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"content": "\u003cp>Three of the five acts nominated for the 2021 Best Children’s Album Grammy Award are saying “no thanks.” They’re upset that the contenders in their category are all white.\u003c/p>\n\u003cp>One of them is Alastair Moock, whose nominated album, \u003cem>Be A Pain,\u003c/em> is about American heroes who stood up for their principles: Dr. Martin Luther King, Jr., Harvey Milk, Rosa Parks, the Parkland shooting student protestors and others.\u003c/p>\n\u003cp>Upon hearing the news that he was nominated along with three other white male acts and one white woman, Moock smacked his head. “After this year, to have an all-white slate of nominees seemed really tone deaf,” he says.\u003c/p>\n\u003cp>The Boston-based singer-songwriter says he’d love to get a Grammy, “but I don’t want it like this, where the playing field’s not even.”\u003c/p>\n\u003cp>Moock is protesting by turning down his nomination. So are fellow acts Dog on Fleas and the Okee Dokee Brothers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We thought that it was the strongest thing we could do, to stand with people of color whose albums are too often left out of the Grammy nominations,” says Joe Mailander, one of the Okee Dokee Brothers. He hopes to expand notions of what children’s music is. “This is not just white guys with guitars playing for kids. We want to welcome all different types of music to this community.”\u003c/p>\n\u003cp>The Okee Dokee Brothers, Moock and Dog on Fleas—all “white guys with guitars”—sent a letter to the Recording Academy asking that their names be removed from the final Grammy ballots. They wrote they “couldn’t in good conscience benefit from a process that has historically overlooked women and artists of color.”\u003c/p>\n\u003cp>The other Okee Dokee Brother, Justin Lansing, said they felt a special responsibility to ask for change in a genre “tasked with modeling fairness and kindness to kids and families.”\u003c/p>\n\u003cp>Last month, the nominees met with the Recording Academy’s new CEO, Harvey Mason Jr., and its first ever Chief Diversity, Equity and Inclusion officer, Valeisha Butterfield Jones.\u003c/p>\n\u003cp>“We’re an organization that’s ready for change but you know, we’re not unique to the challenges of the world and to the challenges of our industry,” Butterfield Jones says of the 63-year-old organization being revamped. “I think it’s time. You know, we saw in 2020 a racial reckoning. So now, you know, it’s, you know, up to us what we’re going to do to take real and meaningful action.”\u003c/p>\n\u003cp>Butterfield Jones says since she started her job in May, she’s been looking for ways to increase diversity among the Academy’s membership and in the Grammy’s secret nominating committees. The Academy recently partnered with the racial justice group Color of Change to begin holding itself and record labels more accountable. They’re pushing for more transparency at the Academy and support for artists, especially those who are Black.\u003c/p>\n\u003cp>“We have made a very clear and firm commitment to diversity, equity and inclusion as a part of our core values,” Butterfield Jones says. “I think many of the actions that we’ve taken and have put into place are signs of that. But we still have a lot of work left to do.”\u003c/p>\n\u003cp>Family Music Forward, a collective whose mission is to amplify Black voices in children’s music, was also invited to the Recording Academy meetings last month.\u003c/p>\n\u003cp>“We had the floor, and we had the opportunity to voice our concerns. They definitely responded with a sense of urgency,” says Aaron Nigel Smith, a founding member of Family Music Forward.\u003c/p>\n\u003cp>The collective formed in early 2020, inspired by the Black Lives Matter movement. Smith says the Academy seemed open to recommendations such as restructuring the nominating committees.\u003c/p>\n\u003cp>“We left it in a very hopeful tone that we can keep a discussion going and work together to increase membership with people of color in the academy,” Smith says. He hopes the Academy can add more people “voting for projects that don’t necessarily sound like the mainstream, that might sound like [they’ve] got an African vibe or reggae vibe or a hip hop vibe.”\u003c/p>\n\u003cp>All of the musicians interviewed for this story agreed that Pierce Freelon should have been nominated this year for his critically-acclaimed album \u003cem>D.A.D.\u003c/em>, which has elements of hip hop, jazz, electronic and Afro Caribbean rhythms.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jmrbyfL2dSY\u003c/p>\n\u003cp>Freelon appreciated the stance the Grammy nominees took to support diverse artists. “I just couldn’t think of another example in my memory of white men specifically revoking their privilege in this way,” he says.\u003c/p>\n\u003cp>He points to other non-white artists who should be on the Grammy’s radar: Saul Paul, a rapper from Texas; Uno, Dos, Tres Andres, a bilingual singer born in Colombia; and the R&B Soul band Shine and the Moonbeams. He also thought about the 96-year-old folk singer Ella Jenkins.\u003c/p>\n\u003cp>“She’s probably the most prolific and foundational person in children’s music. And she’s a Black woman. But guess what? She’s never won a Grammy Award through the Recording Academy process,” Freelon says. “They had to give her an honorary lifetime achievement award, but she actually never got that recognition from her peers in the industry.”\u003c/p>\n\u003cp>One of the two Grammy nominees who decided to remain on the ballot is Joanie Leeds. Her ninth children’s folk music album is titled \u003cem>For All The Ladies\u003c/em>.\u003c/p>\n\u003cp>“I didn’t decline because my album is really about empowering young women. I mean, I have 20 women on my album. So for us, it was like it was kind of counter to our empowering women message to step down,” Leeds says. “I know that this is really about the guys that dropped out, but I feel like a lot of times women are kind of left on the side. It’s a shame. I wish there was more equality with women.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The other nominees and Family Music Forward say they support Leeds’s decision. Next year, they expect to see more women and people of color up for Grammy Awards.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=3+Grammy+Contenders+Share+Outrage+At+All-White+Category%2C+Decline+Nominations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We thought that it was the strongest thing we could do, to stand with people of color whose albums are too often left out of the Grammy nominations,” says Joe Mailander, one of the Okee Dokee Brothers. He hopes to expand notions of what children’s music is. “This is not just white guys with guitars playing for kids. We want to welcome all different types of music to this community.”\u003c/p>\n\u003cp>The Okee Dokee Brothers, Moock and Dog on Fleas—all “white guys with guitars”—sent a letter to the Recording Academy asking that their names be removed from the final Grammy ballots. They wrote they “couldn’t in good conscience benefit from a process that has historically overlooked women and artists of color.”\u003c/p>\n\u003cp>The other Okee Dokee Brother, Justin Lansing, said they felt a special responsibility to ask for change in a genre “tasked with modeling fairness and kindness to kids and families.”\u003c/p>\n\u003cp>Last month, the nominees met with the Recording Academy’s new CEO, Harvey Mason Jr., and its first ever Chief Diversity, Equity and Inclusion officer, Valeisha Butterfield Jones.\u003c/p>\n\u003cp>“We’re an organization that’s ready for change but you know, we’re not unique to the challenges of the world and to the challenges of our industry,” Butterfield Jones says of the 63-year-old organization being revamped. “I think it’s time. You know, we saw in 2020 a racial reckoning. So now, you know, it’s, you know, up to us what we’re going to do to take real and meaningful action.”\u003c/p>\n\u003cp>Butterfield Jones says since she started her job in May, she’s been looking for ways to increase diversity among the Academy’s membership and in the Grammy’s secret nominating committees. The Academy recently partnered with the racial justice group Color of Change to begin holding itself and record labels more accountable. They’re pushing for more transparency at the Academy and support for artists, especially those who are Black.\u003c/p>\n\u003cp>“We have made a very clear and firm commitment to diversity, equity and inclusion as a part of our core values,” Butterfield Jones says. “I think many of the actions that we’ve taken and have put into place are signs of that. But we still have a lot of work left to do.”\u003c/p>\n\u003cp>Family Music Forward, a collective whose mission is to amplify Black voices in children’s music, was also invited to the Recording Academy meetings last month.\u003c/p>\n\u003cp>“We had the floor, and we had the opportunity to voice our concerns. They definitely responded with a sense of urgency,” says Aaron Nigel Smith, a founding member of Family Music Forward.\u003c/p>\n\u003cp>The collective formed in early 2020, inspired by the Black Lives Matter movement. Smith says the Academy seemed open to recommendations such as restructuring the nominating committees.\u003c/p>\n\u003cp>“We left it in a very hopeful tone that we can keep a discussion going and work together to increase membership with people of color in the academy,” Smith says. He hopes the Academy can add more people “voting for projects that don’t necessarily sound like the mainstream, that might sound like [they’ve] got an African vibe or reggae vibe or a hip hop vibe.”\u003c/p>\n\u003cp>All of the musicians interviewed for this story agreed that Pierce Freelon should have been nominated this year for his critically-acclaimed album \u003cem>D.A.D.\u003c/em>, which has elements of hip hop, jazz, electronic and Afro Caribbean rhythms.\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/jmrbyfL2dSY'\n title='//www.youtube.com/embed/jmrbyfL2dSY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Freelon appreciated the stance the Grammy nominees took to support diverse artists. “I just couldn’t think of another example in my memory of white men specifically revoking their privilege in this way,” he says.\u003c/p>\n\u003cp>He points to other non-white artists who should be on the Grammy’s radar: Saul Paul, a rapper from Texas; Uno, Dos, Tres Andres, a bilingual singer born in Colombia; and the R&B Soul band Shine and the Moonbeams. He also thought about the 96-year-old folk singer Ella Jenkins.\u003c/p>\n\u003cp>“She’s probably the most prolific and foundational person in children’s music. And she’s a Black woman. But guess what? She’s never won a Grammy Award through the Recording Academy process,” Freelon says. “They had to give her an honorary lifetime achievement award, but she actually never got that recognition from her peers in the industry.”\u003c/p>\n\u003cp>One of the two Grammy nominees who decided to remain on the ballot is Joanie Leeds. Her ninth children’s folk music album is titled \u003cem>For All The Ladies\u003c/em>.\u003c/p>\n\u003cp>“I didn’t decline because my album is really about empowering young women. I mean, I have 20 women on my album. So for us, it was like it was kind of counter to our empowering women message to step down,” Leeds says. “I know that this is really about the guys that dropped out, but I feel like a lot of times women are kind of left on the side. It’s a shame. I wish there was more equality with women.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The other nominees and Family Music Forward say they support Leeds’s decision. Next year, they expect to see more women and people of color up for Grammy Awards.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=3+Grammy+Contenders+Share+Outrage+At+All-White+Category%2C+Decline+Nominations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In 2020, the Most Wonderful Time for Christmas Songs Turned Out to Be July",
"headTitle": "In 2020, the Most Wonderful Time for Christmas Songs Turned Out to Be July | KQED",
