the music industry in the digital and streaming age. \u003c/p>\n\u003cp>The resurgence is driven by a mix of nostalgia and an appreciation for tapes’ unique status as a tangible but flexible format. For decades, music fans have used mixtapes to curate and share their favorite songs. Unsigned bands have also relied on them as a way to promote their music. \u003c/p>\n\u003cp>For many, cassettes have kept their cult status because they fulfill a dual promise of being both affordable and personal. They can hold anything from a carefully sequenced lineup of rare recordings to children putting on their own radio show. \u003c/p>\n\u003cp>“It’s the most accessible, easiest, cheapest way for anyone to record a piece of audio,” Matthew David of the Leaving Records music label \u003ca href=\"https://www.npr.org/sections/therecord/2011/02/24/133995073/cassette-tapes-get-a-west-coast-rewind\">told NPR\u003c/a> back in 2011, when cassettes were also enjoying a renaissance. \u003c/p>\n\u003cp>Cassette tapes have also become collector’s items. When Raekwon’s solo debut \u003cem>Only Built 4 Cuban Linx… \u003c/em>hit the market in 1995, for instance, it arrived in a rare purple-hued tape that became a cultural touchstone and a \u003ca href=\"https://www.npr.org/sections/therecord/2012/09/19/161403938/the-purple-tape-only-built-4-collectors\">hotly sought item\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ottens’ death follows a banner year for his invention. In 2020, a wide range of musicians \u003ca href=\"https://routenote.com/blog/the-official-top-40-best-selling-cassettes-of-2020/\">found success selling cassette tapes\u003c/a>, from Lady Gaga to Ozzy Osbourne and from Selena Gomez to the Gorillaz. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lou+Ottens%2C+Inventor+Of+The+Cassette+Tape%2C+Has+Died&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13893776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/gettyimages-1061788942_custom-8785ee7012d20b2b084e738e89af38af0602c272-800x755.jpg\" alt=\"A Philips cassette tape is shown in 1965. \" width=\"800\" height=\"755\" class=\"size-medium wp-image-13893776\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-1061788942_custom-8785ee7012d20b2b084e738e89af38af0602c272-800x755.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-1061788942_custom-8785ee7012d20b2b084e738e89af38af0602c272-1020x963.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-1061788942_custom-8785ee7012d20b2b084e738e89af38af0602c272-160x151.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-1061788942_custom-8785ee7012d20b2b084e738e89af38af0602c272-768x725.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-1061788942_custom-8785ee7012d20b2b084e738e89af38af0602c272-1536x1450.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-1061788942_custom-8785ee7012d20b2b084e738e89af38af0602c272-2048x1933.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-1061788942_custom-8785ee7012d20b2b084e738e89af38af0602c272-1920x1812.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Philips cassette tape is shown in 1965. Lou Ottens, who lead the invention of the first cassette tape, has died at 94. \u003ccite>(Alfred Assmann/Picture Alliance via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lou Ottens, who put music-lovers around the world on a path toward playlists and mixtapes by leading the invention of the first cassette tape, has died at age 94, according to media reports in the Netherlands. Ottens was a talented and influential engineer at Philips, where he also helped develop consumer compact discs.\u003c/p>\n\u003cp>Ottens died last Saturday, according to the Dutch news outlet \u003ca href=\"https://www.nrc.nl/nieuws/2021/03/09/de-man-van-philips-vindingen-als-cassettebandje-en-cd-had-geen-trotsmetertje-a4034819\">NRC Handelsblad\u003c/a>, which lists his age as 94. \u003c/p>\n\u003cp>The cassette tape was Ottens’ answer to the large reel-to-reel tapes that provided high-quality sound but were seen as too clunky and expensive. He took on the challenge of shrinking tape technology in the early 1960s, when he became the head of new product development in Hasselt, Belgium, for the Dutch-based Philips technology company. \u003c/p>\n\u003cp>“Lou wanted music to be portable and accessible,” says documentary filmmaker Zack Taylor, who spent days with Ottens for his film, \u003cem>Cassette: A Documentary Mixtape\u003c/em>. \u003c/p>\n\u003cp>Ottens’ goal was to make something simple and affordable for anyone to use. As Taylor says, “He advocated for Philips to license this new format to other manufacturers for free, paving the way for cassettes to become a worldwide standard.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But first, he had to invent it. Trying to envision something that didn’t yet exist, Ottens used a wooden block that was small and thin enough to fit in his pocket as the target for what the future of tape recording and playback should be.\u003c/p>\n\u003cp>The result was unveiled to the world in 1963, and the so-called “compact cassette” quickly took off: It was “a sensation” from the start, Ottens told \u003ca href=\"https://entertainment.time.com/2013/08/02/happy-50th-birthday-cassettes/\">Time\u003c/a> in 2013, on the cassette’s 50th anniversary.\u003c/p>\n\u003cp>Born in 1926, Ottens went from building a radio for his family during World War II – it reportedly had a directional antenna, so it could focus on radio signals despite Nazi jamming attempts — to developing technology that would democratize music. \u003c/p>\n\u003cp>“Cassettes taught us how to use our voice, even when the message came from someone else’s songs, compiled painstakingly on a mixtape,” Taylor said. Describing how little things have changed, he added, “So next time you make that perfect playlist on Spotify, or send a link to share a song, you can thank Lou Ottens.”\u003c/p>\n\u003cp>Ottens was famously unsentimental about the invention that has accounted for some 100 billion sales, according to NRC. In a career devoted to seeking higher fidelity and advancing technology, he dismissed tapes as primitive,\u003ca href=\"https://www.nrc.nl/nieuws/2018/02/15/het-cassettebandje-is-helemaal-terug-a1592250\"> prone to noise and distortion\u003c/a>.\u003c/p>\n\u003cp>True to their do-it-yourself roots, cassette mixtapes have long been a favorite of punk and rock fans. But their legacy also looms large in hip-hop, where aspiring rappers and producers have used the approach to showcase their ability to chop up other music and create something new. The mixtape ethos has survived, and even thrived, despite the move from magnetic tape to CDs and digital formats. \u003c/p>\n\u003cp>Nearly 20 years after Philips introduced cassette tapes, Ottens helped the company develop compact disc technology for the consumer market and, with Sony, to settle on a format that would become the industry standard.\u003c/p>\n\u003cp>“From now on, the conventional record player is obsolete,” Ottens declared when production CD players emerged, as \u003ca href=\"http://news.bbc.co.uk/2/hi/technology/6950933.stm\">the BBC\u003c/a> reported.\u003c/p>\n\u003cfigure id=\"attachment_13893775\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/cassette-tape-ottens-dead_wide-62c6e8cc67474b87f89def0675ae067fe99e3e78-800x449.jpg\" alt=\"A cassette tape sits on a conveyor belt that is carrying recyclable materials through a sorting machine at Recology's Recylce Central on November 16, 2016 in San Francisco, California.\" width=\"800\" height=\"449\" class=\"size-medium wp-image-13893775\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cassette-tape-ottens-dead_wide-62c6e8cc67474b87f89def0675ae067fe99e3e78-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cassette-tape-ottens-dead_wide-62c6e8cc67474b87f89def0675ae067fe99e3e78-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cassette-tape-ottens-dead_wide-62c6e8cc67474b87f89def0675ae067fe99e3e78-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cassette-tape-ottens-dead_wide-62c6e8cc67474b87f89def0675ae067fe99e3e78-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cassette-tape-ottens-dead_wide-62c6e8cc67474b87f89def0675ae067fe99e3e78.jpg 1059w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cassette tapes gave new control to music fans, allowing them to create and share their own collections of songs in a cheap and easily portable format. \u003ccite>(Justin Sullivan/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Similar predictions were made about the cassette tape. But interest in the format has surged in recent years, despite the remaking of the music industry in the digital and streaming age. \u003c/p>\n\u003cp>The resurgence is driven by a mix of nostalgia and an appreciation for tapes’ unique status as a tangible but flexible format. For decades, music fans have used mixtapes to curate and share their favorite songs. Unsigned bands have also relied on them as a way to promote their music. \u003c/p>\n\u003cp>For many, cassettes have kept their cult status because they fulfill a dual promise of being both affordable and personal. They can hold anything from a carefully sequenced lineup of rare recordings to children putting on their own radio show. \u003c/p>\n\u003cp>“It’s the most accessible, easiest, cheapest way for anyone to record a piece of audio,” Matthew David of the Leaving Records music label \u003ca href=\"https://www.npr.org/sections/therecord/2011/02/24/133995073/cassette-tapes-get-a-west-coast-rewind\">told NPR\u003c/a> back in 2011, when cassettes were also enjoying a renaissance. \u003c/p>\n\u003cp>Cassette tapes have also become collector’s items. When Raekwon’s solo debut \u003cem>Only Built 4 Cuban Linx… \u003c/em>hit the market in 1995, for instance, it arrived in a rare purple-hued tape that became a cultural touchstone and a \u003ca href=\"https://www.npr.org/sections/therecord/2012/09/19/161403938/the-purple-tape-only-built-4-collectors\">hotly sought item\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ottens’ death follows a banner year for his invention. In 2020, a wide range of musicians \u003ca href=\"https://routenote.com/blog/the-official-top-40-best-selling-cassettes-of-2020/\">found success selling cassette tapes\u003c/a>, from Lady Gaga to Ozzy Osbourne and from Selena Gomez to the Gorillaz. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lou+Ottens%2C+Inventor+Of+The+Cassette+Tape%2C+Has+Died&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Beyoncé, Dua Lipa Headline 2021 Grammy Nominations",
"headTitle": "Beyoncé, Dua Lipa Headline 2021 Grammy Nominations | KQED",
"content": "\u003cp>The Recording Academy announced its 2021 Grammy nominations on Tuesday, with Beyoncé, rising pop star Dua Lipa and stoner superstar Post Malone leading a diffuse field.\u003c/p>\n\u003cp>Beyonce features on two songs in the record of the year category, which essentially rewards the year’s best single: the remix of Megan Thee Stallion’s “Savage” and her own “Black Parade.” The latter was also nominated for song of the year, which is awarded to the winner’s songwriters.\u003c/p>\n\u003cp>The Grammys made several changes to its structure this year, including increasing its voting membership\u003ca href=\"https://www.grammy.com/press-releases/recording-academy%C2%AE-invites-2300-qualified-music-creators-and-professionals-join-its\" target=\"_blank\" rel=\"noopener noreferrer\"> by 2,300\u003c/a> and tweaking its nominations process after years of criticism over a lack of diversity amid the ceremony’s top categories. The moves were meant to “to evolve with the musical landscape and to ensure that the … nominating process and rules are more transparent and fair,” according to \u003ca href=\"https://www.grammy.com/press-releases/recording-academy%C2%AE-adopts-major-changes-63rd-annual-grammys%C2%AE-and-releases-rules\" target=\"_blank\" rel=\"noopener noreferrer\">a statement on its website\u003c/a>.\u003c/p>\n\u003cp>The Academy also made its\u003ca href=\"https://www.grammy.com/sites/com/files/2020rulebook.pdf\" target=\"_blank\" rel=\"noopener noreferrer\"> rules and guidelines\u003c/a> public for the first time, including definitions for previously murky eligibility requirements and voting guidelines. It also changed the names of several categories—the Latin Pop Album category was renamed to the slightly more-inclusive Best Latin Pop Or Urban Album—and instituted a method for flagging conflicts of interest on its still-secretive Nominations Review Committees, whose members are not made public.\u003c/p>\n\u003cp>In addition, the Academy made several personnel changes, most notably \u003ca href=\"https://www.npr.org/2020/03/02/811309417/the-recording-academy-fires-deborah-dugan-its-short-lived-leader\" target=\"_blank\" rel=\"noopener noreferrer\">the firing its first female CEO, Deborah Dugan\u003c/a>, after less than a year on the job. Dugan had accused the Academy of being “rigged” and “corrupt,” while the Academy had said she was terminated following a confidential investigation into allegations that Dugan had bullied a senior member of the Academy. Former Google executive Valeisha Butterfield Jones was appointed to Chief Diversity & Inclusion Officer, a new position created in response to \u003ca href=\"https://www.grammy.com/sites/com/files/final_task_force_report.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">recommendations\u003c/a> made by a task force focused on diversity and inclusion. She will “design, build and implement world-class programs and industry standards focused on inclusion, belonging and representation for underrepresented communities and creators.” [aside postid='arts_13889581,arts_13889392,arts_13889101' label='More Arts & Culture']\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The results of these efforts at the top of the marquee are mixed. The eight nominations in the album of the year category, for example, are gender-diverse but mostly white, save for the rock group Black Pumas and the multi-racial pop singer Jhené Aiko. Record of the year nominees form a richer field, including the fast-rising rapper DaBaby, pop provocateur Doja Cat and the aforementioned Megan Thee Stallion. All of the nominees for best pop vocal album are white artists.\u003c/p>\n\u003ch3>The 2021 Grammy Award Nominations\u003c/h3>\n\u003cp>\u003cstrong>Record Of The Year\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Awarded to the artist and producer(s), recording engineer(s), mixer(s) and mastering engineer(s), if other than the artist.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Black Parade” — Beyoncé\u003c/li>\n\u003cli>“Colors” — Black Pumas\u003c/li>\n\u003cli>“Rockstar” — DaBaby Featuring Roddy Ricch\u003c/li>\n\u003cli>“Say So” — Doja Cat\u003c/li>\n\u003cli>“Everything I Wanted” — Billie Eilish\u003c/li>\n\u003cli>“Don’t Start Now” — Dua Lipa\u003c/li>\n\u003cli>“Circles” — Post Malone\u003c/li>\n\u003cli>“Savage” — Megan Thee Stallion Featuring Beyoncé\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Song Of The Year\u003c/strong>\u003c/p>\n\u003cp>\u003cem>A songwriter(s) award. A song is eligible if it was first released or if it first achieved prominence during the eligibility year. (Recording artists’ names appear in parentheses.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Black Parade” — Denisia Andrews, Beyoncé, Stephen Bray, Shawn Carter, Brittany Coney, Derek James Dixie, Akil King, Kim “Kaydence” Krysiuk & Rickie “Caso” Tice, songwriters (Beyoncé)\u003c/li>\n\u003cli>“The Box” — Samuel Gloade & Rodrick Moore, songwriters (Roddy Ricch)\u003c/li>\n\u003cli>“Cardigan” — Aaron Dessner & Taylor Swift, songwriters (Taylor Swift)\u003c/li>\n\u003cli>“Circles” — Louis Bell, Adam Feeney, Kaan Gunesberk, Austin Post & Billy Walsh, songwriters (Post Malone)\u003c/li>\n\u003cli>“Don’t Start Now” — Caroline Ailin, Ian Kirkpatrick, Dua Lipa & Emily Warren, songwriters (Dua Lipa)\u003c/li>\n\u003cli>“Everything I Wanted” — Billie Eilish O’Connell & Finneas O’Connell, songwriters (Billie Eilish)\u003c/li>\n\u003cli>“I Can’t Breathe” — Dernst Emile II, H.E.R. & Tiara Thomas, songwriters (H.E.R.)\u003c/li>\n\u003cli>“If The World Was Ending” — Julia Michaels & JP Saxe, songwriters (JP Saxe Featuring Julia Michaels)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Album Of The Year\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Awarded to artist(s) and to featured artist(s), songwriter(s) of new material, producer(s), recording engineer(s), mixing and mastering engineer(s) credited with at least 33% playing time of the album, if other than the artist.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Chilombo \u003c/em>— Jhené Aiko\u003c/li>\n\u003cli>\u003cem>Black Pumas (Deluxe Edition) \u003c/em>— Black Pumas\u003c/li>\n\u003cli>\u003cem>Everyday Life\u003c/em> — Coldplay\u003c/li>\n\u003cli>\u003cem>Djesse Vol. 3 \u003c/em>— Jacob Collier\u003c/li>\n\u003cli>\u003cem>Women In Music Pt. III \u003c/em>— Haim\u003c/li>\n\u003cli>\u003cem>Future Nostalgia \u003c/em>— Dua Lipa\u003c/li>\n\u003cli>\u003cem>Hollywood’s Bleeding\u003c/em> — Post Malone\u003c/li>\n\u003cli>\u003cem>Folklore \u003c/em>— Taylor Swift\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best New Artist\u003c/strong>\u003c/p>\n\u003cp>\u003cem>This category recognizes an artist whose eligibility-year release(s) achieved a breakthrough into the public consciousness and notably impacted the musical landscape.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Ingrid Andress\u003c/li>\n\u003cli>Phoebe Bridgers\u003c/li>\n\u003cli>Chika\u003c/li>\n\u003cli>Noah Cyrus\u003c/li>\n\u003cli>D Smoke\u003c/li>\n\u003cli>Doja Cat\u003c/li>\n\u003cli>Kaytranada\u003c/li>\n\u003cli>Megan Thee Stallion\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Pop Duo/Group Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new vocal or instrumental duo/group or collaborative pop recordings. Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Un Dia (One Day)” — J Balvin, Dua Lipa, Bad Bunny & Tainy\u003c/li>\n\u003cli>“Intentions” — Justin Bieber Featuring Quavo\u003c/li>\n\u003cli>“Dynamite” — BTS\u003c/li>\n\u003cli>“Rain On Me” — Lady Gaga with Ariana Grande\u003c/li>\n\u003cli>“Exile” — Taylor Swift Featuring Bon Iver\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Pop Vocal Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing of new pop vocal recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Changes \u003c/em>— Justin Bieber\u003c/li>\n\u003cli>\u003cem>Chromatica\u003c/em> — Lady Gaga\u003c/li>\n\u003cli>\u003cem>Future Nostalgia \u003c/em>— Dua Lipa\u003c/li>\n\u003cli>\u003cem>Fine Line \u003c/em>— Harry Styles\u003c/li>\n\u003cli>\u003cem>Folklore \u003c/em>— Taylor Swift\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Dance/Electronic Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For vocal or instrumental albums.