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"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": "\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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"excerpt": "Here—have six more baffling routines from the half-shirted, high-kicking Heather Parisi, who studied with the San Francisco Ballet!",
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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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"format": "standard",
"title": "Beyoncé, Dua Lipa Headline 2021 Grammy Nominations",
"headTitle": "Beyoncé, Dua Lipa Headline 2021 Grammy Nominations | KQED",
"content": "\u003cp>The Recording Academy announced its 2021 Grammy nominations on Tuesday, with Beyoncé, rising pop star Dua Lipa and stoner superstar Post Malone leading a diffuse field.\u003c/p>\n\u003cp>Beyonce features on two songs in the record of the year category, which essentially rewards the year’s best single: the remix of Megan Thee Stallion’s “Savage” and her own “Black Parade.” The latter was also nominated for song of the year, which is awarded to the winner’s songwriters.\u003c/p>\n\u003cp>The Grammys made several changes to its structure this year, including increasing its voting membership\u003ca href=\"https://www.grammy.com/press-releases/recording-academy%C2%AE-invites-2300-qualified-music-creators-and-professionals-join-its\" target=\"_blank\" rel=\"noopener noreferrer\"> by 2,300\u003c/a> and tweaking its nominations process after years of criticism over a lack of diversity amid the ceremony’s top categories. The moves were meant to “to evolve with the musical landscape and to ensure that the … nominating process and rules are more transparent and fair,” according to \u003ca href=\"https://www.grammy.com/press-releases/recording-academy%C2%AE-adopts-major-changes-63rd-annual-grammys%C2%AE-and-releases-rules\" target=\"_blank\" rel=\"noopener noreferrer\">a statement on its website\u003c/a>.\u003c/p>\n\u003cp>The Academy also made its\u003ca href=\"https://www.grammy.com/sites/com/files/2020rulebook.pdf\" target=\"_blank\" rel=\"noopener noreferrer\"> rules and guidelines\u003c/a> public for the first time, including definitions for previously murky eligibility requirements and voting guidelines. It also changed the names of several categories—the Latin Pop Album category was renamed to the slightly more-inclusive Best Latin Pop Or Urban Album—and instituted a method for flagging conflicts of interest on its still-secretive Nominations Review Committees, whose members are not made public.\u003c/p>\n\u003cp>In addition, the Academy made several personnel changes, most notably \u003ca href=\"https://www.npr.org/2020/03/02/811309417/the-recording-academy-fires-deborah-dugan-its-short-lived-leader\" target=\"_blank\" rel=\"noopener noreferrer\">the firing its first female CEO, Deborah Dugan\u003c/a>, after less than a year on the job. Dugan had accused the Academy of being “rigged” and “corrupt,” while the Academy had said she was terminated following a confidential investigation into allegations that Dugan had bullied a senior member of the Academy. Former Google executive Valeisha Butterfield Jones was appointed to Chief Diversity & Inclusion Officer, a new position created in response to \u003ca href=\"https://www.grammy.com/sites/com/files/final_task_force_report.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">recommendations\u003c/a> made by a task force focused on diversity and inclusion. She will “design, build and implement world-class programs and industry standards focused on inclusion, belonging and representation for underrepresented communities and creators.” [aside postid='arts_13889581,arts_13889392,arts_13889101' label='More Arts & Culture']\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The results of these efforts at the top of the marquee are mixed. The eight nominations in the album of the year category, for example, are gender-diverse but mostly white, save for the rock group Black Pumas and the multi-racial pop singer Jhené Aiko. Record of the year nominees form a richer field, including the fast-rising rapper DaBaby, pop provocateur Doja Cat and the aforementioned Megan Thee Stallion. All of the nominees for best pop vocal album are white artists.\u003c/p>\n\u003ch3>The 2021 Grammy Award Nominations\u003c/h3>\n\u003cp>\u003cstrong>Record Of The Year\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Awarded to the artist and producer(s), recording engineer(s), mixer(s) and mastering engineer(s), if other than the artist.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Black Parade” — Beyoncé\u003c/li>\n\u003cli>“Colors” — Black Pumas\u003c/li>\n\u003cli>“Rockstar” — DaBaby Featuring Roddy Ricch\u003c/li>\n\u003cli>“Say So” — Doja Cat\u003c/li>\n\u003cli>“Everything I Wanted” — Billie Eilish\u003c/li>\n\u003cli>“Don’t Start Now” — Dua Lipa\u003c/li>\n\u003cli>“Circles” — Post Malone\u003c/li>\n\u003cli>“Savage” — Megan Thee Stallion Featuring Beyoncé\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Song Of The Year\u003c/strong>\u003c/p>\n\u003cp>\u003cem>A songwriter(s) award. A song is eligible if it was first released or if it first achieved prominence during the eligibility year. (Recording artists’ names appear in parentheses.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Black Parade” — Denisia Andrews, Beyoncé, Stephen Bray, Shawn Carter, Brittany Coney, Derek James Dixie, Akil King, Kim “Kaydence” Krysiuk & Rickie “Caso” Tice, songwriters (Beyoncé)\u003c/li>\n\u003cli>“The Box” — Samuel Gloade & Rodrick Moore, songwriters (Roddy Ricch)\u003c/li>\n\u003cli>“Cardigan” — Aaron Dessner & Taylor Swift, songwriters (Taylor Swift)\u003c/li>\n\u003cli>“Circles” — Louis Bell, Adam Feeney, Kaan Gunesberk, Austin Post & Billy Walsh, songwriters (Post Malone)\u003c/li>\n\u003cli>“Don’t Start Now” — Caroline Ailin, Ian Kirkpatrick, Dua Lipa & Emily Warren, songwriters (Dua Lipa)\u003c/li>\n\u003cli>“Everything I Wanted” — Billie Eilish O’Connell & Finneas O’Connell, songwriters (Billie Eilish)\u003c/li>\n\u003cli>“I Can’t Breathe” — Dernst Emile II, H.E.R. & Tiara Thomas, songwriters (H.E.R.)\u003c/li>\n\u003cli>“If The World Was Ending” — Julia Michaels & JP Saxe, songwriters (JP Saxe Featuring Julia Michaels)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Album Of The Year\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Awarded to artist(s) and to featured artist(s), songwriter(s) of new material, producer(s), recording engineer(s), mixing and mastering engineer(s) credited with at least 33% playing time of the album, if other than the artist.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Chilombo \u003c/em>— Jhené Aiko\u003c/li>\n\u003cli>\u003cem>Black Pumas (Deluxe Edition) \u003c/em>— Black Pumas\u003c/li>\n\u003cli>\u003cem>Everyday Life\u003c/em> — Coldplay\u003c/li>\n\u003cli>\u003cem>Djesse Vol. 3 \u003c/em>— Jacob Collier\u003c/li>\n\u003cli>\u003cem>Women In Music Pt. III \u003c/em>— Haim\u003c/li>\n\u003cli>\u003cem>Future Nostalgia \u003c/em>— Dua Lipa\u003c/li>\n\u003cli>\u003cem>Hollywood’s Bleeding\u003c/em> — Post Malone\u003c/li>\n\u003cli>\u003cem>Folklore \u003c/em>— Taylor Swift\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best New Artist\u003c/strong>\u003c/p>\n\u003cp>\u003cem>This category recognizes an artist whose eligibility-year release(s) achieved a breakthrough into the public consciousness and notably impacted the musical landscape.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Ingrid Andress\u003c/li>\n\u003cli>Phoebe Bridgers\u003c/li>\n\u003cli>Chika\u003c/li>\n\u003cli>Noah Cyrus\u003c/li>\n\u003cli>D Smoke\u003c/li>\n\u003cli>Doja Cat\u003c/li>\n\u003cli>Kaytranada\u003c/li>\n\u003cli>Megan Thee Stallion\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Pop Duo/Group Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new vocal or instrumental duo/group or collaborative pop recordings. Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Un Dia (One Day)” — J Balvin, Dua Lipa, Bad Bunny & Tainy\u003c/li>\n\u003cli>“Intentions” — Justin Bieber Featuring Quavo\u003c/li>\n\u003cli>“Dynamite” — BTS\u003c/li>\n\u003cli>“Rain On Me” — Lady Gaga with Ariana Grande\u003c/li>\n\u003cli>“Exile” — Taylor Swift Featuring Bon Iver\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Pop Vocal Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing of new pop vocal recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Changes \u003c/em>— Justin Bieber\u003c/li>\n\u003cli>\u003cem>Chromatica\u003c/em> — Lady Gaga\u003c/li>\n\u003cli>\u003cem>Future Nostalgia \u003c/em>— Dua Lipa\u003c/li>\n\u003cli>\u003cem>Fine Line \u003c/em>— Harry Styles\u003c/li>\n\u003cli>\u003cem>Folklore \u003c/em>— Taylor Swift\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Dance/Electronic Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For vocal or instrumental albums.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Kick I\u003c/em> — Arca\u003c/li>\n\u003cli>\u003cem>Planet’s Mad\u003c/em> — Baauer\u003c/li>\n\u003cli>\u003cem>Energy \u003c/em>— Disclosure\u003c/li>\n\u003cli>\u003cem>Bubba\u003c/em> — Kaytranada\u003c/li>\n\u003cli>\u003cem>Good Faith\u003c/em> — Madeon\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Rock Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new vocal or instrumental solo, duo/group or collaborative rock recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Shameika” — Fiona Apple\u003c/li>\n\u003cli>“Not” — Big Thief\u003c/li>\n\u003cli>“Kyoto” — Phoebe Bridgers\u003c/li>\n\u003cli>“The Steps” — HAIM\u003c/li>\n\u003cli>“Stay High” — Brittany Howard\u003c/li>\n\u003cli>“Daylight” — Grace Potter\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Progressive R&B Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of newly recorded progressive vocal tracks derivative of R&B.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Chilombo \u003c/em>—Jhené Aiko\u003c/li>\n\u003cli>\u003cem>Ungodly Hour\u003c/em> — Chloe X Halle\u003c/li>\n\u003cli>\u003cem>Free Nationals \u003c/em>— Free Nationals\u003c/li>\n\u003cli>\u003cem>F*** Yo Feelings \u003c/em>— Robert Glasper\u003c/li>\n\u003cli>\u003cem>It Is What It Is \u003c/em>— Thundercat\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Rap Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For a rap performance. Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Deep Reverence” — Big Sean Featuring Nipsey Hussle\u003c/li>\n\u003cli>“Bop” — DaBaby\u003c/li>\n\u003cli>“What’s Poppin” — Jack Harlow\u003c/li>\n\u003cli>“The Bigger Picture” — Lil Baby\u003c/li>\n\u003cli>“Savage” — Megan Thee Stallion Featuring Beyoncé\u003c/li>\n\u003cli>“Dior” — Pop Smoke\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Country Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new country recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Lady Like\u003c/em>— Ingrid Andress\u003c/li>\n\u003cli>\u003cem>Your Life Is A Record\u003c/em>— Brandy Clark\u003c/li>\n\u003cli>\u003cem>Wildcard \u003c/em>— Miranda Lambert\u003c/li>\n\u003cli>\u003cem>Nightfall\u003c/em>— Little Big Town\u003c/li>\n\u003cli>\u003cem>Never Will \u003c/em>— Ashley McBryde\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Jazz Vocal Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new vocal jazz recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Ona \u003c/em>— Thana Alexa\u003c/li>\n\u003cli>\u003cem>Secrets Are The Best Stories\u003c/em> — Kurt Elling Featuring Danilo Pérez\u003c/li>\n\u003cli>\u003cem>Modern Ancestors\u003c/em> — Carmen Lundy\u003c/li>\n\u003cli>\u003cem>Holy Room: Live At Alte Oper \u003c/em>— Somi With Frankfurt Radio Big Band\u003c/li>\n\u003cli>\u003cem>What’s The Hurry\u003c/em> — Kenny Washington\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Latin Pop or Urban Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new Latin pop or urban recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>YHLQMDLG\u003c/em>— Bad Bunny\u003c/li>\n\u003cli>\u003cem>Por Primera Vez\u003c/em> — Camilo\u003c/li>\n\u003cli>\u003cem>Mesa Para Dos\u003c/em> — Kany García\u003c/li>\n\u003cli>\u003cem>Pausa\u003c/em> — Ricky Martin\u003c/li>\n\u003cli>\u003cem>3:33\u003c/em> — Debi Nova\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Americana Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new vocal or instrumental Americana recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Old Flowers\u003c/em> — Courtney Marie Andrews\u003c/li>\n\u003cli>\u003cem>Terms Of Surrender \u003c/em>— Hiss Golden Messenger\u003c/li>\n\u003cli>\u003cem>World On The Ground \u003c/em>— Sarah Jarosz\u003c/li>\n\u003cli>\u003cem>El Dorado\u003c/em> — Marcus King\u003c/li>\n\u003cli>\u003cem>Good Souls Better Angels \u003c/em>— Lucinda Williams\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Contemporary Blues Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new vocal or instrumental contemporary blues recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Have You Lost Your Mind Yet?