"content": "\u003cp>When listeners in Fort Wayne, Indiana, tuned into Majic 95.1 in July, they heard something both unexpected and all-too-familiar. The station was playing Christmas music. In the heat of summer.\u003c/p>\n\u003cp>With the pandemic making life miserable for people, the station was looking for a way to appeal to listeners and boost its ratings, and Christmas songs can be a dependable way of doing so.\u003c/p>\n\u003cp>“We knew that the world was topsy-turvy and we just knew from playing Christmas music over the years that there’s something special about it that people connect with,” says Chris Didier, operations manager at Majic 95.1, whose on-air name is Captain Chris.\u003c/p>\n\u003cp>All over the country this year, stations have been playing Christmas music much earlier than normal. One Memphis station started doing it right after Halloween. Another in Youngstown, Ohio, was decking the halls in September.\u003c/p>\n\u003cp>The radio industry has been hit hard by the pandemic, with ratings falling as much as 50% at first, although they have since rebounded somewhat, says Mike McVay, a radio industry veteran who now works as a consultant.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There was an incredible drop in listening, mainly because of listening habits. A lot of people who listen to radio listen in their car, and suddenly if you’re working at home and not commuting, that changed that,” he says.\u003c/p>\n\u003cp>Station officials figured that starting the holidays a bit early might be a way to lure listeners back home.\u003c/p>\n\u003cp>After all, Christmas music has been a reliable source of ratings gold since around 1990, when 99.9 KEZ, an adult contemporary station in Phoenix, created the format.\u003c/p>\n\u003cp>“We had every consultant, every research person that I could think of, before we did it told us, ‘You are crazy. Do not do it.'” says Jerry Ryan, former vice president and general manager at the radio station.\u003c/p>\n\u003cp>But the format turned out to be an enormous success, and within a few years hundreds of stations were playing non-stop Christmas music for 24 hours a day.\u003c/p>\n\u003cp>As the industry discovered, Christmas music can create a powerful emotional bond with an audience, bringing in listeners of all demographics, who want to hear vintage tunes like “\u003ca href=\"https://www.youtube.com/watch?v=1FuF7H0uJww\" target=\"_blank\" rel=\"noopener noreferrer\">Rudolph the Red-Nosed Reindeer\u003c/a>” and Elvis Presley’s “\u003ca href=\"https://www.youtube.com/watch?v=3KK6sMo8NBY\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Christmas\u003c/a>.”\u003c/p>\n\u003cp>Still, there have traditionally been limits to how far radio stations have been willing to go.\u003c/p>\n\u003cp>KEZ, the Phoenix radio station, traditionally began to air Christmas songs right after Thanksgiving, and Ryan says doing so much earlier than that can be jarring for an audience.\u003c/p>\n\u003cp>“I don’t think there’s a heck of a lot of emotional value to Christmas music outside of that particular time,” Ryan says.\u003c/p>\n\u003cp>Not this year, however.\u003c/p>\n\u003cp>In an unprecedented year marked by the pandemic, many stations say the earlier start to airing Christmas songs has actually been a success with listeners.\u003c/p>\n\u003cp>Take Majic 95.1, for example.\u003c/p>\n\u003cp>“We got incredible feedback. Lots of calls, lots of emails, people saying, ‘Yes, thank you for doing this, we really love the Christmas music,'” says Captain Chris of Majic 95.1 of its decision to play holiday music in July.\u003c/p>\n\u003cp>Emily Boldon, vice president of adult contemporary radio at Cumulus Media, which has some two dozen stations employing the holiday format, says she’s seen a similar response.\u003c/p>\n\u003cp>And she has a theory about what’s happening. She says listeners associate Christmas with the year ending, and this has been a really terrible year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think everybody is trying to rush the holiday this year just so we can get beyond it,” Boldon says. “I really truly believe the audience was just ready to get to the end of 2020 as fast as possible this year.”\u003c/p>\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=In+Pandemic%2C+The+Most+Wonderful+Time+For+Christmas+Songs+Turned+Out+To+Be+...+In+July&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When listeners in Fort Wayne, Indiana, tuned into Majic 95.1 in July, they heard something both unexpected and all-too-familiar. The station was playing Christmas music. In the heat of summer.\u003c/p>\n\u003cp>With the pandemic making life miserable for people, the station was looking for a way to appeal to listeners and boost its ratings, and Christmas songs can be a dependable way of doing so.\u003c/p>\n\u003cp>“We knew that the world was topsy-turvy and we just knew from playing Christmas music over the years that there’s something special about it that people connect with,” says Chris Didier, operations manager at Majic 95.1, whose on-air name is Captain Chris.\u003c/p>\n\u003cp>All over the country this year, stations have been playing Christmas music much earlier than normal. One Memphis station started doing it right after Halloween. Another in Youngstown, Ohio, was decking the halls in September.\u003c/p>\n\u003cp>The radio industry has been hit hard by the pandemic, with ratings falling as much as 50% at first, although they have since rebounded somewhat, says Mike McVay, a radio industry veteran who now works as a consultant.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There was an incredible drop in listening, mainly because of listening habits. A lot of people who listen to radio listen in their car, and suddenly if you’re working at home and not commuting, that changed that,” he says.\u003c/p>\n\u003cp>Station officials figured that starting the holidays a bit early might be a way to lure listeners back home.\u003c/p>\n\u003cp>After all, Christmas music has been a reliable source of ratings gold since around 1990, when 99.9 KEZ, an adult contemporary station in Phoenix, created the format.\u003c/p>\n\u003cp>“We had every consultant, every research person that I could think of, before we did it told us, ‘You are crazy. Do not do it.'” says Jerry Ryan, former vice president and general manager at the radio station.\u003c/p>\n\u003cp>But the format turned out to be an enormous success, and within a few years hundreds of stations were playing non-stop Christmas music for 24 hours a day.\u003c/p>\n\u003cp>As the industry discovered, Christmas music can create a powerful emotional bond with an audience, bringing in listeners of all demographics, who want to hear vintage tunes like “\u003ca href=\"https://www.youtube.com/watch?v=1FuF7H0uJww\" target=\"_blank\" rel=\"noopener noreferrer\">Rudolph the Red-Nosed Reindeer\u003c/a>” and Elvis Presley’s “\u003ca href=\"https://www.youtube.com/watch?v=3KK6sMo8NBY\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Christmas\u003c/a>.”\u003c/p>\n\u003cp>Still, there have traditionally been limits to how far radio stations have been willing to go.\u003c/p>\n\u003cp>KEZ, the Phoenix radio station, traditionally began to air Christmas songs right after Thanksgiving, and Ryan says doing so much earlier than that can be jarring for an audience.\u003c/p>\n\u003cp>“I don’t think there’s a heck of a lot of emotional value to Christmas music outside of that particular time,” Ryan says.\u003c/p>\n\u003cp>Not this year, however.\u003c/p>\n\u003cp>In an unprecedented year marked by the pandemic, many stations say the earlier start to airing Christmas songs has actually been a success with listeners.\u003c/p>\n\u003cp>Take Majic 95.1, for example.\u003c/p>\n\u003cp>“We got incredible feedback. Lots of calls, lots of emails, people saying, ‘Yes, thank you for doing this, we really love the Christmas music,'” says Captain Chris of Majic 95.1 of its decision to play holiday music in July.\u003c/p>\n\u003cp>Emily Boldon, vice president of adult contemporary radio at Cumulus Media, which has some two dozen stations employing the holiday format, says she’s seen a similar response.\u003c/p>\n\u003cp>And she has a theory about what’s happening. She says listeners associate Christmas with the year ending, and this has been a really terrible year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think everybody is trying to rush the holiday this year just so we can get beyond it,” Boldon says. “I really truly believe the audience was just ready to get to the end of 2020 as fast as possible this year.”\u003c/p>\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=In+Pandemic%2C+The+Most+Wonderful+Time+For+Christmas+Songs+Turned+Out+To+Be+...+In+July&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Cameras, Chaos And Cognac: How Bob Gruen Photographed the Spirit of Rock 'N' Roll",
"headTitle": "Cameras, Chaos And Cognac: How Bob Gruen Photographed the Spirit of Rock ‘N’ Roll | KQED",
"content": "\u003cp>Photographer Bob Gruen spent decades capturing the lives and performances of rock stars of the ’60s, ’70s and ’80s, including John Lennon, the Rolling Stones, Chuck Berry, Tina Turner—and many more.\u003c/p>\n\u003cp>Gruen put in many hours backstage, in studios and on the road, sometimes doing drugs and drinking until dawn with his subjects.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890097 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Screen-Shot-2020-12-08-at-10.56.25-AM.png\" alt=\"\" width=\"297\" height=\"419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-08-at-10.56.25-AM.png 297w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-08-at-10.56.25-AM-160x226.png 160w\" sizes=\"(max-width: 297px) 100vw, 297px\">“I carried a little flask of cognac in my camera case. It was part of my equipment. That’s the way it was in the ’70s,” he says. “I don’t know how I survived, because I crave peace and quiet—but I actually thrive in chaos.”\u003c/p>\n\u003cp>Gruen approached his subjects collaboratively, often soliciting their opinion about a photograph instead of trying to catch them off guard. He describes his work as an effort to capture the feeling and passion of music—not just the facts.\u003c/p>\n\u003cp>“For me, rock ‘n’ roll is all about freedom. It’s about the freedom to express your feelings very loudly in public,” he says. “I try to capture that moment of freedom, that moment when everybody’s yelling ‘Yay!’ and nobody’s thinking about paying the rent.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Gruen looks back on his career in the new memoir, \u003cem>Right Place, Right Time: The Life of a Rock & Roll Photographer. \u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On taking his now-famous photo of Tina Turner\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890088 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/r-50_tinaturner1970_gruen-72_custom-fe45c8af27696871a37e2b7ddb8842d798931122.jpg\" alt=\"\" width=\"576\" height=\"864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/r-50_tinaturner1970_gruen-72_custom-fe45c8af27696871a37e2b7ddb8842d798931122.jpg 576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/r-50_tinaturner1970_gruen-72_custom-fe45c8af27696871a37e2b7ddb8842d798931122-160x240.jpg 160w\" sizes=\"(max-width: 576px) 100vw, 576px\">\u003c/p>\n\u003cp>Tina was just amazing. I was sitting right in front, taking pictures. And at the end of the show, a strobe light flashes and Tina kind of dances off of multiple images in the strobe light. And I just had a few frames left in the camera, and I thought, I wonder what will happen if I take a one-second picture and get a few of these flashes in the same frame? And I took, like, four or five pictures and three or four of them are useless—and one of them is one of the best pictures I’ve ever taken. And it just captures Tina in five images that just captures the excitement and the energy that’s Tina Turner.\u003c/p>\n\u003cp>\u003cstrong>On how the culture of drinking and doing drugs was part of the work \u003c/strong>\u003c/p>\n\u003cp>It is so hard to understand in the sober light of today what it was like back then, that you would go into a record company office and the guy would take out some coke. You share a couple lines if his were better than yours. You kind of discuss, light a joint, open a beer and then do some business, talk business. … I don’t remember seeing bottles of water, but we had lots of cans of beer. If there was orange juice around, it was for the vodka.\u003c/p>\n\u003cp>Thinking back, that’s the way it was. I couldn’t do it today. I don’t know how I operated on that level back then because the world isn’t drunk anymore. It’s pretty sober nowadays, but at the time it just seemed so normal. … I didn’t think I was impaired. We kind of thought that was improving our performance. It was getting us in the mood. It was getting us to enjoy the feeling. Rock ‘n’ roll was supposed to be [about] having fun.\u003c/p>\n\u003cp>\u003cstrong>On John Lennon bringing him along for the final legal meeting to dissolve the Beatles\u003c/strong>\u003c/p>\n\u003cp>They had been suing [business manager] Allen Klein to get out of the contract that they had made with him in the late ’60s. … They had taken over the whole floor of the Plaza Hotel, and they were negotiating the last bits of the contract and each Beatle had several lawyers and Allen had several lawyers. There must be 15 or 20 lawyers in the picture. And they had a whole room for the secretaries, because in those days they didn’t have the kind of fax machines or data processing we have now. And every time they changed a word, they did type it on 20 different copies of the new agreement. And actually, when it was signed, John told me that the original agreement with Allen Klein had been three paragraphs on one page and to break up that agreement took an 87-page contract. But he was very, very happy to finally sign that contract and get it done. Allen was funny. Allen Klein went to Zabar’s while they were typing up the last changes and he brought a giant, 2-foot-long rye bread. And so that when we took the picture of them with the contract, it was on top of the rye bread. And the caption said, “They’re splitting the bread.” …\u003c/p>\n\u003cp>It was a moment in history, the moment that the Beatles got free of their contract, and it was a big newsworthy event that they finally finished this several-year lawsuit going back and forth. All their money was in escrow. At one point, somebody [came up to John on the street and said], “You look like John Lennon!” And John said, “I wish I had his money.” And he wasn’t joking. It was true. They didn’t have their money. It was in escrow. So it was a big moment when they signed that contract. And it was after that he was free. He had no record contract. He had no management contract. He was on his own, had no responsibilities towards anybody. So he retreated to, you know, to his apartment and spent all his time raising Sean for the next five years.