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Kick I\u003c/em> — Arca\u003c/li>\n\u003cli>\u003cem>Planet’s Mad\u003c/em> — Baauer\u003c/li>\n\u003cli>\u003cem>Energy \u003c/em>— Disclosure\u003c/li>\n\u003cli>\u003cem>Bubba\u003c/em> — Kaytranada\u003c/li>\n\u003cli>\u003cem>Good Faith\u003c/em> — Madeon\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Rock Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new vocal or instrumental solo, duo/group or collaborative rock recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Shameika” — Fiona Apple\u003c/li>\n\u003cli>“Not” — Big Thief\u003c/li>\n\u003cli>“Kyoto” — Phoebe Bridgers\u003c/li>\n\u003cli>“The Steps” — HAIM\u003c/li>\n\u003cli>“Stay High” — Brittany Howard\u003c/li>\n\u003cli>“Daylight” — Grace Potter\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Progressive R&B Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of newly recorded progressive vocal tracks derivative of R&B.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Chilombo \u003c/em>—Jhené Aiko\u003c/li>\n\u003cli>\u003cem>Ungodly Hour\u003c/em> — Chloe X Halle\u003c/li>\n\u003cli>\u003cem>Free Nationals \u003c/em>— Free Nationals\u003c/li>\n\u003cli>\u003cem>F*** Yo Feelings \u003c/em>— Robert Glasper\u003c/li>\n\u003cli>\u003cem>It Is What It Is \u003c/em>— Thundercat\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Rap Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For a rap performance. Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Deep Reverence” — Big Sean Featuring Nipsey Hussle\u003c/li>\n\u003cli>“Bop” — DaBaby\u003c/li>\n\u003cli>“What’s Poppin” — Jack Harlow\u003c/li>\n\u003cli>“The Bigger Picture” — Lil Baby\u003c/li>\n\u003cli>“Savage” — Megan Thee Stallion Featuring Beyoncé\u003c/li>\n\u003cli>“Dior” — Pop Smoke\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Country Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new country recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Lady Like\u003c/em>— Ingrid Andress\u003c/li>\n\u003cli>\u003cem>Your Life Is A Record\u003c/em>— Brandy Clark\u003c/li>\n\u003cli>\u003cem>Wildcard \u003c/em>— Miranda Lambert\u003c/li>\n\u003cli>\u003cem>Nightfall\u003c/em>— Little Big Town\u003c/li>\n\u003cli>\u003cem>Never Will \u003c/em>— Ashley McBryde\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Jazz Vocal Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new vocal jazz recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Ona \u003c/em>— Thana Alexa\u003c/li>\n\u003cli>\u003cem>Secrets Are The Best Stories\u003c/em> — Kurt Elling Featuring Danilo Pérez\u003c/li>\n\u003cli>\u003cem>Modern Ancestors\u003c/em> — Carmen Lundy\u003c/li>\n\u003cli>\u003cem>Holy Room: Live At Alte Oper \u003c/em>— Somi With Frankfurt Radio Big Band\u003c/li>\n\u003cli>\u003cem>What’s The Hurry\u003c/em> — Kenny Washington\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Latin Pop or Urban Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new Latin pop or urban recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>YHLQMDLG\u003c/em>— Bad Bunny\u003c/li>\n\u003cli>\u003cem>Por Primera Vez\u003c/em> — Camilo\u003c/li>\n\u003cli>\u003cem>Mesa Para Dos\u003c/em> — Kany García\u003c/li>\n\u003cli>\u003cem>Pausa\u003c/em> — Ricky Martin\u003c/li>\n\u003cli>\u003cem>3:33\u003c/em> — Debi Nova\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Americana Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new vocal or instrumental Americana recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Old Flowers\u003c/em> — Courtney Marie Andrews\u003c/li>\n\u003cli>\u003cem>Terms Of Surrender \u003c/em>— Hiss Golden Messenger\u003c/li>\n\u003cli>\u003cem>World On The Ground \u003c/em>— Sarah Jarosz\u003c/li>\n\u003cli>\u003cem>El Dorado\u003c/em> — Marcus King\u003c/li>\n\u003cli>\u003cem>Good Souls Better Angels \u003c/em>— Lucinda Williams\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Contemporary Blues Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new vocal or instrumental contemporary blues recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Have You Lost Your Mind Yet?\u003c/em> — Fantastic Negrito\u003c/li>\n\u003cli>\u003cem>Live At The Paramount \u003c/em>— Ruthie Foster Big Band\u003c/li>\n\u003cli>\u003cem>The Juice \u003c/em>— G. Love\u003c/li>\n\u003cli>\u003cem>Blackbirds\u003c/em> — Bettye LaVette\u003c/li>\n\u003cli>\u003cem>Up And Rolling \u003c/em>— North Mississippi Allstars\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Global Music Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new vocal or instrumental global music recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>FU Chronicles\u003c/em> — Antibalas\u003c/li>\n\u003cli>\u003cem>Twice As Tall \u003c/em>— Burna Boy\u003c/li>\n\u003cli>\u003cem>Agora \u003c/em>— Bebel Gilberto\u003c/li>\n\u003cli>\u003cem>Love Letters\u003c/em> — Anoushka Shankar\u003c/li>\n\u003cli>\u003cem>Amadjar \u003c/em>— Tinariwen\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Spoken Word Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Includes poetry, audio books and storytelling.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Acid For The Children: A Memoir \u003c/em>— Flea\u003c/li>\n\u003cli>\u003cem>Alex Trebek – The Answer Is…\u003c/em> — Ken Jennings\u003c/li>\n\u003cli>\u003cem>Blowout: Corrupted Democracy, Rogue State Russia, And The Richest, Most Destructive Industry On Earth\u003c/em> — Rachel Maddow\u003c/li>\n\u003cli>\u003cem>Catch And Kill\u003c/em> — Ronan Farrow\u003c/li>\n\u003cli>\u003cem>Charlotte’s Web (E.B. White)\u003c/em> — Meryl Streep (& Full Cast)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Music Film\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For concert/performance films or music documentaries. Award to the artist, video director and video producer.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Beastie Boys Story \u003c/em>— Beastie Boys\u003c/li>\n\u003cli>\u003cem>Black Is King\u003c/em> — Beyoncé\u003c/li>\n\u003cli>\u003cem>We Are Freestyle Love Supreme\u003c/em> — Freestyle Love Supreme\u003c/li>\n\u003cli>\u003cem>Linda Ronstadt: The Sound Of My Voice\u003c/em> — Linda Ronstadt\u003c/li>\n\u003cli>\u003cem>That Little Ol’ Band From Texas\u003c/em> — ZZ Top\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Pop Solo Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new vocal or instrumental pop recordings. Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Yummy” — Justin Bieber\u003c/li>\n\u003cli>“Say So” — Doja Cat\u003c/li>\n\u003cli>“Everything I Wanted” — Billie Eilish\u003c/li>\n\u003cli>“Don’t Start Now” — Dua Lipa\u003c/li>\n\u003cli>“Watermelon Sugar” — Harry Styles\u003c/li>\n\u003cli>“Cardigan” — Taylor Swift\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Traditional Pop Vocal Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new traditional pop recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Blue Umbrella — (Burt Bacharach &) Daniel Tashian\u003c/li>\n\u003cli>True Love: A Celebration Of Cole Porter — Harry Connick, Jr.\u003c/li>\n\u003cli>American Standard — James Taylor\u003c/li>\n\u003cli>Unfollow The Rules — Rufus Wainwright\u003c/li>\n\u003cli>Judy — Renée Zellweger\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Dance Recording\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For solo, duo, group or collaborative performances. Vocal or instrumental. Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“On My Mind” — Diplo & SIDEPIECE (Diplo & SIDEPIECE, producers; Luca Pretolesi, mixer)\u003c/li>\n\u003cli>“My High” — Disclosure ft. Aminé & Slowthai (Guy Lawrence & Howard Lawrence, producers; Guy Lawrence, mixer)\u003c/li>\n\u003cli>“The Difference” — Flume ft. Toro y Moi (Flume, producer; Eric J Dubowsky, mixer)\u003c/li>\n\u003cli>“Both Of Us” — Jayda G (Fred Again.. & Jayda G, producers; Fred Again.. & Jayda G, mixers)\u003c/li>\n\u003cli>“10%” — Kaytranada ft. Kali Uchis (Kaytranada, producer; Neal H. Pogue, mixer)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Contemporary Instrumental Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing approximately 51% or more playing time of instrumental material. For albums containing at least 51% playing time of new recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Axiom — Christian Scott Atunde Adjuah\u003c/li>\n\u003cli>Chronology Of A Dream: Live At The Village Vanguard — Jon Batiste\u003c/li>\n\u003cli>Take The Stairs — Black Violin\u003c/li>\n\u003cli>Americana — Grégoire Maret, Romain Collin & Bill Frisell\u003c/li>\n\u003cli>Live At The Royal Albert Hall — Snarky Puppy\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Metal Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new vocal or instrumental solo, duo/group or collaborative metal recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Bum-Rush” — Body Count\u003c/li>\n\u003cli>“Underneath” — Code Orange\u003c/li>\n\u003cli>“The In-Between” — In This Moment\u003c/li>\n\u003cli>“Bloodmoney” — Poppy\u003c/li>\n\u003cli>“Executioner’s Tax (Swing Of The Axe) – Live” — Power Trip\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Rock Song\u003c/strong>\u003c/p>\n\u003cp>\u003cem>A songwriter(s) Award. Includes rock, hard rock and metal songs. A song is eligible if it was first released or if it first achieved prominence during the eligibility year. (Artist names appear in parentheses.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Kyoto” — Phoebe Bridgers, Morgan Nagler & Marshall Vore, songwriters (Phoebe Bridgers)\u003c/li>\n\u003cli>“Lost In Yesterday” — Kevin Parker, songwriter (Tame Impala)\u003c/li>\n\u003cli>“Not” — Adrianne Lenker, songwriter (Big Thief)\u003c/li>\n\u003cli>“Shameika” — Fiona Apple, songwriter (Fiona Apple)\u003c/li>\n\u003cli>“Stay High” — Brittany Howard, songwriter (Brittany Howard)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Rock Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new rock, hard\u003c/em>\u003c/p>\n\u003cp>\u003cem>rock or metal recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>A Hero’s Death — Fontaines D.C.\u003c/li>\n\u003cli>Kiwanuka — Michael Kiwanuka\u003c/li>\n\u003cli>Daylight — Grace Potter\u003c/li>\n\u003cli>Sound & Fury — Sturgill Simpson\u003c/li>\n\u003cli>The New Abnormal — The Strokes\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Alternative Music Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Vocal or instrumental.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Fetch The Bolt Cutters — Fiona Apple\u003c/li>\n\u003cli>Hyperspace — Beck\u003c/li>\n\u003cli>Punisher — Phoebe Bridgers\u003c/li>\n\u003cli>Jaime — Brittany Howard\u003c/li>\n\u003cli>The Slow Rush — Tame Impala\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best R&B Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new vocal or instrumental R&B recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Lightning & Thunder” — Jhené Aiko ft. John Legend\u003c/li>\n\u003cli>“Black Parade” — Beyoncé\u003c/li>\n\u003cli>“All I Need” — Jacob Collier ft. Mahalia & Ty Dolla $Ign\u003c/li>\n\u003cli>“Goat Head” — Brittany Howard\u003c/li>\n\u003cli>“See Me” — Emily King\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Traditional R&B Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new vocal or instrumental traditional R&B recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Sit On Down” — The Baylor Project ft. Jean Baylor & Marcus Baylor\u003c/li>\n\u003cli>“Wonder What She Thinks Of Me” — Chloe X Halle\u003c/li>\n\u003cli>“Let Me Go” — Mykal Kilgore\u003c/li>\n\u003cli>“Anything For You” — Ledisi\u003c/li>\n\u003cli>“Distance” — Yebba\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best R&B Song\u003c/strong>\u003c/p>\n\u003cp>\u003cem>A songwriter(s) award. A song is eligible if it was first released or if it first achieved prominence during the eligibility year. (Artist names appear in parentheses.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Better Than I Imagine” — Robert Glasper, Meshell Ndegeocello & Gabriella Wilson, Songwriters (Robert Glasper Ft. H.E.R. & Meshell Ndegeocello)\u003c/li>\n\u003cli>“Black Parade” — Denisia Andrews, Beyoncé, Stephen Bray, Shawn Carter, Brittany Coney, Derek James Dixie, Akil King, Kim “Kaydence” Krysiuk & Rickie “Caso” Tice, Songwriters (Beyoncé)\u003c/li>\n\u003cli>“Collide” — Sam Barsh, Stacey Barthe, Sonyae Elise, Olu Fann, Akil King, Josh Lopez, Kaveh Rastegar & Benedetto Rotondi, Songwriters (Tiana Major9 & Earthgang)\u003c/li>\n\u003cli>“Do It” — Chloe Bailey, Halle Bailey, Anton Kuhl, Victoria Monét, Scott Storch & Vincent Van Den Ende, Songwriters (Chloe X Halle)\u003c/li>\n\u003cli>“Slow Down” — Nasri Atweh, Badriia Bourelly, Skip Marley, Ryan Williamson & Gabriella Wilson, Songwriters (Skip Marley & H.E.R.)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best R&B Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new R&B recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Happy 2 Be Here — Ant Clemons\u003c/li>\n\u003cli>Take Time — Giveon\u003c/li>\n\u003cli>To Feel Love/D — Luke James\u003c/li>\n\u003cli>Bigger Love — John Legend\u003c/li>\n\u003cli>All Rise — Gregory Porter\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Melodic Rap Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For a solo or collaborative performance containing both elements of R&B melodies and rap.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Rockstar” — DaBaby ft. Roddy Ricch\u003c/li>\n\u003cli>“Laugh Now, Cry Later” Drake ft. Lil Durk\u003c/li>\n\u003cli>“Lockdown” — Anderson .Paak\u003c/li>\n\u003cli>“The Box” — Roddy Ricch\u003c/li>\n\u003cli>“Highest In The Room” — Travis Scott\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Rap Song\u003c/strong>\u003c/p>\n\u003cp>\u003cem>A songwriter(s) award. A song is eligible if it was first released or if it first achieved prominence during the eligibility year. (Artist names appear in parentheses.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“The Bigger Picture” — Dominique Jones, Noah Pettigrew & Rai’shaun Williams, songwriters (Lil Baby)\u003c/li>\n\u003cli>“The Box” — Samuel Gloade & Rodrick Moore, songwriters (Roddy Ricch)\u003c/li>\n\u003cli>“Laugh Now, Cry Later” — Durk Banks, Rogét Chahayed, Aubrey Graham, Daveon Jackson, Ron Latour & Ryan Martinez, songwriters (Drake ft. Lil Durk)\u003c/li>\n\u003cli>“Rockstar” — Jonathan Lyndale Kirk, Ross Joseph Portaro Iv & Rodrick Moore, songwriters (Dababy ft. Roddy Ricch)\u003c/li>\n\u003cli>“Savage” — Beyoncé, Shawn Carter, Brittany Hazzard, Derrick Milano, Terius Nash, Megan Pete, Bobby Session Jr., Jordan Kyle Lanier Thorpe & Anthony White, songwriters (Megan Thee Stallion Ft. Beyoncé)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Rap Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new rap recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Black Habits — D Smoke\u003c/li>\n\u003cli>Alfredo — Freddie Gibbs & The Alchemist\u003c/li>\n\u003cli>A Written Testimony — Jay Electronica\u003c/li>\n\u003cli>King’s Disease — Nas\u003c/li>\n\u003cli>The Allegory — Royce Da 5’9″\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Country Solo Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new vocal or instrumental solo country recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Stick That In Your Country Song” — Eric Church\u003c/li>\n\u003cli>“Who You Thought I Was” — Brandy Clark\u003c/li>\n\u003cli>“When My Amy Prays — Vince Gill\u003c/li>\n\u003cli>“Black Like Me” — Mickey Guyton\u003c/li>\n\u003cli>“Bluebird” — Miranda Lambert\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Country Duo/Group Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new vocal or instrumental duo/group or collaborative country recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“All Night” — Brothers Osborne\u003c/li>\n\u003cli>“10,000 Hours” — Dan + Shay & Justin Bieber\u003c/li>\n\u003cli>“Ocean” — Lady A\u003c/li>\n\u003cli>“Sugar Coat” — Little Big Town\u003c/li>\n\u003cli>“Some People Do” — Old Dominion\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Country Song \u003c/strong>\u003c/p>\n\u003cp>\u003cem>A songwriter(s) Award. A song is eligible if it was first released or if it first achieved prominence during the eligibility year. (Artist names appear in parentheses.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Bluebird” — Luke Dick, Natalie Hemby & Miranda Lambert, songwriters (Miranda Lambert)\u003c/li>\n\u003cli>“The Bones” — Maren Morris, Jimmy Robbins & Laura Veltz, songwriters (Maren Morris)\u003c/li>\n\u003cli>“Crowded Table” — Brandi Carlile, Natalie Hemby & Lori Mckenna, songwriters (The Highwomen)\u003c/li>\n\u003cli>“More Hearts Than Mine” — Ingrid Andress, Sam Ellis & Derrick Southerland, songwriters (Ingrid Andress)\u003c/li>\n\u003cli>“Some People Do” — Jesse Frasure, Shane Mcanally, Matthew Ramsey & Thomas Rhett, songwriters (Old Dominion)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best New Age Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new vocal or instrumental new age recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Songs From The Bardo — Laurie Anderson, Tenzin Choegyal & Jesse Paris Smith\u003c/li>\n\u003cli>Periphery — Priya Darshini\u003c/li>\n\u003cli>Form//Less — Superposition\u003c/li>\n\u003cli>More Guitar Stories — Jim “Kimo” West\u003c/li>\n\u003cli>Meditations — Cory Wong & Jon Batiste\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Improvised Jazz Solo\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For an instrumental jazz solo performance. Two equal performers on one recording may be eligible as one entry. If the soloist listed appears on a recording billed to another artist, the latter’s name is in parenthesis for identification. Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Guinevere” — Christian Scott Atunde Adjuah, soloist\u003c/li>\n\u003cli>“Pachamama” — Regina Carter, soloist\u003c/li>\n\u003cli>“Celia” — Gerald Clayton, soloist\u003c/li>\n\u003cli>“All Blues” — Chick Corea, soloist\u003c/li>\n\u003cli>“Moe Honk” — Joshua Redman, soloist\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Jazz Instrumental Album \u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new instrumental jazz recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>On The Tender Spot Of Every Calloused Moment — Ambrose Akinmusire\u003c/li>\n\u003cli>Waiting Game — Terri Lyne Carrington And Social Science\u003c/li>\n\u003cli>Happening: Live At The Village Vanguard — Gerald Clayton\u003c/li>\n\u003cli>Trilogy 2 — Chick Corea, Christian Mcbride & Brian Blade\u003c/li>\n\u003cli>Roundagain — Redman Mehldau Mcbride Blade\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Large Jazz Ensemble Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new ensemble jazz recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Dialogues On Race — Gregg August\u003c/li>\n\u003cli>Monk’estra Plays John Beasley — John Beasley\u003c/li>\n\u003cli>The Intangible Between — Orrin Evans And The Captain Black Big Band\u003c/li>\n\u003cli>Songs You Like A Lot — John Hollenbeck With Theo Bleckmann, Kate\u003c/li>\n\u003cli>Mcgarry, Gary Versace And The Frankfurt Radio Big Band\u003c/li>\n\u003cli>Data Lords — Maria Schneider Orchestra\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Latin Jazz Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For vocal or instrumental albums containing at least 51% playing time of newly recorded material. The intent of this category is to recognize recordings that represent the blending of jazz with Latin, Iberian-American, Brazilian, and Argentinian tango music.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Tradiciones — Afro-peruvian Jazz Orchestra\u003c/li>\n\u003cli>Four Questions — Arturo O’farrill & The Afro Latin Jazz Orchestra\u003c/li>\n\u003cli>City Of Dreams — Chico Pinheiro\u003c/li>\n\u003cli>Viento Y Tiempo – Live At Blue Note Tokyo — Gonzalo Rubalcaba & Aymée Nuviola\u003c/li>\n\u003cli>Trane’s Delight — Poncho Sanchez\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Gospel Performance/Song\u003c/strong>\u003c/p>\n\u003cp>\u003cem>This award is given to the artist(s) and songwriter(s) (for new compositions) for the best traditional Christian, roots gospel or contemporary gospel single or track.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Wonderful Is Your Name” — Melvin Crispell III\u003c/li>\n\u003cli>“Release (Live)” — Ricky Dillard Ft. Tiff Joy; David Frazier, songwriter\u003c/li>\n\u003cli>“Come Together” — Rodney “Darkchild” Jerkins Presents: The Good News; Lashawn Daniels, Rodney Jerkins, Lecrae Moore & Jazz Nixon, songwriters\u003c/li>\n\u003cli>“Won’t Let Go” — Travis Greene; Travis Greene, songwriter\u003c/li>\n\u003cli>“Movin’ On” — Jonathan Mcreynolds & Mali Music; Darryl L. Howell, Jonathan Caleb Mcreynolds, Kortney Jamaal Pollard & Terrell Demetrius Wilson, songwriters\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Contemporary Christian Music Performance/Song \u003c/strong>\u003c/p>\n\u003cp>\u003cem>This award is given to the artist(s) and songwriter(s) (for new compositions) for the best contemporary Christian music single or track, (including pop, rap/hip-hop, Latin, or rock.)\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“The Blessing (Live)” — Kari Jobe, Cody Carnes & Elevation Worship; Chris Brown, Cody Carnes, Kari Jobe Carnes & Steven Furtick, songwriters\u003c/li>\n\u003cli>“Sunday Morning” — Lecrae Featuring Kirk Franklin; Denisia Andrews, Jones Terrence Antonio, Saint Bodhi, Brittany Coney, Kirk Franklin, Lasanna Harris, Shama Joseph, Stuart Lowery, Lecrae Moore & Nathanael Saint-fleur, songwriters\u003c/li>\n\u003cli>“Holy Water” — We The Kingdom; Andrew Bergthold, Ed Cash, Franni Cash, Martin Cash & Scott Cash, songwriters\u003c/li>\n\u003cli>“Famous For (I Believe)” — Tauren Wells Featuring Jenn Johnson; Chuck Butler, Krissy Nordhoff, Jordan Sapp, Alexis Slifer & Tauren Wells, songwriters\u003c/li>\n\u003cli>“There Was Jesus” — Zach Williams & Dolly Parton; Casey Beathard, Jonathan Smith & Zach Williams, songwriters\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Gospel Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of newly recorded, vocal, traditional or contemporary/R&B gospel music recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>2econd Wind: Ready — Anthony Brown & Group Therapy\u003c/li>\n\u003cli>My Tribute — Myron Butler\u003c/li>\n\u003cli>Choirmaster — Ricky Dillard\u003c/li>\n\u003cli>Gospel According To PJ — PJ Morton\u003c/li>\n\u003cli>Kierra — Kierra Sheard\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Contemporary Christian Music Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of newly recorded, vocal, contemporary Christian music, including pop, rap/hip hop, Latin, or rock recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Run To The Father — Cody Carnes\u003c/li>\n\u003cli>All Of My Best Friends — Hillsong Young & Free\u003c/li>\n\u003cli>Holy Water — We The Kingdom\u003c/li>\n\u003cli>Citizen Of Heaven — Tauren Wells\u003c/li>\n\u003cli>Jesus Is King — Kanye West\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Roots Gospel Album \u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of newly recorded, vocal, traditional/roots gospel music, including country, Southern gospel, bluegrass, and Americana recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Beautiful Day — Mark Bishop\u003c/li>\n\u003cli>20/20 — The Crabb Family\u003c/li>\n\u003cli>What Christmas Really Means — The Erwins\u003c/li>\n\u003cli>Celebrating Fisk! (The 150th Anniversary Album) — Fisk Jubilee Singers\u003c/li>\n\u003cli>Something Beautiful — Ernie Haase & Signature Sound\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Latin Rock or Alternative Album \u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new Latin rock or alternative recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Aura — Bajofondo\u003c/li>\n\u003cli>Monstruo — Cami\u003c/li>\n\u003cli>Sobrevolando — Cultura Profética\u003c/li>\n\u003cli>La Conquista Del Espacio — Fito Paez\u003c/li>\n\u003cli>Miss Colombia — Lido Pimienta\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Regional Mexican Music Album (Including Tejano)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new regional Mexican (banda, norteño, corridos, gruperos, mariachi, ranchera and Tejano) recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Hecho En México — Alejandro Fernández\u003c/li>\n\u003cli>La Serenata — Lupita Infante\u003c/li>\n\u003cli>Un Canto Por México, Vol. 1 — Natalia Lafourcade\u003c/li>\n\u003cli>Bailando Sones Y Huapangos Con — Mariachi Sol De Mexico De Jose Hernandez — Mariachi Sol De Mexico De Jose Hernandez\u003c/li>\n\u003cli>Ayayay! — Christian Nodal\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Tropical Latin Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new tropical Latin recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Mi Tumbao — José Alberto “El Ruiseñor”\u003c/li>\n\u003cli>Infinito — Edwin Bonilla\u003c/li>\n\u003cli>Sigo Cantando Al Amor (Deluxe) — Jorge Celedon & Sergio Luis\u003c/li>\n\u003cli>40 — Grupo Niche\u003c/li>\n\u003cli>Memorias De Navidad — Víctor Manuelle\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best American Roots Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new vocal or instrumental American roots recordings. This is for performances in the style of any of the subgenres encompassed in the American roots music field including Americana, bluegrass, blues, folk or regional roots. Award to the artist(s).\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Colors” — Black Pumas\u003c/li>\n\u003cli>“Deep In Love” — Bonny Light Horseman\u003c/li>\n\u003cli>“Short And Sweet” — Brittany Howard\u003c/li>\n\u003cli>“I’ll Be Gone” — Norah Jones & Mavis Staples\u003c/li>\n\u003cli>“I Remember Everything” — John Prine\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best American Roots Song \u003c/strong>\u003c/p>\n\u003cp>\u003cem>A songwriter(s) Award. Includes Americana, bluegrass, traditional blues, contemporary blues, folk or regional roots songs. A song is eligible if it was first released or if it first achieved prominence during the eligibility year. (Artist names appear in parentheses.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Cabin” — Laura Rogers & Lydia Rogers, songwriters (The Secret Sisters)\u003c/li>\n\u003cli>“Ceiling To The Floor” — Sierra Hull & Kai Welch, songwriters (Sierra Hull)\u003c/li>\n\u003cli>“Hometown” — Sarah Jarosz, Songwriter (Sarah Jarosz)\u003c/li>\n\u003cli>“I Remember Everything” — Pat Mclaughlin & John Prine, songwriters (John\u003c/li>\n\u003cli>Prine)\u003c/li>\n\u003cli>“Man Without A Soul” — Tom Overby & Lucinda Williams, songwriters (Lucinda\u003c/li>\n\u003cli>Williams)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Bluegrass Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new vocal or instrumental bluegrass recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Man On Fire — Danny Barnes\u003c/li>\n\u003cli>To Live In Two Worlds, Vol. 1 — Thomm Jutz\u003c/li>\n\u003cli>North Carolina Songbook — Steep Canyon Rangers\u003c/li>\n\u003cli>Home — Billy Strings\u003c/li>\n\u003cli>The John Hartford Fiddle Tune Project, Vol. 1 — (Various Artists)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Traditional Blues Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new vocal or instrumental traditional blues recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>All My Dues Are Paid — Frank Bey\u003c/li>\n\u003cli>You Make Me Feel — Don Bryant\u003c/li>\n\u003cli>That’s What I Heard — Robert Cray Band\u003c/li>\n\u003cli>Cypress Grove — Jimmy “Duck” Holmes\u003c/li>\n\u003cli>Rawer Than Raw — Bobby Rush\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Folk Album \u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new vocal or instrumental folk recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Bonny Light Horseman — Bonny Light Horseman\u003c/li>\n\u003cli>Thanks For The Dance — Leonard Cohen\u003c/li>\n\u003cli>Song For Our Daughter — Laura Marling\u003c/li>\n\u003cli>Saturn Return — The Secret Sisters\u003c/li>\n\u003cli>All The Good Times — Gillian Welch & David Rawlings\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Regional Roots Music Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new vocal or instrumental regional roots music recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>My Relatives “Nikso Kowaiks” — Black Lodge Singers\u003c/li>\n\u003cli>Cameron Dupuy And The Cajun Troubadours — Cameron Dupuy And The Cajun Troubadours\u003c/li>\n\u003cli>Lovely Sunrise — Nā Wai ʽehā\u003c/li>\n\u003cli>Atmosphere — New Orleans Nightcrawlers\u003c/li>\n\u003cli>A Tribute To Al Berard — Sweet Cecilia\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Reggae Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new reggae recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Upside Down 2020 — Buju Banton\u003c/li>\n\u003cli>Higher Place — Skip Marley\u003c/li>\n\u003cli>It All Comes Back To Love — Maxi Priest\u003c/li>\n\u003cli>Got To Be Tough — Toots & The Maytals\u003c/li>\n\u003cli>One World — The Wailers\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Children’s Music Album \u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new musical or spoken word recordings that are created and intended specifically for children.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>All The Ladies — Joanie Leeds\u003c/li>\n\u003cli>Be A Pain: An Album For Young (And Old) Leaders — Alastair Moock And Friends\u003c/li>\n\u003cli>I’m An Optimist — Dog On Fleas\u003c/li>\n\u003cli>Songs For Singin’ — The Okee Dokee Brothers\u003c/li>\n\u003cli>Wild Life — Justin Roberts\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Comedy Album \u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Black Mitzvah — Tiffany Haddish\u003c/li>\n\u003cli>I Love Everything — Patton Oswalt\u003c/li>\n\u003cli>The Pale Tourist — Jim Gaffigan\u003c/li>\n\u003cli>Paper Tiger — Bill Burr\u003c/li>\n\u003cli>23 Hours To Kill — Jerry Seinfeld\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Musical Theater Album \u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new recordings. Award to the principal vocalist(s) and the album producer(s) of 51% or more playing time of the album. The lyricist(s) and composer(s) of a new score are eligible for an Award if they have written and/or composed a new score which comprises 51% or more playing time of the album.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Amélie — Audrey Brisson, Chris Jared, Caolan McCarthy & Jez Unwin, principal soloists; Michael Fentiman, Sean Patrick Flahaven, Barnaby Race & Nathan Tysen, producers; Nathan Tysen, lyricist; Daniel Messe, composer & lyricist (Original London Cast)\u003c/li>\n\u003cli>American Utopia On Broadway — David Byrne, principal soloist; David Byrne, producer (David Byrne, composer & lyricist) (Original Cast)\u003c/li>\n\u003cli>Jagged Little Pill — Kathryn Gallagher, Celia Rose Gooding, Lauren Patten & Elizabeth Stanley, principal soloists; Neal Avron, Pete Ganbarg, Tom Kitt, Michael Parker, Craig Rosen & Vivek J. Tiwary, producers (Glen Ballard & Alanis Morissette, lyricists) (Original Broadway Cast)\u003c/li>\n\u003cli>Little Shop Of Horrors — Tammy Blanchard, Jonathan Groff & Tom Alan Robbins, principal soloists; Will Van Dyke, Michael Mayer, Alan Menken & Frank Wolf, producers (Alan Menken, composer; Howard Ashman, lyricist) (The New Off-Broadway Cast)\u003c/li>\n\u003cli>The Prince Of Egypt — Christine Allado, Luke Brady, Alexia Khadime & Liam Tamne, principal soloists; Dominick Amendum & Stephen Schwartz, producers; Stephen Schwartz, composer & lyricist (Original Cast)\u003c/li>\n\u003cli>Soft Power — Francis Jue, Austin Ku, Alyse Alan Louis & Conrad Ricamora, principal soloists; Matt Stine, producer; David Henry Hwang, lyricist; Jeanine Tesori, composer & lyricist (Original Cast)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Compilation Soundtrack For Visual Media\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Award to the artist(s) and/or ‘in studio’ producer(s) of a majority of the tracks on the album. In the absence of both, award to the one or two individuals proactively responsible for the concept and musical direction of the album and for the selection of artists, songs and producers, as applicable. Award also goes to appropriately credited music supervisor(s).\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>A Beautiful Day In The Neighborhood — (Various Artists)\u003c/li>\n\u003cli>Bill & Ted Face The Music — (Various Artists)\u003c/li>\n\u003cli>Eurovision Song Contest: The Story Of Fire Saga — (Various Artists)\u003c/li>\n\u003cli>Frozen 2 — (Various Artists)\u003c/li>\n\u003cli>Jojo Rabbit — (Various Artists)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Score Soundtrack For Visual Media \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Award to composer(s) for an original score created specifically for, or as a companion to, a current legitimate motion picture, television show or series, video games or other visual media.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Ad Astra — Max Richter, composer\u003c/li>\n\u003cli>Becoming — Kamasi Washington, composer\u003c/li>\n\u003cli>Joker — Hildur Guðnadóttir, composer\u003c/li>\n\u003cli>1917 — Thomas Newman, composer\u003c/li>\n\u003cli>Star Wars: The Rise Of Skywalker — John Williams, composer\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Song Written For Visual Media \u003c/strong>\u003c/p>\n\u003cp>\u003cem>A songwriter(s) award. For a song (melody & lyrics) written specifically for a motion picture, television, video games or other visual media, and released for the first time during the eligibility year. (Artist names appear in parentheses.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Beautiful Ghosts” [From Cats] — Andrew Lloyd Webber & Taylor Swift, songwriters\u003c/li>\n\u003cli>(Taylor Swift)\u003c/li>\n\u003cli>“Carried Me With You” [From Onward] — Brandi Carlile, Phil Hanseroth & Tim Hanseroth, songwriters (Brandi Carlile)\u003c/li>\n\u003cli>“Into The Unknown” [From Frozen 2] — Kristen Anderson-Lopez & Robert Lopez, songwriters (Idina Menzel & AURORA)\u003c/li>\n\u003cli>“No Time To Die” [From No Time To Die] — Billie Eilish O’Connell & Finneas Baird O’Connell, songwriters (Billie Eilish)\u003c/li>\n\u003cli>“Stand Up” [From Harriet] — Joshuah Brian Campbell & Cynthia Erivo, songwriters\u003c/li>\n\u003cli>(Cynthia Erivo)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Instrumental Composition\u003c/strong>\u003c/p>\n\u003cp>\u003cem>A composer’s award for an original composition (not an\u003c/em>\u003c/p>\n\u003cp>\u003cem>adaptation) first released during the eligibility year. Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Baby Jack” — Arturo O’Farrill, composer (Arturo O’Farrill & The Afro Latin Jazz Orchestra)\u003c/li>\n\u003cli>“Be Water Ii” — Christian Sands, composer (Christian Sands)\u003c/li>\n\u003cli>“Plumfield” — Alexandre Desplat, composer (Alexandre Desplat)\u003c/li>\n\u003cli>“Sputnik” — Maria Schneider, composer (Maria Schneider)\u003c/li>\n\u003cli>“Strata” — Remy Le Boeuf, composer (Remy Le Boeuf’s Assembly Of Shadows Featuring Anna Webber & Eric Miller)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Arrangement, Instrumental or A Cappella\u003c/strong>\u003c/p>\n\u003cp>\u003cem>An arranger’s award. (Artist names appear in parentheses.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Bathroom Dance” — Hildur Guðnadóttir, arranger (Hildur Guðnadóttir)\u003c/li>\n\u003cli>“Donna Lee” — John Beasley, arranger (John Beasley)\u003c/li>\n\u003cli>“Honeymooners” — Remy Le Boeuf, arranger (Remy Le Boeuf’s Assembly Of Shadows)\u003c/li>\n\u003cli>“Lift Every Voice And Sing” — Alvin Chea & Jarrett Johnson, arrangers (Jarrett Johnson Featuring Alvin Chea)\u003c/li>\n\u003cli>“Uranus: The Magician” — Jeremy Levy, arranger (Jeremy Levy Jazz Orchestra)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Arrangement, Instruments and Vocals\u003c/strong>\u003c/p>\n\u003cp>\u003cem>An arranger’s award. (Artist names appear in parentheses.