\u003c/em> — Fantastic Negrito\u003c/li>\n\u003cli>\u003cem>Live At The Paramount \u003c/em>— Ruthie Foster Big Band\u003c/li>\n\u003cli>\u003cem>The Juice \u003c/em>— G. Love\u003c/li>\n\u003cli>\u003cem>Blackbirds\u003c/em> — Bettye LaVette\u003c/li>\n\u003cli>\u003cem>Up And Rolling \u003c/em>— North Mississippi Allstars\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Global Music Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new vocal or instrumental global music recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>FU Chronicles\u003c/em> — Antibalas\u003c/li>\n\u003cli>\u003cem>Twice As Tall \u003c/em>— Burna Boy\u003c/li>\n\u003cli>\u003cem>Agora \u003c/em>— Bebel Gilberto\u003c/li>\n\u003cli>\u003cem>Love Letters\u003c/em> — Anoushka Shankar\u003c/li>\n\u003cli>\u003cem>Amadjar \u003c/em>— Tinariwen\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Spoken Word Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Includes poetry, audio books and storytelling.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Acid For The Children: A Memoir \u003c/em>— Flea\u003c/li>\n\u003cli>\u003cem>Alex Trebek – The Answer Is…\u003c/em> — Ken Jennings\u003c/li>\n\u003cli>\u003cem>Blowout: Corrupted Democracy, Rogue State Russia, And The Richest, Most Destructive Industry On Earth\u003c/em> — Rachel Maddow\u003c/li>\n\u003cli>\u003cem>Catch And Kill\u003c/em> — Ronan Farrow\u003c/li>\n\u003cli>\u003cem>Charlotte’s Web (E.B. White)\u003c/em> — Meryl Streep (& Full Cast)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Music Film\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For concert/performance films or music documentaries. Award to the artist, video director and video producer.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Beastie Boys Story \u003c/em>— Beastie Boys\u003c/li>\n\u003cli>\u003cem>Black Is King\u003c/em> — Beyoncé\u003c/li>\n\u003cli>\u003cem>We Are Freestyle Love Supreme\u003c/em> — Freestyle Love Supreme\u003c/li>\n\u003cli>\u003cem>Linda Ronstadt: The Sound Of My Voice\u003c/em> — Linda Ronstadt\u003c/li>\n\u003cli>\u003cem>That Little Ol’ Band From Texas\u003c/em> — ZZ Top\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Pop Solo Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new vocal or instrumental pop recordings. Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Yummy” — Justin Bieber\u003c/li>\n\u003cli>“Say So” — Doja Cat\u003c/li>\n\u003cli>“Everything I Wanted” — Billie Eilish\u003c/li>\n\u003cli>“Don’t Start Now” — Dua Lipa\u003c/li>\n\u003cli>“Watermelon Sugar” — Harry Styles\u003c/li>\n\u003cli>“Cardigan” — Taylor Swift\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Traditional Pop Vocal Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new traditional pop recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Blue Umbrella — (Burt Bacharach &) Daniel Tashian\u003c/li>\n\u003cli>True Love: A Celebration Of Cole Porter — Harry Connick, Jr.\u003c/li>\n\u003cli>American Standard — James Taylor\u003c/li>\n\u003cli>Unfollow The Rules — Rufus Wainwright\u003c/li>\n\u003cli>Judy — Renée Zellweger\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Dance Recording\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For solo, duo, group or collaborative performances. Vocal or instrumental. Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“On My Mind” — Diplo & SIDEPIECE (Diplo & SIDEPIECE, producers; Luca Pretolesi, mixer)\u003c/li>\n\u003cli>“My High” — Disclosure ft. Aminé & Slowthai (Guy Lawrence & Howard Lawrence, producers; Guy Lawrence, mixer)\u003c/li>\n\u003cli>“The Difference” — Flume ft. Toro y Moi (Flume, producer; Eric J Dubowsky, mixer)\u003c/li>\n\u003cli>“Both Of Us” — Jayda G (Fred Again.. & Jayda G, producers; Fred Again.. & Jayda G, mixers)\u003c/li>\n\u003cli>“10%” — Kaytranada ft. Kali Uchis (Kaytranada, producer; Neal H. Pogue, mixer)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Contemporary Instrumental Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing approximately 51% or more playing time of instrumental material. For albums containing at least 51% playing time of new recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Axiom — Christian Scott Atunde Adjuah\u003c/li>\n\u003cli>Chronology Of A Dream: Live At The Village Vanguard — Jon Batiste\u003c/li>\n\u003cli>Take The Stairs — Black Violin\u003c/li>\n\u003cli>Americana — Grégoire Maret, Romain Collin & Bill Frisell\u003c/li>\n\u003cli>Live At The Royal Albert Hall — Snarky Puppy\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Metal Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new vocal or instrumental solo, duo/group or collaborative metal recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Bum-Rush” — Body Count\u003c/li>\n\u003cli>“Underneath” — Code Orange\u003c/li>\n\u003cli>“The In-Between” — In This Moment\u003c/li>\n\u003cli>“Bloodmoney” — Poppy\u003c/li>\n\u003cli>“Executioner’s Tax (Swing Of The Axe) – Live” — Power Trip\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Rock Song\u003c/strong>\u003c/p>\n\u003cp>\u003cem>A songwriter(s) Award. Includes rock, hard rock and metal songs. A song is eligible if it was first released or if it first achieved prominence during the eligibility year. (Artist names appear in parentheses.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Kyoto” — Phoebe Bridgers, Morgan Nagler & Marshall Vore, songwriters (Phoebe Bridgers)\u003c/li>\n\u003cli>“Lost In Yesterday” — Kevin Parker, songwriter (Tame Impala)\u003c/li>\n\u003cli>“Not” — Adrianne Lenker, songwriter (Big Thief)\u003c/li>\n\u003cli>“Shameika” — Fiona Apple, songwriter (Fiona Apple)\u003c/li>\n\u003cli>“Stay High” — Brittany Howard, songwriter (Brittany Howard)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Rock Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new rock, hard\u003c/em>\u003c/p>\n\u003cp>\u003cem>rock or metal recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>A Hero’s Death — Fontaines D.C.\u003c/li>\n\u003cli>Kiwanuka — Michael Kiwanuka\u003c/li>\n\u003cli>Daylight — Grace Potter\u003c/li>\n\u003cli>Sound & Fury — Sturgill Simpson\u003c/li>\n\u003cli>The New Abnormal — The Strokes\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Alternative Music Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Vocal or instrumental.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Fetch The Bolt Cutters — Fiona Apple\u003c/li>\n\u003cli>Hyperspace — Beck\u003c/li>\n\u003cli>Punisher — Phoebe Bridgers\u003c/li>\n\u003cli>Jaime — Brittany Howard\u003c/li>\n\u003cli>The Slow Rush — Tame Impala\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best R&B Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new vocal or instrumental R&B recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Lightning & Thunder” — Jhené Aiko ft. John Legend\u003c/li>\n\u003cli>“Black Parade” — Beyoncé\u003c/li>\n\u003cli>“All I Need” — Jacob Collier ft. Mahalia & Ty Dolla $Ign\u003c/li>\n\u003cli>“Goat Head” — Brittany Howard\u003c/li>\n\u003cli>“See Me” — Emily King\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Traditional R&B Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new vocal or instrumental traditional R&B recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Sit On Down” — The Baylor Project ft. Jean Baylor & Marcus Baylor\u003c/li>\n\u003cli>“Wonder What She Thinks Of Me” — Chloe X Halle\u003c/li>\n\u003cli>“Let Me Go” — Mykal Kilgore\u003c/li>\n\u003cli>“Anything For You” — Ledisi\u003c/li>\n\u003cli>“Distance” — Yebba\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best R&B Song\u003c/strong>\u003c/p>\n\u003cp>\u003cem>A songwriter(s) award. A song is eligible if it was first released or if it first achieved prominence during the eligibility year. (Artist names appear in parentheses.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Better Than I Imagine” — Robert Glasper, Meshell Ndegeocello & Gabriella Wilson, Songwriters (Robert Glasper Ft. H.E.R. & Meshell Ndegeocello)\u003c/li>\n\u003cli>“Black Parade” — Denisia Andrews, Beyoncé, Stephen Bray, Shawn Carter, Brittany Coney, Derek James Dixie, Akil King, Kim “Kaydence” Krysiuk & Rickie “Caso” Tice, Songwriters (Beyoncé)\u003c/li>\n\u003cli>“Collide” — Sam Barsh, Stacey Barthe, Sonyae Elise, Olu Fann, Akil King, Josh Lopez, Kaveh Rastegar & Benedetto Rotondi, Songwriters (Tiana Major9 & Earthgang)\u003c/li>\n\u003cli>“Do It” — Chloe Bailey, Halle Bailey, Anton Kuhl, Victoria Monét, Scott Storch & Vincent Van Den Ende, Songwriters (Chloe X Halle)\u003c/li>\n\u003cli>“Slow Down” — Nasri Atweh, Badriia Bourelly, Skip Marley, Ryan Williamson & Gabriella Wilson, Songwriters (Skip Marley & H.E.R.)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best R&B Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new R&B recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Happy 2 Be Here — Ant Clemons\u003c/li>\n\u003cli>Take Time — Giveon\u003c/li>\n\u003cli>To Feel Love/D — Luke James\u003c/li>\n\u003cli>Bigger Love — John Legend\u003c/li>\n\u003cli>All Rise — Gregory Porter\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Melodic Rap Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For a solo or collaborative performance containing both elements of R&B melodies and rap.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Rockstar” — DaBaby ft. Roddy Ricch\u003c/li>\n\u003cli>“Laugh Now, Cry Later” Drake ft. Lil Durk\u003c/li>\n\u003cli>“Lockdown” — Anderson .Paak\u003c/li>\n\u003cli>“The Box” — Roddy Ricch\u003c/li>\n\u003cli>“Highest In The Room” — Travis Scott\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Rap Song\u003c/strong>\u003c/p>\n\u003cp>\u003cem>A songwriter(s) award. A song is eligible if it was first released or if it first achieved prominence during the eligibility year. (Artist names appear in parentheses.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“The Bigger Picture” — Dominique Jones, Noah Pettigrew & Rai’shaun Williams, songwriters (Lil Baby)\u003c/li>\n\u003cli>“The Box” — Samuel Gloade & Rodrick Moore, songwriters (Roddy Ricch)\u003c/li>\n\u003cli>“Laugh Now, Cry Later” — Durk Banks, Rogét Chahayed, Aubrey Graham, Daveon Jackson, Ron Latour & Ryan Martinez, songwriters (Drake ft. Lil Durk)\u003c/li>\n\u003cli>“Rockstar” — Jonathan Lyndale Kirk, Ross Joseph Portaro Iv & Rodrick Moore, songwriters (Dababy ft. Roddy Ricch)\u003c/li>\n\u003cli>“Savage” — Beyoncé, Shawn Carter, Brittany Hazzard, Derrick Milano, Terius Nash, Megan Pete, Bobby Session Jr., Jordan Kyle Lanier Thorpe & Anthony White, songwriters (Megan Thee Stallion Ft. Beyoncé)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Rap Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new rap recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Black Habits — D Smoke\u003c/li>\n\u003cli>Alfredo — Freddie Gibbs & The Alchemist\u003c/li>\n\u003cli>A Written Testimony — Jay Electronica\u003c/li>\n\u003cli>King’s Disease — Nas\u003c/li>\n\u003cli>The Allegory — Royce Da 5’9″\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Country Solo Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new vocal or instrumental solo country recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Stick That In Your Country Song” — Eric Church\u003c/li>\n\u003cli>“Who You Thought I Was” — Brandy Clark\u003c/li>\n\u003cli>“When My Amy Prays — Vince Gill\u003c/li>\n\u003cli>“Black Like Me” — Mickey Guyton\u003c/li>\n\u003cli>“Bluebird” — Miranda Lambert\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Country Duo/Group Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new vocal or instrumental duo/group or collaborative country recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“All Night” — Brothers Osborne\u003c/li>\n\u003cli>“10,000 Hours” — Dan + Shay & Justin Bieber\u003c/li>\n\u003cli>“Ocean” — Lady A\u003c/li>\n\u003cli>“Sugar Coat” — Little Big Town\u003c/li>\n\u003cli>“Some People Do” — Old Dominion\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Country Song \u003c/strong>\u003c/p>\n\u003cp>\u003cem>A songwriter(s) Award. A song is eligible if it was first released or if it first achieved prominence during the eligibility year. (Artist names appear in parentheses.