\u003c/p>\n\u003cp>\u003cstrong>On choosing Lennon’s memorial photo \u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13890090\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/r-2_jlennon1974_gruen-72_custom-f48d22bcd30ac31c4d79ac5d19448c3756c11e5b.jpg\" alt=\"\" width=\"627\" height=\"857\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/r-2_jlennon1974_gruen-72_custom-f48d22bcd30ac31c4d79ac5d19448c3756c11e5b.jpg 627w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/r-2_jlennon1974_gruen-72_custom-f48d22bcd30ac31c4d79ac5d19448c3756c11e5b-160x219.jpg 160w\" sizes=\"(max-width: 627px) 100vw, 627px\">\u003c/p>\n\u003cp>[The promoter] called to ask me for a picture to put there for people to focus on and think about John. And I thought about all the different ones I had. There was one from Madison Square Garden where he was obviously a rock musician, but I thought he was more than that. And it was one where he looked very intellectual that had been on the cover of \u003cem>The New York Times\u003c/em>. But I thought he was more than that, too. And there was a picture of him just looking open and friendly with the New York City T-shirt on, and Yoko had published a piece that day, actually, [saying] don’t blame New York City for what happened to John, that the person who killed him came from the other side of the world and would come to wherever they lived. And I’ve always felt that John died in New York because he lived in New York. He died going home. And so I used the picture of John with the New York City T-shirt, and it became kind of the centerpiece of that memorial.\u003c/p>\n\u003cp>\u003cstrong>On his tense relationship with Bob Dylan \u003c/strong>\u003c/p>\n\u003cp>I’m such an admirer, but it just never really worked out. I mean, one time I took a picture right in his face at the Bottom Line [nightclub in New York City], I don’t think he appreciated that very much. But then when he had the Rolling Thunder tour, he was banning photography. He had one photographer that he had hired, and he was going to approve those pictures and he didn’t want any other pictures. But I took it as a challenge as a journalist who thought it was an important news event that had to be covered. And I literally put cameras in my boots and a lens in my hood and I snuck my equipment into the concert. And during the encore, when everybody was standing on their seats and chaos was reigning, I would jump up and take a whole bunch of pictures. And then a lot of them were published in magazines and newspapers. And I didn’t realize that Bob Dylan was going to take that as a personal offense since he had tried to ban photography.\u003c/p>\n\u003cp>I guess it was about a year later, he was playing in Berlin and … he said, “I know you. I saw your name next to all those pictures you took. And I always thought I was going to beat you up when I met you.” And he had a cane with a silver head and he’s, like, waving his cane in front. … And I started apologizing, trying to defend it saying I took really good pictures. It was kind of like meeting God and finding out that he wanted to kill me. And, in a sense, that made me stronger, because I no longer had a hero that I could really look up to for any kind of protection.\u003c/p>\n\u003cp>\u003cstrong>On publishing his first photograph when he was 13\u003c/strong>\u003c/p>\n\u003cp>My mom was an attorney, but her hobby was photography. She taught me to develop and print my own pictures when I was very little, and I started taking pictures around the house and around the neighborhood and in school. And then, when I was coming home from school, I saw firemen arriving at a fire. And I ran over and I took pictures of them and ran out of film and ran home, got more film and ran back and actually climbed up in a building behind the fire onto the roof of a six-story building behind it and got it—almost like an aerial shot of the whole scene—and then went back home, developed it right away and brought it down to the local newspaper. And they liked it, and they actually printed it on the cover and they were impressed with me. I was 13. …\u003c/p>\n\u003cp>[I learned] something that I followed the rest of my life, [which was] to get a different angle, because there was a local photographer out front taking pictures of the fire. And I went and found a different angle that showed the whole scene, and I often do that in concert to get something different than everybody else.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sam Briger and Kayla Lattimore produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Cameras%2C+Chaos+And+Cognac%3A+How+Bob+Gruen+Photographed+The+Spirit+Of+Rock+%27N%27+Roll&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Photographer Bob Gruen spent decades capturing the lives and performances of rock stars of the ’60s, ’70s and ’80s, including John Lennon, the Rolling Stones, Chuck Berry, Tina Turner—and many more.\u003c/p>\n\u003cp>Gruen put in many hours backstage, in studios and on the road, sometimes doing drugs and drinking until dawn with his subjects.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890097 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Screen-Shot-2020-12-08-at-10.56.25-AM.png\" alt=\"\" width=\"297\" height=\"419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-08-at-10.56.25-AM.png 297w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-08-at-10.56.25-AM-160x226.png 160w\" sizes=\"(max-width: 297px) 100vw, 297px\">“I carried a little flask of cognac in my camera case. It was part of my equipment. That’s the way it was in the ’70s,” he says. “I don’t know how I survived, because I crave peace and quiet—but I actually thrive in chaos.”\u003c/p>\n\u003cp>Gruen approached his subjects collaboratively, often soliciting their opinion about a photograph instead of trying to catch them off guard. He describes his work as an effort to capture the feeling and passion of music—not just the facts.\u003c/p>\n\u003cp>“For me, rock ‘n’ roll is all about freedom. It’s about the freedom to express your feelings very loudly in public,” he says. “I try to capture that moment of freedom, that moment when everybody’s yelling ‘Yay!’ and nobody’s thinking about paying the rent.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gruen looks back on his career in the new memoir, \u003cem>Right Place, Right Time: The Life of a Rock & Roll Photographer. \u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On taking his now-famous photo of Tina Turner\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890088 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/r-50_tinaturner1970_gruen-72_custom-fe45c8af27696871a37e2b7ddb8842d798931122.jpg\" alt=\"\" width=\"576\" height=\"864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/r-50_tinaturner1970_gruen-72_custom-fe45c8af27696871a37e2b7ddb8842d798931122.jpg 576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/r-50_tinaturner1970_gruen-72_custom-fe45c8af27696871a37e2b7ddb8842d798931122-160x240.jpg 160w\" sizes=\"(max-width: 576px) 100vw, 576px\">\u003c/p>\n\u003cp>Tina was just amazing. I was sitting right in front, taking pictures. And at the end of the show, a strobe light flashes and Tina kind of dances off of multiple images in the strobe light. And I just had a few frames left in the camera, and I thought, I wonder what will happen if I take a one-second picture and get a few of these flashes in the same frame? And I took, like, four or five pictures and three or four of them are useless—and one of them is one of the best pictures I’ve ever taken. And it just captures Tina in five images that just captures the excitement and the energy that’s Tina Turner.\u003c/p>\n\u003cp>\u003cstrong>On how the culture of drinking and doing drugs was part of the work \u003c/strong>\u003c/p>\n\u003cp>It is so hard to understand in the sober light of today what it was like back then, that you would go into a record company office and the guy would take out some coke. You share a couple lines if his were better than yours. You kind of discuss, light a joint, open a beer and then do some business, talk business. … I don’t remember seeing bottles of water, but we had lots of cans of beer. If there was orange juice around, it was for the vodka.\u003c/p>\n\u003cp>Thinking back, that’s the way it was. I couldn’t do it today. I don’t know how I operated on that level back then because the world isn’t drunk anymore. It’s pretty sober nowadays, but at the time it just seemed so normal. … I didn’t think I was impaired. We kind of thought that was improving our performance. It was getting us in the mood. It was getting us to enjoy the feeling. Rock ‘n’ roll was supposed to be [about] having fun.\u003c/p>\n\u003cp>\u003cstrong>On John Lennon bringing him along for the final legal meeting to dissolve the Beatles\u003c/strong>\u003c/p>\n\u003cp>They had been suing [business manager] Allen Klein to get out of the contract that they had made with him in the late ’60s. … They had taken over the whole floor of the Plaza Hotel, and they were negotiating the last bits of the contract and each Beatle had several lawyers and Allen had several lawyers. There must be 15 or 20 lawyers in the picture. And they had a whole room for the secretaries, because in those days they didn’t have the kind of fax machines or data processing we have now. And every time they changed a word, they did type it on 20 different copies of the new agreement. And actually, when it was signed, John told me that the original agreement with Allen Klein had been three paragraphs on one page and to break up that agreement took an 87-page contract. But he was very, very happy to finally sign that contract and get it done. Allen was funny. Allen Klein went to Zabar’s while they were typing up the last changes and he brought a giant, 2-foot-long rye bread. And so that when we took the picture of them with the contract, it was on top of the rye bread. And the caption said, “They’re splitting the bread.” …\u003c/p>\n\u003cp>It was a moment in history, the moment that the Beatles got free of their contract, and it was a big newsworthy event that they finally finished this several-year lawsuit going back and forth. All their money was in escrow. At one point, somebody [came up to John on the street and said], “You look like John Lennon!” And John said, “I wish I had his money.” And he wasn’t joking. It was true. They didn’t have their money. It was in escrow. So it was a big moment when they signed that contract. And it was after that he was free. He had no record contract. He had no management contract. He was on his own, had no responsibilities towards anybody. So he retreated to, you know, to his apartment and spent all his time raising Sean for the next five years.\u003c/p>\n\u003cp>\u003cstrong>On choosing Lennon’s memorial photo \u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13890090\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/r-2_jlennon1974_gruen-72_custom-f48d22bcd30ac31c4d79ac5d19448c3756c11e5b.jpg\" alt=\"\" width=\"627\" height=\"857\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/r-2_jlennon1974_gruen-72_custom-f48d22bcd30ac31c4d79ac5d19448c3756c11e5b.jpg 627w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/r-2_jlennon1974_gruen-72_custom-f48d22bcd30ac31c4d79ac5d19448c3756c11e5b-160x219.jpg 160w\" sizes=\"(max-width: 627px) 100vw, 627px\">\u003c/p>\n\u003cp>[The promoter] called to ask me for a picture to put there for people to focus on and think about John. And I thought about all the different ones I had. There was one from Madison Square Garden where he was obviously a rock musician, but I thought he was more than that. And it was one where he looked very intellectual that had been on the cover of \u003cem>The New York Times\u003c/em>. But I thought he was more than that, too. And there was a picture of him just looking open and friendly with the New York City T-shirt on, and Yoko had published a piece that day, actually, [saying] don’t blame New York City for what happened to John, that the person who killed him came from the other side of the world and would come to wherever they lived. And I’ve always felt that John died in New York because he lived in New York. He died going home. And so I used the picture of John with the New York City T-shirt, and it became kind of the centerpiece of that memorial.\u003c/p>\n\u003cp>\u003cstrong>On his tense relationship with Bob Dylan \u003c/strong>\u003c/p>\n\u003cp>I’m such an admirer, but it just never really worked out. I mean, one time I took a picture right in his face at the Bottom Line [nightclub in New York City], I don’t think he appreciated that very much. But then when he had the Rolling Thunder tour, he was banning photography. He had one photographer that he had hired, and he was going to approve those pictures and he didn’t want any other pictures. But I took it as a challenge as a journalist who thought it was an important news event that had to be covered. And I literally put cameras in my boots and a lens in my hood and I snuck my equipment into the concert. And during the encore, when everybody was standing on their seats and chaos was reigning, I would jump up and take a whole bunch of pictures. And then a lot of them were published in magazines and newspapers. And I didn’t realize that Bob Dylan was going to take that as a personal offense since he had tried to ban photography.\u003c/p>\n\u003cp>I guess it was about a year later, he was playing in Berlin and … he said, “I know you. I saw your name next to all those pictures you took. And I always thought I was going to beat you up when I met you.” And he had a cane with a silver head and he’s, like, waving his cane in front. … And I started apologizing, trying to defend it saying I took really good pictures. It was kind of like meeting God and finding out that he wanted to kill me. And, in a sense, that made me stronger, because I no longer had a hero that I could really look up to for any kind of protection.\u003c/p>\n\u003cp>\u003cstrong>On publishing his first photograph when he was 13\u003c/strong>\u003c/p>\n\u003cp>My mom was an attorney, but her hobby was photography. She taught me to develop and print my own pictures when I was very little, and I started taking pictures around the house and around the neighborhood and in school. And then, when I was coming home from school, I saw firemen arriving at a fire. And I ran over and I took pictures of them and ran out of film and ran home, got more film and ran back and actually climbed up in a building behind the fire onto the roof of a six-story building behind it and got it—almost like an aerial shot of the whole scene—and then went back home, developed it right away and brought it down to the local newspaper. And they liked it, and they actually printed it on the cover and they were impressed with me. I was 13. …\u003c/p>\n\u003cp>[I learned] something that I followed the rest of my life, [which was] to get a different angle, because there was a local photographer out front taking pictures of the fire. And I went and found a different angle that showed the whole scene, and I often do that in concert to get something different than everybody else.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Sam Briger and Kayla Lattimore produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Cameras%2C+Chaos+And+Cognac%3A+How+Bob+Gruen+Photographed+The+Spirit+Of+Rock+%27N%27+Roll&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Bob Dylan Sells Songwriting Catalog In Nine-Figure Deal",