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Asas Fechadas” — John Beasley & Maria Mendes, arrangers (Maria Mendes ft. John Beasley & Orkest Metropole)\u003c/li>\n\u003cli>“Desert Song” — Erin Bentlage, Sara Gazarek, Johnaye Kendrick & Amanda Taylor, arrangers (Säje)\u003c/li>\n\u003cli>“From This Place” — Alan Broadbent & Pat Metheny, arrangers (Pat Metheny ft. Meshell Ndegeocello)\u003c/li>\n\u003cli>“He Won’t Hold You” — Jacob Collier, arranger (Jacob Collier ft. Rapsody)\u003c/li>\n\u003cli>“Slow Burn” — Talia Billig, Nic Hard & Becca Stevens, arrangers (Becca Stevens Featuring Jacob Collier, Mark Lettieri, Justin Stanton, Jordan Perlson, Nic Hard, Keita Ogawa, Marcelo Woloski & Nate Werth)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Recording Package\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Everyday Life — Pilar Zeta, art director (Coldplay)\u003c/li>\n\u003cli>Funeral — Kyle Goen, art director (Lil Wayne)\u003c/li>\n\u003cli>Healer — Julian Gross & Hannah Hooper, art directors (Grouplove)\u003c/li>\n\u003cli>On Circles — Jordan Butcher, art director (Caspian)\u003c/li>\n\u003cli>Vols. 11 & 12 — Doug Cunningham & Jason Noto, art directors (Desert Sessions)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Boxed Or Special Limited Edition Package\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Flaming Pie (Collector’s Edition) — Linn Wie Andersen, Simon Earith, Paul McCartney & James Musgrave, art directors (Paul McCartney)\u003c/li>\n\u003cli>Giants Stadium 1987, 1989, 1991 — Lisa Glines & Doran Tyson, art directors (Grateful Dead)\u003c/li>\n\u003cli>Mode — Jeff Schulz, art director (Depeche Mode)\u003c/li>\n\u003cli>Ode To Joy — Lawrence Azerrad & Jeff Tweedy, art directors (Wilco)\u003c/li>\n\u003cli>The Story Of Ghostly International — Michael Cina & Molly Smith, art directors (Various\u003c/li>\n\u003cli>Artists)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Album Notes\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>At The Minstrel Show: Minstrel Routines From The Studio, 1894-1926 — Tim Brooks, album notes writer (Various Artists)\u003c/li>\n\u003cli>The Bakersfield Sound: Country Music Capital Of The West, 1940-1974 — Scott B. Bomar, album notes writer (Various Artists)\u003c/li>\n\u003cli>Dead Man’s Pop — Bob Mehr, album notes writer (The Replacements)\u003c/li>\n\u003cli>The Missing Link: How Gus Haenschen Got Us From Joplin To Jazz And Shaped The Music Business — Colin Hancock, album notes writer (Various Artists)\u003c/li>\n\u003cli>Out Of A Clear Blue Sky — David Sager, album notes writer (Nat Brusiloff)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Historical Album\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Celebrated, 1895-1896 — Meagan Hennessey & Richard Martin, compilation producers; Richard Martin, mastering engineer (Unique Quartette)\u003c/li>\n\u003cli>Hittin’ The Ramp: The Early Years (1936 – 1943) — Zev Feldman, Will Friedwald & George Klabin, compilation producers; Matthew Lutthans, mastering engineer (Nat King Cole)\u003c/li>\n\u003cli>It’s Such A Good Feeling: The Best Of Mister Rogers — Lee Lodyga & Cheryl Pawelski, compilation producers; Michael Graves, mastering engineer (Mister Rogers)\u003c/li>\n\u003cli>1999 Super Deluxe Edition — Michael Howe, compilation producer; Bernie Grundman, mastering engineer (Prince)\u003c/li>\n\u003cli>Souvenir — Carolyn Agger, compilation producer; Miles Showell, mastering engineer (Orchestral Manoeuvres In The Dark)\u003c/li>\n\u003cli>Throw Down Your Heart: The Complete Africa Sessions — Béla Fleck, compilation producer; Richard Dodd, mastering engineer (Béla Fleck)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Engineered Album, Non-Classical\u003c/strong>\u003c/p>\n\u003cp>\u003cem>An engineer’s award. (Artists’ names appear in parentheses.)\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Black Hole Rainbow — Shawn Everett & Ivan Wayman, engineers; Bob Ludwig,\u003c/li>\n\u003cli>mastering engineer (Devon Gilfillian)\u003c/li>\n\u003cli>Expectations — Gary Paczosa & Mike Robinson, engineers; Paul Blakemore, mastering engineer (Katie Pruitt)\u003c/li>\n\u003cli>Hyperspace — Drew Brown, Andrew Coleman, Shawn Everett, Serban Ghenea, David Greenbaum, Jaycen Joshua & Mike Larson, engineers; Randy Merrill, mastering engineer (Beck)\u003c/li>\n\u003cli>Jaime — Shawn Everett, engineer; Shawn Everett, mastering engineer (Brittany Howard)\u003c/li>\n\u003cli>25 Trips — Shani Gandhi & Gary Paczosa, engineers; Adam Grover,\u003c/li>\n\u003cli>mastering engineer (Sierra Hull)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Producer Of The Year \u003c/strong>\u003c/p>\n\u003cp>\u003cem>A producer’s award.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Jack Antonoff\u003c/li>\n\u003cli>Dan Auerbach\u003c/li>\n\u003cli>Dave Cobb\u003c/li>\n\u003cli>Flying Lotus\u003c/li>\n\u003cli>Andrew Watt\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Remixed Recording \u003c/strong>\u003c/p>\n\u003cp>\u003cem>A remixer’s award. (Artists’ names appear in parentheses for identification.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Do You Ever (RAC Mix)” — RAC, remixer (Phil Good)\u003c/li>\n\u003cli>“Imaginary Friends (Morgan Page Remix)” — Morgan Page, remixer (Deadmau5)\u003c/li>\n\u003cli>“Praying For You (Louie Vega Main Remix)” — Louie Vega, remixer (Jasper Street Co.)\u003c/li>\n\u003cli>“Roses (Imanbek Remix)” — Imanbek Zeikenov, remixer (SAINt JHN)\u003c/li>\n\u003cli>“Young & Alive (Bazzi Vs. Haywyre Remix)” — Haywyre, remixer (Bazzi)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Engineered Album, Classical \u003c/strong>\u003c/p>\n\u003cp>\u003cem>An engineer’s award. (Artist names appear in parentheses.)\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Danielpour: The Passion Of Yeshua — Bernd Gottinger, engineer (JoAnn Falletta, James K. Bass, Adam Luebke, UCLA Chamber Singers, Buffalo Philharmonic Orchestra & Buffalo Philharmonic Chorus)\u003c/li>\n\u003cli>Gershwin: Porgy And Bess — David Frost & John Kerswell, engineers; Silas Brown, mastering engineer (David Robertson, Eric Owens, Angel Blue, Metropolitan Opera Orchestra & Chorus)\u003c/li>\n\u003cli>Hynes: Fields — Kyle Pyke, engineer; Jesse Lewis & Kyle Pyke, mastering engineers (Devonté Hynes & Third Coast Percussion)\u003c/li>\n\u003cli>Ives: Complete Symphonies — Alexander Lipay & Dmitriy Lipay, engineers; Alexander Lipay & Dmitriy Lipay, mastering engineers (Gustavo Dudamel & Los Angeles Philharmonic)\u003c/li>\n\u003cli>Shostakovich: Symphony No. 13, ‘Babi Yar’ — David Frost & Charlie Post, engineers; Silas Brown, mastering engineer (Riccardo Muti & Chicago Symphony Orchestra)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Producer Of The Year, Classical \u003c/strong>\u003c/p>\n\u003cp>\u003cem>A producer’s award. (Artist names appear in parentheses.)\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Blanton Alspaugh\u003c/li>\n\u003cli>David Frost\u003c/li>\n\u003cli>Jesse Lewis\u003c/li>\n\u003cli>Dmitriy Lipay\u003c/li>\n\u003cli>Elaine Martone\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Orchestral Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Award to the conductor and to the orchestra.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Aspects Of America – Pulitzer Edition” — Carlos Kalmar, conductor (Oregon Symphony)\u003c/li>\n\u003cli>“Concurrence” — Daníel Bjarnason, conductor (Iceland Symphony Orchestra)\u003c/li>\n\u003cli>“Copland: Symphony No. 3” — Michael Tilson Thomas, conductor (San Francisco Symphony)\u003c/li>\n\u003cli>“Ives: Complete Symphonies” — Gustavo Dudamel, conductor (Los Angeles Philharmonic)\u003c/li>\n\u003cli>“Lutosławski: Symphonies Nos. 2 & 3” — Hannu Lintu, conductor (Finnish Radio Symphony Orchestra)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Opera Recording\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Award to the conductor, album producer(s) and principal soloists.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Dello Joio: The Trial At Rouen” — Gil Rose, conductor; Heather Buck & Stephen Powell; Gil Rose, producer (Boston Modern Orchestra Project; Odyssey Opera Chorus)\u003c/li>\n\u003cli>“Floyd, C.: Prince Of Players” — William Boggs, conductor; Keith Phares & Kate Royal; Blanton Alspaugh, producer (Milwaukee Symphony Orchestra; Florentine Opera Chorus)\u003c/li>\n\u003cli>“Gershwin: Porgy And Bess” — David Robertson, conductor; Angel Blue & Eric Owens; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)\u003c/li>\n\u003cli>“Handel: Agrippina” — Maxim Emelyanychev, conductor; Joyce DiDonato; Daniel Zalay, producer (Il Pomo D’Oro)\u003c/li>\n\u003cli>“Zemlinsky: Der Zwerg” — Donald Runnicles, conductor; David Butt Philip & Elena Tsallagova; Peter Ghirardini & Erwin Stürzer, producers (Orchestra Of The Deutsche Oper Berlin; Chorus Of The Deutsche Oper Berlin)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Choral Performance \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Award to the conductor, and to the choral director and/or chorus master where applicable and to the choral organization/ensemble.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Carthage” — Donald Nally, conductor (The Crossing)\u003c/li>\n\u003cli>“Danielpour: The Passion Of Yeshua” — JoAnn Falletta, conductor; James K. Bass & Adam Luebke, chorus masters (James K. Bass, J’Nai Bridges, Timothy Fallon, Kenneth Overton, Hila Plitmann & Matthew Worth; Buffalo Philharmonic Orchestra; Buffalo Philharmonic Chorus & UCLA Chamber Singers)\u003c/li>\n\u003cli>“Kastalsky: Requiem” — Leonard Slatkin, conductor; Charles Bruffy, Steven Fox & Benedict Sheehan, chorus masters (Joseph Charles Beutel & Anna Dennis; Orchestra Of St. Luke’s; Cathedral Choral Society, The Clarion Choir, Kansas City Chorale & The Saint Tikhon Choir)\u003c/li>\n\u003cli>“Moravec: Sanctuary Road” — Kent Tritle, conductor (Joshua Blue, Raehann Bryce-Davis, Dashon Burton, Malcolm J. Merriweather & Laquita Mitchell; Oratorio Society Of New York Orchestra; Oratorio Society Of New York Chorus)\u003c/li>\n\u003cli>“Once Upon A Time” — Matthew Guard, conductor (Sarah Walker; Skylark Vocal Ensemble)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Chamber Music/Small Ensemble Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new recordings of works with chamber or small ensemble (twenty-four or fewer members, not including the conductor). One award to the ensemble and one award to the conductor, if applicable.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Contemporary Voices” — Pacifica Quartet\u003c/li>\n\u003cli>“Healing Modes” — Brooklyn Rider\u003c/li>\n\u003cli>“Hearne, T.: Place” — Ted Hearne, Steven Bradshaw, Sophia Byrd, Josephine Lee, Isaiah Robinson, Sol Ruiz, Ayanna Woods & Place Orchestra\u003c/li>\n\u003cli>“Hynes: Fields” — Devonté Hynes & Third Coast Percussion\u003c/li>\n\u003cli>“The Schumann Quartets” — Dover Quartet\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Classical Instrumental Solo \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Award to the instrumental soloist(s) and to the conductor when applicable.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Adès: Concerto For Piano And Orchestra” — Kirill Gerstein; Thomas Adès, conductor (Boston Symphony Orchestra)\u003c/li>\n\u003cli>“Beethoven: Complete Piano Sonatas” — Igor Levit\u003c/li>\n\u003cli>“Bohemian Tales” — Augustin Hadelich; Jakub Hrůša, conductor (Charles Owen; Symphonieorchester Des Bayerischen Rundfunks)\u003c/li>\n\u003cli>“Destination Rachmaninov – Arrival” — Daniil Trifonov; Yannick Nézet-Séguin, conductor (The Philadelphia Orchestra)\u003c/li>\n\u003cli>“Theofanidis: Concerto For Viola And Chamber Orchestra” — Richard O’Neill; David Alan Miller, conductor (Albany Symphony)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Classical Solo Vocal Album \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Award to: vocalist(s), collaborative artist(s) (Ex: pianists, conductors, chamber groups) producer(s), recording engineers/mixers with 51% or more playing time of new material.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>American Composers At Play – William Bolcom, Ricky Ian Gordon, Lori Laitman, John Musto — Stephen Powell (Attacca Quartet, William Bolcom, Ricky Ian Gordon, Lori Laitman, John Musto, Charles Neidich & Jason Vieaux)\u003c/li>\n\u003cli>Clairières – Songs By Lili & Nadia Boulanger — Nicholas Phan; Myra Huang, accompanist\u003c/li>\n\u003cli>Farinelli — Cecilia Bartoli; Giovanni Antonini, conductor (Il Giardino Armonico)\u003c/li>\n\u003cli>A Lad’s Love — Brian Giebler; Steven McGhee, accompanist (Katie Hyun, Michael Katz, Jessica Meyer, Reginald Mobley & Ben Russell)\u003c/li>\n\u003cli>Smyth: The Prison — Sarah Brailey & Dashon Burton; James Blachly, conductor (Experiential Chorus; Experiential Orchestra)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Classical Compendium\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Award to the artist(s) and to the album producer(s) and engineer(s) of over 51% playing time of the album, if other than the artist.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Adès Conducts Adès — Mark Stone & Christianne Stotijn; Thomas Adès, conductor; Nick Squire, producer\u003c/li>\n\u003cli>Saariaho: Graal Théâtre; Circle Map; Neiges; Vers Toi Qui Es Si Loin — Clément Mao-Takacs, conductor; Hans Kipfer, producer\u003c/li>\n\u003cli>Serebrier: Symphonic Bach Variations; Laments And Hallelujahs; Flute Concerto — José Serebrier, conductor; Jens Braun, producer\u003c/li>\n\u003cli>Thomas, M.T.: From The Diary Of Anne Frank & Meditations On Rilke — Isabel Leonard; Michael Tilson Thomas, conductor; Jack Vad, producer\u003c/li>\n\u003cli>Woolf, L.P.: Fire And Flood — Matt Haimovitz; Julian Wachner, conductor; Blanton Alspaugh, producer\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Contemporary Classical Composition\u003c/strong>\u003c/p>\n\u003cp>\u003cem>A composer’s award. (For a contemporary classical composition composed within the last 25 years, and released for the first time during the eligibility year.) Award to the librettist, if applicable.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Adès: Concerto For Piano And Orchestra” — Thomas Adès, composer (Kirill Gerstein, Thomas Adès & Boston Symphony Orchestra)\u003c/li>\n\u003cli>“Danielpour: The Passion Of Yeshua” — Richard Danielpour, composer (JoAnn Falletta, James K. Bass, Adam Luebke, UCLA Chamber Singers, Buffalo Philharmonic Orchestra & Buffalo Philharmonic Chorus)\u003c/li>\n\u003cli>“Floyd, C.: Prince Of Players” — Carlisle Floyd, composer (William Boggs, Kate Royal, Keith Phares, Florentine Opera Chorus & Milwaukee Symphony Orchestra)\u003c/li>\n\u003cli>“Hearne, T.: Place” — Ted Hearne, composer (Ted Hearne, Steven Bradshaw, Sophia Byrd, Josephine Lee, Isaiah Robinson, Sol Ruiz, Ayanna Woods & Place Orchestra)\u003c/li>\n\u003cli>“Rouse: Symphony No. 5” — Christopher Rouse, composer (Giancarlo Guerrero &\u003c/li>\n\u003cli>Nashville Symphony)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Music Video\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Award to the artist, video director, and video producer.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Brown Skin Girl” — Beyoncé; Beyoncé Knowles-Carter & Jenn Nkiru, video directors; Lauren Baker, Astrid Edwards, Nathan Scherrer & Erinn Williams, video producers\u003c/li>\n\u003cli>“Life Is Good” — Future ft. Drake; Julien Christian Lutz, video director; Harv Glazer, video producer\u003c/li>\n\u003cli>“Lockdown” — Anderson .Paak; Dave Meyers, video director; Nathan Scherrer, video producer\u003c/li>\n\u003cli>“Adore You” — Harry Styles; Dave Meyers, video director; Nathan Scherrer, video producer\u003c/li>\n\u003cli>“Goliath” — Woodkid; Yoann Lemoine, video director\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9%2C+Dua+Lipa+Headline+2021+Grammy+Nominations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Recording Academy announced its 2021 Grammy nominations on Tuesday, with Beyoncé, rising pop star Dua Lipa and stoner superstar Post Malone leading a diffuse field.\u003c/p>\n\u003cp>Beyonce features on two songs in the record of the year category, which essentially rewards the year’s best single: the remix of Megan Thee Stallion’s “Savage” and her own “Black Parade.” The latter was also nominated for song of the year, which is awarded to the winner’s songwriters.\u003c/p>\n\u003cp>The Grammys made several changes to its structure this year, including increasing its voting membership\u003ca href=\"https://www.grammy.com/press-releases/recording-academy%C2%AE-invites-2300-qualified-music-creators-and-professionals-join-its\" target=\"_blank\" rel=\"noopener noreferrer\"> by 2,300\u003c/a> and tweaking its nominations process after years of criticism over a lack of diversity amid the ceremony’s top categories. The moves were meant to “to evolve with the musical landscape and to ensure that the … nominating process and rules are more transparent and fair,” according to \u003ca href=\"https://www.grammy.com/press-releases/recording-academy%C2%AE-adopts-major-changes-63rd-annual-grammys%C2%AE-and-releases-rules\" target=\"_blank\" rel=\"noopener noreferrer\">a statement on its website\u003c/a>.\u003c/p>\n\u003cp>The Academy also made its\u003ca href=\"https://www.grammy.com/sites/com/files/2020rulebook.pdf\" target=\"_blank\" rel=\"noopener noreferrer\"> rules and guidelines\u003c/a> public for the first time, including definitions for previously murky eligibility requirements and voting guidelines. It also changed the names of several categories—the Latin Pop Album category was renamed to the slightly more-inclusive Best Latin Pop Or Urban Album—and instituted a method for flagging conflicts of interest on its still-secretive Nominations Review Committees, whose members are not made public.\u003c/p>\n\u003cp>In addition, the Academy made several personnel changes, most notably \u003ca href=\"https://www.npr.org/2020/03/02/811309417/the-recording-academy-fires-deborah-dugan-its-short-lived-leader\" target=\"_blank\" rel=\"noopener noreferrer\">the firing its first female CEO, Deborah Dugan\u003c/a>, after less than a year on the job. Dugan had accused the Academy of being “rigged” and “corrupt,” while the Academy had said she was terminated following a confidential investigation into allegations that Dugan had bullied a senior member of the Academy. Former Google executive Valeisha Butterfield Jones was appointed to Chief Diversity & Inclusion Officer, a new position created in response to \u003ca href=\"https://www.grammy.com/sites/com/files/final_task_force_report.