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Bluebird” — Luke Dick, Natalie Hemby & Miranda Lambert, songwriters (Miranda Lambert)\u003c/li>\n\u003cli>“The Bones” — Maren Morris, Jimmy Robbins & Laura Veltz, songwriters (Maren Morris)\u003c/li>\n\u003cli>“Crowded Table” — Brandi Carlile, Natalie Hemby & Lori Mckenna, songwriters (The Highwomen)\u003c/li>\n\u003cli>“More Hearts Than Mine” — Ingrid Andress, Sam Ellis & Derrick Southerland, songwriters (Ingrid Andress)\u003c/li>\n\u003cli>“Some People Do” — Jesse Frasure, Shane Mcanally, Matthew Ramsey & Thomas Rhett, songwriters (Old Dominion)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best New Age Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new vocal or instrumental new age recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Songs From The Bardo — Laurie Anderson, Tenzin Choegyal & Jesse Paris Smith\u003c/li>\n\u003cli>Periphery — Priya Darshini\u003c/li>\n\u003cli>Form//Less — Superposition\u003c/li>\n\u003cli>More Guitar Stories — Jim “Kimo” West\u003c/li>\n\u003cli>Meditations — Cory Wong & Jon Batiste\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Improvised Jazz Solo\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For an instrumental jazz solo performance. Two equal performers on one recording may be eligible as one entry. If the soloist listed appears on a recording billed to another artist, the latter’s name is in parenthesis for identification. Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Guinevere” — Christian Scott Atunde Adjuah, soloist\u003c/li>\n\u003cli>“Pachamama” — Regina Carter, soloist\u003c/li>\n\u003cli>“Celia” — Gerald Clayton, soloist\u003c/li>\n\u003cli>“All Blues” — Chick Corea, soloist\u003c/li>\n\u003cli>“Moe Honk” — Joshua Redman, soloist\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Jazz Instrumental Album \u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new instrumental jazz recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>On The Tender Spot Of Every Calloused Moment — Ambrose Akinmusire\u003c/li>\n\u003cli>Waiting Game — Terri Lyne Carrington And Social Science\u003c/li>\n\u003cli>Happening: Live At The Village Vanguard — Gerald Clayton\u003c/li>\n\u003cli>Trilogy 2 — Chick Corea, Christian Mcbride & Brian Blade\u003c/li>\n\u003cli>Roundagain — Redman Mehldau Mcbride Blade\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Large Jazz Ensemble Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new ensemble jazz recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Dialogues On Race — Gregg August\u003c/li>\n\u003cli>Monk’estra Plays John Beasley — John Beasley\u003c/li>\n\u003cli>The Intangible Between — Orrin Evans And The Captain Black Big Band\u003c/li>\n\u003cli>Songs You Like A Lot — John Hollenbeck With Theo Bleckmann, Kate\u003c/li>\n\u003cli>Mcgarry, Gary Versace And The Frankfurt Radio Big Band\u003c/li>\n\u003cli>Data Lords — Maria Schneider Orchestra\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Latin Jazz Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For vocal or instrumental albums containing at least 51% playing time of newly recorded material. The intent of this category is to recognize recordings that represent the blending of jazz with Latin, Iberian-American, Brazilian, and Argentinian tango music.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Tradiciones — Afro-peruvian Jazz Orchestra\u003c/li>\n\u003cli>Four Questions — Arturo O’farrill & The Afro Latin Jazz Orchestra\u003c/li>\n\u003cli>City Of Dreams — Chico Pinheiro\u003c/li>\n\u003cli>Viento Y Tiempo – Live At Blue Note Tokyo — Gonzalo Rubalcaba & Aymée Nuviola\u003c/li>\n\u003cli>Trane’s Delight — Poncho Sanchez\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Gospel Performance/Song\u003c/strong>\u003c/p>\n\u003cp>\u003cem>This award is given to the artist(s) and songwriter(s) (for new compositions) for the best traditional Christian, roots gospel or contemporary gospel single or track.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Wonderful Is Your Name” — Melvin Crispell III\u003c/li>\n\u003cli>“Release (Live)” — Ricky Dillard Ft. Tiff Joy; David Frazier, songwriter\u003c/li>\n\u003cli>“Come Together” — Rodney “Darkchild” Jerkins Presents: The Good News; Lashawn Daniels, Rodney Jerkins, Lecrae Moore & Jazz Nixon, songwriters\u003c/li>\n\u003cli>“Won’t Let Go” — Travis Greene; Travis Greene, songwriter\u003c/li>\n\u003cli>“Movin’ On” — Jonathan Mcreynolds & Mali Music; Darryl L. Howell, Jonathan Caleb Mcreynolds, Kortney Jamaal Pollard & Terrell Demetrius Wilson, songwriters\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Contemporary Christian Music Performance/Song \u003c/strong>\u003c/p>\n\u003cp>\u003cem>This award is given to the artist(s) and songwriter(s) (for new compositions) for the best contemporary Christian music single or track, (including pop, rap/hip-hop, Latin, or rock.)\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“The Blessing (Live)” — Kari Jobe, Cody Carnes & Elevation Worship; Chris Brown, Cody Carnes, Kari Jobe Carnes & Steven Furtick, songwriters\u003c/li>\n\u003cli>“Sunday Morning” — Lecrae Featuring Kirk Franklin; Denisia Andrews, Jones Terrence Antonio, Saint Bodhi, Brittany Coney, Kirk Franklin, Lasanna Harris, Shama Joseph, Stuart Lowery, Lecrae Moore & Nathanael Saint-fleur, songwriters\u003c/li>\n\u003cli>“Holy Water” — We The Kingdom; Andrew Bergthold, Ed Cash, Franni Cash, Martin Cash & Scott Cash, songwriters\u003c/li>\n\u003cli>“Famous For (I Believe)” — Tauren Wells Featuring Jenn Johnson; Chuck Butler, Krissy Nordhoff, Jordan Sapp, Alexis Slifer & Tauren Wells, songwriters\u003c/li>\n\u003cli>“There Was Jesus” — Zach Williams & Dolly Parton; Casey Beathard, Jonathan Smith & Zach Williams, songwriters\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Gospel Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of newly recorded, vocal, traditional or contemporary/R&B gospel music recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>2econd Wind: Ready — Anthony Brown & Group Therapy\u003c/li>\n\u003cli>My Tribute — Myron Butler\u003c/li>\n\u003cli>Choirmaster — Ricky Dillard\u003c/li>\n\u003cli>Gospel According To PJ — PJ Morton\u003c/li>\n\u003cli>Kierra — Kierra Sheard\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Contemporary Christian Music Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of newly recorded, vocal, contemporary Christian music, including pop, rap/hip hop, Latin, or rock recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Run To The Father — Cody Carnes\u003c/li>\n\u003cli>All Of My Best Friends — Hillsong Young & Free\u003c/li>\n\u003cli>Holy Water — We The Kingdom\u003c/li>\n\u003cli>Citizen Of Heaven — Tauren Wells\u003c/li>\n\u003cli>Jesus Is King — Kanye West\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Roots Gospel Album \u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of newly recorded, vocal, traditional/roots gospel music, including country, Southern gospel, bluegrass, and Americana recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Beautiful Day — Mark Bishop\u003c/li>\n\u003cli>20/20 — The Crabb Family\u003c/li>\n\u003cli>What Christmas Really Means — The Erwins\u003c/li>\n\u003cli>Celebrating Fisk! (The 150th Anniversary Album) — Fisk Jubilee Singers\u003c/li>\n\u003cli>Something Beautiful — Ernie Haase & Signature Sound\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Latin Rock or Alternative Album \u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new Latin rock or alternative recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Aura — Bajofondo\u003c/li>\n\u003cli>Monstruo — Cami\u003c/li>\n\u003cli>Sobrevolando — Cultura Profética\u003c/li>\n\u003cli>La Conquista Del Espacio — Fito Paez\u003c/li>\n\u003cli>Miss Colombia — Lido Pimienta\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Regional Mexican Music Album (Including Tejano)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new regional Mexican (banda, norteño, corridos, gruperos, mariachi, ranchera and Tejano) recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Hecho En México — Alejandro Fernández\u003c/li>\n\u003cli>La Serenata — Lupita Infante\u003c/li>\n\u003cli>Un Canto Por México, Vol. 1 — Natalia Lafourcade\u003c/li>\n\u003cli>Bailando Sones Y Huapangos Con — Mariachi Sol De Mexico De Jose Hernandez — Mariachi Sol De Mexico De Jose Hernandez\u003c/li>\n\u003cli>Ayayay! — Christian Nodal\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Tropical Latin Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new tropical Latin recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Mi Tumbao — José Alberto “El Ruiseñor”\u003c/li>\n\u003cli>Infinito — Edwin Bonilla\u003c/li>\n\u003cli>Sigo Cantando Al Amor (Deluxe) — Jorge Celedon & Sergio Luis\u003c/li>\n\u003cli>40 — Grupo Niche\u003c/li>\n\u003cli>Memorias De Navidad — Víctor Manuelle\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best American Roots Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new vocal or instrumental American roots recordings. This is for performances in the style of any of the subgenres encompassed in the American roots music field including Americana, bluegrass, blues, folk or regional roots. Award to the artist(s).\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Colors” — Black Pumas\u003c/li>\n\u003cli>“Deep In Love” — Bonny Light Horseman\u003c/li>\n\u003cli>“Short And Sweet” — Brittany Howard\u003c/li>\n\u003cli>“I’ll Be Gone” — Norah Jones & Mavis Staples\u003c/li>\n\u003cli>“I Remember Everything” — John Prine\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best American Roots Song \u003c/strong>\u003c/p>\n\u003cp>\u003cem>A songwriter(s) Award. Includes Americana, bluegrass, traditional blues, contemporary blues, folk or regional roots songs. A song is eligible if it was first released or if it first achieved prominence during the eligibility year. (Artist names appear in parentheses.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Cabin” — Laura Rogers & Lydia Rogers, songwriters (The Secret Sisters)\u003c/li>\n\u003cli>“Ceiling To The Floor” — Sierra Hull & Kai Welch, songwriters (Sierra Hull)\u003c/li>\n\u003cli>“Hometown” — Sarah Jarosz, Songwriter (Sarah Jarosz)\u003c/li>\n\u003cli>“I Remember Everything” — Pat Mclaughlin & John Prine, songwriters (John\u003c/li>\n\u003cli>Prine)\u003c/li>\n\u003cli>“Man Without A Soul” — Tom Overby & Lucinda Williams, songwriters (Lucinda\u003c/li>\n\u003cli>Williams)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Bluegrass Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new vocal or instrumental bluegrass recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Man On Fire — Danny Barnes\u003c/li>\n\u003cli>To Live In Two Worlds, Vol. 1 — Thomm Jutz\u003c/li>\n\u003cli>North Carolina Songbook — Steep Canyon Rangers\u003c/li>\n\u003cli>Home — Billy Strings\u003c/li>\n\u003cli>The John Hartford Fiddle Tune Project, Vol. 1 — (Various Artists)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Traditional Blues Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new vocal or instrumental traditional blues recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>All My Dues Are Paid — Frank Bey\u003c/li>\n\u003cli>You Make Me Feel — Don Bryant\u003c/li>\n\u003cli>That’s What I Heard — Robert Cray Band\u003c/li>\n\u003cli>Cypress Grove — Jimmy “Duck” Holmes\u003c/li>\n\u003cli>Rawer Than Raw — Bobby Rush\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Folk Album \u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new vocal or instrumental folk recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Bonny Light Horseman — Bonny Light Horseman\u003c/li>\n\u003cli>Thanks For The Dance — Leonard Cohen\u003c/li>\n\u003cli>Song For Our Daughter — Laura Marling\u003c/li>\n\u003cli>Saturn Return — The Secret Sisters\u003c/li>\n\u003cli>All The Good Times — Gillian Welch & David Rawlings\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Regional Roots Music Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new vocal or instrumental regional roots music recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>My Relatives “Nikso Kowaiks” — Black Lodge Singers\u003c/li>\n\u003cli>Cameron Dupuy And The Cajun Troubadours — Cameron Dupuy And The Cajun Troubadours\u003c/li>\n\u003cli>Lovely Sunrise — Nā Wai ʽehā\u003c/li>\n\u003cli>Atmosphere — New Orleans Nightcrawlers\u003c/li>\n\u003cli>A Tribute To Al Berard — Sweet Cecilia\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Reggae Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new reggae recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Upside Down 2020 — Buju Banton\u003c/li>\n\u003cli>Higher Place — Skip Marley\u003c/li>\n\u003cli>It All Comes Back To Love — Maxi Priest\u003c/li>\n\u003cli>Got To Be Tough — Toots & The Maytals\u003c/li>\n\u003cli>One World — The Wailers\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Children’s Music Album \u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new musical or spoken word recordings that are created and intended specifically for children.