"headTitle": "Bob Dylan Sells Songwriting Catalog In Nine-Figure Deal | KQED",
"content": "\u003cp>Nearly 60 years after writing such counterculture classics as “Blowin’ In The Wind” and “Like A Rolling Stone,” Bob Dylan has sold his entire songwriting catalog — more than 600 songs written over nearly 60 years — to Universal Music Publishing Group, in a deal \u003ca href=\"https://www.umusicpub.com/us/News/2020/12/Universal-Music-Publishing-Group-acquires-Bob-Dylans--entire-catalog-of-songs.aspx\">announced\u003c/a> Monday morning by Universal.\u003c/p>\n\u003cp>The agreement was first reported by \u003ca href=\"https://www.nytimes.com/2020/12/07/arts/music/bob-dylan-sells-publishing.html\">\u003cem>The New York Times\u003c/em>\u003c/a>, which said that it is worth over $300 million. The deal with Dylan may be the highest price ever paid for a musician or group’s songwriting rights. (Universal has not disclosed the purchase price.)\u003c/p>\n\u003cp>For Universal Music Publishing Group, which is owned by the French media giant Vivendi, there’s a lot of appeal in owning Dylan’s songwriting rights. The company will collect money any time another musician covers any of those songs and it will earn revenue for allowing the songs to be used in commercials and movies as well as when the songs are streamed, sold commercially on such formats as CDs, or broadcast.\u003c/p>\n\u003cp>Songwriting rights — that is, ownership of a song’s melody and lyrics — are figured and paid out separately from recording rights. According to Universal, Dylan’s songs have already been recorded by other artists more than 6,000 times, including such famous versions as Jimi Hendrix’ cover of Dylan’s \u003ca href=\"https://www.youtube.com/watch?v=TLV4_xaYynY\">“All Along The Watchtower” \u003c/a>and Guns N’ Roses’ version of \u003ca href=\"https://www.youtube.com/watch?v=rSBwavfHJuQ\">“Knockin’ On Heaven’s Door.”\u003c/a> \u003c/p>\n\u003cp>The Universal deal includes all of the 79-year-old artist’s songs, stretching back to his very earliest compositions up to those recorded on his latest album, \u003ca href=\"https://www.bobdylan.com/albums/rough-and-rowdy-ways/\">\u003cem>Rough And Rowdy Ways\u003c/em>\u003c/a>, which was released this June. In all, Universal says, Dylan has sold more than 125 million records around the world. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Dylan is one of the most widely honored songwriters of all time, winning both a Special Citation \u003ca href=\"https://www.pulitzer.org/winners/bob-dylan\">Pulitzer Prize\u003c/a> in 2008 and a \u003ca href=\"https://www.nobelprize.org/prizes/literature/2016/summary/\">Nobel Prize\u003c/a> in Literature in 2016. \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=Bob+Dylan+Sells+Songwriting+Catalog+In+Nine-Figure+Deal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nearly 60 years after writing such counterculture classics as “Blowin’ In The Wind” and “Like A Rolling Stone,” Bob Dylan has sold his entire songwriting catalog — more than 600 songs written over nearly 60 years — to Universal Music Publishing Group, in a deal \u003ca href=\"https://www.umusicpub.com/us/News/2020/12/Universal-Music-Publishing-Group-acquires-Bob-Dylans--entire-catalog-of-songs.aspx\">announced\u003c/a> Monday morning by Universal.\u003c/p>\n\u003cp>The agreement was first reported by \u003ca href=\"https://www.nytimes.com/2020/12/07/arts/music/bob-dylan-sells-publishing.html\">\u003cem>The New York Times\u003c/em>\u003c/a>, which said that it is worth over $300 million. The deal with Dylan may be the highest price ever paid for a musician or group’s songwriting rights. (Universal has not disclosed the purchase price.)\u003c/p>\n\u003cp>For Universal Music Publishing Group, which is owned by the French media giant Vivendi, there’s a lot of appeal in owning Dylan’s songwriting rights. The company will collect money any time another musician covers any of those songs and it will earn revenue for allowing the songs to be used in commercials and movies as well as when the songs are streamed, sold commercially on such formats as CDs, or broadcast.\u003c/p>\n\u003cp>Songwriting rights — that is, ownership of a song’s melody and lyrics — are figured and paid out separately from recording rights. According to Universal, Dylan’s songs have already been recorded by other artists more than 6,000 times, including such famous versions as Jimi Hendrix’ cover of Dylan’s \u003ca href=\"https://www.youtube.com/watch?v=TLV4_xaYynY\">“All Along The Watchtower” \u003c/a>and Guns N’ Roses’ version of \u003ca href=\"https://www.youtube.com/watch?v=rSBwavfHJuQ\">“Knockin’ On Heaven’s Door.”\u003c/a> \u003c/p>\n\u003cp>The Universal deal includes all of the 79-year-old artist’s songs, stretching back to his very earliest compositions up to those recorded on his latest album, \u003ca href=\"https://www.bobdylan.com/albums/rough-and-rowdy-ways/\">\u003cem>Rough And Rowdy Ways\u003c/em>\u003c/a>, which was released this June. In all, Universal says, Dylan has sold more than 125 million records around the world. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Dylan is one of the most widely honored songwriters of all time, winning both a Special Citation \u003ca href=\"https://www.pulitzer.org/winners/bob-dylan\">Pulitzer Prize\u003c/a> in 2008 and a \u003ca href=\"https://www.nobelprize.org/prizes/literature/2016/summary/\">Nobel Prize\u003c/a> in Literature in 2016. \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=Bob+Dylan+Sells+Songwriting+Catalog+In+Nine-Figure+Deal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/14894617/billie-holiday\" target=\"_blank\" rel=\"noopener noreferrer\">Billie Holiday\u003c/a>‘s life and artistry have been analyzed, scrutinized, interpreted and embellished more than any other jazz singer in history. But the first biographer to fully immerse herself in the world of Lady Day was a New York journalist and avid Holiday fan named Linda Lipnack Kuehl. For some eight years in the 1970s, Kuehl interviewed everyone she could find who had a personal association with Holiday—musicians, managers, childhood friends, lovers and FBI agents among them. Then, before she could finish her biography, Kuehl died: In 1978, her body was found on a Washington, D.C. street. Her death was ruled a suicide.\u003c/p>\n\u003cfigure id=\"attachment_13889923\" class=\"wp-caption alignright\" style=\"max-width: 270px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13889923\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Screen-Shot-2020-12-03-at-12.08.21-PM.png\" alt=\"Linda Lipnack Kuehl, who spent eight years trying to write the definitive biography of Billie Holiday.\" width=\"270\" height=\"210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-03-at-12.08.21-PM.png 270w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-03-at-12.08.21-PM-160x124.png 160w\" sizes=\"(max-width: 270px) 100vw, 270px\">\u003cfigcaption class=\"wp-caption-text\">Linda Lipnack Kuehl spent eight years trying to write the definitive biography of Billie Holiday. \u003ccite>(Courtesy of the Kuehl family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kuehl left behind a trove of notes, transcripts and some 200 hours of interviews on cassette tapes—mostly in shoeboxes, some labeled, some not. That archive is where director James Erskine first began pulling together the story Kuehl was never able to finish. His new documentary, \u003cem>Billie (\u003c/em>out Dec. 4 on VOD and in select theaters), is about both Holiday—as told through the voices of people who knew her—and Kuehl’s obsession with crafting her biography.\u003c/p>\n\u003cp>“I’d like to write something that is real,” we hear Kuehl tell one of her interviewees in the film, “that is really Lady Day, and people who don’t see her in any sentimental way, you know? Really, as she is.”\u003c/p>\n\u003cp>Erskine describes Kuehl as “a brilliant interviewer” who tracked down everybody from various stages of Holiday’s life. “What was extraordinary was it felt like an archaeological journey,” he says, “because it felt like we were excavating voices lost to the past.” Those now-deceased jazz voices include Count Basie, Charles Mingus, John Hammond, Jo Jones and Sylvia Syms.\u003c/p>\n\u003cp>“She excited me with just three notes,” drummer Roy Harte tells Kuehl. “She looked like a panther. It’s the only way I can describe it. With the most unbelievable face in the world,” marvels Syms, singer and Holiday’s friend.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To give the documentary a cohesive structure—and to make sense out of the 200 hours of interview material—Erskine says, “We had a discipline that people speaking in the film should only be speaking about an event that they actually witnessed … because otherwise the material was just sort of overwhelming\u003cem>.”\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hKimh-iPd_0\u003c/p>\n\u003cp>One of most provocative moments in the documentary is Kuehl speaking with Jones, a jazz drummer who toured the country with Holiday when they were both in Basie’s band. Jones questions whether Kuehl, a white woman, is capable of understanding the racism they faced.\u003c/p>\n\u003cp>“Miss Billie Holiday didn’t have the privilege of using a toilet. The boys at least could go out in the woods,” Jones tells Kuehl. “You don’t know anything about it because you never had to subjugate yourself to it. Never.”\u003c/p>\n\u003cp>For \u003ca href=\"https://afamstudies.columbia.edu/content/farah-jasmine-griffin\" target=\"_blank\" rel=\"noopener noreferrer\">Farah Jasmine Griffin\u003c/a>, author of \u003cem>If You Can’t Be Free, Be a Mystery: In Search of Billie Holiday,\u003c/em> Kuehl’s interview with Jones is “extraordinary.”\u003c/p>\n\u003cp>“I found his passion, his truth-telling, all of his wisdom … his honesty, his courage—I found him so compelling,” Griffin says. “And I was very happy that the filmmakers gave him as much space as they did.”\u003c/p>\n\u003cp>The film reaffirms some oft-told legends about Billie Holiday: She could curse up a storm; had affairs with men and women (according to some, Tallulah Bankhead among them); liked to get high from cannabis, heroin and cocaine; and often surrounded herself with men who treated her horribly.\u003c/p>\n\u003cp>We’re also reminded that when Holiday sang “Strange Fruit,” she was “fighting inequality before Martin Luther King, Jr,” as Mingus puts it. (Holiday sang the haunting indictment of lynching to white and Black audiences as early as 1939.) Mingus tells Kuehl, “That might be why the cops were against her. Not just junk”—alluding to Holiday’s arrest, in 1947, for narcotics possession, another event in Holiday’s life that Kuehl probed.\u003c/p>\n\u003cp>In her interview with Jimmy Fletcher, the narcotics agent assigned to conduct surveillance of Holiday, Kuehl asks him whether a big star like Holiday “would have been a target because it would have been a lot of publicity for an agent.” Fletcher concedes, “Well, not just for an agent. For the Bureau of Narcotics.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For Erskine, Kuehl’s tireless efforts to uncover the truth about Holiday lead to all kinds of revelations. “You certainly get the sense that the more interviews Linda did, the closer she did get to this sort of underground, seedy world,” he says. In the documentary, Kuehl’s sister says the family does not believe she died by suicide. Erskine isn’t sure. “You do start to wonder,” he says, “if she was maybe doing a lot more than just uncovering Billie’s life, but also the political forces that wanted to silence her.”\u003c/p>\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=New+Documentary+%27Billie%27+Explores+Mysteries+Of+Billie+Holiday+And+Her+Biographer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/artists/14894617/billie-holiday\" target=\"_blank\" rel=\"noopener noreferrer\">Billie Holiday\u003c/a>‘s life and artistry have been analyzed, scrutinized, interpreted and embellished more than any other jazz singer in history. But the first biographer to fully immerse herself in the world of Lady Day was a New York journalist and avid Holiday fan named Linda Lipnack Kuehl. For some eight years in the 1970s, Kuehl interviewed everyone she could find who had a personal association with Holiday—musicians, managers, childhood friends, lovers and FBI agents among them. Then, before she could finish her biography, Kuehl died: In 1978, her body was found on a Washington, D.C. street. Her death was ruled a suicide.