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">recommendations\u003c/a> made by a task force focused on diversity and inclusion. She will “design, build and implement world-class programs and industry standards focused on inclusion, belonging and representation for underrepresented communities and creators.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The results of these efforts at the top of the marquee are mixed. The eight nominations in the album of the year category, for example, are gender-diverse but mostly white, save for the rock group Black Pumas and the multi-racial pop singer Jhené Aiko. Record of the year nominees form a richer field, including the fast-rising rapper DaBaby, pop provocateur Doja Cat and the aforementioned Megan Thee Stallion. All of the nominees for best pop vocal album are white artists.\u003c/p>\n\u003ch3>The 2021 Grammy Award Nominations\u003c/h3>\n\u003cp>\u003cstrong>Record Of The Year\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Awarded to the artist and producer(s), recording engineer(s), mixer(s) and mastering engineer(s), if other than the artist.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Black Parade” — Beyoncé\u003c/li>\n\u003cli>“Colors” — Black Pumas\u003c/li>\n\u003cli>“Rockstar” — DaBaby Featuring Roddy Ricch\u003c/li>\n\u003cli>“Say So” — Doja Cat\u003c/li>\n\u003cli>“Everything I Wanted” — Billie Eilish\u003c/li>\n\u003cli>“Don’t Start Now” — Dua Lipa\u003c/li>\n\u003cli>“Circles” — Post Malone\u003c/li>\n\u003cli>“Savage” — Megan Thee Stallion Featuring Beyoncé\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Song Of The Year\u003c/strong>\u003c/p>\n\u003cp>\u003cem>A songwriter(s) award. A song is eligible if it was first released or if it first achieved prominence during the eligibility year. (Recording artists’ names appear in parentheses.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Black Parade” — Denisia Andrews, Beyoncé, Stephen Bray, Shawn Carter, Brittany Coney, Derek James Dixie, Akil King, Kim “Kaydence” Krysiuk & Rickie “Caso” Tice, songwriters (Beyoncé)\u003c/li>\n\u003cli>“The Box” — Samuel Gloade & Rodrick Moore, songwriters (Roddy Ricch)\u003c/li>\n\u003cli>“Cardigan” — Aaron Dessner & Taylor Swift, songwriters (Taylor Swift)\u003c/li>\n\u003cli>“Circles” — Louis Bell, Adam Feeney, Kaan Gunesberk, Austin Post & Billy Walsh, songwriters (Post Malone)\u003c/li>\n\u003cli>“Don’t Start Now” — Caroline Ailin, Ian Kirkpatrick, Dua Lipa & Emily Warren, songwriters (Dua Lipa)\u003c/li>\n\u003cli>“Everything I Wanted” — Billie Eilish O’Connell & Finneas O’Connell, songwriters (Billie Eilish)\u003c/li>\n\u003cli>“I Can’t Breathe” — Dernst Emile II, H.E.R. & Tiara Thomas, songwriters (H.E.R.)\u003c/li>\n\u003cli>“If The World Was Ending” — Julia Michaels & JP Saxe, songwriters (JP Saxe Featuring Julia Michaels)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Album Of The Year\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Awarded to artist(s) and to featured artist(s), songwriter(s) of new material, producer(s), recording engineer(s), mixing and mastering engineer(s) credited with at least 33% playing time of the album, if other than the artist.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Chilombo \u003c/em>— Jhené Aiko\u003c/li>\n\u003cli>\u003cem>Black Pumas (Deluxe Edition) \u003c/em>— Black Pumas\u003c/li>\n\u003cli>\u003cem>Everyday Life\u003c/em> — Coldplay\u003c/li>\n\u003cli>\u003cem>Djesse Vol. 3 \u003c/em>— Jacob Collier\u003c/li>\n\u003cli>\u003cem>Women In Music Pt. III \u003c/em>— Haim\u003c/li>\n\u003cli>\u003cem>Future Nostalgia \u003c/em>— Dua Lipa\u003c/li>\n\u003cli>\u003cem>Hollywood’s Bleeding\u003c/em> — Post Malone\u003c/li>\n\u003cli>\u003cem>Folklore \u003c/em>— Taylor Swift\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best New Artist\u003c/strong>\u003c/p>\n\u003cp>\u003cem>This category recognizes an artist whose eligibility-year release(s) achieved a breakthrough into the public consciousness and notably impacted the musical landscape.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Ingrid Andress\u003c/li>\n\u003cli>Phoebe Bridgers\u003c/li>\n\u003cli>Chika\u003c/li>\n\u003cli>Noah Cyrus\u003c/li>\n\u003cli>D Smoke\u003c/li>\n\u003cli>Doja Cat\u003c/li>\n\u003cli>Kaytranada\u003c/li>\n\u003cli>Megan Thee Stallion\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Pop Duo/Group Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new vocal or instrumental duo/group or collaborative pop recordings. Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Un Dia (One Day)” — J Balvin, Dua Lipa, Bad Bunny & Tainy\u003c/li>\n\u003cli>“Intentions” — Justin Bieber Featuring Quavo\u003c/li>\n\u003cli>“Dynamite” — BTS\u003c/li>\n\u003cli>“Rain On Me” — Lady Gaga with Ariana Grande\u003c/li>\n\u003cli>“Exile” — Taylor Swift Featuring Bon Iver\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Pop Vocal Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing of new pop vocal recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Changes \u003c/em>— Justin Bieber\u003c/li>\n\u003cli>\u003cem>Chromatica\u003c/em> — Lady Gaga\u003c/li>\n\u003cli>\u003cem>Future Nostalgia \u003c/em>— Dua Lipa\u003c/li>\n\u003cli>\u003cem>Fine Line \u003c/em>— Harry Styles\u003c/li>\n\u003cli>\u003cem>Folklore \u003c/em>— Taylor Swift\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Dance/Electronic Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For vocal or instrumental albums.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Kick I\u003c/em> — Arca\u003c/li>\n\u003cli>\u003cem>Planet’s Mad\u003c/em> — Baauer\u003c/li>\n\u003cli>\u003cem>Energy \u003c/em>— Disclosure\u003c/li>\n\u003cli>\u003cem>Bubba\u003c/em> — Kaytranada\u003c/li>\n\u003cli>\u003cem>Good Faith\u003c/em> — Madeon\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Rock Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new vocal or instrumental solo, duo/group or collaborative rock recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Shameika” — Fiona Apple\u003c/li>\n\u003cli>“Not” — Big Thief\u003c/li>\n\u003cli>“Kyoto” — Phoebe Bridgers\u003c/li>\n\u003cli>“The Steps” — HAIM\u003c/li>\n\u003cli>“Stay High” — Brittany Howard\u003c/li>\n\u003cli>“Daylight” — Grace Potter\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Progressive R&B Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of newly recorded progressive vocal tracks derivative of R&B.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Chilombo \u003c/em>—Jhené Aiko\u003c/li>\n\u003cli>\u003cem>Ungodly Hour\u003c/em> — Chloe X Halle\u003c/li>\n\u003cli>\u003cem>Free Nationals \u003c/em>— Free Nationals\u003c/li>\n\u003cli>\u003cem>F*** Yo Feelings \u003c/em>— Robert Glasper\u003c/li>\n\u003cli>\u003cem>It Is What It Is \u003c/em>— Thundercat\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Rap Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For a rap performance. Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Deep Reverence” — Big Sean Featuring Nipsey Hussle\u003c/li>\n\u003cli>“Bop” — DaBaby\u003c/li>\n\u003cli>“What’s Poppin” — Jack Harlow\u003c/li>\n\u003cli>“The Bigger Picture” — Lil Baby\u003c/li>\n\u003cli>“Savage” — Megan Thee Stallion Featuring Beyoncé\u003c/li>\n\u003cli>“Dior” — Pop Smoke\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Country Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new country recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Lady Like\u003c/em>— Ingrid Andress\u003c/li>\n\u003cli>\u003cem>Your Life Is A Record\u003c/em>— Brandy Clark\u003c/li>\n\u003cli>\u003cem>Wildcard \u003c/em>— Miranda Lambert\u003c/li>\n\u003cli>\u003cem>Nightfall\u003c/em>— Little Big Town\u003c/li>\n\u003cli>\u003cem>Never Will \u003c/em>— Ashley McBryde\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Jazz Vocal Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new vocal jazz recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Ona \u003c/em>— Thana Alexa\u003c/li>\n\u003cli>\u003cem>Secrets Are The Best Stories\u003c/em> — Kurt Elling Featuring Danilo Pérez\u003c/li>\n\u003cli>\u003cem>Modern Ancestors\u003c/em> — Carmen Lundy\u003c/li>\n\u003cli>\u003cem>Holy Room: Live At Alte Oper \u003c/em>— Somi With Frankfurt Radio Big Band\u003c/li>\n\u003cli>\u003cem>What’s The Hurry\u003c/em> — Kenny Washington\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Latin Pop or Urban Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new Latin pop or urban recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>YHLQMDLG\u003c/em>— Bad Bunny\u003c/li>\n\u003cli>\u003cem>Por Primera Vez\u003c/em> — Camilo\u003c/li>\n\u003cli>\u003cem>Mesa Para Dos\u003c/em> — Kany García\u003c/li>\n\u003cli>\u003cem>Pausa\u003c/em> — Ricky Martin\u003c/li>\n\u003cli>\u003cem>3:33\u003c/em> — Debi Nova\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Americana Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new vocal or instrumental Americana recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Old Flowers\u003c/em> — Courtney Marie Andrews\u003c/li>\n\u003cli>\u003cem>Terms Of Surrender \u003c/em>— Hiss Golden Messenger\u003c/li>\n\u003cli>\u003cem>World On The Ground \u003c/em>— Sarah Jarosz\u003c/li>\n\u003cli>\u003cem>El Dorado\u003c/em> — Marcus King\u003c/li>\n\u003cli>\u003cem>Good Souls Better Angels \u003c/em>— Lucinda Williams\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Contemporary Blues Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new vocal or instrumental contemporary blues recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Have You Lost Your Mind Yet?\u003c/em> — Fantastic Negrito\u003c/li>\n\u003cli>\u003cem>Live At The Paramount \u003c/em>— Ruthie Foster Big Band\u003c/li>\n\u003cli>\u003cem>The Juice \u003c/em>— G. Love\u003c/li>\n\u003cli>\u003cem>Blackbirds\u003c/em> — Bettye LaVette\u003c/li>\n\u003cli>\u003cem>Up And Rolling \u003c/em>— North Mississippi Allstars\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Global Music Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new vocal or instrumental global music recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>FU Chronicles\u003c/em> — Antibalas\u003c/li>\n\u003cli>\u003cem>Twice As Tall \u003c/em>— Burna Boy\u003c/li>\n\u003cli>\u003cem>Agora \u003c/em>— Bebel Gilberto\u003c/li>\n\u003cli>\u003cem>Love Letters\u003c/em> — Anoushka Shankar\u003c/li>\n\u003cli>\u003cem>Amadjar \u003c/em>— Tinariwen\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Spoken Word Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Includes poetry, audio books and storytelling.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Acid For The Children: A Memoir \u003c/em>— Flea\u003c/li>\n\u003cli>\u003cem>Alex Trebek – The Answer Is…\u003c/em> — Ken Jennings\u003c/li>\n\u003cli>\u003cem>Blowout: Corrupted Democracy, Rogue State Russia, And The Richest, Most Destructive Industry On Earth\u003c/em> — Rachel Maddow\u003c/li>\n\u003cli>\u003cem>Catch And Kill\u003c/em> — Ronan Farrow\u003c/li>\n\u003cli>\u003cem>Charlotte’s Web (E.B. White)\u003c/em> — Meryl Streep (& Full Cast)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Music Film\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For concert/performance films or music documentaries. Award to the artist, video director and video producer.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Beastie Boys Story \u003c/em>— Beastie Boys\u003c/li>\n\u003cli>\u003cem>Black Is King\u003c/em> — Beyoncé\u003c/li>\n\u003cli>\u003cem>We Are Freestyle Love Supreme\u003c/em> — Freestyle Love Supreme\u003c/li>\n\u003cli>\u003cem>Linda Ronstadt: The Sound Of My Voice\u003c/em> — Linda Ronstadt\u003c/li>\n\u003cli>\u003cem>That Little Ol’ Band From Texas\u003c/em> — ZZ Top\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Pop Solo Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new vocal or instrumental pop recordings. Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Yummy” — Justin Bieber\u003c/li>\n\u003cli>“Say So” — Doja Cat\u003c/li>\n\u003cli>“Everything I Wanted” — Billie Eilish\u003c/li>\n\u003cli>“Don’t Start Now” — Dua Lipa\u003c/li>\n\u003cli>“Watermelon Sugar” — Harry Styles\u003c/li>\n\u003cli>“Cardigan” — Taylor Swift\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Traditional Pop Vocal Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new traditional pop recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Blue Umbrella — (Burt Bacharach &) Daniel Tashian\u003c/li>\n\u003cli>True Love: A Celebration Of Cole Porter — Harry Connick, Jr.\u003c/li>\n\u003cli>American Standard — James Taylor\u003c/li>\n\u003cli>Unfollow The Rules — Rufus Wainwright\u003c/li>\n\u003cli>Judy — Renée Zellweger\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Dance Recording\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For solo, duo, group or collaborative performances. Vocal or instrumental. Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“On My Mind” — Diplo & SIDEPIECE (Diplo & SIDEPIECE, producers; Luca Pretolesi, mixer)\u003c/li>\n\u003cli>“My High” — Disclosure ft. Aminé & Slowthai (Guy Lawrence & Howard Lawrence, producers; Guy Lawrence, mixer)\u003c/li>\n\u003cli>“The Difference” — Flume ft. Toro y Moi (Flume, producer; Eric J Dubowsky, mixer)\u003c/li>\n\u003cli>“Both Of Us” — Jayda G (Fred Again.. & Jayda G, producers; Fred Again.. & Jayda G, mixers)\u003c/li>\n\u003cli>“10%” — Kaytranada ft. Kali Uchis (Kaytranada, producer; Neal H. Pogue, mixer)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Contemporary Instrumental Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing approximately 51% or more playing time of instrumental material. For albums containing at least 51% playing time of new recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Axiom — Christian Scott Atunde Adjuah\u003c/li>\n\u003cli>Chronology Of A Dream: Live At The Village Vanguard — Jon Batiste\u003c/li>\n\u003cli>Take The Stairs — Black Violin\u003c/li>\n\u003cli>Americana — Grégoire Maret, Romain Collin & Bill Frisell\u003c/li>\n\u003cli>Live At The Royal Albert Hall — Snarky Puppy\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Metal Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new vocal or instrumental solo, duo/group or collaborative metal recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Bum-Rush” — Body Count\u003c/li>\n\u003cli>“Underneath” — Code Orange\u003c/li>\n\u003cli>“The In-Between” — In This Moment\u003c/li>\n\u003cli>“Bloodmoney” — Poppy\u003c/li>\n\u003cli>“Executioner’s Tax (Swing Of The Axe) – Live” — Power Trip\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Rock Song\u003c/strong>\u003c/p>\n\u003cp>\u003cem>A songwriter(s) Award. Includes rock, hard rock and metal songs. A song is eligible if it was first released or if it first achieved prominence during the eligibility year. (Artist names appear in parentheses.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Kyoto” — Phoebe Bridgers, Morgan Nagler & Marshall Vore, songwriters (Phoebe Bridgers)\u003c/li>\n\u003cli>“Lost In Yesterday” — Kevin Parker, songwriter (Tame Impala)\u003c/li>\n\u003cli>“Not” — Adrianne Lenker, songwriter (Big Thief)\u003c/li>\n\u003cli>“Shameika” — Fiona Apple, songwriter (Fiona Apple)\u003c/li>\n\u003cli>“Stay High” — Brittany Howard, songwriter (Brittany Howard)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Rock Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new rock, hard\u003c/em>\u003c/p>\n\u003cp>\u003cem>rock or metal recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>A Hero’s Death — Fontaines D.C.\u003c/li>\n\u003cli>Kiwanuka — Michael Kiwanuka\u003c/li>\n\u003cli>Daylight — Grace Potter\u003c/li>\n\u003cli>Sound & Fury — Sturgill Simpson\u003c/li>\n\u003cli>The New Abnormal — The Strokes\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Alternative Music Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Vocal or instrumental.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Fetch The Bolt Cutters — Fiona Apple\u003c/li>\n\u003cli>Hyperspace — Beck\u003c/li>\n\u003cli>Punisher — Phoebe Bridgers\u003c/li>\n\u003cli>Jaime — Brittany Howard\u003c/li>\n\u003cli>The Slow Rush — Tame Impala\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best R&B Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new vocal or instrumental R&B recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Lightning & Thunder” — Jhené Aiko ft. John Legend\u003c/li>\n\u003cli>“Black Parade” — Beyoncé\u003c/li>\n\u003cli>“All I Need” — Jacob Collier ft. Mahalia & Ty Dolla $Ign\u003c/li>\n\u003cli>“Goat Head” — Brittany Howard\u003c/li>\n\u003cli>“See Me” — Emily King\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Traditional R&B Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new vocal or instrumental traditional R&B recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Sit On Down” — The Baylor Project ft. Jean Baylor & Marcus Baylor\u003c/li>\n\u003cli>“Wonder What She Thinks Of Me” — Chloe X Halle\u003c/li>\n\u003cli>“Let Me Go” — Mykal Kilgore\u003c/li>\n\u003cli>“Anything For You” — Ledisi\u003c/li>\n\u003cli>“Distance” — Yebba\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best R&B Song\u003c/strong>\u003c/p>\n\u003cp>\u003cem>A songwriter(s) award. A song is eligible if it was first released or if it first achieved prominence during the eligibility year. (Artist names appear in parentheses.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Better Than I Imagine” — Robert Glasper, Meshell Ndegeocello & Gabriella Wilson, Songwriters (Robert Glasper Ft. H.E.R. & Meshell Ndegeocello)\u003c/li>\n\u003cli>“Black Parade” — Denisia Andrews, Beyoncé, Stephen Bray, Shawn Carter, Brittany Coney, Derek James Dixie, Akil King, Kim “Kaydence” Krysiuk & Rickie “Caso” Tice, Songwriters (Beyoncé)\u003c/li>\n\u003cli>“Collide” — Sam Barsh, Stacey Barthe, Sonyae Elise, Olu Fann, Akil King, Josh Lopez, Kaveh Rastegar & Benedetto Rotondi, Songwriters (Tiana Major9 & Earthgang)\u003c/li>\n\u003cli>“Do It” — Chloe Bailey, Halle Bailey, Anton Kuhl, Victoria Monét, Scott Storch & Vincent Van Den Ende, Songwriters (Chloe X Halle)\u003c/li>\n\u003cli>“Slow Down” — Nasri Atweh, Badriia Bourelly, Skip Marley, Ryan Williamson & Gabriella Wilson, Songwriters (Skip Marley & H.E.R.)