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>All The Ladies — Joanie Leeds\u003c/li>\n\u003cli>Be A Pain: An Album For Young (And Old) Leaders — Alastair Moock And Friends\u003c/li>\n\u003cli>I’m An Optimist — Dog On Fleas\u003c/li>\n\u003cli>Songs For Singin’ — The Okee Dokee Brothers\u003c/li>\n\u003cli>Wild Life — Justin Roberts\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Comedy Album \u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Black Mitzvah — Tiffany Haddish\u003c/li>\n\u003cli>I Love Everything — Patton Oswalt\u003c/li>\n\u003cli>The Pale Tourist — Jim Gaffigan\u003c/li>\n\u003cli>Paper Tiger — Bill Burr\u003c/li>\n\u003cli>23 Hours To Kill — Jerry Seinfeld\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Musical Theater Album \u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new recordings. Award to the principal vocalist(s) and the album producer(s) of 51% or more playing time of the album. The lyricist(s) and composer(s) of a new score are eligible for an Award if they have written and/or composed a new score which comprises 51% or more playing time of the album.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Amélie — Audrey Brisson, Chris Jared, Caolan McCarthy & Jez Unwin, principal soloists; Michael Fentiman, Sean Patrick Flahaven, Barnaby Race & Nathan Tysen, producers; Nathan Tysen, lyricist; Daniel Messe, composer & lyricist (Original London Cast)\u003c/li>\n\u003cli>American Utopia On Broadway — David Byrne, principal soloist; David Byrne, producer (David Byrne, composer & lyricist) (Original Cast)\u003c/li>\n\u003cli>Jagged Little Pill — Kathryn Gallagher, Celia Rose Gooding, Lauren Patten & Elizabeth Stanley, principal soloists; Neal Avron, Pete Ganbarg, Tom Kitt, Michael Parker, Craig Rosen & Vivek J. Tiwary, producers (Glen Ballard & Alanis Morissette, lyricists) (Original Broadway Cast)\u003c/li>\n\u003cli>Little Shop Of Horrors — Tammy Blanchard, Jonathan Groff & Tom Alan Robbins, principal soloists; Will Van Dyke, Michael Mayer, Alan Menken & Frank Wolf, producers (Alan Menken, composer; Howard Ashman, lyricist) (The New Off-Broadway Cast)\u003c/li>\n\u003cli>The Prince Of Egypt — Christine Allado, Luke Brady, Alexia Khadime & Liam Tamne, principal soloists; Dominick Amendum & Stephen Schwartz, producers; Stephen Schwartz, composer & lyricist (Original Cast)\u003c/li>\n\u003cli>Soft Power — Francis Jue, Austin Ku, Alyse Alan Louis & Conrad Ricamora, principal soloists; Matt Stine, producer; David Henry Hwang, lyricist; Jeanine Tesori, composer & lyricist (Original Cast)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Compilation Soundtrack For Visual Media\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Award to the artist(s) and/or ‘in studio’ producer(s) of a majority of the tracks on the album. In the absence of both, award to the one or two individuals proactively responsible for the concept and musical direction of the album and for the selection of artists, songs and producers, as applicable. Award also goes to appropriately credited music supervisor(s).\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>A Beautiful Day In The Neighborhood — (Various Artists)\u003c/li>\n\u003cli>Bill & Ted Face The Music — (Various Artists)\u003c/li>\n\u003cli>Eurovision Song Contest: The Story Of Fire Saga — (Various Artists)\u003c/li>\n\u003cli>Frozen 2 — (Various Artists)\u003c/li>\n\u003cli>Jojo Rabbit — (Various Artists)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Score Soundtrack For Visual Media \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Award to composer(s) for an original score created specifically for, or as a companion to, a current legitimate motion picture, television show or series, video games or other visual media.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Ad Astra — Max Richter, composer\u003c/li>\n\u003cli>Becoming — Kamasi Washington, composer\u003c/li>\n\u003cli>Joker — Hildur Guðnadóttir, composer\u003c/li>\n\u003cli>1917 — Thomas Newman, composer\u003c/li>\n\u003cli>Star Wars: The Rise Of Skywalker — John Williams, composer\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Song Written For Visual Media \u003c/strong>\u003c/p>\n\u003cp>\u003cem>A songwriter(s) award. For a song (melody & lyrics) written specifically for a motion picture, television, video games or other visual media, and released for the first time during the eligibility year. (Artist names appear in parentheses.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Beautiful Ghosts” [From Cats] — Andrew Lloyd Webber & Taylor Swift, songwriters\u003c/li>\n\u003cli>(Taylor Swift)\u003c/li>\n\u003cli>“Carried Me With You” [From Onward] — Brandi Carlile, Phil Hanseroth & Tim Hanseroth, songwriters (Brandi Carlile)\u003c/li>\n\u003cli>“Into The Unknown” [From Frozen 2] — Kristen Anderson-Lopez & Robert Lopez, songwriters (Idina Menzel & AURORA)\u003c/li>\n\u003cli>“No Time To Die” [From No Time To Die] — Billie Eilish O’Connell & Finneas Baird O’Connell, songwriters (Billie Eilish)\u003c/li>\n\u003cli>“Stand Up” [From Harriet] — Joshuah Brian Campbell & Cynthia Erivo, songwriters\u003c/li>\n\u003cli>(Cynthia Erivo)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Instrumental Composition\u003c/strong>\u003c/p>\n\u003cp>\u003cem>A composer’s award for an original composition (not an\u003c/em>\u003c/p>\n\u003cp>\u003cem>adaptation) first released during the eligibility year. Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Baby Jack” — Arturo O’Farrill, composer (Arturo O’Farrill & The Afro Latin Jazz Orchestra)\u003c/li>\n\u003cli>“Be Water Ii” — Christian Sands, composer (Christian Sands)\u003c/li>\n\u003cli>“Plumfield” — Alexandre Desplat, composer (Alexandre Desplat)\u003c/li>\n\u003cli>“Sputnik” — Maria Schneider, composer (Maria Schneider)\u003c/li>\n\u003cli>“Strata” — Remy Le Boeuf, composer (Remy Le Boeuf’s Assembly Of Shadows Featuring Anna Webber & Eric Miller)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Arrangement, Instrumental or A Cappella\u003c/strong>\u003c/p>\n\u003cp>\u003cem>An arranger’s award. (Artist names appear in parentheses.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Bathroom Dance” — Hildur Guðnadóttir, arranger (Hildur Guðnadóttir)\u003c/li>\n\u003cli>“Donna Lee” — John Beasley, arranger (John Beasley)\u003c/li>\n\u003cli>“Honeymooners” — Remy Le Boeuf, arranger (Remy Le Boeuf’s Assembly Of Shadows)\u003c/li>\n\u003cli>“Lift Every Voice And Sing” — Alvin Chea & Jarrett Johnson, arrangers (Jarrett Johnson Featuring Alvin Chea)\u003c/li>\n\u003cli>“Uranus: The Magician” — Jeremy Levy, arranger (Jeremy Levy Jazz Orchestra)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Arrangement, Instruments and Vocals\u003c/strong>\u003c/p>\n\u003cp>\u003cem>An arranger’s award. (Artist names appear in parentheses.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Asas Fechadas” — John Beasley & Maria Mendes, arrangers (Maria Mendes ft. John Beasley & Orkest Metropole)\u003c/li>\n\u003cli>“Desert Song” — Erin Bentlage, Sara Gazarek, Johnaye Kendrick & Amanda Taylor, arrangers (Säje)\u003c/li>\n\u003cli>“From This Place” — Alan Broadbent & Pat Metheny, arrangers (Pat Metheny ft. Meshell Ndegeocello)\u003c/li>\n\u003cli>“He Won’t Hold You” — Jacob Collier, arranger (Jacob Collier ft. Rapsody)\u003c/li>\n\u003cli>“Slow Burn” — Talia Billig, Nic Hard & Becca Stevens, arrangers (Becca Stevens Featuring Jacob Collier, Mark Lettieri, Justin Stanton, Jordan Perlson, Nic Hard, Keita Ogawa, Marcelo Woloski & Nate Werth)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Recording Package\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Everyday Life — Pilar Zeta, art director (Coldplay)\u003c/li>\n\u003cli>Funeral — Kyle Goen, art director (Lil Wayne)\u003c/li>\n\u003cli>Healer — Julian Gross & Hannah Hooper, art directors (Grouplove)\u003c/li>\n\u003cli>On Circles — Jordan Butcher, art director (Caspian)\u003c/li>\n\u003cli>Vols. 11 & 12 — Doug Cunningham & Jason Noto, art directors (Desert Sessions)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Boxed Or Special Limited Edition Package\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Flaming Pie (Collector’s Edition) — Linn Wie Andersen, Simon Earith, Paul McCartney & James Musgrave, art directors (Paul McCartney)\u003c/li>\n\u003cli>Giants Stadium 1987, 1989, 1991 — Lisa Glines & Doran Tyson, art directors (Grateful Dead)\u003c/li>\n\u003cli>Mode — Jeff Schulz, art director (Depeche Mode)\u003c/li>\n\u003cli>Ode To Joy — Lawrence Azerrad & Jeff Tweedy, art directors (Wilco)\u003c/li>\n\u003cli>The Story Of Ghostly International — Michael Cina & Molly Smith, art directors (Various\u003c/li>\n\u003cli>Artists)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Album Notes\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>At The Minstrel Show: Minstrel Routines From The Studio, 1894-1926 — Tim Brooks, album notes writer (Various Artists)\u003c/li>\n\u003cli>The Bakersfield Sound: Country Music Capital Of The West, 1940-1974 — Scott B. Bomar, album notes writer (Various Artists)\u003c/li>\n\u003cli>Dead Man’s Pop — Bob Mehr, album notes writer (The Replacements)\u003c/li>\n\u003cli>The Missing Link: How Gus Haenschen Got Us From Joplin To Jazz And Shaped The Music Business — Colin Hancock, album notes writer (Various Artists)\u003c/li>\n\u003cli>Out Of A Clear Blue Sky — David Sager, album notes writer (Nat Brusiloff)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Historical Album\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Celebrated, 1895-1896 — Meagan Hennessey & Richard Martin, compilation producers; Richard Martin, mastering engineer (Unique Quartette)\u003c/li>\n\u003cli>Hittin’ The Ramp: The Early Years (1936 – 1943) — Zev Feldman, Will Friedwald & George Klabin, compilation producers; Matthew Lutthans, mastering engineer (Nat King Cole)\u003c/li>\n\u003cli>It’s Such A Good Feeling: The Best Of Mister Rogers — Lee Lodyga & Cheryl Pawelski, compilation producers; Michael Graves, mastering engineer (Mister Rogers)\u003c/li>\n\u003cli>1999 Super Deluxe Edition — Michael Howe, compilation producer; Bernie Grundman, mastering engineer (Prince)\u003c/li>\n\u003cli>Souvenir — Carolyn Agger, compilation producer; Miles Showell, mastering engineer (Orchestral Manoeuvres In The Dark)\u003c/li>\n\u003cli>Throw Down Your Heart: The Complete Africa Sessions — Béla Fleck, compilation producer; Richard Dodd, mastering engineer (Béla Fleck)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Engineered Album, Non-Classical\u003c/strong>\u003c/p>\n\u003cp>\u003cem>An engineer’s award. (Artists’ names appear in parentheses.)