\u003c/p>\n\u003cfigure id=\"attachment_13889923\" class=\"wp-caption alignright\" style=\"max-width: 270px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13889923\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Screen-Shot-2020-12-03-at-12.08.21-PM.png\" alt=\"Linda Lipnack Kuehl, who spent eight years trying to write the definitive biography of Billie Holiday.\" width=\"270\" height=\"210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-03-at-12.08.21-PM.png 270w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-03-at-12.08.21-PM-160x124.png 160w\" sizes=\"(max-width: 270px) 100vw, 270px\">\u003cfigcaption class=\"wp-caption-text\">Linda Lipnack Kuehl spent eight years trying to write the definitive biography of Billie Holiday. \u003ccite>(Courtesy of the Kuehl family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kuehl left behind a trove of notes, transcripts and some 200 hours of interviews on cassette tapes—mostly in shoeboxes, some labeled, some not. That archive is where director James Erskine first began pulling together the story Kuehl was never able to finish. His new documentary, \u003cem>Billie (\u003c/em>out Dec. 4 on VOD and in select theaters), is about both Holiday—as told through the voices of people who knew her—and Kuehl’s obsession with crafting her biography.\u003c/p>\n\u003cp>“I’d like to write something that is real,” we hear Kuehl tell one of her interviewees in the film, “that is really Lady Day, and people who don’t see her in any sentimental way, you know? Really, as she is.”\u003c/p>\n\u003cp>Erskine describes Kuehl as “a brilliant interviewer” who tracked down everybody from various stages of Holiday’s life. “What was extraordinary was it felt like an archaeological journey,” he says, “because it felt like we were excavating voices lost to the past.” Those now-deceased jazz voices include Count Basie, Charles Mingus, John Hammond, Jo Jones and Sylvia Syms.\u003c/p>\n\u003cp>“She excited me with just three notes,” drummer Roy Harte tells Kuehl. “She looked like a panther. It’s the only way I can describe it. With the most unbelievable face in the world,” marvels Syms, singer and Holiday’s friend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To give the documentary a cohesive structure—and to make sense out of the 200 hours of interview material—Erskine says, “We had a discipline that people speaking in the film should only be speaking about an event that they actually witnessed … because otherwise the material was just sort of overwhelming\u003cem>.”\u003c/em>\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/hKimh-iPd_0'\n title='//www.youtube.com/embed/hKimh-iPd_0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One of most provocative moments in the documentary is Kuehl speaking with Jones, a jazz drummer who toured the country with Holiday when they were both in Basie’s band. Jones questions whether Kuehl, a white woman, is capable of understanding the racism they faced.\u003c/p>\n\u003cp>“Miss Billie Holiday didn’t have the privilege of using a toilet. The boys at least could go out in the woods,” Jones tells Kuehl. “You don’t know anything about it because you never had to subjugate yourself to it. Never.”\u003c/p>\n\u003cp>For \u003ca href=\"https://afamstudies.columbia.edu/content/farah-jasmine-griffin\" target=\"_blank\" rel=\"noopener noreferrer\">Farah Jasmine Griffin\u003c/a>, author of \u003cem>If You Can’t Be Free, Be a Mystery: In Search of Billie Holiday,\u003c/em> Kuehl’s interview with Jones is “extraordinary.”\u003c/p>\n\u003cp>“I found his passion, his truth-telling, all of his wisdom … his honesty, his courage—I found him so compelling,” Griffin says. “And I was very happy that the filmmakers gave him as much space as they did.”\u003c/p>\n\u003cp>The film reaffirms some oft-told legends about Billie Holiday: She could curse up a storm; had affairs with men and women (according to some, Tallulah Bankhead among them); liked to get high from cannabis, heroin and cocaine; and often surrounded herself with men who treated her horribly.\u003c/p>\n\u003cp>We’re also reminded that when Holiday sang “Strange Fruit,” she was “fighting inequality before Martin Luther King, Jr,” as Mingus puts it. (Holiday sang the haunting indictment of lynching to white and Black audiences as early as 1939.) Mingus tells Kuehl, “That might be why the cops were against her. Not just junk”—alluding to Holiday’s arrest, in 1947, for narcotics possession, another event in Holiday’s life that Kuehl probed.\u003c/p>\n\u003cp>In her interview with Jimmy Fletcher, the narcotics agent assigned to conduct surveillance of Holiday, Kuehl asks him whether a big star like Holiday “would have been a target because it would have been a lot of publicity for an agent.” Fletcher concedes, “Well, not just for an agent. For the Bureau of Narcotics.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For Erskine, Kuehl’s tireless efforts to uncover the truth about Holiday lead to all kinds of revelations. “You certainly get the sense that the more interviews Linda did, the closer she did get to this sort of underground, seedy world,” he says. In the documentary, Kuehl’s sister says the family does not believe she died by suicide. Erskine isn’t sure. “You do start to wonder,” he says, “if she was maybe doing a lot more than just uncovering Billie’s life, but also the political forces that wanted to silence her.”\u003c/p>\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=New+Documentary+%27Billie%27+Explores+Mysteries+Of+Billie+Holiday+And+Her+Biographer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Each year-end list, it seems, has its anointed jazz artifact of the year, a release of lost tapes that had been sitting in a closet or attic of bygone performances. In 2020, that honor seemed all but sure to go to \u003cem>Palo Alto\u003c/em>, a recording of Thelonious Monk’s quartet \u003ca href=\"https://datebook.sfchronicle.com/music/thelonious-monks-new-live-album-palo-alto-honors-the-day-the-jazz-legend-united-the-peninsula\" rel=\"noopener noreferrer\" target=\"_blank\">performing at a Bay Area high school\u003c/a>, recorded by the janitor. But a late contender has arrived and run away with the prize.\u003c/p>\n\u003cp>Sonny Rollins’ \u003cem>Rollins in Holland\u003c/em> almost shouldn’t exist. It chronicles three dates on a last-minute 1967 tour of the Netherlands, which are played on a last-minute saxophone that Rollins had just bought. The majority of the reel-to-reel tapes that make up the set sat on a shelf for over 50 years, untouched and barely labeled or not labeled at all, before being discovered and issued.\u003c/p>\n\u003cp>So not only is \u003cem>Rollins in Holland\u003c/em> historically important—filling the gaps, as it does, in the middle of Sonny Rollins’ six-year hiatus from studio sessions—but on certain sets like a mid-day performance from Hilversum, its sound quality is breathtaking. Rollins’ tenor reverberates from the stage’s high ceilings, and the rhythm section comes through crisp and clear, as if you’re right there in the room. The thrill of resurrection in pressing “play” is undeniable.\u003c/p>\n\u003cp>What the lower-fidelity recordings lose in warmth, they more than make up for in the trio’s inventiveness. Rollins is joined by the avant-garde drummer Han Bennik, who pushes the saxophonist into the outer planes of improvisation, and the very traditional bassist Rudd Jacobs, who pulls him back down to Earth. This results in Rollins dashing off cascading swells of free jazz one minute, and then blowing a melody from the Broadway hit \u003cem>Guys & Dolls\u003c/em> the next.\u003c/p>\n\u003cp>This sort of musical thrill ride is sustained throughout, with an element I realized I’d been missing in 2020: it’s \u003cem>fun\u003c/em>. Let’s have more of that in 2021.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Rollins in Holland’ comes to streaming platforms Dec. 4.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Each year-end list, it seems, has its anointed jazz artifact of the year, a release of lost tapes that had been sitting in a closet or attic of bygone performances. In 2020, that honor seemed all but sure to go to \u003cem>Palo Alto\u003c/em>, a recording of Thelonious Monk’s quartet \u003ca href=\"https://datebook.sfchronicle.com/music/thelonious-monks-new-live-album-palo-alto-honors-the-day-the-jazz-legend-united-the-peninsula\" rel=\"noopener noreferrer\" target=\"_blank\">performing at a Bay Area high school\u003c/a>, recorded by the janitor. But a late contender has arrived and run away with the prize.\u003c/p>\n\u003cp>Sonny Rollins’ \u003cem>Rollins in Holland\u003c/em> almost shouldn’t exist. It chronicles three dates on a last-minute 1967 tour of the Netherlands, which are played on a last-minute saxophone that Rollins had just bought. The majority of the reel-to-reel tapes that make up the set sat on a shelf for over 50 years, untouched and barely labeled or not labeled at all, before being discovered and issued.\u003c/p>\n\u003cp>So not only is \u003cem>Rollins in Holland\u003c/em> historically important—filling the gaps, as it does, in the middle of Sonny Rollins’ six-year hiatus from studio sessions—but on certain sets like a mid-day performance from Hilversum, its sound quality is breathtaking. Rollins’ tenor reverberates from the stage’s high ceilings, and the rhythm section comes through crisp and clear, as if you’re right there in the room. The thrill of resurrection in pressing “play” is undeniable.\u003c/p>\n\u003cp>What the lower-fidelity recordings lose in warmth, they more than make up for in the trio’s inventiveness. Rollins is joined by the avant-garde drummer Han Bennik, who pushes the saxophonist into the outer planes of improvisation, and the very traditional bassist Rudd Jacobs, who pulls him back down to Earth. This results in Rollins dashing off cascading swells of free jazz one minute, and then blowing a melody from the Broadway hit \u003cem>Guys & Dolls\u003c/em> the next.\u003c/p>\n\u003cp>This sort of musical thrill ride is sustained throughout, with an element I realized I’d been missing in 2020: it’s \u003cem>fun\u003c/em>. Let’s have more of that in 2021.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Even though COVID-19 rates have made it unsafe to experience music in person right now, Red Bull’s \u003ca href=\"https://www.redbull.com/us-en/music/events/estados-unidos-2020/broadcast-schedule\" target=\"_blank\" rel=\"noopener noreferrer\">Estados Unidos de Bass\u003c/a> is bringing live performances from a diverse lineup of Latin artists to our computer screens. Streaming from five cities—San Francisco, Miami, Austin, New York and Los Angeles—the three-week fest stars Colombian-American singer Kali Uchis and spotlights a variety of independent artists from each locale.\u003c/p>\n\u003cp>Representing the Bay Area is La Doña, a singer and rapper recently who stepped out as a solo act after getting her start on trumpet in her family’s band. La Doña’s style is a refreshingly San Francisco mix of reggaeton, rancheras and hyphy. While repping her culture and bringing the party, her songs also give voice to her community’s struggles with gentrification and police brutality—most recently, the Vallejo Police Department’s shooting of Sean Monterrosa, whom she honored in \u003ca href=\"https://www.youtube.com/watch?v=E3ZvKAcdDSc&ab_channel=LaDo%C3%B1a\" target=\"_blank\" rel=\"noopener noreferrer\">a tribute\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13861604\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861604\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/07/Los-Rakas-800x450.jpg\" alt=\"With 'Manes de Negocio,' Los Rakas position themselves as the heirs of a longstanding Black Panamanian reggaeton tradition.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Los-Rakas-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Los-Rakas-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Los-Rakas-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Los-Rakas-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Los-Rakas-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Los-Rakas.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">With ‘Manes de Negocio,’ Los Rakas position themselves as the heirs of a longstanding Black Panamanian reggaeton tradition. \u003ccite>(Ghost)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>La Doña performs on the Dec. 4 stream along with Turbo Sonidero, a San José DJ and founder of the popular cumbia party and Chicano music festival \u003ca href=\"https://www.kqed.org/arts/13865311/how-sonido-clash-music-fest-became-a-hub-for-forward-thinking-latinx-sounds\" target=\"_blank\" rel=\"noopener noreferrer\">Sonido Clash\u003c/a>. On Dec. 5, Estados Unidos de Bass’ Bay Area features \u003ca href=\"https://www.kqed.org/arts/13861579/before-urbano-took-over-the-airwaves-oakland-had-los-rakas\" target=\"_blank\" rel=\"noopener noreferrer\">Los Rakas\u003c/a>, the Panamanian-American rap duo from Oakland whose genre-mixing, bilingual style was ahead of its time when they emerged in the turfing scene over a decade ago. They perform with the Sazon Libre DJ crew, whose tropical bass party has been going strong \u003ca href=\"https://www.twitch.tv/SAZONLIBRE\" target=\"_blank\" rel=\"noopener noreferrer\">on Twitch\u003c/a> during the pandemic.