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best R&B Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new R&B recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Happy 2 Be Here — Ant Clemons\u003c/li>\n\u003cli>Take Time — Giveon\u003c/li>\n\u003cli>To Feel Love/D — Luke James\u003c/li>\n\u003cli>Bigger Love — John Legend\u003c/li>\n\u003cli>All Rise — Gregory Porter\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Melodic Rap Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For a solo or collaborative performance containing both elements of R&B melodies and rap.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Rockstar” — DaBaby ft. Roddy Ricch\u003c/li>\n\u003cli>“Laugh Now, Cry Later” Drake ft. Lil Durk\u003c/li>\n\u003cli>“Lockdown” — Anderson .Paak\u003c/li>\n\u003cli>“The Box” — Roddy Ricch\u003c/li>\n\u003cli>“Highest In The Room” — Travis Scott\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Rap Song\u003c/strong>\u003c/p>\n\u003cp>\u003cem>A songwriter(s) award. A song is eligible if it was first released or if it first achieved prominence during the eligibility year. (Artist names appear in parentheses.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“The Bigger Picture” — Dominique Jones, Noah Pettigrew & Rai’shaun Williams, songwriters (Lil Baby)\u003c/li>\n\u003cli>“The Box” — Samuel Gloade & Rodrick Moore, songwriters (Roddy Ricch)\u003c/li>\n\u003cli>“Laugh Now, Cry Later” — Durk Banks, Rogét Chahayed, Aubrey Graham, Daveon Jackson, Ron Latour & Ryan Martinez, songwriters (Drake ft. Lil Durk)\u003c/li>\n\u003cli>“Rockstar” — Jonathan Lyndale Kirk, Ross Joseph Portaro Iv & Rodrick Moore, songwriters (Dababy ft. Roddy Ricch)\u003c/li>\n\u003cli>“Savage” — Beyoncé, Shawn Carter, Brittany Hazzard, Derrick Milano, Terius Nash, Megan Pete, Bobby Session Jr., Jordan Kyle Lanier Thorpe & Anthony White, songwriters (Megan Thee Stallion Ft. Beyoncé)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Rap Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new rap recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Black Habits — D Smoke\u003c/li>\n\u003cli>Alfredo — Freddie Gibbs & The Alchemist\u003c/li>\n\u003cli>A Written Testimony — Jay Electronica\u003c/li>\n\u003cli>King’s Disease — Nas\u003c/li>\n\u003cli>The Allegory — Royce Da 5’9″\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Country Solo Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new vocal or instrumental solo country recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Stick That In Your Country Song” — Eric Church\u003c/li>\n\u003cli>“Who You Thought I Was” — Brandy Clark\u003c/li>\n\u003cli>“When My Amy Prays — Vince Gill\u003c/li>\n\u003cli>“Black Like Me” — Mickey Guyton\u003c/li>\n\u003cli>“Bluebird” — Miranda Lambert\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Country Duo/Group Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new vocal or instrumental duo/group or collaborative country recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“All Night” — Brothers Osborne\u003c/li>\n\u003cli>“10,000 Hours” — Dan + Shay & Justin Bieber\u003c/li>\n\u003cli>“Ocean” — Lady A\u003c/li>\n\u003cli>“Sugar Coat” — Little Big Town\u003c/li>\n\u003cli>“Some People Do” — Old Dominion\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Country Song \u003c/strong>\u003c/p>\n\u003cp>\u003cem>A songwriter(s) Award. A song is eligible if it was first released or if it first achieved prominence during the eligibility year. (Artist names appear in parentheses.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Bluebird” — Luke Dick, Natalie Hemby & Miranda Lambert, songwriters (Miranda Lambert)\u003c/li>\n\u003cli>“The Bones” — Maren Morris, Jimmy Robbins & Laura Veltz, songwriters (Maren Morris)\u003c/li>\n\u003cli>“Crowded Table” — Brandi Carlile, Natalie Hemby & Lori Mckenna, songwriters (The Highwomen)\u003c/li>\n\u003cli>“More Hearts Than Mine” — Ingrid Andress, Sam Ellis & Derrick Southerland, songwriters (Ingrid Andress)\u003c/li>\n\u003cli>“Some People Do” — Jesse Frasure, Shane Mcanally, Matthew Ramsey & Thomas Rhett, songwriters (Old Dominion)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best New Age Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new vocal or instrumental new age recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Songs From The Bardo — Laurie Anderson, Tenzin Choegyal & Jesse Paris Smith\u003c/li>\n\u003cli>Periphery — Priya Darshini\u003c/li>\n\u003cli>Form//Less — Superposition\u003c/li>\n\u003cli>More Guitar Stories — Jim “Kimo” West\u003c/li>\n\u003cli>Meditations — Cory Wong & Jon Batiste\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Improvised Jazz Solo\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For an instrumental jazz solo performance. Two equal performers on one recording may be eligible as one entry. If the soloist listed appears on a recording billed to another artist, the latter’s name is in parenthesis for identification. Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Guinevere” — Christian Scott Atunde Adjuah, soloist\u003c/li>\n\u003cli>“Pachamama” — Regina Carter, soloist\u003c/li>\n\u003cli>“Celia” — Gerald Clayton, soloist\u003c/li>\n\u003cli>“All Blues” — Chick Corea, soloist\u003c/li>\n\u003cli>“Moe Honk” — Joshua Redman, soloist\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Jazz Instrumental Album \u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new instrumental jazz recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>On The Tender Spot Of Every Calloused Moment — Ambrose Akinmusire\u003c/li>\n\u003cli>Waiting Game — Terri Lyne Carrington And Social Science\u003c/li>\n\u003cli>Happening: Live At The Village Vanguard — Gerald Clayton\u003c/li>\n\u003cli>Trilogy 2 — Chick Corea, Christian Mcbride & Brian Blade\u003c/li>\n\u003cli>Roundagain — Redman Mehldau Mcbride Blade\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Large Jazz Ensemble Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new ensemble jazz recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Dialogues On Race — Gregg August\u003c/li>\n\u003cli>Monk’estra Plays John Beasley — John Beasley\u003c/li>\n\u003cli>The Intangible Between — Orrin Evans And The Captain Black Big Band\u003c/li>\n\u003cli>Songs You Like A Lot — John Hollenbeck With Theo Bleckmann, Kate\u003c/li>\n\u003cli>Mcgarry, Gary Versace And The Frankfurt Radio Big Band\u003c/li>\n\u003cli>Data Lords — Maria Schneider Orchestra\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Latin Jazz Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For vocal or instrumental albums containing at least 51% playing time of newly recorded material. The intent of this category is to recognize recordings that represent the blending of jazz with Latin, Iberian-American, Brazilian, and Argentinian tango music.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Tradiciones — Afro-peruvian Jazz Orchestra\u003c/li>\n\u003cli>Four Questions — Arturo O’farrill & The Afro Latin Jazz Orchestra\u003c/li>\n\u003cli>City Of Dreams — Chico Pinheiro\u003c/li>\n\u003cli>Viento Y Tiempo – Live At Blue Note Tokyo — Gonzalo Rubalcaba & Aymée Nuviola\u003c/li>\n\u003cli>Trane’s Delight — Poncho Sanchez\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Gospel Performance/Song\u003c/strong>\u003c/p>\n\u003cp>\u003cem>This award is given to the artist(s) and songwriter(s) (for new compositions) for the best traditional Christian, roots gospel or contemporary gospel single or track.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Wonderful Is Your Name” — Melvin Crispell III\u003c/li>\n\u003cli>“Release (Live)” — Ricky Dillard Ft. Tiff Joy; David Frazier, songwriter\u003c/li>\n\u003cli>“Come Together” — Rodney “Darkchild” Jerkins Presents: The Good News; Lashawn Daniels, Rodney Jerkins, Lecrae Moore & Jazz Nixon, songwriters\u003c/li>\n\u003cli>“Won’t Let Go” — Travis Greene; Travis Greene, songwriter\u003c/li>\n\u003cli>“Movin’ On” — Jonathan Mcreynolds & Mali Music; Darryl L. Howell, Jonathan Caleb Mcreynolds, Kortney Jamaal Pollard & Terrell Demetrius Wilson, songwriters\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Contemporary Christian Music Performance/Song \u003c/strong>\u003c/p>\n\u003cp>\u003cem>This award is given to the artist(s) and songwriter(s) (for new compositions) for the best contemporary Christian music single or track, (including pop, rap/hip-hop, Latin, or rock.)\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“The Blessing (Live)” — Kari Jobe, Cody Carnes & Elevation Worship; Chris Brown, Cody Carnes, Kari Jobe Carnes & Steven Furtick, songwriters\u003c/li>\n\u003cli>“Sunday Morning” — Lecrae Featuring Kirk Franklin; Denisia Andrews, Jones Terrence Antonio, Saint Bodhi, Brittany Coney, Kirk Franklin, Lasanna Harris, Shama Joseph, Stuart Lowery, Lecrae Moore & Nathanael Saint-fleur, songwriters\u003c/li>\n\u003cli>“Holy Water” — We The Kingdom; Andrew Bergthold, Ed Cash, Franni Cash, Martin Cash & Scott Cash, songwriters\u003c/li>\n\u003cli>“Famous For (I Believe)” — Tauren Wells Featuring Jenn Johnson; Chuck Butler, Krissy Nordhoff, Jordan Sapp, Alexis Slifer & Tauren Wells, songwriters\u003c/li>\n\u003cli>“There Was Jesus” — Zach Williams & Dolly Parton; Casey Beathard, Jonathan Smith & Zach Williams, songwriters\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Gospel Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of newly recorded, vocal, traditional or contemporary/R&B gospel music recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>2econd Wind: Ready — Anthony Brown & Group Therapy\u003c/li>\n\u003cli>My Tribute — Myron Butler\u003c/li>\n\u003cli>Choirmaster — Ricky Dillard\u003c/li>\n\u003cli>Gospel According To PJ — PJ Morton\u003c/li>\n\u003cli>Kierra — Kierra Sheard\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Contemporary Christian Music Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of newly recorded, vocal, contemporary Christian music, including pop, rap/hip hop, Latin, or rock recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Run To The Father — Cody Carnes\u003c/li>\n\u003cli>All Of My Best Friends — Hillsong Young & Free\u003c/li>\n\u003cli>Holy Water — We The Kingdom\u003c/li>\n\u003cli>Citizen Of Heaven — Tauren Wells\u003c/li>\n\u003cli>Jesus Is King — Kanye West\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Roots Gospel Album \u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of newly recorded, vocal, traditional/roots gospel music, including country, Southern gospel, bluegrass, and Americana recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Beautiful Day — Mark Bishop\u003c/li>\n\u003cli>20/20 — The Crabb Family\u003c/li>\n\u003cli>What Christmas Really Means — The Erwins\u003c/li>\n\u003cli>Celebrating Fisk! (The 150th Anniversary Album) — Fisk Jubilee Singers\u003c/li>\n\u003cli>Something Beautiful — Ernie Haase & Signature Sound\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Latin Rock or Alternative Album \u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new Latin rock or alternative recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Aura — Bajofondo\u003c/li>\n\u003cli>Monstruo — Cami\u003c/li>\n\u003cli>Sobrevolando — Cultura Profética\u003c/li>\n\u003cli>La Conquista Del Espacio — Fito Paez\u003c/li>\n\u003cli>Miss Colombia — Lido Pimienta\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Regional Mexican Music Album (Including Tejano)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new regional Mexican (banda, norteño, corridos, gruperos, mariachi, ranchera and Tejano) recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Hecho En México — Alejandro Fernández\u003c/li>\n\u003cli>La Serenata — Lupita Infante\u003c/li>\n\u003cli>Un Canto Por México, Vol. 1 — Natalia Lafourcade\u003c/li>\n\u003cli>Bailando Sones Y Huapangos Con — Mariachi Sol De Mexico De Jose Hernandez — Mariachi Sol De Mexico De Jose Hernandez\u003c/li>\n\u003cli>Ayayay! — Christian Nodal\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Tropical Latin Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new tropical Latin recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Mi Tumbao — José Alberto “El Ruiseñor”\u003c/li>\n\u003cli>Infinito — Edwin Bonilla\u003c/li>\n\u003cli>Sigo Cantando Al Amor (Deluxe) — Jorge Celedon & Sergio Luis\u003c/li>\n\u003cli>40 — Grupo Niche\u003c/li>\n\u003cli>Memorias De Navidad — Víctor Manuelle\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best American Roots Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new vocal or instrumental American roots recordings. This is for performances in the style of any of the subgenres encompassed in the American roots music field including Americana, bluegrass, blues, folk or regional roots. Award to the artist(s).\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Colors” — Black Pumas\u003c/li>\n\u003cli>“Deep In Love” — Bonny Light Horseman\u003c/li>\n\u003cli>“Short And Sweet” — Brittany Howard\u003c/li>\n\u003cli>“I’ll Be Gone” — Norah Jones & Mavis Staples\u003c/li>\n\u003cli>“I Remember Everything” — John Prine\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best American Roots Song \u003c/strong>\u003c/p>\n\u003cp>\u003cem>A songwriter(s) Award. Includes Americana, bluegrass, traditional blues, contemporary blues, folk or regional roots songs. A song is eligible if it was first released or if it first achieved prominence during the eligibility year. (Artist names appear in parentheses.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Cabin” — Laura Rogers & Lydia Rogers, songwriters (The Secret Sisters)\u003c/li>\n\u003cli>“Ceiling To The Floor” — Sierra Hull & Kai Welch, songwriters (Sierra Hull)\u003c/li>\n\u003cli>“Hometown” — Sarah Jarosz, Songwriter (Sarah Jarosz)\u003c/li>\n\u003cli>“I Remember Everything” — Pat Mclaughlin & John Prine, songwriters (John\u003c/li>\n\u003cli>Prine)\u003c/li>\n\u003cli>“Man Without A Soul” — Tom Overby & Lucinda Williams, songwriters (Lucinda\u003c/li>\n\u003cli>Williams)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Bluegrass Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new vocal or instrumental bluegrass recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Man On Fire — Danny Barnes\u003c/li>\n\u003cli>To Live In Two Worlds, Vol. 1 — Thomm Jutz\u003c/li>\n\u003cli>North Carolina Songbook — Steep Canyon Rangers\u003c/li>\n\u003cli>Home — Billy Strings\u003c/li>\n\u003cli>The John Hartford Fiddle Tune Project, Vol. 1 — (Various Artists)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Traditional Blues Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new vocal or instrumental traditional blues recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>All My Dues Are Paid — Frank Bey\u003c/li>\n\u003cli>You Make Me Feel — Don Bryant\u003c/li>\n\u003cli>That’s What I Heard — Robert Cray Band\u003c/li>\n\u003cli>Cypress Grove — Jimmy “Duck” Holmes\u003c/li>\n\u003cli>Rawer Than Raw — Bobby Rush\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Folk Album \u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new vocal or instrumental folk recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Bonny Light Horseman — Bonny Light Horseman\u003c/li>\n\u003cli>Thanks For The Dance — Leonard Cohen\u003c/li>\n\u003cli>Song For Our Daughter — Laura Marling\u003c/li>\n\u003cli>Saturn Return — The Secret Sisters\u003c/li>\n\u003cli>All The Good Times — Gillian Welch & David Rawlings\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Regional Roots Music Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new vocal or instrumental regional roots music recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>My Relatives “Nikso Kowaiks” — Black Lodge Singers\u003c/li>\n\u003cli>Cameron Dupuy And The Cajun Troubadours — Cameron Dupuy And The Cajun Troubadours\u003c/li>\n\u003cli>Lovely Sunrise — Nā Wai ʽehā\u003c/li>\n\u003cli>Atmosphere — New Orleans Nightcrawlers\u003c/li>\n\u003cli>A Tribute To Al Berard — Sweet Cecilia\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Reggae Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new reggae recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Upside Down 2020 — Buju Banton\u003c/li>\n\u003cli>Higher Place — Skip Marley\u003c/li>\n\u003cli>It All Comes Back To Love — Maxi Priest\u003c/li>\n\u003cli>Got To Be Tough — Toots & The Maytals\u003c/li>\n\u003cli>One World — The Wailers\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Children’s Music Album \u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new musical or spoken word recordings that are created and intended specifically for children.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>All The Ladies — Joanie Leeds\u003c/li>\n\u003cli>Be A Pain: An Album For Young (And Old) Leaders — Alastair Moock And Friends\u003c/li>\n\u003cli>I’m An Optimist — Dog On Fleas\u003c/li>\n\u003cli>Songs For Singin’ — The Okee Dokee Brothers\u003c/li>\n\u003cli>Wild Life — Justin Roberts\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Comedy Album \u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Black Mitzvah — Tiffany Haddish\u003c/li>\n\u003cli>I Love Everything — Patton Oswalt\u003c/li>\n\u003cli>The Pale Tourist — Jim Gaffigan\u003c/li>\n\u003cli>Paper Tiger — Bill Burr\u003c/li>\n\u003cli>23 Hours To Kill — Jerry Seinfeld\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Musical Theater Album \u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new recordings. Award to the principal vocalist(s) and the album producer(s) of 51% or more playing time of the album. The lyricist(s) and composer(s) of a new score are eligible for an Award if they have written and/or composed a new score which comprises 51% or more playing time of the album.