\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Black Hole Rainbow — Shawn Everett & Ivan Wayman, engineers; Bob Ludwig,\u003c/li>\n\u003cli>mastering engineer (Devon Gilfillian)\u003c/li>\n\u003cli>Expectations — Gary Paczosa & Mike Robinson, engineers; Paul Blakemore, mastering engineer (Katie Pruitt)\u003c/li>\n\u003cli>Hyperspace — Drew Brown, Andrew Coleman, Shawn Everett, Serban Ghenea, David Greenbaum, Jaycen Joshua & Mike Larson, engineers; Randy Merrill, mastering engineer (Beck)\u003c/li>\n\u003cli>Jaime — Shawn Everett, engineer; Shawn Everett, mastering engineer (Brittany Howard)\u003c/li>\n\u003cli>25 Trips — Shani Gandhi & Gary Paczosa, engineers; Adam Grover,\u003c/li>\n\u003cli>mastering engineer (Sierra Hull)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Producer Of The Year \u003c/strong>\u003c/p>\n\u003cp>\u003cem>A producer’s award.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Jack Antonoff\u003c/li>\n\u003cli>Dan Auerbach\u003c/li>\n\u003cli>Dave Cobb\u003c/li>\n\u003cli>Flying Lotus\u003c/li>\n\u003cli>Andrew Watt\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Remixed Recording \u003c/strong>\u003c/p>\n\u003cp>\u003cem>A remixer’s award. (Artists’ names appear in parentheses for identification.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Do You Ever (RAC Mix)” — RAC, remixer (Phil Good)\u003c/li>\n\u003cli>“Imaginary Friends (Morgan Page Remix)” — Morgan Page, remixer (Deadmau5)\u003c/li>\n\u003cli>“Praying For You (Louie Vega Main Remix)” — Louie Vega, remixer (Jasper Street Co.)\u003c/li>\n\u003cli>“Roses (Imanbek Remix)” — Imanbek Zeikenov, remixer (SAINt JHN)\u003c/li>\n\u003cli>“Young & Alive (Bazzi Vs. Haywyre Remix)” — Haywyre, remixer (Bazzi)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Engineered Album, Classical \u003c/strong>\u003c/p>\n\u003cp>\u003cem>An engineer’s award. (Artist names appear in parentheses.)\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Danielpour: The Passion Of Yeshua — Bernd Gottinger, engineer (JoAnn Falletta, James K. Bass, Adam Luebke, UCLA Chamber Singers, Buffalo Philharmonic Orchestra & Buffalo Philharmonic Chorus)\u003c/li>\n\u003cli>Gershwin: Porgy And Bess — David Frost & John Kerswell, engineers; Silas Brown, mastering engineer (David Robertson, Eric Owens, Angel Blue, Metropolitan Opera Orchestra & Chorus)\u003c/li>\n\u003cli>Hynes: Fields — Kyle Pyke, engineer; Jesse Lewis & Kyle Pyke, mastering engineers (Devonté Hynes & Third Coast Percussion)\u003c/li>\n\u003cli>Ives: Complete Symphonies — Alexander Lipay & Dmitriy Lipay, engineers; Alexander Lipay & Dmitriy Lipay, mastering engineers (Gustavo Dudamel & Los Angeles Philharmonic)\u003c/li>\n\u003cli>Shostakovich: Symphony No. 13, ‘Babi Yar’ — David Frost & Charlie Post, engineers; Silas Brown, mastering engineer (Riccardo Muti & Chicago Symphony Orchestra)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Producer Of The Year, Classical \u003c/strong>\u003c/p>\n\u003cp>\u003cem>A producer’s award. (Artist names appear in parentheses.)\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Blanton Alspaugh\u003c/li>\n\u003cli>David Frost\u003c/li>\n\u003cli>Jesse Lewis\u003c/li>\n\u003cli>Dmitriy Lipay\u003c/li>\n\u003cli>Elaine Martone\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Orchestral Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Award to the conductor and to the orchestra.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Aspects Of America – Pulitzer Edition” — Carlos Kalmar, conductor (Oregon Symphony)\u003c/li>\n\u003cli>“Concurrence” — Daníel Bjarnason, conductor (Iceland Symphony Orchestra)\u003c/li>\n\u003cli>“Copland: Symphony No. 3” — Michael Tilson Thomas, conductor (San Francisco Symphony)\u003c/li>\n\u003cli>“Ives: Complete Symphonies” — Gustavo Dudamel, conductor (Los Angeles Philharmonic)\u003c/li>\n\u003cli>“Lutosławski: Symphonies Nos. 2 & 3” — Hannu Lintu, conductor (Finnish Radio Symphony Orchestra)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Opera Recording\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Award to the conductor, album producer(s) and principal soloists.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Dello Joio: The Trial At Rouen” — Gil Rose, conductor; Heather Buck & Stephen Powell; Gil Rose, producer (Boston Modern Orchestra Project; Odyssey Opera Chorus)\u003c/li>\n\u003cli>“Floyd, C.: Prince Of Players” — William Boggs, conductor; Keith Phares & Kate Royal; Blanton Alspaugh, producer (Milwaukee Symphony Orchestra; Florentine Opera Chorus)\u003c/li>\n\u003cli>“Gershwin: Porgy And Bess” — David Robertson, conductor; Angel Blue & Eric Owens; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)\u003c/li>\n\u003cli>“Handel: Agrippina” — Maxim Emelyanychev, conductor; Joyce DiDonato; Daniel Zalay, producer (Il Pomo D’Oro)\u003c/li>\n\u003cli>“Zemlinsky: Der Zwerg” — Donald Runnicles, conductor; David Butt Philip & Elena Tsallagova; Peter Ghirardini & Erwin Stürzer, producers (Orchestra Of The Deutsche Oper Berlin; Chorus Of The Deutsche Oper Berlin)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Choral Performance \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Award to the conductor, and to the choral director and/or chorus master where applicable and to the choral organization/ensemble.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Carthage” — Donald Nally, conductor (The Crossing)\u003c/li>\n\u003cli>“Danielpour: The Passion Of Yeshua” — JoAnn Falletta, conductor; James K. Bass & Adam Luebke, chorus masters (James K. Bass, J’Nai Bridges, Timothy Fallon, Kenneth Overton, Hila Plitmann & Matthew Worth; Buffalo Philharmonic Orchestra; Buffalo Philharmonic Chorus & UCLA Chamber Singers)\u003c/li>\n\u003cli>“Kastalsky: Requiem” — Leonard Slatkin, conductor; Charles Bruffy, Steven Fox & Benedict Sheehan, chorus masters (Joseph Charles Beutel & Anna Dennis; Orchestra Of St. Luke’s; Cathedral Choral Society, The Clarion Choir, Kansas City Chorale & The Saint Tikhon Choir)\u003c/li>\n\u003cli>“Moravec: Sanctuary Road” — Kent Tritle, conductor (Joshua Blue, Raehann Bryce-Davis, Dashon Burton, Malcolm J. Merriweather & Laquita Mitchell; Oratorio Society Of New York Orchestra; Oratorio Society Of New York Chorus)\u003c/li>\n\u003cli>“Once Upon A Time” — Matthew Guard, conductor (Sarah Walker; Skylark Vocal Ensemble)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Chamber Music/Small Ensemble Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new recordings of works with chamber or small ensemble (twenty-four or fewer members, not including the conductor). One award to the ensemble and one award to the conductor, if applicable.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Contemporary Voices” — Pacifica Quartet\u003c/li>\n\u003cli>“Healing Modes” — Brooklyn Rider\u003c/li>\n\u003cli>“Hearne, T.: Place” — Ted Hearne, Steven Bradshaw, Sophia Byrd, Josephine Lee, Isaiah Robinson, Sol Ruiz, Ayanna Woods & Place Orchestra\u003c/li>\n\u003cli>“Hynes: Fields” — Devonté Hynes & Third Coast Percussion\u003c/li>\n\u003cli>“The Schumann Quartets” — Dover Quartet\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Classical Instrumental Solo \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Award to the instrumental soloist(s) and to the conductor when applicable.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Adès: Concerto For Piano And Orchestra” — Kirill Gerstein; Thomas Adès, conductor (Boston Symphony Orchestra)\u003c/li>\n\u003cli>“Beethoven: Complete Piano Sonatas” — Igor Levit\u003c/li>\n\u003cli>“Bohemian Tales” — Augustin Hadelich; Jakub Hrůša, conductor (Charles Owen; Symphonieorchester Des Bayerischen Rundfunks)\u003c/li>\n\u003cli>“Destination Rachmaninov – Arrival” — Daniil Trifonov; Yannick Nézet-Séguin, conductor (The Philadelphia Orchestra)\u003c/li>\n\u003cli>“Theofanidis: Concerto For Viola And Chamber Orchestra” — Richard O’Neill; David Alan Miller, conductor (Albany Symphony)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Classical Solo Vocal Album \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Award to: vocalist(s), collaborative artist(s) (Ex: pianists, conductors, chamber groups) producer(s), recording engineers/mixers with 51% or more playing time of new material.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>American Composers At Play – William Bolcom, Ricky Ian Gordon, Lori Laitman, John Musto — Stephen Powell (Attacca Quartet, William Bolcom, Ricky Ian Gordon, Lori Laitman, John Musto, Charles Neidich & Jason Vieaux)\u003c/li>\n\u003cli>Clairières – Songs By Lili & Nadia Boulanger — Nicholas Phan; Myra Huang, accompanist\u003c/li>\n\u003cli>Farinelli — Cecilia Bartoli; Giovanni Antonini, conductor (Il Giardino Armonico)\u003c/li>\n\u003cli>A Lad’s Love — Brian Giebler; Steven McGhee, accompanist (Katie Hyun, Michael Katz, Jessica Meyer, Reginald Mobley & Ben Russell)\u003c/li>\n\u003cli>Smyth: The Prison — Sarah Brailey & Dashon Burton; James Blachly, conductor (Experiential Chorus; Experiential Orchestra)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Classical Compendium\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Award to the artist(s) and to the album producer(s) and engineer(s) of over 51% playing time of the album, if other than the artist.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Adès Conducts Adès — Mark Stone & Christianne Stotijn; Thomas Adès, conductor; Nick Squire, producer\u003c/li>\n\u003cli>Saariaho: Graal Théâtre; Circle Map; Neiges; Vers Toi Qui Es Si Loin — Clément Mao-Takacs, conductor; Hans Kipfer, producer\u003c/li>\n\u003cli>Serebrier: Symphonic Bach Variations; Laments And Hallelujahs; Flute Concerto — José Serebrier, conductor; Jens Braun, producer\u003c/li>\n\u003cli>Thomas, M.T.: From The Diary Of Anne Frank & Meditations On Rilke — Isabel Leonard; Michael Tilson Thomas, conductor; Jack Vad, producer\u003c/li>\n\u003cli>Woolf, L.P.: Fire And Flood — Matt Haimovitz; Julian Wachner, conductor; Blanton Alspaugh, producer\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Contemporary Classical Composition\u003c/strong>\u003c/p>\n\u003cp>\u003cem>A composer’s award. (For a contemporary classical composition composed within the last 25 years, and released for the first time during the eligibility year.) Award to the librettist, if applicable.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Adès: Concerto For Piano And Orchestra” — Thomas Adès, composer (Kirill Gerstein, Thomas Adès & Boston Symphony Orchestra)\u003c/li>\n\u003cli>“Danielpour: The Passion Of Yeshua” — Richard Danielpour, composer (JoAnn Falletta, James K. Bass, Adam Luebke, UCLA Chamber Singers, Buffalo Philharmonic Orchestra & Buffalo Philharmonic Chorus)\u003c/li>\n\u003cli>“Floyd, C.: Prince Of Players” — Carlisle Floyd, composer (William Boggs, Kate Royal, Keith Phares, Florentine Opera Chorus & Milwaukee Symphony Orchestra)\u003c/li>\n\u003cli>“Hearne, T.: Place” — Ted Hearne, composer (Ted Hearne, Steven Bradshaw, Sophia Byrd, Josephine Lee, Isaiah Robinson, Sol Ruiz, Ayanna Woods & Place Orchestra)\u003c/li>\n\u003cli>“Rouse: Symphony No. 5” — Christopher Rouse, composer (Giancarlo Guerrero &\u003c/li>\n\u003cli>Nashville Symphony)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Music Video\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Award to the artist, video director, and video producer.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Brown Skin Girl” — Beyoncé; Beyoncé Knowles-Carter & Jenn Nkiru, video directors; Lauren Baker, Astrid Edwards, Nathan Scherrer & Erinn Williams, video producers\u003c/li>\n\u003cli>“Life Is Good” — Future ft. Drake; Julien Christian Lutz, video director; Harv Glazer, video producer\u003c/li>\n\u003cli>“Lockdown” — Anderson .Paak; Dave Meyers, video director; Nathan Scherrer, video producer\u003c/li>\n\u003cli>“Adore You” — Harry Styles; Dave Meyers, video director; Nathan Scherrer, video producer\u003c/li>\n\u003cli>“Goliath” — Woodkid; Yoann Lemoine, video director\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9%2C+Dua+Lipa+Headline+2021+Grammy+Nominations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Recording Academy announced its 2021 Grammy nominations on Tuesday, with Beyoncé, rising pop star Dua Lipa and stoner superstar Post Malone leading a diffuse field.\u003c/p>\n\u003cp>Beyonce features on two songs in the record of the year category, which essentially rewards the year’s best single: the remix of Megan Thee Stallion’s “Savage” and her own “Black Parade.” The latter was also nominated for song of the year, which is awarded to the winner’s songwriters.