\u003c/p>\n\u003cp>Details for Estados Unidos de Bass can be found \u003ca href=\"https://www.redbull.com/us-en/music/events/estados-unidos-2020/broadcast-schedule\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even though COVID-19 rates have made it unsafe to experience music in person right now, Red Bull’s \u003ca href=\"https://www.redbull.com/us-en/music/events/estados-unidos-2020/broadcast-schedule\" target=\"_blank\" rel=\"noopener noreferrer\">Estados Unidos de Bass\u003c/a> is bringing live performances from a diverse lineup of Latin artists to our computer screens. Streaming from five cities—San Francisco, Miami, Austin, New York and Los Angeles—the three-week fest stars Colombian-American singer Kali Uchis and spotlights a variety of independent artists from each locale.\u003c/p>\n\u003cp>Representing the Bay Area is La Doña, a singer and rapper recently who stepped out as a solo act after getting her start on trumpet in her family’s band. La Doña’s style is a refreshingly San Francisco mix of reggaeton, rancheras and hyphy. While repping her culture and bringing the party, her songs also give voice to her community’s struggles with gentrification and police brutality—most recently, the Vallejo Police Department’s shooting of Sean Monterrosa, whom she honored in \u003ca href=\"https://www.youtube.com/watch?v=E3ZvKAcdDSc&ab_channel=LaDo%C3%B1a\" target=\"_blank\" rel=\"noopener noreferrer\">a tribute\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13861604\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861604\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/07/Los-Rakas-800x450.jpg\" alt=\"With 'Manes de Negocio,' Los Rakas position themselves as the heirs of a longstanding Black Panamanian reggaeton tradition.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Los-Rakas-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Los-Rakas-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Los-Rakas-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Los-Rakas-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Los-Rakas-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Los-Rakas.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">With ‘Manes de Negocio,’ Los Rakas position themselves as the heirs of a longstanding Black Panamanian reggaeton tradition. \u003ccite>(Ghost)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>La Doña performs on the Dec. 4 stream along with Turbo Sonidero, a San José DJ and founder of the popular cumbia party and Chicano music festival \u003ca href=\"https://www.kqed.org/arts/13865311/how-sonido-clash-music-fest-became-a-hub-for-forward-thinking-latinx-sounds\" target=\"_blank\" rel=\"noopener noreferrer\">Sonido Clash\u003c/a>. On Dec. 5, Estados Unidos de Bass’ Bay Area features \u003ca href=\"https://www.kqed.org/arts/13861579/before-urbano-took-over-the-airwaves-oakland-had-los-rakas\" target=\"_blank\" rel=\"noopener noreferrer\">Los Rakas\u003c/a>, the Panamanian-American rap duo from Oakland whose genre-mixing, bilingual style was ahead of its time when they emerged in the turfing scene over a decade ago. They perform with the Sazon Libre DJ crew, whose tropical bass party has been going strong \u003ca href=\"https://www.twitch.tv/SAZONLIBRE\" target=\"_blank\" rel=\"noopener noreferrer\">on Twitch\u003c/a> during the pandemic.\u003c/p>\n\u003cp>Details for Estados Unidos de Bass can be found \u003ca href=\"https://www.redbull.com/us-en/music/events/estados-unidos-2020/broadcast-schedule\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Love That Viral ‘Maniac’ Dance Clip from ’84? The Star of it Made Many More",
"headTitle": "Love That Viral ‘Maniac’ Dance Clip from ’84? The Star of it Made Many More | KQED",
"content": "\u003cp>It’s been doing the rounds on social media since the weekend: a bizarre cover of Michael Sembello’s “Maniac” (from \u003cem>Flashdance\u003c/em>) accompanied by a hyper-speed dance routine that’s fitting of the song title. If you’ve somehow managed to miss it over the last few days, get ready for the ride of your life.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tmQfqZBj1VA\u003c/p>\n\u003cp>For most normal people who look at the internet, this wildly dated clip is something to marvel at, then keep scrolling. But after I witnessed it for the first time, I was left with questions—so many questions. Who was that woman? What variety show was this? What (obviously European) country originally aired it? And do people’s legs still move that fast, or was it merely a side-effect of ’80s aerobics?\u003c/p>\n\u003cp>[aside postid='arts_13951768']I learned quickly that the high-kicking lady in the half-shirt is named Heather Elizabeth Parisi, an Aquarian who was born in 1960 and raised in Hollywood. (I was quite thorough.) Not only is Parisi a California girl, she spent portions of her youth studying at both the Sacramento and San Francisco Ballet, both of which awarded her scholarships. (We should have known—no one gets this weird without first living in the Bay Area for a spell.)\u003c/p>\n\u003cp>Anyway, via a series of twists of fate—Italian grandparents, getting spotted in a nightclub while on vacation, etc.—Parisi ended up having a long career on Italian television. On \u003ca href=\"https://www.heatherparisi.com/\" target=\"_blank\" rel=\"noopener noreferrer\">her website\u003c/a> (because yes, she still has one of those), she attributes her success on European TV to being “sexy, full of energy, ironic [!], blonde and with an irresistible American accent.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Most importantly though, what that long career means for us is that YouTube is awash with magnificent Heather Parisi dance routines. Some of which I have compiled here for those of you for whom “Maniac” was not enough.\u003c/p>\n\u003cp>Here’s Heather Parisi doing a hilariously literal rendition of “Eye of the Tiger”:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FWyY3Ob8haA\u003c/p>\n\u003cp>And here’s Heather Parisi giving a very pointed delivery of “One Night in Bangkok” in front of what appears to be a room full of German diplomats:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WwX9uz_X1Uo\u003c/p>\n\u003cp>Here’s Heather Parisi performing a … well … \u003cem>Rocky\u003c/em>–\u003cem>Horror\u003c/em>–\u003cem>Flash\u003c/em>–\u003cem>Gordon\u003c/em>-love-triangle-fever-dream?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QFqo_tyaumk\u003c/p>\n\u003cp>Here’s Heather Parisi and a variety of other female dancers pretending to be inflatable sex dolls on primetime Italian television. (Parisi’s dance partner literally pretends to blow air into her leg throughout.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Rx5AbRJidgs\u003c/p>\n\u003cp>And here’s Heather Parisi performing her big Italian chart hit, “Cicale” (which is about friggin’ \u003cem>cicadas\u003c/em>) performed on a giant pirate ship.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jGEabyl5hSQ\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Anyway. There is a wealth of Heather Parisi weirdness just waiting to be discovered on YouTube. Truth be told, I’ve barely even scratched the surface here. So do yourself a favor and go and fall into your own Heather Parisi internet hole. The perfect storm of this woman, this era and this wealth of Euro influences will keep you amused for hours. God bless the internet.\u003c/p>\n\n",
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"headline": "Love That Viral ‘Maniac’ Dance Clip from ’84? The Star of it Made Many More",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been doing the rounds on social media since the weekend: a bizarre cover of Michael Sembello’s “Maniac” (from \u003cem>Flashdance\u003c/em>) accompanied by a hyper-speed dance routine that’s fitting of the song title. If you’ve somehow managed to miss it over the last few days, get ready for the ride of your life.\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/tmQfqZBj1VA'\n title='//www.youtube.com/embed/tmQfqZBj1VA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For most normal people who look at the internet, this wildly dated clip is something to marvel at, then keep scrolling. But after I witnessed it for the first time, I was left with questions—so many questions. Who was that woman? What variety show was this? What (obviously European) country originally aired it? And do people’s legs still move that fast, or was it merely a side-effect of ’80s aerobics?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I learned quickly that the high-kicking lady in the half-shirt is named Heather Elizabeth Parisi, an Aquarian who was born in 1960 and raised in Hollywood. (I was quite thorough.) Not only is Parisi a California girl, she spent portions of her youth studying at both the Sacramento and San Francisco Ballet, both of which awarded her scholarships. (We should have known—no one gets this weird without first living in the Bay Area for a spell.)\u003c/p>\n\u003cp>Anyway, via a series of twists of fate—Italian grandparents, getting spotted in a nightclub while on vacation, etc.—Parisi ended up having a long career on Italian television. On \u003ca href=\"https://www.heatherparisi.com/\" target=\"_blank\" rel=\"noopener noreferrer\">her website\u003c/a> (because yes, she still has one of those), she attributes her success on European TV to being “sexy, full of energy, ironic [!], blonde and with an irresistible American accent.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Most importantly though, what that long career means for us is that YouTube is awash with magnificent Heather Parisi dance routines. Some of which I have compiled here for those of you for whom “Maniac” was not enough.\u003c/p>\n\u003cp>Here’s Heather Parisi doing a hilariously literal rendition of “Eye of the Tiger”:\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/FWyY3Ob8haA'\n title='//www.youtube.com/embed/FWyY3Ob8haA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And here’s Heather Parisi giving a very pointed delivery of “One Night in Bangkok” in front of what appears to be a room full of German diplomats:\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/WwX9uz_X1Uo'\n title='//www.youtube.com/embed/WwX9uz_X1Uo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Here’s Heather Parisi performing a … well … \u003cem>Rocky\u003c/em>–\u003cem>Horror\u003c/em>–\u003cem>Flash\u003c/em>–\u003cem>Gordon\u003c/em>-love-triangle-fever-dream?\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/QFqo_tyaumk'\n title='//www.youtube.com/embed/QFqo_tyaumk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Here’s Heather Parisi and a variety of other female dancers pretending to be inflatable sex dolls on primetime Italian television. (Parisi’s dance partner literally pretends to blow air into her leg throughout.)\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/Rx5AbRJidgs'\n title='//www.youtube.com/embed/Rx5AbRJidgs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And here’s Heather Parisi performing her big Italian chart hit, “Cicale” (which is about friggin’ \u003cem>cicadas\u003c/em>) performed on a giant pirate ship.\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/jGEabyl5hSQ'\n title='//www.youtube.com/embed/jGEabyl5hSQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Anyway. There is a wealth of Heather Parisi weirdness just waiting to be discovered on YouTube. Truth be told, I’ve barely even scratched the surface here. So do yourself a favor and go and fall into your own Heather Parisi internet hole. The perfect storm of this woman, this era and this wealth of Euro influences will keep you amused for hours. God bless the internet.\u003c/p>\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. 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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": "Julia Bullock’s Empathy is Her Superpower in the Classical Music World",
"headTitle": "Julia Bullock’s Empathy is Her Superpower in the Classical Music World | KQED",