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Amélie — Audrey Brisson, Chris Jared, Caolan McCarthy & Jez Unwin, principal soloists; Michael Fentiman, Sean Patrick Flahaven, Barnaby Race & Nathan Tysen, producers; Nathan Tysen, lyricist; Daniel Messe, composer & lyricist (Original London Cast)\u003c/li>\n\u003cli>American Utopia On Broadway — David Byrne, principal soloist; David Byrne, producer (David Byrne, composer & lyricist) (Original Cast)\u003c/li>\n\u003cli>Jagged Little Pill — Kathryn Gallagher, Celia Rose Gooding, Lauren Patten & Elizabeth Stanley, principal soloists; Neal Avron, Pete Ganbarg, Tom Kitt, Michael Parker, Craig Rosen & Vivek J. Tiwary, producers (Glen Ballard & Alanis Morissette, lyricists) (Original Broadway Cast)\u003c/li>\n\u003cli>Little Shop Of Horrors — Tammy Blanchard, Jonathan Groff & Tom Alan Robbins, principal soloists; Will Van Dyke, Michael Mayer, Alan Menken & Frank Wolf, producers (Alan Menken, composer; Howard Ashman, lyricist) (The New Off-Broadway Cast)\u003c/li>\n\u003cli>The Prince Of Egypt — Christine Allado, Luke Brady, Alexia Khadime & Liam Tamne, principal soloists; Dominick Amendum & Stephen Schwartz, producers; Stephen Schwartz, composer & lyricist (Original Cast)\u003c/li>\n\u003cli>Soft Power — Francis Jue, Austin Ku, Alyse Alan Louis & Conrad Ricamora, principal soloists; Matt Stine, producer; David Henry Hwang, lyricist; Jeanine Tesori, composer & lyricist (Original Cast)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Compilation Soundtrack For Visual Media\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Award to the artist(s) and/or ‘in studio’ producer(s) of a majority of the tracks on the album. In the absence of both, award to the one or two individuals proactively responsible for the concept and musical direction of the album and for the selection of artists, songs and producers, as applicable. Award also goes to appropriately credited music supervisor(s).\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>A Beautiful Day In The Neighborhood — (Various Artists)\u003c/li>\n\u003cli>Bill & Ted Face The Music — (Various Artists)\u003c/li>\n\u003cli>Eurovision Song Contest: The Story Of Fire Saga — (Various Artists)\u003c/li>\n\u003cli>Frozen 2 — (Various Artists)\u003c/li>\n\u003cli>Jojo Rabbit — (Various Artists)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Score Soundtrack For Visual Media \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Award to composer(s) for an original score created specifically for, or as a companion to, a current legitimate motion picture, television show or series, video games or other visual media.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Ad Astra — Max Richter, composer\u003c/li>\n\u003cli>Becoming — Kamasi Washington, composer\u003c/li>\n\u003cli>Joker — Hildur Guðnadóttir, composer\u003c/li>\n\u003cli>1917 — Thomas Newman, composer\u003c/li>\n\u003cli>Star Wars: The Rise Of Skywalker — John Williams, composer\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Song Written For Visual Media \u003c/strong>\u003c/p>\n\u003cp>\u003cem>A songwriter(s) award. For a song (melody & lyrics) written specifically for a motion picture, television, video games or other visual media, and released for the first time during the eligibility year. (Artist names appear in parentheses.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Beautiful Ghosts” [From Cats] — Andrew Lloyd Webber & Taylor Swift, songwriters\u003c/li>\n\u003cli>(Taylor Swift)\u003c/li>\n\u003cli>“Carried Me With You” [From Onward] — Brandi Carlile, Phil Hanseroth & Tim Hanseroth, songwriters (Brandi Carlile)\u003c/li>\n\u003cli>“Into The Unknown” [From Frozen 2] — Kristen Anderson-Lopez & Robert Lopez, songwriters (Idina Menzel & AURORA)\u003c/li>\n\u003cli>“No Time To Die” [From No Time To Die] — Billie Eilish O’Connell & Finneas Baird O’Connell, songwriters (Billie Eilish)\u003c/li>\n\u003cli>“Stand Up” [From Harriet] — Joshuah Brian Campbell & Cynthia Erivo, songwriters\u003c/li>\n\u003cli>(Cynthia Erivo)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Instrumental Composition\u003c/strong>\u003c/p>\n\u003cp>\u003cem>A composer’s award for an original composition (not an\u003c/em>\u003c/p>\n\u003cp>\u003cem>adaptation) first released during the eligibility year. Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Baby Jack” — Arturo O’Farrill, composer (Arturo O’Farrill & The Afro Latin Jazz Orchestra)\u003c/li>\n\u003cli>“Be Water Ii” — Christian Sands, composer (Christian Sands)\u003c/li>\n\u003cli>“Plumfield” — Alexandre Desplat, composer (Alexandre Desplat)\u003c/li>\n\u003cli>“Sputnik” — Maria Schneider, composer (Maria Schneider)\u003c/li>\n\u003cli>“Strata” — Remy Le Boeuf, composer (Remy Le Boeuf’s Assembly Of Shadows Featuring Anna Webber & Eric Miller)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Arrangement, Instrumental or A Cappella\u003c/strong>\u003c/p>\n\u003cp>\u003cem>An arranger’s award. (Artist names appear in parentheses.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Bathroom Dance” — Hildur Guðnadóttir, arranger (Hildur Guðnadóttir)\u003c/li>\n\u003cli>“Donna Lee” — John Beasley, arranger (John Beasley)\u003c/li>\n\u003cli>“Honeymooners” — Remy Le Boeuf, arranger (Remy Le Boeuf’s Assembly Of Shadows)\u003c/li>\n\u003cli>“Lift Every Voice And Sing” — Alvin Chea & Jarrett Johnson, arrangers (Jarrett Johnson Featuring Alvin Chea)\u003c/li>\n\u003cli>“Uranus: The Magician” — Jeremy Levy, arranger (Jeremy Levy Jazz Orchestra)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Arrangement, Instruments and Vocals\u003c/strong>\u003c/p>\n\u003cp>\u003cem>An arranger’s award. (Artist names appear in parentheses.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Asas Fechadas” — John Beasley & Maria Mendes, arrangers (Maria Mendes ft. John Beasley & Orkest Metropole)\u003c/li>\n\u003cli>“Desert Song” — Erin Bentlage, Sara Gazarek, Johnaye Kendrick & Amanda Taylor, arrangers (Säje)\u003c/li>\n\u003cli>“From This Place” — Alan Broadbent & Pat Metheny, arrangers (Pat Metheny ft. Meshell Ndegeocello)\u003c/li>\n\u003cli>“He Won’t Hold You” — Jacob Collier, arranger (Jacob Collier ft. Rapsody)\u003c/li>\n\u003cli>“Slow Burn” — Talia Billig, Nic Hard & Becca Stevens, arrangers (Becca Stevens Featuring Jacob Collier, Mark Lettieri, Justin Stanton, Jordan Perlson, Nic Hard, Keita Ogawa, Marcelo Woloski & Nate Werth)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Recording Package\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Everyday Life — Pilar Zeta, art director (Coldplay)\u003c/li>\n\u003cli>Funeral — Kyle Goen, art director (Lil Wayne)\u003c/li>\n\u003cli>Healer — Julian Gross & Hannah Hooper, art directors (Grouplove)\u003c/li>\n\u003cli>On Circles — Jordan Butcher, art director (Caspian)\u003c/li>\n\u003cli>Vols. 11 & 12 — Doug Cunningham & Jason Noto, art directors (Desert Sessions)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Boxed Or Special Limited Edition Package\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Flaming Pie (Collector’s Edition) — Linn Wie Andersen, Simon Earith, Paul McCartney & James Musgrave, art directors (Paul McCartney)\u003c/li>\n\u003cli>Giants Stadium 1987, 1989, 1991 — Lisa Glines & Doran Tyson, art directors (Grateful Dead)\u003c/li>\n\u003cli>Mode — Jeff Schulz, art director (Depeche Mode)\u003c/li>\n\u003cli>Ode To Joy — Lawrence Azerrad & Jeff Tweedy, art directors (Wilco)\u003c/li>\n\u003cli>The Story Of Ghostly International — Michael Cina & Molly Smith, art directors (Various\u003c/li>\n\u003cli>Artists)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Album Notes\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>At The Minstrel Show: Minstrel Routines From The Studio, 1894-1926 — Tim Brooks, album notes writer (Various Artists)\u003c/li>\n\u003cli>The Bakersfield Sound: Country Music Capital Of The West, 1940-1974 — Scott B. Bomar, album notes writer (Various Artists)\u003c/li>\n\u003cli>Dead Man’s Pop — Bob Mehr, album notes writer (The Replacements)\u003c/li>\n\u003cli>The Missing Link: How Gus Haenschen Got Us From Joplin To Jazz And Shaped The Music Business — Colin Hancock, album notes writer (Various Artists)\u003c/li>\n\u003cli>Out Of A Clear Blue Sky — David Sager, album notes writer (Nat Brusiloff)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Historical Album\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Celebrated, 1895-1896 — Meagan Hennessey & Richard Martin, compilation producers; Richard Martin, mastering engineer (Unique Quartette)\u003c/li>\n\u003cli>Hittin’ The Ramp: The Early Years (1936 – 1943) — Zev Feldman, Will Friedwald & George Klabin, compilation producers; Matthew Lutthans, mastering engineer (Nat King Cole)\u003c/li>\n\u003cli>It’s Such A Good Feeling: The Best Of Mister Rogers — Lee Lodyga & Cheryl Pawelski, compilation producers; Michael Graves, mastering engineer (Mister Rogers)\u003c/li>\n\u003cli>1999 Super Deluxe Edition — Michael Howe, compilation producer; Bernie Grundman, mastering engineer (Prince)\u003c/li>\n\u003cli>Souvenir — Carolyn Agger, compilation producer; Miles Showell, mastering engineer (Orchestral Manoeuvres In The Dark)\u003c/li>\n\u003cli>Throw Down Your Heart: The Complete Africa Sessions — Béla Fleck, compilation producer; Richard Dodd, mastering engineer (Béla Fleck)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Engineered Album, Non-Classical\u003c/strong>\u003c/p>\n\u003cp>\u003cem>An engineer’s award. (Artists’ names appear in parentheses.)\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Black Hole Rainbow — Shawn Everett & Ivan Wayman, engineers; Bob Ludwig,\u003c/li>\n\u003cli>mastering engineer (Devon Gilfillian)\u003c/li>\n\u003cli>Expectations — Gary Paczosa & Mike Robinson, engineers; Paul Blakemore, mastering engineer (Katie Pruitt)\u003c/li>\n\u003cli>Hyperspace — Drew Brown, Andrew Coleman, Shawn Everett, Serban Ghenea, David Greenbaum, Jaycen Joshua & Mike Larson, engineers; Randy Merrill, mastering engineer (Beck)\u003c/li>\n\u003cli>Jaime — Shawn Everett, engineer; Shawn Everett, mastering engineer (Brittany Howard)\u003c/li>\n\u003cli>25 Trips — Shani Gandhi & Gary Paczosa, engineers; Adam Grover,\u003c/li>\n\u003cli>mastering engineer (Sierra Hull)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Producer Of The Year \u003c/strong>\u003c/p>\n\u003cp>\u003cem>A producer’s award.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Jack Antonoff\u003c/li>\n\u003cli>Dan Auerbach\u003c/li>\n\u003cli>Dave Cobb\u003c/li>\n\u003cli>Flying Lotus\u003c/li>\n\u003cli>Andrew Watt\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Remixed Recording \u003c/strong>\u003c/p>\n\u003cp>\u003cem>A remixer’s award. (Artists’ names appear in parentheses for identification.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Do You Ever (RAC Mix)” — RAC, remixer (Phil Good)\u003c/li>\n\u003cli>“Imaginary Friends (Morgan Page Remix)” — Morgan Page, remixer (Deadmau5)\u003c/li>\n\u003cli>“Praying For You (Louie Vega Main Remix)” — Louie Vega, remixer (Jasper Street Co.)\u003c/li>\n\u003cli>“Roses (Imanbek Remix)” — Imanbek Zeikenov, remixer (SAINt JHN)\u003c/li>\n\u003cli>“Young & Alive (Bazzi Vs. Haywyre Remix)” — Haywyre, remixer (Bazzi)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Engineered Album, Classical \u003c/strong>\u003c/p>\n\u003cp>\u003cem>An engineer’s award. (Artist names appear in parentheses.)\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Danielpour: The Passion Of Yeshua — Bernd Gottinger, engineer (JoAnn Falletta, James K. Bass, Adam Luebke, UCLA Chamber Singers, Buffalo Philharmonic Orchestra & Buffalo Philharmonic Chorus)\u003c/li>\n\u003cli>Gershwin: Porgy And Bess — David Frost & John Kerswell, engineers; Silas Brown, mastering engineer (David Robertson, Eric Owens, Angel Blue, Metropolitan Opera Orchestra & Chorus)\u003c/li>\n\u003cli>Hynes: Fields — Kyle Pyke, engineer; Jesse Lewis & Kyle Pyke, mastering engineers (Devonté Hynes & Third Coast Percussion)\u003c/li>\n\u003cli>Ives: Complete Symphonies — Alexander Lipay & Dmitriy Lipay, engineers; Alexander Lipay & Dmitriy Lipay, mastering engineers (Gustavo Dudamel & Los Angeles Philharmonic)\u003c/li>\n\u003cli>Shostakovich: Symphony No. 13, ‘Babi Yar’ — David Frost & Charlie Post, engineers; Silas Brown, mastering engineer (Riccardo Muti & Chicago Symphony Orchestra)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Producer Of The Year, Classical \u003c/strong>\u003c/p>\n\u003cp>\u003cem>A producer’s award. (Artist names appear in parentheses.)\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Blanton Alspaugh\u003c/li>\n\u003cli>David Frost\u003c/li>\n\u003cli>Jesse Lewis\u003c/li>\n\u003cli>Dmitriy Lipay\u003c/li>\n\u003cli>Elaine Martone\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Orchestral Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Award to the conductor and to the orchestra.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Aspects Of America – Pulitzer Edition” — Carlos Kalmar, conductor (Oregon Symphony)\u003c/li>\n\u003cli>“Concurrence” — Daníel Bjarnason, conductor (Iceland Symphony Orchestra)\u003c/li>\n\u003cli>“Copland: Symphony No. 3” — Michael Tilson Thomas, conductor (San Francisco Symphony)\u003c/li>\n\u003cli>“Ives: Complete Symphonies” — Gustavo Dudamel, conductor (Los Angeles Philharmonic)\u003c/li>\n\u003cli>“Lutosławski: Symphonies Nos. 2 & 3” — Hannu Lintu, conductor (Finnish Radio Symphony Orchestra)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Opera Recording\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Award to the conductor, album producer(s) and principal soloists.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Dello Joio: The Trial At Rouen” — Gil Rose, conductor; Heather Buck & Stephen Powell; Gil Rose, producer (Boston Modern Orchestra Project; Odyssey Opera Chorus)\u003c/li>\n\u003cli>“Floyd, C.: Prince Of Players” — William Boggs, conductor; Keith Phares & Kate Royal; Blanton Alspaugh, producer (Milwaukee Symphony Orchestra; Florentine Opera Chorus)\u003c/li>\n\u003cli>“Gershwin: Porgy And Bess” — David Robertson, conductor; Angel Blue & Eric Owens; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)\u003c/li>\n\u003cli>“Handel: Agrippina” — Maxim Emelyanychev, conductor; Joyce DiDonato; Daniel Zalay, producer (Il Pomo D’Oro)\u003c/li>\n\u003cli>“Zemlinsky: Der Zwerg” — Donald Runnicles, conductor; David Butt Philip & Elena Tsallagova; Peter Ghirardini & Erwin Stürzer, producers (Orchestra Of The Deutsche Oper Berlin; Chorus Of The Deutsche Oper Berlin)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Choral Performance \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Award to the conductor, and to the choral director and/or chorus master where applicable and to the choral organization/ensemble.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Carthage” — Donald Nally, conductor (The Crossing)\u003c/li>\n\u003cli>“Danielpour: The Passion Of Yeshua” — JoAnn Falletta, conductor; James K. Bass & Adam Luebke, chorus masters (James K. Bass, J’Nai Bridges, Timothy Fallon, Kenneth Overton, Hila Plitmann & Matthew Worth; Buffalo Philharmonic Orchestra; Buffalo Philharmonic Chorus & UCLA Chamber Singers)\u003c/li>\n\u003cli>“Kastalsky: Requiem” — Leonard Slatkin, conductor; Charles Bruffy, Steven Fox & Benedict Sheehan, chorus masters (Joseph Charles Beutel & Anna Dennis; Orchestra Of St. Luke’s; Cathedral Choral Society, The Clarion Choir, Kansas City Chorale & The Saint Tikhon Choir)\u003c/li>\n\u003cli>“Moravec: Sanctuary Road” — Kent Tritle, conductor (Joshua Blue, Raehann Bryce-Davis, Dashon Burton, Malcolm J. Merriweather & Laquita Mitchell; Oratorio Society Of New York Orchestra; Oratorio Society Of New York Chorus)\u003c/li>\n\u003cli>“Once Upon A Time” — Matthew Guard, conductor (Sarah Walker; Skylark Vocal Ensemble)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Chamber Music/Small Ensemble Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new recordings of works with chamber or small ensemble (twenty-four or fewer members, not including the conductor). One award to the ensemble and one award to the conductor, if applicable.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Contemporary Voices” — Pacifica Quartet\u003c/li>\n\u003cli>“Healing Modes” — Brooklyn Rider\u003c/li>\n\u003cli>“Hearne, T.: Place” — Ted Hearne, Steven Bradshaw, Sophia Byrd, Josephine Lee, Isaiah Robinson, Sol Ruiz, Ayanna Woods & Place Orchestra\u003c/li>\n\u003cli>“Hynes: Fields” — Devonté Hynes & Third Coast Percussion\u003c/li>\n\u003cli>“The Schumann Quartets” — Dover Quartet\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Classical Instrumental Solo \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Award to the instrumental soloist(s) and to the conductor when applicable.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Adès: Concerto For Piano And Orchestra” — Kirill Gerstein; Thomas Adès, conductor (Boston Symphony Orchestra)\u003c/li>\n\u003cli>“Beethoven: Complete Piano Sonatas” — Igor Levit\u003c/li>\n\u003cli>“Bohemian Tales” — Augustin Hadelich; Jakub Hrůša, conductor (Charles Owen; Symphonieorchester Des Bayerischen Rundfunks)\u003c/li>\n\u003cli>“Destination Rachmaninov – Arrival” — Daniil Trifonov; Yannick Nézet-Séguin, conductor (The Philadelphia Orchestra)\u003c/li>\n\u003cli>“Theofanidis: Concerto For Viola And Chamber Orchestra” — Richard O’Neill; David Alan Miller, conductor (Albany Symphony)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Classical Solo Vocal Album \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Award to: vocalist(s), collaborative artist(s) (Ex: pianists, conductors, chamber groups) producer(s), recording engineers/mixers with 51% or more playing time of new material.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>American Composers At Play – William Bolcom, Ricky Ian Gordon, Lori Laitman, John Musto — Stephen Powell (Attacca Quartet, William Bolcom, Ricky Ian Gordon, Lori Laitman, John Musto, Charles Neidich & Jason Vieaux)\u003c/li>\n\u003cli>Clairières – Songs By Lili & Nadia Boulanger — Nicholas Phan; Myra Huang, accompanist\u003c/li>\n\u003cli>Farinelli — Cecilia Bartoli; Giovanni Antonini, conductor (Il Giardino Armonico)\u003c/li>\n\u003cli>A Lad’s Love — Brian Giebler; Steven McGhee, accompanist (Katie Hyun, Michael Katz, Jessica Meyer, Reginald Mobley & Ben Russell)\u003c/li>\n\u003cli>Smyth: The Prison — Sarah Brailey & Dashon Burton; James Blachly, conductor (Experiential Chorus; Experiential Orchestra)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Classical Compendium\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Award to the artist(s) and to the album producer(s) and engineer(s) of over 51% playing time of the album, if other than the artist.