\u003c/p>\n\u003cp>The Grammys made several changes to its structure this year, including increasing its voting membership\u003ca href=\"https://www.grammy.com/press-releases/recording-academy%C2%AE-invites-2300-qualified-music-creators-and-professionals-join-its\" target=\"_blank\" rel=\"noopener noreferrer\"> by 2,300\u003c/a> and tweaking its nominations process after years of criticism over a lack of diversity amid the ceremony’s top categories. The moves were meant to “to evolve with the musical landscape and to ensure that the … nominating process and rules are more transparent and fair,” according to \u003ca href=\"https://www.grammy.com/press-releases/recording-academy%C2%AE-adopts-major-changes-63rd-annual-grammys%C2%AE-and-releases-rules\" target=\"_blank\" rel=\"noopener noreferrer\">a statement on its website\u003c/a>.\u003c/p>\n\u003cp>The Academy also made its\u003ca href=\"https://www.grammy.com/sites/com/files/2020rulebook.pdf\" target=\"_blank\" rel=\"noopener noreferrer\"> rules and guidelines\u003c/a> public for the first time, including definitions for previously murky eligibility requirements and voting guidelines. It also changed the names of several categories—the Latin Pop Album category was renamed to the slightly more-inclusive Best Latin Pop Or Urban Album—and instituted a method for flagging conflicts of interest on its still-secretive Nominations Review Committees, whose members are not made public.\u003c/p>\n\u003cp>In addition, the Academy made several personnel changes, most notably \u003ca href=\"https://www.npr.org/2020/03/02/811309417/the-recording-academy-fires-deborah-dugan-its-short-lived-leader\" target=\"_blank\" rel=\"noopener noreferrer\">the firing its first female CEO, Deborah Dugan\u003c/a>, after less than a year on the job. Dugan had accused the Academy of being “rigged” and “corrupt,” while the Academy had said she was terminated following a confidential investigation into allegations that Dugan had bullied a senior member of the Academy. Former Google executive Valeisha Butterfield Jones was appointed to Chief Diversity & Inclusion Officer, a new position created in response to \u003ca href=\"https://www.grammy.com/sites/com/files/final_task_force_report.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">recommendations\u003c/a> made by a task force focused on diversity and inclusion. She will “design, build and implement world-class programs and industry standards focused on inclusion, belonging and representation for underrepresented communities and creators.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The results of these efforts at the top of the marquee are mixed. The eight nominations in the album of the year category, for example, are gender-diverse but mostly white, save for the rock group Black Pumas and the multi-racial pop singer Jhené Aiko. Record of the year nominees form a richer field, including the fast-rising rapper DaBaby, pop provocateur Doja Cat and the aforementioned Megan Thee Stallion. All of the nominees for best pop vocal album are white artists.\u003c/p>\n\u003ch3>The 2021 Grammy Award Nominations\u003c/h3>\n\u003cp>\u003cstrong>Record Of The Year\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Awarded to the artist and producer(s), recording engineer(s), mixer(s) and mastering engineer(s), if other than the artist.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Black Parade” — Beyoncé\u003c/li>\n\u003cli>“Colors” — Black Pumas\u003c/li>\n\u003cli>“Rockstar” — DaBaby Featuring Roddy Ricch\u003c/li>\n\u003cli>“Say So” — Doja Cat\u003c/li>\n\u003cli>“Everything I Wanted” — Billie Eilish\u003c/li>\n\u003cli>“Don’t Start Now” — Dua Lipa\u003c/li>\n\u003cli>“Circles” — Post Malone\u003c/li>\n\u003cli>“Savage” — Megan Thee Stallion Featuring Beyoncé\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Song Of The Year\u003c/strong>\u003c/p>\n\u003cp>\u003cem>A songwriter(s) award. A song is eligible if it was first released or if it first achieved prominence during the eligibility year. (Recording artists’ names appear in parentheses.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Black Parade” — Denisia Andrews, Beyoncé, Stephen Bray, Shawn Carter, Brittany Coney, Derek James Dixie, Akil King, Kim “Kaydence” Krysiuk & Rickie “Caso” Tice, songwriters (Beyoncé)\u003c/li>\n\u003cli>“The Box” — Samuel Gloade & Rodrick Moore, songwriters (Roddy Ricch)\u003c/li>\n\u003cli>“Cardigan” — Aaron Dessner & Taylor Swift, songwriters (Taylor Swift)\u003c/li>\n\u003cli>“Circles” — Louis Bell, Adam Feeney, Kaan Gunesberk, Austin Post & Billy Walsh, songwriters (Post Malone)\u003c/li>\n\u003cli>“Don’t Start Now” — Caroline Ailin, Ian Kirkpatrick, Dua Lipa & Emily Warren, songwriters (Dua Lipa)\u003c/li>\n\u003cli>“Everything I Wanted” — Billie Eilish O’Connell & Finneas O’Connell, songwriters (Billie Eilish)\u003c/li>\n\u003cli>“I Can’t Breathe” — Dernst Emile II, H.E.R. & Tiara Thomas, songwriters (H.E.R.)\u003c/li>\n\u003cli>“If The World Was Ending” — Julia Michaels & JP Saxe, songwriters (JP Saxe Featuring Julia Michaels)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Album Of The Year\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Awarded to artist(s) and to featured artist(s), songwriter(s) of new material, producer(s), recording engineer(s), mixing and mastering engineer(s) credited with at least 33% playing time of the album, if other than the artist.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Chilombo \u003c/em>— Jhené Aiko\u003c/li>\n\u003cli>\u003cem>Black Pumas (Deluxe Edition) \u003c/em>— Black Pumas\u003c/li>\n\u003cli>\u003cem>Everyday Life\u003c/em> — Coldplay\u003c/li>\n\u003cli>\u003cem>Djesse Vol. 3 \u003c/em>— Jacob Collier\u003c/li>\n\u003cli>\u003cem>Women In Music Pt. III \u003c/em>— Haim\u003c/li>\n\u003cli>\u003cem>Future Nostalgia \u003c/em>— Dua Lipa\u003c/li>\n\u003cli>\u003cem>Hollywood’s Bleeding\u003c/em> — Post Malone\u003c/li>\n\u003cli>\u003cem>Folklore \u003c/em>— Taylor Swift\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best New Artist\u003c/strong>\u003c/p>\n\u003cp>\u003cem>This category recognizes an artist whose eligibility-year release(s) achieved a breakthrough into the public consciousness and notably impacted the musical landscape.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Ingrid Andress\u003c/li>\n\u003cli>Phoebe Bridgers\u003c/li>\n\u003cli>Chika\u003c/li>\n\u003cli>Noah Cyrus\u003c/li>\n\u003cli>D Smoke\u003c/li>\n\u003cli>Doja Cat\u003c/li>\n\u003cli>Kaytranada\u003c/li>\n\u003cli>Megan Thee Stallion\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Pop Duo/Group Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new vocal or instrumental duo/group or collaborative pop recordings. Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Un Dia (One Day)” — J Balvin, Dua Lipa, Bad Bunny & Tainy\u003c/li>\n\u003cli>“Intentions” — Justin Bieber Featuring Quavo\u003c/li>\n\u003cli>“Dynamite” — BTS\u003c/li>\n\u003cli>“Rain On Me” — Lady Gaga with Ariana Grande\u003c/li>\n\u003cli>“Exile” — Taylor Swift Featuring Bon Iver\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Pop Vocal Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing of new pop vocal recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Changes \u003c/em>— Justin Bieber\u003c/li>\n\u003cli>\u003cem>Chromatica\u003c/em> — Lady Gaga\u003c/li>\n\u003cli>\u003cem>Future Nostalgia \u003c/em>— Dua Lipa\u003c/li>\n\u003cli>\u003cem>Fine Line \u003c/em>— Harry Styles\u003c/li>\n\u003cli>\u003cem>Folklore \u003c/em>— Taylor Swift\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Dance/Electronic Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For vocal or instrumental albums.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Kick I\u003c/em> — Arca\u003c/li>\n\u003cli>\u003cem>Planet’s Mad\u003c/em> — Baauer\u003c/li>\n\u003cli>\u003cem>Energy \u003c/em>— Disclosure\u003c/li>\n\u003cli>\u003cem>Bubba\u003c/em> — Kaytranada\u003c/li>\n\u003cli>\u003cem>Good Faith\u003c/em> — Madeon\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Rock Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new vocal or instrumental solo, duo/group or collaborative rock recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Shameika” — Fiona Apple\u003c/li>\n\u003cli>“Not” — Big Thief\u003c/li>\n\u003cli>“Kyoto” — Phoebe Bridgers\u003c/li>\n\u003cli>“The Steps” — HAIM\u003c/li>\n\u003cli>“Stay High” — Brittany Howard\u003c/li>\n\u003cli>“Daylight” — Grace Potter\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Progressive R&B Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of newly recorded progressive vocal tracks derivative of R&B.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Chilombo \u003c/em>—Jhené Aiko\u003c/li>\n\u003cli>\u003cem>Ungodly Hour\u003c/em> — Chloe X Halle\u003c/li>\n\u003cli>\u003cem>Free Nationals \u003c/em>— Free Nationals\u003c/li>\n\u003cli>\u003cem>F*** Yo Feelings \u003c/em>— Robert Glasper\u003c/li>\n\u003cli>\u003cem>It Is What It Is \u003c/em>— Thundercat\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Rap Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For a rap performance. Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Deep Reverence” — Big Sean Featuring Nipsey Hussle\u003c/li>\n\u003cli>“Bop” — DaBaby\u003c/li>\n\u003cli>“What’s Poppin” — Jack Harlow\u003c/li>\n\u003cli>“The Bigger Picture” — Lil Baby\u003c/li>\n\u003cli>“Savage” — Megan Thee Stallion Featuring Beyoncé\u003c/li>\n\u003cli>“Dior” — Pop Smoke\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Country Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new country recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Lady Like\u003c/em>— Ingrid Andress\u003c/li>\n\u003cli>\u003cem>Your Life Is A Record\u003c/em>— Brandy Clark\u003c/li>\n\u003cli>\u003cem>Wildcard \u003c/em>— Miranda Lambert\u003c/li>\n\u003cli>\u003cem>Nightfall\u003c/em>— Little Big Town\u003c/li>\n\u003cli>\u003cem>Never Will \u003c/em>— Ashley McBryde\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Jazz Vocal Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new vocal jazz recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Ona \u003c/em>— Thana Alexa\u003c/li>\n\u003cli>\u003cem>Secrets Are The Best Stories\u003c/em> — Kurt Elling Featuring Danilo Pérez\u003c/li>\n\u003cli>\u003cem>Modern Ancestors\u003c/em> — Carmen Lundy\u003c/li>\n\u003cli>\u003cem>Holy Room: Live At Alte Oper \u003c/em>— Somi With Frankfurt Radio Big Band\u003c/li>\n\u003cli>\u003cem>What’s The Hurry\u003c/em> — Kenny Washington\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Latin Pop or Urban Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new Latin pop or urban recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>YHLQMDLG\u003c/em>— Bad Bunny\u003c/li>\n\u003cli>\u003cem>Por Primera Vez\u003c/em> — Camilo\u003c/li>\n\u003cli>\u003cem>Mesa Para Dos\u003c/em> — Kany García\u003c/li>\n\u003cli>\u003cem>Pausa\u003c/em> — Ricky Martin\u003c/li>\n\u003cli>\u003cem>3:33\u003c/em> — Debi Nova\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Americana Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new vocal or instrumental Americana recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Old Flowers\u003c/em> — Courtney Marie Andrews\u003c/li>\n\u003cli>\u003cem>Terms Of Surrender \u003c/em>— Hiss Golden Messenger\u003c/li>\n\u003cli>\u003cem>World On The Ground \u003c/em>— Sarah Jarosz\u003c/li>\n\u003cli>\u003cem>El Dorado\u003c/em> — Marcus King\u003c/li>\n\u003cli>\u003cem>Good Souls Better Angels \u003c/em>— Lucinda Williams\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Contemporary Blues Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new vocal or instrumental contemporary blues recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Have You Lost Your Mind Yet?\u003c/em> — Fantastic Negrito\u003c/li>\n\u003cli>\u003cem>Live At The Paramount \u003c/em>— Ruthie Foster Big Band\u003c/li>\n\u003cli>\u003cem>The Juice \u003c/em>— G. Love\u003c/li>\n\u003cli>\u003cem>Blackbirds\u003c/em> — Bettye LaVette\u003c/li>\n\u003cli>\u003cem>Up And Rolling \u003c/em>— North Mississippi Allstars\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Global Music Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new vocal or instrumental global music recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>FU Chronicles\u003c/em> — Antibalas\u003c/li>\n\u003cli>\u003cem>Twice As Tall \u003c/em>— Burna Boy\u003c/li>\n\u003cli>\u003cem>Agora \u003c/em>— Bebel Gilberto\u003c/li>\n\u003cli>\u003cem>Love Letters\u003c/em> — Anoushka Shankar\u003c/li>\n\u003cli>\u003cem>Amadjar \u003c/em>— Tinariwen\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Spoken Word Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Includes poetry, audio books and storytelling.