"content": "\u003cp>[dropcap]I[/dropcap]n February, \u003ca href=\"https://juliabullock.com/schedule/\" target=\"_blank\" rel=\"noopener noreferrer\">Julia Bullock\u003c/a> stood on stage at Davies Symphony Hall in San Francisco, excavating the depths of her soul. To truly convey to the audience the euphoria and heartache of Benjamin Britten’s \u003cem>Les Illuminations\u003c/em>, based on Rimbaud’s poems about spiritual transcendence, drug addiction and homelessness, she had to tap into painful parts of her coming-of-age story.\u003c/p>\n\u003cp>“The act of going through all the imagery emotionally and then seeing where [it] takes me psychologically, that’s how I can hook into it and deliver it,” the star soprano explained to me backstage during rehearsal, just weeks before the COVID-19 shutdown hit. “Otherwise, it turns into some weird exercise of trying not to be a human being—and that I can’t tolerate.”\u003c/p>\n\u003cp>At 33 years old, Bullock has become a luminary in the classical music world for her unique ability to capture a piece’s gripping emotional qualities in a way that transcends time, space and cultural barriers. She is a master of connection, digging deep into material to convey universal human experiences and emotions that lay within, refracting them through her prismatic voice to illuminate their beauty.\u003c/p>\n\u003cp>This ability to connect pieces of music through their emotional cores is also her strength as a curator. While praised for her innovative juxtapositions of Western classical music and traditionally Black American genres such as jazz, Bullock resists the idea that she does so simply to be different. (“I don’t ever want anything I’m presenting to the public to come off as me trying to be clever, because I feel the relationships in an explicit way,” she says.)\u003c/p>\n\u003cp>[pullquote size=large citation='Julia Bullock']“You can’t actually relate to people truly unless you’re bringing yourself into the room. You don’t have to present some perfect vision of yourself.”[/pullquote]\u003c/p>\n\u003cp>Rather, Bullock’s genre-mixing, cross-cultural programming is the output of a passionate listener and student of history with omnivorous tastes. Discussing a program called \u003cem>Lineage\u003c/em> that she curated for San Francisco Symphony’s Soundbox—its series of intimate, experimental performances—she points easily to the links between Nina Simone and Johann Sebastian Bach.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“You can hear very explicitly in all of her improvisations that she’s referencing Bach, and she studied classical piano. The reason she started singing and playing jazz is because she needed a job,” she says of Simone, laughing in disbelief at this factoid. “Very practical!”\u003c/p>\n\u003cp>It’s this adventurous ear that’s earned Bullock prestigious opportunities. She’s worked extensively with contemporary composers such as \u003ca href=\"https://www.kqed.org/arts/12731274/why-john-adams-wont-write-an-opera-about-president-trump\" target=\"_blank\" rel=\"noopener noreferrer\">John Adams\u003c/a>, snagging prominent roles in his operas \u003cem>Girls of the Golden West\u003c/em> and \u003cem>Doctor Atomic\u003c/em>. More recently, she was an artist-in-residence at the San Francisco Symphony and the Metropolitan Museum of Art, where she spent the 2018–19 season exploring the legacies of Josephine Baker and Langston Hughes and resurrecting the songs of enslaved people. Calling her residency at the Met historic, \u003ca href=\"https://www.vanityfair.com/style/2018/12/julia-bullock-opera-singer-metropolitan-museum-of-art\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Vanity Fair\u003c/em>\u003c/a>’s Keziah Weir applauded Bullock’s unique ability to “inject each note she sings with a sense of grace and urgency.”\u003c/p>\n\u003cp>[dropcap]T[/dropcap]he coronavirus pandemic has, for all practical purposes, thwarted what was due to be an exciting year for Bullock at the San Francisco Symphony. Bullock’s Soundbox program originally slated for April was canceled, along with all Symphony live events until at least July of 2021. (Audiences may see some of the \u003cem>Lineage\u003c/em> material in a future online program.)\u003c/p>\n\u003cp>This year, the Symphony’s new musical director Esa-Pekka Salonen stepped into his role, and he enlisted Bullock and seven other interdisciplinary creatives as his “brain trust” of creative partners poised to help take the organization in new directions of embracing technology and a diversity of genres and cultural perspectives. A major showcase with them was supposed to kick off the season.\u003c/p>\n\u003cp>Instead, the Symphony has forayed into\u003ca href=\"https://www.sfsymphony.org/CURRENTS\" target=\"_blank\" rel=\"noopener noreferrer\"> podcasts and digital video\u003c/a>. (“No matter how we spin it, we are not an orchestra,” Salonen recently told \u003ca href=\"https://www.nytimes.com/2020/10/28/arts/music/san-francisco-symphony-nico-muhly.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The New York Times\u003c/em>\u003c/a>. “We are a media house.”) Yet despite these limitations, Salonen continues to experiment. On Saturday, Nov. 14, he, Bullock and the other creative partners will star in a digital premiere of composer Nico Muhly’s new piece, \u003ca href=\"https://www.sfsymphony.org/Watch-and-listen/Events/Throughline\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Throughline\u003c/em>\u003c/a>, which functions more like a set of miniature concertos that bridge the digital divide. The performance will \u003ca href=\"https://www.sfsymphony.org/Watch-and-listen/Events/Throughline\" target=\"_blank\" rel=\"noopener noreferrer\">stream online\u003c/a> and \u003ca href=\"https://www.kqed.org/tv/schedules/weekly\" target=\"_blank\" rel=\"noopener noreferrer\">broadcast\u003c/a> on KQED Channel 9.\u003c/p>\n\u003cfigure id=\"attachment_13889263\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_2-800x502.jpg\" alt=\"\" width=\"800\" height=\"502\" class=\"size-medium wp-image-13889263\">\u003cfigcaption class=\"wp-caption-text\">Julia Bullock backstage at Davies Symphony Hall. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nearly nine months since our first interview, I catch up with Bullock via Zoom. Born in St. Louis and previously based in New York City, she now lives in Munich, Germany, where she’s been sheltering in place with her husband, conductor Christian Reif. Typically, the couple is apart for much of the year because of work travel. “Some days have been great and feeling relatively normal—or not normal, but just living my life,” she says. “And other days have felt incredibly disruptive. Feelings of frustration and irritation and discontent are equally as present as feeling grateful for being able to be with my husband.”\u003c/p>\n\u003cp>Bullock’s measured response is one of someone who’s visited her darkest places and spent years climbing back into the light, thanks to music and therapy. When we first met, in February, I asked Bullock why she’s so candid about her past struggles with addiction and mental health. In interviews, she’s discussed going to rehab at age 20, and how several years ago, her singing career was nearly derailed because of a psychosomatic ailment that caused her to gag uncontrollably, sometimes mid-song or mid-speech.\u003c/p>\n\u003cp>It turns out she went public with this information by accident. She opened up about it to \u003cem>New York Times\u003c/em> journalist Zachary Woolfe during a cab ride in between \u003ca href=\"https://www.nytimes.com/2019/10/25/arts/music/julia-bullock-zauberland-lincoln-center.html\" target=\"_blank\" rel=\"noopener noreferrer\">interviews\u003c/a>, she recalls, not realizing her confession would get published. But once it did, she found herself feeling not embarrassed, but freed from her secret.\u003c/p>\n\u003cp>https://youtu.be/emeAjAK8fr4\u003c/p>\n\u003cp>“It was really moving, hearing from other young performers who are struggling with similar things and afraid to talk about it—even amongst the friends, the teachers,” she says. “The reason you become a musician is because you’re allowing yourself to open up and be vulnerable and relate to people. But you can’t actually relate to people truly unless you’re bringing yourself into the room. You don’t have to present some perfect vision of yourself.”\u003c/p>\n\u003cp>[dropcap]T[/dropcap]hat grounded perspective has helped Bullock stay relatively calm during the pandemic. While scientists say COVID’s \u003ca href=\"https://www.dw.com/en/coronavirus-germany-sees-signs-of-curve-flattening/a-55573917\" target=\"_blank\" rel=\"noopener noreferrer\">spread is slowing in Germany\u003c/a>, most of her friends and family and many of her collaborators live in the United States, which has some of the \u003ca href=\"https://www.npr.org/sections/health-shots/2020/10/13/923253681/americans-are-dying-in-the-pandemic-at-rates-far-higher-than-in-other-countries\" target=\"_blank\" rel=\"noopener noreferrer\">globe’s worst COVID-19 infection and death rates\u003c/a>. Bullock has made the tough decision to not return across the Atlantic for the foreseeable future.\u003c/p>\n\u003cp>“Part of this period I feel is about survival in the most literal sense, in a severe sense. I can’t be casual—and I don’t want anyone I love and care about to be casual about their lives right now,” she says. “There are certain decisions I’ve made about not traveling to the States because I didn’t want to put my life at risk and, honestly, I didn’t feel it was right putting any Black lives at risk to make some art. It seemed wildly irresponsible, and I’m glad I stood by that decision.”\u003c/p>\n\u003cfigure id=\"attachment_13889265\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889265\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julia Bullock. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bullock has given only a small handful of live performances this year, mostly in front of camera crews without an audience, but she’s been booked and busy with \u003ca href=\"https://juliabullock.com/schedule/\" target=\"_blank\" rel=\"noopener noreferrer\">virtual concerts\u003c/a> at places like the Dutch National Opera and UC Berkeley’s Cal Performances. She’s also found a new creative outlet in singing at home, with her husband on piano. The duo has sent videos of their songs to friends and family as a way to connect across distance, and it’s made Bullock think of ways she can continue to express herself until she eventually returns to the stage before a live audience.\u003c/p>\n\u003cp>“The idea of an album now, as a work of art as an independent piece, is something that’s certainly been on my mind in recent months,” she says. “Creating something that speaks to this moment, but also feels timeless in some way.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It anyone’s up to the task, it’s her. Bullock’s superpower lies in reaching across centuries and continents, and feeling into the love, yearning and loss at the core of the human experience. During a time of global tragedy, her empathetic, delicate and soulful approach is more necessary than ever to help us make sense of the chaotic year that is 2020.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>n February, \u003ca href=\"https://juliabullock.com/schedule/\" target=\"_blank\" rel=\"noopener noreferrer\">Julia Bullock\u003c/a> stood on stage at Davies Symphony Hall in San Francisco, excavating the depths of her soul. To truly convey to the audience the euphoria and heartache of Benjamin Britten’s \u003cem>Les Illuminations\u003c/em>, based on Rimbaud’s poems about spiritual transcendence, drug addiction and homelessness, she had to tap into painful parts of her coming-of-age story.\u003c/p>\n\u003cp>“The act of going through all the imagery emotionally and then seeing where [it] takes me psychologically, that’s how I can hook into it and deliver it,” the star soprano explained to me backstage during rehearsal, just weeks before the COVID-19 shutdown hit. “Otherwise, it turns into some weird exercise of trying not to be a human being—and that I can’t tolerate.”\u003c/p>\n\u003cp>At 33 years old, Bullock has become a luminary in the classical music world for her unique ability to capture a piece’s gripping emotional qualities in a way that transcends time, space and cultural barriers. She is a master of connection, digging deep into material to convey universal human experiences and emotions that lay within, refracting them through her prismatic voice to illuminate their beauty.\u003c/p>\n\u003cp>This ability to connect pieces of music through their emotional cores is also her strength as a curator. While praised for her innovative juxtapositions of Western classical music and traditionally Black American genres such as jazz, Bullock resists the idea that she does so simply to be different. (“I don’t ever want anything I’m presenting to the public to come off as me trying to be clever, because I feel the relationships in an explicit way,” she says.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Rather, Bullock’s genre-mixing, cross-cultural programming is the output of a passionate listener and student of history with omnivorous tastes. Discussing a program called \u003cem>Lineage\u003c/em> that she curated for San Francisco Symphony’s Soundbox—its series of intimate, experimental performances—she points easily to the links between Nina Simone and Johann Sebastian Bach.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“You can hear very explicitly in all of her improvisations that she’s referencing Bach, and she studied classical piano. The reason she started singing and playing jazz is because she needed a job,” she says of Simone, laughing in disbelief at this factoid. “Very practical!”\u003c/p>\n\u003cp>It’s this adventurous ear that’s earned Bullock prestigious opportunities. She’s worked extensively with contemporary composers such as \u003ca href=\"https://www.kqed.org/arts/12731274/why-john-adams-wont-write-an-opera-about-president-trump\" target=\"_blank\" rel=\"noopener noreferrer\">John Adams\u003c/a>, snagging prominent roles in his operas \u003cem>Girls of the Golden West\u003c/em> and \u003cem>Doctor Atomic\u003c/em>. More recently, she was an artist-in-residence at the San Francisco Symphony and the Metropolitan Museum of Art, where she spent the 2018–19 season exploring the legacies of Josephine Baker and Langston Hughes and resurrecting the songs of enslaved people. Calling her residency at the Met historic, \u003ca href=\"https://www.vanityfair.com/style/2018/12/julia-bullock-opera-singer-metropolitan-museum-of-art\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Vanity Fair\u003c/em>\u003c/a>’s Keziah Weir applauded Bullock’s unique ability to “inject each note she sings with a sense of grace and urgency.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>he coronavirus pandemic has, for all practical purposes, thwarted what was due to be an exciting year for Bullock at the San Francisco Symphony. Bullock’s Soundbox program originally slated for April was canceled, along with all Symphony live events until at least July of 2021. (Audiences may see some of the \u003cem>Lineage\u003c/em> material in a future online program.)\u003c/p>\n\u003cp>This year, the Symphony’s new musical director Esa-Pekka Salonen stepped into his role, and he enlisted Bullock and seven other interdisciplinary creatives as his “brain trust” of creative partners poised to help take the organization in new directions of embracing technology and a diversity of genres and cultural perspectives. A major showcase with them was supposed to kick off the season.