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Adès Conducts Adès — Mark Stone & Christianne Stotijn; Thomas Adès, conductor; Nick Squire, producer\u003c/li>\n\u003cli>Saariaho: Graal Théâtre; Circle Map; Neiges; Vers Toi Qui Es Si Loin — Clément Mao-Takacs, conductor; Hans Kipfer, producer\u003c/li>\n\u003cli>Serebrier: Symphonic Bach Variations; Laments And Hallelujahs; Flute Concerto — José Serebrier, conductor; Jens Braun, producer\u003c/li>\n\u003cli>Thomas, M.T.: From The Diary Of Anne Frank & Meditations On Rilke — Isabel Leonard; Michael Tilson Thomas, conductor; Jack Vad, producer\u003c/li>\n\u003cli>Woolf, L.P.: Fire And Flood — Matt Haimovitz; Julian Wachner, conductor; Blanton Alspaugh, producer\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Contemporary Classical Composition\u003c/strong>\u003c/p>\n\u003cp>\u003cem>A composer’s award. (For a contemporary classical composition composed within the last 25 years, and released for the first time during the eligibility year.) Award to the librettist, if applicable.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Adès: Concerto For Piano And Orchestra” — Thomas Adès, composer (Kirill Gerstein, Thomas Adès & Boston Symphony Orchestra)\u003c/li>\n\u003cli>“Danielpour: The Passion Of Yeshua” — Richard Danielpour, composer (JoAnn Falletta, James K. Bass, Adam Luebke, UCLA Chamber Singers, Buffalo Philharmonic Orchestra & Buffalo Philharmonic Chorus)\u003c/li>\n\u003cli>“Floyd, C.: Prince Of Players” — Carlisle Floyd, composer (William Boggs, Kate Royal, Keith Phares, Florentine Opera Chorus & Milwaukee Symphony Orchestra)\u003c/li>\n\u003cli>“Hearne, T.: Place” — Ted Hearne, composer (Ted Hearne, Steven Bradshaw, Sophia Byrd, Josephine Lee, Isaiah Robinson, Sol Ruiz, Ayanna Woods & Place Orchestra)\u003c/li>\n\u003cli>“Rouse: Symphony No. 5” — Christopher Rouse, composer (Giancarlo Guerrero &\u003c/li>\n\u003cli>Nashville Symphony)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Music Video\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Award to the artist, video director, and video producer.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Brown Skin Girl” — Beyoncé; Beyoncé Knowles-Carter & Jenn Nkiru, video directors; Lauren Baker, Astrid Edwards, Nathan Scherrer & Erinn Williams, video producers\u003c/li>\n\u003cli>“Life Is Good” — Future ft. Drake; Julien Christian Lutz, video director; Harv Glazer, video producer\u003c/li>\n\u003cli>“Lockdown” — Anderson .Paak; Dave Meyers, video director; Nathan Scherrer, video producer\u003c/li>\n\u003cli>“Adore You” — Harry Styles; Dave Meyers, video director; Nathan Scherrer, video producer\u003c/li>\n\u003cli>“Goliath” — Woodkid; Yoann Lemoine, video director\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9%2C+Dua+Lipa+Headline+2021+Grammy+Nominations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Diane di Prima, Brilliant Beat Poet And Activist, Dies At 86",
"headTitle": "Diane di Prima, Brilliant Beat Poet And Activist, Dies At 86 | KQED",
"content": "\u003cp>One night in the 1950s Diane di Prima was at a party at Allen Ginsberg’s place in New York City. It was usual poet stuff — talking, reading, smoking, drinking — until 11:30 p.m. came around and di Prima said she was going home to relieve her babysitter. Jack Kerouac, also a guest, shouted, “Di Prima, unless you forget about your babysitter, you’re never going to be a writer.”\u003c/p>\n\u003cp>Diane di Prima went home anyway — and became one of the prominent voices of the Beat Generation. She wrote more than 40 books of poetry and memoir that dealt with politics, community, love, and sex, and in 2009 she was named Poet Laureate of San Francisco. Di Prima died Sunday morning at the age of 86 at a hospital in San Francisco, her brother Frank DiPrima confirmed.\u003c/p>\n\u003cp>In 2017, \u003ca href=\"https://www.washingtonpost.com/graphics/2017/lifestyle/the-beat-generation/\">the \u003cem>Washington Post\u003c/em>\u003c/a> asked her if Kerouac’s comments were indicative of the sexism in the Beat scene.\u003c/p>\n\u003cp>“Jack wanted me to hang out because everyone was gay and I was straight,” she said. “He was probably hoping to get laid later.”\u003c/p>\n\u003cp>Diane di Prima was born in Brooklyn in 1934. She committed herself to poetry as a teenager, and by the 1960s she was working on her own poetry while editing the newsletter \u003cem>The Floating Bear\u003c/em> with poet Amiri Baraka (with whom di Prima had a child, \u003ca href=\"https://en.wikipedia.org/wiki/Dominique_di_Prima\" rel=\"noopener noreferrer\" target=\"_blank\">Dominique di Prima\u003c/a>). According to an archive of di Prima’s papers at the \u003ca href=\"https://archives.lib.uconn.edu/islandora/object/20002%3A860132172#ref13\">University of Connecticut\u003c/a>, this work got her arrested by the FBI for alleged obscenity (the case was eventually thrown out).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Her experiences with the Beats inspired the book \u003cem>Memoirs of a Beatnik\u003c/em>, a fictionalized account of that era. The book was packed with sex scenes of all kinds; her publisher pushed her to include them, writing “more sex” on the manuscripts as he sent them back. Di Prima would later tell the \u003ca href=\"https://www.chicagotribune.com/news/ct-xpm-2000-04-19-0004190043-story.html\">\u003cem>Chicago Tribune\u003c/em>\u003c/a> that it was mostly accurate, “except for the sex parts.”\u003c/p>\n\u003cp>https://youtu.be/l_s_0f5CWLc\u003c/p>\n\u003cp>Di Prima moved to San Francisco in 1968 and got involved with the Diggers — a group of anti-capitalist activists and actors who handed out free food in the community. It was also around that time that she began to study Sanskrit and Buddhism. The poetry collection \u003cem>Revolutionary Letters\u003c/em> grew out of her time with the Diggers; in 1976 she got on stage at the famed “Last Waltz” concert by The Band, and read a one-line poem, “Get Yer Cut Throat Off My Knife,” before going into “Revolutionary Letter #4”:\u003c/p>\n\u003cblockquote>\n\u003cp>Left to themselves people\u003c/p>\n\u003cp>grow their hair.\u003c/p>\n\u003cp>Left to themselves they\u003c/p>\n\u003cp>take off their shoes.\u003c/p>\n\u003cp>Left to themselves they make love\u003c/p>\n\u003cp>sleep easily\u003c/p>\n\u003cp>share blankets, dope & children\u003c/p>\n\u003cp>they are not lazy or afraid\u003c/p>\n\u003cp>they plant seeds, they smile, they\u003c/p>\n\u003cp>speak to one another. The word\u003c/p>\n\u003cp>coming into its own: touch of love;\u003c/p>\n\u003cp>on the brain, the ear.\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>At the 2009 \u003ca href=\"https://www.youtube.com/watch?v=Ko0nnDmjPYs&t=732s\">press conference\u003c/a> when she was named Poet Laureate of San Francisco, she told the crowd about a dream she’d had recently that showed her how all the work that was ever written was part of the same big piece that “cuts through time and cuts through space, and we have no idea what it is — it’s so wonderful and large.” Her deepest service, she added, was to poetry and to humans. \u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>\u003c/em>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Diane+di+Prima%2C+Beat+Poet+And+Activist%2C+Dead+At+86&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One night in the 1950s Diane di Prima was at a party at Allen Ginsberg’s place in New York City. It was usual poet stuff — talking, reading, smoking, drinking — until 11:30 p.m. came around and di Prima said she was going home to relieve her babysitter. Jack Kerouac, also a guest, shouted, “Di Prima, unless you forget about your babysitter, you’re never going to be a writer.”\u003c/p>\n\u003cp>Diane di Prima went home anyway — and became one of the prominent voices of the Beat Generation. She wrote more than 40 books of poetry and memoir that dealt with politics, community, love, and sex, and in 2009 she was named Poet Laureate of San Francisco. Di Prima died Sunday morning at the age of 86 at a hospital in San Francisco, her brother Frank DiPrima confirmed.\u003c/p>\n\u003cp>In 2017, \u003ca href=\"https://www.washingtonpost.com/graphics/2017/lifestyle/the-beat-generation/\">the \u003cem>Washington Post\u003c/em>\u003c/a> asked her if Kerouac’s comments were indicative of the sexism in the Beat scene.\u003c/p>\n\u003cp>“Jack wanted me to hang out because everyone was gay and I was straight,” she said. “He was probably hoping to get laid later.”\u003c/p>\n\u003cp>Diane di Prima was born in Brooklyn in 1934. She committed herself to poetry as a teenager, and by the 1960s she was working on her own poetry while editing the newsletter \u003cem>The Floating Bear\u003c/em> with poet Amiri Baraka (with whom di Prima had a child, \u003ca href=\"https://en.wikipedia.org/wiki/Dominique_di_Prima\" rel=\"noopener noreferrer\" target=\"_blank\">Dominique di Prima\u003c/a>). According to an archive of di Prima’s papers at the \u003ca href=\"https://archives.lib.uconn.edu/islandora/object/20002%3A860132172#ref13\">University of Connecticut\u003c/a>, this work got her arrested by the FBI for alleged obscenity (the case was eventually thrown out).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Her experiences with the Beats inspired the book \u003cem>Memoirs of a Beatnik\u003c/em>, a fictionalized account of that era. The book was packed with sex scenes of all kinds; her publisher pushed her to include them, writing “more sex” on the manuscripts as he sent them back. Di Prima would later tell the \u003ca href=\"https://www.chicagotribune.com/news/ct-xpm-2000-04-19-0004190043-story.html\">\u003cem>Chicago Tribune\u003c/em>\u003c/a> that it was mostly accurate, “except for the sex parts.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/l_s_0f5CWLc'\n title='//www.youtube.com/embed/l_s_0f5CWLc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Di Prima moved to San Francisco in 1968 and got involved with the Diggers — a group of anti-capitalist activists and actors who handed out free food in the community. It was also around that time that she began to study Sanskrit and Buddhism. The poetry collection \u003cem>Revolutionary Letters\u003c/em> grew out of her time with the Diggers; in 1976 she got on stage at the famed “Last Waltz” concert by The Band, and read a one-line poem, “Get Yer Cut Throat Off My Knife,” before going into “Revolutionary Letter #4”:\u003c/p>\n\u003cblockquote>\n\u003cp>Left to themselves people\u003c/p>\n\u003cp>grow their hair.\u003c/p>\n\u003cp>Left to themselves they\u003c/p>\n\u003cp>take off their shoes.\u003c/p>\n\u003cp>Left to themselves they make love\u003c/p>\n\u003cp>sleep easily\u003c/p>\n\u003cp>share blankets, dope & children\u003c/p>\n\u003cp>they are not lazy or afraid\u003c/p>\n\u003cp>they plant seeds, they smile, they\u003c/p>\n\u003cp>speak to one another. The word\u003c/p>\n\u003cp>coming into its own: touch of love;\u003c/p>\n\u003cp>on the brain, the ear.\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>At the 2009 \u003ca href=\"https://www.youtube.com/watch?v=Ko0nnDmjPYs&t=732s\">press conference\u003c/a> when she was named Poet Laureate of San Francisco, she told the crowd about a dream she’d had recently that showed her how all the work that was ever written was part of the same big piece that “cuts through time and cuts through space, and we have no idea what it is — it’s so wonderful and large.” Her deepest service, she added, was to poetry and to humans. \u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>\u003c/em>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Diane+di+Prima%2C+Beat+Poet+And+Activist%2C+Dead+At+86&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>One of America’s most beloved musicians, Neil Young, has filed a civil lawsuit against President Trump’s reelection campaign. Young’s mission: to get Trump supporters to stop rocking out to “Rockin’ in the Free World” and “Devil’s Sidewalk” at his campaign events and rallies.\u003c/p>\n\u003cp>The copyright infringement lawsuit, which was filed in federal court in New York, was first reported by \u003ca href=\"https://www.hollywoodreporter.com/thr-esq/neil-young-sues-donald-trump-campaign-copyright-infringement-1305863\">The Hollywood Reporter\u003c/a> and is available to read \u003ca href=\"https://neilyoungarchives.com/news/5/article?id=Law-Complaint-pages1-6&fbclid=IwAR1K9P32FyufXJuiNzfKNHRlXBiTnkhesmcs65f9G1so9wfObsEdfUGrW38\">in full \u003c/a>on Young’s website.\u003c/p>\n\u003cp>This is not the first time that the Canadian-born Young has complained about Trump’s use of his songs for political ends. In 2016, Young was among a \u003ca href=\"https://www.npr.org/sections/therecord/2016/07/22/487022287/cleveland-rocked-music-at-the-republican-national-convention\">long list\u003c/a> of artists, ranging from The Rolling Stones to Adele, who objected to the candidate playing their music on the campaign trail. (Young \u003ca href=\"https://www.instagram.com/p/B7o2db5JPFF/?utm_source=ig_web_copy_link\">announced\u003c/a> in January that he had become a U.S. citizen; he has also been a longtime supporter of Sen. Bernie Sanders.) [aside postid='arts_13884392']\u003c/p>\n\u003cp>Back then, however, Young told \u003ca href=\"https://www.reuters.com/article/us-usa-election-neilyoung-idUSKCN0YF1AY\">Reuters\u003c/a> that he would have liked for Trump to have asked for his blessing. During that first campaign, Trump’s organization had made licensing agreements with the two main performance-rights organizations, ASCAP (the American Society of Composers, Authors and Publishers) and BMI (Broadcast Music, Inc.), which have traditionally \u003ca href=\"https://www.ascap.com/~/media/files/pdf/advocacy-legislation/political_campaign.pdf\">covered\u003c/a> the use of pop songs at political live events. (Songwriters and labels can prohibit the use of their music in political commercials.)\u003c/p>\n\u003cp>Young acknowledged that in the 2016 Reuters interview, saying: “He actually got a license to use it … So I got nothing against him. You know, once the music goes out, everybody can use it for anything.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Young’s suit will serve as something of a test case for the copyright infringement argument, though his complaint also states that he “in good conscience cannot allow his music to be used as a ‘theme song’ for a divisive, un-American campaign of ignorance and hate.” Along with barring the Trump campaign from using his music, Young is asking for statutory damages.\u003c/p>\n\u003cp>His stance is buoyed by a growing unwillingness among musicians to have their work co-opted by politicians. Last month, a number of world-famous artists, from Mick Jagger and Keith Richards to Sia, signed an \u003ca href=\"https://medium.com/@artistrightsnow/cross-section-of-artists-and-songwriters-join-artist-rights-alliance-to-urge-politicians-stop-ed9b08ca6609\">open letter\u003c/a> to both the Republican and Democratic parties asking them to specifically “pledge that all candidates you support will seek consent from featured recording artists and songwriters before using their music in campaign and political settings.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This is not a new problem. Or a partisan one,” the letter continues. “Every election cycle brings stories of artists and songwriters frustrated to find their work being used in settings that suggest endorsement or support of political candidates without their permission or consent.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of America’s most beloved musicians, Neil Young, has filed a civil lawsuit against President Trump’s reelection campaign. Young’s mission: to get Trump supporters to stop rocking out to “Rockin’ in the Free World” and “Devil’s Sidewalk” at his campaign events and rallies.\u003c/p>\n\u003cp>The copyright infringement lawsuit, which was filed in federal court in New York, was first reported by \u003ca href=\"https://www.hollywoodreporter.com/thr-esq/neil-young-sues-donald-trump-campaign-copyright-infringement-1305863\">The Hollywood Reporter\u003c/a> and is available to read \u003ca href=\"https://neilyoungarchives.com/news/5/article?id=Law-Complaint-pages1-6&fbclid=IwAR1K9P32FyufXJuiNzfKNHRlXBiTnkhesmcs65f9G1so9wfObsEdfUGrW38\">in full \u003c/a>on Young’s website.\u003c/p>\n\u003cp>This is not the first time that the Canadian-born Young has complained about Trump’s use of his songs for political ends. In 2016, Young was among a \u003ca href=\"https://www.npr.org/sections/therecord/2016/07/22/487022287/cleveland-rocked-music-at-the-republican-national-convention\">long list\u003c/a> of artists, ranging from The Rolling Stones to Adele, who objected to the candidate playing their music on the campaign trail. (Young \u003ca href=\"https://www.instagram.com/p/B7o2db5JPFF/?utm_source=ig_web_copy_link\">announced\u003c/a> in January that he had become a U.S. citizen; he has also been a longtime supporter of Sen. Bernie Sanders.) \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Young’s suit will serve as something of a test case for the copyright infringement argument, though his complaint also states that he “in good conscience cannot allow his music to be used as a ‘theme song’ for a divisive, un-American campaign of ignorance and hate.” Along with barring the Trump campaign from using his music, Young is asking for statutory damages.\u003c/p>\n\u003cp>His stance is buoyed by a growing unwillingness among musicians to have their work co-opted by politicians. Last month, a number of world-famous artists, from Mick Jagger and Keith Richards to Sia, signed an \u003ca href=\"https://medium.com/@artistrightsnow/cross-section-of-artists-and-songwriters-join-artist-rights-alliance-to-urge-politicians-stop-ed9b08ca6609\">open letter\u003c/a> to both the Republican and Democratic parties asking them to specifically “pledge that all candidates you support will seek consent from featured recording artists and songwriters before using their music in campaign and political settings.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This is not a new problem. Or a partisan one,” the letter continues. “Every election cycle brings stories of artists and songwriters frustrated to find their work being used in settings that suggest endorsement or support of political candidates without their permission or consent.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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