\u003c/p>\n\u003cp>Instead, the Symphony has forayed into\u003ca href=\"https://www.sfsymphony.org/CURRENTS\" target=\"_blank\" rel=\"noopener noreferrer\"> podcasts and digital video\u003c/a>. (“No matter how we spin it, we are not an orchestra,” Salonen recently told \u003ca href=\"https://www.nytimes.com/2020/10/28/arts/music/san-francisco-symphony-nico-muhly.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The New York Times\u003c/em>\u003c/a>. “We are a media house.”) Yet despite these limitations, Salonen continues to experiment. On Saturday, Nov. 14, he, Bullock and the other creative partners will star in a digital premiere of composer Nico Muhly’s new piece, \u003ca href=\"https://www.sfsymphony.org/Watch-and-listen/Events/Throughline\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Throughline\u003c/em>\u003c/a>, which functions more like a set of miniature concertos that bridge the digital divide. The performance will \u003ca href=\"https://www.sfsymphony.org/Watch-and-listen/Events/Throughline\" target=\"_blank\" rel=\"noopener noreferrer\">stream online\u003c/a> and \u003ca href=\"https://www.kqed.org/tv/schedules/weekly\" target=\"_blank\" rel=\"noopener noreferrer\">broadcast\u003c/a> on KQED Channel 9.\u003c/p>\n\u003cfigure id=\"attachment_13889263\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_2-800x502.jpg\" alt=\"\" width=\"800\" height=\"502\" class=\"size-medium wp-image-13889263\">\u003cfigcaption class=\"wp-caption-text\">Julia Bullock backstage at Davies Symphony Hall. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nearly nine months since our first interview, I catch up with Bullock via Zoom. Born in St. Louis and previously based in New York City, she now lives in Munich, Germany, where she’s been sheltering in place with her husband, conductor Christian Reif. Typically, the couple is apart for much of the year because of work travel. “Some days have been great and feeling relatively normal—or not normal, but just living my life,” she says. “And other days have felt incredibly disruptive. Feelings of frustration and irritation and discontent are equally as present as feeling grateful for being able to be with my husband.”\u003c/p>\n\u003cp>Bullock’s measured response is one of someone who’s visited her darkest places and spent years climbing back into the light, thanks to music and therapy. When we first met, in February, I asked Bullock why she’s so candid about her past struggles with addiction and mental health. In interviews, she’s discussed going to rehab at age 20, and how several years ago, her singing career was nearly derailed because of a psychosomatic ailment that caused her to gag uncontrollably, sometimes mid-song or mid-speech.\u003c/p>\n\u003cp>It turns out she went public with this information by accident. She opened up about it to \u003cem>New York Times\u003c/em> journalist Zachary Woolfe during a cab ride in between \u003ca href=\"https://www.nytimes.com/2019/10/25/arts/music/julia-bullock-zauberland-lincoln-center.html\" target=\"_blank\" rel=\"noopener noreferrer\">interviews\u003c/a>, she recalls, not realizing her confession would get published. But once it did, she found herself feeling not embarrassed, but freed from her secret.\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/emeAjAK8fr4'\n title='//www.youtube.com/embed/emeAjAK8fr4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“It was really moving, hearing from other young performers who are struggling with similar things and afraid to talk about it—even amongst the friends, the teachers,” she says. “The reason you become a musician is because you’re allowing yourself to open up and be vulnerable and relate to people. But you can’t actually relate to people truly unless you’re bringing yourself into the room. You don’t have to present some perfect vision of yourself.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>hat grounded perspective has helped Bullock stay relatively calm during the pandemic. While scientists say COVID’s \u003ca href=\"https://www.dw.com/en/coronavirus-germany-sees-signs-of-curve-flattening/a-55573917\" target=\"_blank\" rel=\"noopener noreferrer\">spread is slowing in Germany\u003c/a>, most of her friends and family and many of her collaborators live in the United States, which has some of the \u003ca href=\"https://www.npr.org/sections/health-shots/2020/10/13/923253681/americans-are-dying-in-the-pandemic-at-rates-far-higher-than-in-other-countries\" target=\"_blank\" rel=\"noopener noreferrer\">globe’s worst COVID-19 infection and death rates\u003c/a>. Bullock has made the tough decision to not return across the Atlantic for the foreseeable future.\u003c/p>\n\u003cp>“Part of this period I feel is about survival in the most literal sense, in a severe sense. I can’t be casual—and I don’t want anyone I love and care about to be casual about their lives right now,” she says. “There are certain decisions I’ve made about not traveling to the States because I didn’t want to put my life at risk and, honestly, I didn’t feel it was right putting any Black lives at risk to make some art. It seemed wildly irresponsible, and I’m glad I stood by that decision.”\u003c/p>\n\u003cfigure id=\"attachment_13889265\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889265\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julia Bullock. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bullock has given only a small handful of live performances this year, mostly in front of camera crews without an audience, but she’s been booked and busy with \u003ca href=\"https://juliabullock.com/schedule/\" target=\"_blank\" rel=\"noopener noreferrer\">virtual concerts\u003c/a> at places like the Dutch National Opera and UC Berkeley’s Cal Performances. She’s also found a new creative outlet in singing at home, with her husband on piano. The duo has sent videos of their songs to friends and family as a way to connect across distance, and it’s made Bullock think of ways she can continue to express herself until she eventually returns to the stage before a live audience.\u003c/p>\n\u003cp>“The idea of an album now, as a work of art as an independent piece, is something that’s certainly been on my mind in recent months,” she says. “Creating something that speaks to this moment, but also feels timeless in some way.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It anyone’s up to the task, it’s her. Bullock’s superpower lies in reaching across centuries and continents, and feeling into the love, yearning and loss at the core of the human experience. During a time of global tragedy, her empathetic, delicate and soulful approach is more necessary than ever to help us make sense of the chaotic year that is 2020.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On Saturday afternoon, as the news of President-elect Joe Biden’s win spread across San Francisco, so did the chorus of car horns, singing and pop-up street parties. In the Mission District, people swarmed into Dolores Park looking to celebrate with their neighbors.\u003c/p>\n\u003cp>As the day went on, more and more of them gravitated to the center of the park, drawn by the good vibes emanating from a DJ table. The mix was non-stop feel-good ’90s R&B and hip-hop. And the person behind the decks was, it turns out, a 10-year-old.\u003c/p>\n\u003cp>https://www.instagram.com/p/CHWHy-xsGsJ/\u003c/p>\n\u003cp>DJ Rillion didn’t just provide the soundtrack to the post-election party. For many who were there, he \u003cem>was\u003c/em> the party.\u003c/p>\n\u003cp>https://www.instagram.com/p/CHWmAocDUKZ/\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By mid-afternoon, he’d even attracted an appropriately pint-sized dancer to hang with him behind the decks.\u003c/p>\n\u003cp>https://twitter.com/Raemondjjjj/status/1325958131847888896\u003c/p>\n\u003cp>DJ Rillion kept this little corner of Dolores dancing for \u003cem>hours\u003c/em>. Occasionally he’d ask how everyone was doing—the crowd hollered back. Now and again, he’d ask dancers to wave their hands in the air—and they complied every time. I had to find out more about this DJ wunderkind, so naturally … I asked his dad.\u003c/p>\n\u003cp>DJ Rillion’s proud papa, Ron, was easy to spot—he and his son were wearing matching bomber jackets and jeans. The born-and-raised San Franciscan informed me that his son—real name Rylan—has only been developing his skills behind the decks for one month. (One!)\u003c/p>\n\u003cp>Recognizing Rylan’s passion for tunes (favorite genres include R&B, hip-hop and trap music), and trying to keep the 10-year-old amused as they sheltered in place in the Outer Richmond, Ron passed on his mixing skills. (Ron DJed at parties and gatherings in high school and thought Rylan might enjoy it too.) Rylan picked it up so fast that within weeks, DJ Rillion was born.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The election result party in Dolores Park was DJ Rillion’s most successful public engagement to date, having previously popped up at \u003ca href=\"https://www.instagram.com/stories/highlights/17845374926437062/\" target=\"_blank\" rel=\"noopener noreferrer\">Ocean Beach\u003c/a> and a Sacramento \u003ca href=\"https://www.instagram.com/stories/highlights/17876282578917194/\" target=\"_blank\" rel=\"noopener noreferrer\">Haunted House\u003c/a>. You can follow his progress and find out about his upcoming appearances via \u003ca href=\"https://www.instagram.com/dj_rillion/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a> and \u003ca href=\"https://www.tiktok.com/@dj_rillion\" target=\"_blank\" rel=\"noopener noreferrer\">TikTok\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>DJ Rillion kept this little corner of Dolores dancing for \u003cem>hours\u003c/em>. Occasionally he’d ask how everyone was doing—the crowd hollered back. Now and again, he’d ask dancers to wave their hands in the air—and they complied every time. I had to find out more about this DJ wunderkind, so naturally … I asked his dad.\u003c/p>\n\u003cp>DJ Rillion’s proud papa, Ron, was easy to spot—he and his son were wearing matching bomber jackets and jeans. The born-and-raised San Franciscan informed me that his son—real name Rylan—has only been developing his skills behind the decks for one month. (One!)\u003c/p>\n\u003cp>Recognizing Rylan’s passion for tunes (favorite genres include R&B, hip-hop and trap music), and trying to keep the 10-year-old amused as they sheltered in place in the Outer Richmond, Ron passed on his mixing skills. (Ron DJed at parties and gatherings in high school and thought Rylan might enjoy it too.) Rylan picked it up so fast that within weeks, DJ Rillion was born.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The election result party in Dolores Park was DJ Rillion’s most successful public engagement to date, having previously popped up at \u003ca href=\"https://www.instagram.com/stories/highlights/17845374926437062/\" target=\"_blank\" rel=\"noopener noreferrer\">Ocean Beach\u003c/a> and a Sacramento \u003ca href=\"https://www.instagram.com/stories/highlights/17876282578917194/\" target=\"_blank\" rel=\"noopener noreferrer\">Haunted House\u003c/a>. You can follow his progress and find out about his upcoming appearances via \u003ca href=\"https://www.instagram.com/dj_rillion/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a> and \u003ca href=\"https://www.tiktok.com/@dj_rillion\" target=\"_blank\" rel=\"noopener noreferrer\">TikTok\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This year’s interminable election season has helped spawn an outsize assortment of frequently \u003ca href=\"https://www.npr.org/898709145/we-insist-a-timeline-of-protest-music-in-2020\" target=\"_blank\" rel=\"noopener noreferrer\">vital protest music\u003c/a>. Late Tuesday, as part of Stephen Colbert’s election-night special for Showtime, \u003ca href=\"https://www.npr.org/artists/16334660/arcade-fire\" target=\"_blank\" rel=\"noopener noreferrer\">Arcade Fire\u003c/a> premiered the first big \u003cem>post\u003c/em>-election protest song of 2020.\u003c/p>\n\u003cp>Titled “Generation A,” and praised by Colbert as “a hopeful message to the youths,” the song leans hard into rousing grandiosity. And, while summing up the frustrations and furies of an entire generation is no easy feat, singer Win Butler finds a smart angle: the deep undercurrent of \u003cem>impatience\u003c/em> that comes with waiting for your turn to lead.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KvqNWYggnVA\u003c/p>\n\u003cp>“I don’t think they understand that I am not a patient man,” he sings en route to a chant-along chorus of “I can’t wait” and, less hopefully, “Too little, too late.”\u003c/p>\n\u003cp>Assuming it gets a studio version, “Generation A” will be Arcade Fire’s first release since… okay, \u003ca href=\"https://www.youtube.com/watch?v=qpYOstfcQBs\" target=\"_blank\" rel=\"noopener noreferrer\">a song on last year’s \u003cem>Dumbo\u003c/em> soundtrack\u003c/a>. But let’s consider it a sequel—and a worthy companion—to 2017’s \u003cem>Everything Now\u003c/em>.\u003c/p>\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=Arcade+Fire+Returns+With+2020%27s+First+Big+Post-Election+Protest+Anthem&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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},
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"id": "fresh-air",
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"hidden-brain": {
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"airtime": "SUN 7pm-8pm",
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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