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Acid For The Children: A Memoir \u003c/em>— Flea\u003c/li>\n\u003cli>\u003cem>Alex Trebek – The Answer Is…\u003c/em> — Ken Jennings\u003c/li>\n\u003cli>\u003cem>Blowout: Corrupted Democracy, Rogue State Russia, And The Richest, Most Destructive Industry On Earth\u003c/em> — Rachel Maddow\u003c/li>\n\u003cli>\u003cem>Catch And Kill\u003c/em> — Ronan Farrow\u003c/li>\n\u003cli>\u003cem>Charlotte’s Web (E.B. White)\u003c/em> — Meryl Streep (& Full Cast)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Music Film\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For concert/performance films or music documentaries. Award to the artist, video director and video producer.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Beastie Boys Story \u003c/em>— Beastie Boys\u003c/li>\n\u003cli>\u003cem>Black Is King\u003c/em> — Beyoncé\u003c/li>\n\u003cli>\u003cem>We Are Freestyle Love Supreme\u003c/em> — Freestyle Love Supreme\u003c/li>\n\u003cli>\u003cem>Linda Ronstadt: The Sound Of My Voice\u003c/em> — Linda Ronstadt\u003c/li>\n\u003cli>\u003cem>That Little Ol’ Band From Texas\u003c/em> — ZZ Top\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Pop Solo Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new vocal or instrumental pop recordings. Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Yummy” — Justin Bieber\u003c/li>\n\u003cli>“Say So” — Doja Cat\u003c/li>\n\u003cli>“Everything I Wanted” — Billie Eilish\u003c/li>\n\u003cli>“Don’t Start Now” — Dua Lipa\u003c/li>\n\u003cli>“Watermelon Sugar” — Harry Styles\u003c/li>\n\u003cli>“Cardigan” — Taylor Swift\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Traditional Pop Vocal Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new traditional pop recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Blue Umbrella — (Burt Bacharach &) Daniel Tashian\u003c/li>\n\u003cli>True Love: A Celebration Of Cole Porter — Harry Connick, Jr.\u003c/li>\n\u003cli>American Standard — James Taylor\u003c/li>\n\u003cli>Unfollow The Rules — Rufus Wainwright\u003c/li>\n\u003cli>Judy — Renée Zellweger\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Dance Recording\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For solo, duo, group or collaborative performances. Vocal or instrumental. Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“On My Mind” — Diplo & SIDEPIECE (Diplo & SIDEPIECE, producers; Luca Pretolesi, mixer)\u003c/li>\n\u003cli>“My High” — Disclosure ft. Aminé & Slowthai (Guy Lawrence & Howard Lawrence, producers; Guy Lawrence, mixer)\u003c/li>\n\u003cli>“The Difference” — Flume ft. Toro y Moi (Flume, producer; Eric J Dubowsky, mixer)\u003c/li>\n\u003cli>“Both Of Us” — Jayda G (Fred Again.. & Jayda G, producers; Fred Again.. & Jayda G, mixers)\u003c/li>\n\u003cli>“10%” — Kaytranada ft. Kali Uchis (Kaytranada, producer; Neal H. Pogue, mixer)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Contemporary Instrumental Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing approximately 51% or more playing time of instrumental material. For albums containing at least 51% playing time of new recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Axiom — Christian Scott Atunde Adjuah\u003c/li>\n\u003cli>Chronology Of A Dream: Live At The Village Vanguard — Jon Batiste\u003c/li>\n\u003cli>Take The Stairs — Black Violin\u003c/li>\n\u003cli>Americana — Grégoire Maret, Romain Collin & Bill Frisell\u003c/li>\n\u003cli>Live At The Royal Albert Hall — Snarky Puppy\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Metal Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new vocal or instrumental solo, duo/group or collaborative metal recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Bum-Rush” — Body Count\u003c/li>\n\u003cli>“Underneath” — Code Orange\u003c/li>\n\u003cli>“The In-Between” — In This Moment\u003c/li>\n\u003cli>“Bloodmoney” — Poppy\u003c/li>\n\u003cli>“Executioner’s Tax (Swing Of The Axe) – Live” — Power Trip\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Rock Song\u003c/strong>\u003c/p>\n\u003cp>\u003cem>A songwriter(s) Award. Includes rock, hard rock and metal songs. A song is eligible if it was first released or if it first achieved prominence during the eligibility year. (Artist names appear in parentheses.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Kyoto” — Phoebe Bridgers, Morgan Nagler & Marshall Vore, songwriters (Phoebe Bridgers)\u003c/li>\n\u003cli>“Lost In Yesterday” — Kevin Parker, songwriter (Tame Impala)\u003c/li>\n\u003cli>“Not” — Adrianne Lenker, songwriter (Big Thief)\u003c/li>\n\u003cli>“Shameika” — Fiona Apple, songwriter (Fiona Apple)\u003c/li>\n\u003cli>“Stay High” — Brittany Howard, songwriter (Brittany Howard)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Rock Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new rock, hard\u003c/em>\u003c/p>\n\u003cp>\u003cem>rock or metal recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>A Hero’s Death — Fontaines D.C.\u003c/li>\n\u003cli>Kiwanuka — Michael Kiwanuka\u003c/li>\n\u003cli>Daylight — Grace Potter\u003c/li>\n\u003cli>Sound & Fury — Sturgill Simpson\u003c/li>\n\u003cli>The New Abnormal — The Strokes\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Alternative Music Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Vocal or instrumental.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Fetch The Bolt Cutters — Fiona Apple\u003c/li>\n\u003cli>Hyperspace — Beck\u003c/li>\n\u003cli>Punisher — Phoebe Bridgers\u003c/li>\n\u003cli>Jaime — Brittany Howard\u003c/li>\n\u003cli>The Slow Rush — Tame Impala\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best R&B Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new vocal or instrumental R&B recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Lightning & Thunder” — Jhené Aiko ft. John Legend\u003c/li>\n\u003cli>“Black Parade” — Beyoncé\u003c/li>\n\u003cli>“All I Need” — Jacob Collier ft. Mahalia & Ty Dolla $Ign\u003c/li>\n\u003cli>“Goat Head” — Brittany Howard\u003c/li>\n\u003cli>“See Me” — Emily King\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Traditional R&B Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new vocal or instrumental traditional R&B recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Sit On Down” — The Baylor Project ft. Jean Baylor & Marcus Baylor\u003c/li>\n\u003cli>“Wonder What She Thinks Of Me” — Chloe X Halle\u003c/li>\n\u003cli>“Let Me Go” — Mykal Kilgore\u003c/li>\n\u003cli>“Anything For You” — Ledisi\u003c/li>\n\u003cli>“Distance” — Yebba\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best R&B Song\u003c/strong>\u003c/p>\n\u003cp>\u003cem>A songwriter(s) award. A song is eligible if it was first released or if it first achieved prominence during the eligibility year. (Artist names appear in parentheses.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Better Than I Imagine” — Robert Glasper, Meshell Ndegeocello & Gabriella Wilson, Songwriters (Robert Glasper Ft. H.E.R. & Meshell Ndegeocello)\u003c/li>\n\u003cli>“Black Parade” — Denisia Andrews, Beyoncé, Stephen Bray, Shawn Carter, Brittany Coney, Derek James Dixie, Akil King, Kim “Kaydence” Krysiuk & Rickie “Caso” Tice, Songwriters (Beyoncé)\u003c/li>\n\u003cli>“Collide” — Sam Barsh, Stacey Barthe, Sonyae Elise, Olu Fann, Akil King, Josh Lopez, Kaveh Rastegar & Benedetto Rotondi, Songwriters (Tiana Major9 & Earthgang)\u003c/li>\n\u003cli>“Do It” — Chloe Bailey, Halle Bailey, Anton Kuhl, Victoria Monét, Scott Storch & Vincent Van Den Ende, Songwriters (Chloe X Halle)\u003c/li>\n\u003cli>“Slow Down” — Nasri Atweh, Badriia Bourelly, Skip Marley, Ryan Williamson & Gabriella Wilson, Songwriters (Skip Marley & H.E.R.)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best R&B Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new R&B recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Happy 2 Be Here — Ant Clemons\u003c/li>\n\u003cli>Take Time — Giveon\u003c/li>\n\u003cli>To Feel Love/D — Luke James\u003c/li>\n\u003cli>Bigger Love — John Legend\u003c/li>\n\u003cli>All Rise — Gregory Porter\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Melodic Rap Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For a solo or collaborative performance containing both elements of R&B melodies and rap.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Rockstar” — DaBaby ft. Roddy Ricch\u003c/li>\n\u003cli>“Laugh Now, Cry Later” Drake ft. Lil Durk\u003c/li>\n\u003cli>“Lockdown” — Anderson .Paak\u003c/li>\n\u003cli>“The Box” — Roddy Ricch\u003c/li>\n\u003cli>“Highest In The Room” — Travis Scott\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Rap Song\u003c/strong>\u003c/p>\n\u003cp>\u003cem>A songwriter(s) award. A song is eligible if it was first released or if it first achieved prominence during the eligibility year. (Artist names appear in parentheses.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“The Bigger Picture” — Dominique Jones, Noah Pettigrew & Rai’shaun Williams, songwriters (Lil Baby)\u003c/li>\n\u003cli>“The Box” — Samuel Gloade & Rodrick Moore, songwriters (Roddy Ricch)\u003c/li>\n\u003cli>“Laugh Now, Cry Later” — Durk Banks, Rogét Chahayed, Aubrey Graham, Daveon Jackson, Ron Latour & Ryan Martinez, songwriters (Drake ft. Lil Durk)\u003c/li>\n\u003cli>“Rockstar” — Jonathan Lyndale Kirk, Ross Joseph Portaro Iv & Rodrick Moore, songwriters (Dababy ft. Roddy Ricch)\u003c/li>\n\u003cli>“Savage” — Beyoncé, Shawn Carter, Brittany Hazzard, Derrick Milano, Terius Nash, Megan Pete, Bobby Session Jr., Jordan Kyle Lanier Thorpe & Anthony White, songwriters (Megan Thee Stallion Ft. Beyoncé)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Rap Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new rap recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Black Habits — D Smoke\u003c/li>\n\u003cli>Alfredo — Freddie Gibbs & The Alchemist\u003c/li>\n\u003cli>A Written Testimony — Jay Electronica\u003c/li>\n\u003cli>King’s Disease — Nas\u003c/li>\n\u003cli>The Allegory — Royce Da 5’9″\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Country Solo Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new vocal or instrumental solo country recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Stick That In Your Country Song” — Eric Church\u003c/li>\n\u003cli>“Who You Thought I Was” — Brandy Clark\u003c/li>\n\u003cli>“When My Amy Prays — Vince Gill\u003c/li>\n\u003cli>“Black Like Me” — Mickey Guyton\u003c/li>\n\u003cli>“Bluebird” — Miranda Lambert\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Country Duo/Group Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new vocal or instrumental duo/group or collaborative country recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“All Night” — Brothers Osborne\u003c/li>\n\u003cli>“10,000 Hours” — Dan + Shay & Justin Bieber\u003c/li>\n\u003cli>“Ocean” — Lady A\u003c/li>\n\u003cli>“Sugar Coat” — Little Big Town\u003c/li>\n\u003cli>“Some People Do” — Old Dominion\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Country Song \u003c/strong>\u003c/p>\n\u003cp>\u003cem>A songwriter(s) Award. A song is eligible if it was first released or if it first achieved prominence during the eligibility year. (Artist names appear in parentheses.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Bluebird” — Luke Dick, Natalie Hemby & Miranda Lambert, songwriters (Miranda Lambert)\u003c/li>\n\u003cli>“The Bones” — Maren Morris, Jimmy Robbins & Laura Veltz, songwriters (Maren Morris)\u003c/li>\n\u003cli>“Crowded Table” — Brandi Carlile, Natalie Hemby & Lori Mckenna, songwriters (The Highwomen)\u003c/li>\n\u003cli>“More Hearts Than Mine” — Ingrid Andress, Sam Ellis & Derrick Southerland, songwriters (Ingrid Andress)\u003c/li>\n\u003cli>“Some People Do” — Jesse Frasure, Shane Mcanally, Matthew Ramsey & Thomas Rhett, songwriters (Old Dominion)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best New Age Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new vocal or instrumental new age recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Songs From The Bardo — Laurie Anderson, Tenzin Choegyal & Jesse Paris Smith\u003c/li>\n\u003cli>Periphery — Priya Darshini\u003c/li>\n\u003cli>Form//Less — Superposition\u003c/li>\n\u003cli>More Guitar Stories — Jim “Kimo” West\u003c/li>\n\u003cli>Meditations — Cory Wong & Jon Batiste\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Improvised Jazz Solo\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For an instrumental jazz solo performance. Two equal performers on one recording may be eligible as one entry. If the soloist listed appears on a recording billed to another artist, the latter’s name is in parenthesis for identification. Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Guinevere” — Christian Scott Atunde Adjuah, soloist\u003c/li>\n\u003cli>“Pachamama” — Regina Carter, soloist\u003c/li>\n\u003cli>“Celia” — Gerald Clayton, soloist\u003c/li>\n\u003cli>“All Blues” — Chick Corea, soloist\u003c/li>\n\u003cli>“Moe Honk” — Joshua Redman, soloist\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Jazz Instrumental Album \u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new instrumental jazz recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>On The Tender Spot Of Every Calloused Moment — Ambrose Akinmusire\u003c/li>\n\u003cli>Waiting Game — Terri Lyne Carrington And Social Science\u003c/li>\n\u003cli>Happening: Live At The Village Vanguard — Gerald Clayton\u003c/li>\n\u003cli>Trilogy 2 — Chick Corea, Christian Mcbride & Brian Blade\u003c/li>\n\u003cli>Roundagain — Redman Mehldau Mcbride Blade\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Large Jazz Ensemble Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new ensemble jazz recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Dialogues On Race — Gregg August\u003c/li>\n\u003cli>Monk’estra Plays John Beasley — John Beasley\u003c/li>\n\u003cli>The Intangible Between — Orrin Evans And The Captain Black Big Band\u003c/li>\n\u003cli>Songs You Like A Lot — John Hollenbeck With Theo Bleckmann, Kate\u003c/li>\n\u003cli>Mcgarry, Gary Versace And The Frankfurt Radio Big Band\u003c/li>\n\u003cli>Data Lords — Maria Schneider Orchestra\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Latin Jazz Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For vocal or instrumental albums containing at least 51% playing time of newly recorded material. The intent of this category is to recognize recordings that represent the blending of jazz with Latin, Iberian-American, Brazilian, and Argentinian tango music.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Tradiciones — Afro-peruvian Jazz Orchestra\u003c/li>\n\u003cli>Four Questions — Arturo O’farrill & The Afro Latin Jazz Orchestra\u003c/li>\n\u003cli>City Of Dreams — Chico Pinheiro\u003c/li>\n\u003cli>Viento Y Tiempo – Live At Blue Note Tokyo — Gonzalo Rubalcaba & Aymée Nuviola\u003c/li>\n\u003cli>Trane’s Delight — Poncho Sanchez\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Gospel Performance/Song\u003c/strong>\u003c/p>\n\u003cp>\u003cem>This award is given to the artist(s) and songwriter(s) (for new compositions) for the best traditional Christian, roots gospel or contemporary gospel single or track.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Wonderful Is Your Name” — Melvin Crispell III\u003c/li>\n\u003cli>“Release (Live)” — Ricky Dillard Ft. Tiff Joy; David Frazier, songwriter\u003c/li>\n\u003cli>“Come Together” — Rodney “Darkchild” Jerkins Presents: The Good News; Lashawn Daniels, Rodney Jerkins, Lecrae Moore & Jazz Nixon, songwriters\u003c/li>\n\u003cli>“Won’t Let Go” — Travis Greene; Travis Greene, songwriter\u003c/li>\n\u003cli>“Movin’ On” — Jonathan Mcreynolds & Mali Music; Darryl L. Howell, Jonathan Caleb Mcreynolds, Kortney Jamaal Pollard & Terrell Demetrius Wilson, songwriters\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Contemporary Christian Music Performance/Song \u003c/strong>\u003c/p>\n\u003cp>\u003cem>This award is given to the artist(s) and songwriter(s) (for new compositions) for the best contemporary Christian music single or track, (including pop, rap/hip-hop, Latin, or rock.)\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“The Blessing (Live)” — Kari Jobe, Cody Carnes & Elevation Worship; Chris Brown, Cody Carnes, Kari Jobe Carnes & Steven Furtick, songwriters\u003c/li>\n\u003cli>“Sunday Morning” — Lecrae Featuring Kirk Franklin; Denisia Andrews, Jones Terrence Antonio, Saint Bodhi, Brittany Coney, Kirk Franklin, Lasanna Harris, Shama Joseph, Stuart Lowery, Lecrae Moore & Nathanael Saint-fleur, songwriters\u003c/li>\n\u003cli>“Holy Water” — We The Kingdom; Andrew Bergthold, Ed Cash, Franni Cash, Martin Cash & Scott Cash, songwriters\u003c/li>\n\u003cli>“Famous For (I Believe)” — Tauren Wells Featuring Jenn Johnson; Chuck Butler, Krissy Nordhoff, Jordan Sapp, Alexis Slifer & Tauren Wells, songwriters\u003c/li>\n\u003cli>“There Was Jesus” — Zach Williams & Dolly Parton; Casey Beathard, Jonathan Smith & Zach Williams, songwriters\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Gospel Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of newly recorded, vocal, traditional or contemporary/R&B gospel music recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>2econd Wind: Ready — Anthony Brown & Group Therapy\u003c/li>\n\u003cli>My Tribute — Myron Butler\u003c/li>\n\u003cli>Choirmaster — Ricky Dillard\u003c/li>\n\u003cli>Gospel According To PJ — PJ Morton\u003c/li>\n\u003cli>Kierra — Kierra Sheard\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Contemporary Christian Music Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of newly recorded, vocal, contemporary Christian music, including pop, rap/hip hop, Latin, or rock recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Run To The Father — Cody Carnes\u003c/li>\n\u003cli>All Of My Best Friends — Hillsong Young & Free\u003c/li>\n\u003cli>Holy Water — We The Kingdom\u003c/li>\n\u003cli>Citizen Of Heaven — Tauren Wells\u003c/li>\n\u003cli>Jesus Is King — Kanye West\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Roots Gospel Album \u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of newly recorded, vocal, traditional/roots gospel music, including country, Southern gospel, bluegrass, and Americana recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Beautiful Day — Mark Bishop\u003c/li>\n\u003cli>20/20 — The Crabb Family\u003c/li>\n\u003cli>What Christmas Really Means — The Erwins\u003c/li>\n\u003cli>Celebrating Fisk! (The 150th Anniversary Album) — Fisk Jubilee Singers\u003c/li>\n\u003cli>Something Beautiful — Ernie Haase & Signature Sound\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Latin Rock or Alternative Album \u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new Latin rock or alternative recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Aura — Bajofondo\u003c/li>\n\u003cli>Monstruo — Cami\u003c/li>\n\u003cli>Sobrevolando — Cultura Profética\u003c/li>\n\u003cli>La Conquista Del Espacio — Fito Paez\u003c/li>\n\u003cli>Miss Colombia — Lido Pimienta\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Regional Mexican Music Album (Including Tejano)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new regional Mexican (banda, norteño, corridos, gruperos, mariachi, ranchera and Tejano) recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Hecho En México — Alejandro Fernández\u003c/li>\n\u003cli>La Serenata — Lupita Infante\u003c/li>\n\u003cli>Un Canto Por México, Vol. 1 — Natalia Lafourcade\u003c/li>\n\u003cli>Bailando Sones Y Huapangos Con — Mariachi Sol De Mexico De Jose Hernandez — Mariachi Sol De Mexico De Jose Hernandez\u003c/li>\n\u003cli>Ayayay! — Christian Nodal\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Tropical Latin Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new tropical Latin recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Mi Tumbao — José Alberto “El Ruiseñor”\u003c/li>\n\u003cli>Infinito — Edwin Bonilla\u003c/li>\n\u003cli>Sigo Cantando Al Amor (Deluxe) — Jorge Celedon & Sergio Luis\u003c/li>\n\u003cli>40 — Grupo Niche\u003c/li>\n\u003cli>Memorias De Navidad — Víctor Manuelle\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best American Roots Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new vocal or instrumental American roots recordings. This is for performances in the style of any of the subgenres encompassed in the American roots music field including Americana, bluegrass, blues, folk or regional roots. Award to the artist(s).\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Colors” — Black Pumas\u003c/li>\n\u003cli>“Deep In Love” — Bonny Light Horseman\u003c/li>\n\u003cli>“Short And Sweet” — Brittany Howard\u003c/li>\n\u003cli>“I’ll Be Gone” — Norah Jones & Mavis Staples\u003c/li>\n\u003cli>“I Remember Everything” — John Prine\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best American Roots Song \u003c/strong>\u003c/p>\n\u003cp>\u003cem>A songwriter(s) Award. Includes Americana, bluegrass, traditional blues, contemporary blues, folk or regional roots songs. A song is eligible if it was first released or if it first achieved prominence during the eligibility year. (Artist names appear in parentheses.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Cabin” — Laura Rogers & Lydia Rogers, songwriters (The Secret Sisters)\u003c/li>\n\u003cli>“Ceiling To The Floor” — Sierra Hull & Kai Welch, songwriters (Sierra Hull)\u003c/li>\n\u003cli>“Hometown” — Sarah Jarosz, Songwriter (Sarah Jarosz)\u003c/li>\n\u003cli>“I Remember Everything” — Pat Mclaughlin & John Prine, songwriters (John\u003c/li>\n\u003cli>Prine)\u003c/li>\n\u003cli>“Man Without A Soul” — Tom Overby & Lucinda Williams, songwriters (Lucinda\u003c/li>\n\u003cli>Williams)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Bluegrass Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new vocal or instrumental bluegrass recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Man On Fire — Danny Barnes\u003c/li>\n\u003cli>To Live In Two Worlds, Vol. 1 — Thomm Jutz\u003c/li>\n\u003cli>North Carolina Songbook — Steep Canyon Rangers\u003c/li>\n\u003cli>Home — Billy Strings\u003c/li>\n\u003cli>The John Hartford Fiddle Tune Project, Vol. 1 — (Various Artists)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Traditional Blues Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new vocal or instrumental traditional blues recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>All My Dues Are Paid — Frank Bey\u003c/li>\n\u003cli>You Make Me Feel — Don Bryant\u003c/li>\n\u003cli>That’s What I Heard — Robert Cray Band\u003c/li>\n\u003cli>Cypress Grove — Jimmy “Duck” Holmes\u003c/li>\n\u003cli>Rawer Than Raw — Bobby Rush\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Folk Album \u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new vocal or instrumental folk recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Bonny Light Horseman — Bonny Light Horseman\u003c/li>\n\u003cli>Thanks For The Dance — Leonard Cohen\u003c/li>\n\u003cli>Song For Our Daughter — Laura Marling\u003c/li>\n\u003cli>Saturn Return — The Secret Sisters\u003c/li>\n\u003cli>All The Good Times — Gillian Welch & David Rawlings\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Regional Roots Music Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new vocal or instrumental regional roots music recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>My Relatives “Nikso Kowaiks” — Black Lodge Singers\u003c/li>\n\u003cli>Cameron Dupuy And The Cajun Troubadours — Cameron Dupuy And The Cajun Troubadours\u003c/li>\n\u003cli>Lovely Sunrise — Nā Wai ʽehā\u003c/li>\n\u003cli>Atmosphere — New Orleans Nightcrawlers\u003c/li>\n\u003cli>A Tribute To Al Berard — Sweet Cecilia\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Reggae Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new reggae recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Upside Down 2020 — Buju Banton\u003c/li>\n\u003cli>Higher Place — Skip Marley\u003c/li>\n\u003cli>It All Comes Back To Love — Maxi Priest\u003c/li>\n\u003cli>Got To Be Tough — Toots & The Maytals\u003c/li>\n\u003cli>One World — The Wailers\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Children’s Music Album \u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new musical or spoken word recordings that are created and intended specifically for children.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>All The Ladies — Joanie Leeds\u003c/li>\n\u003cli>Be A Pain: An Album For Young (And Old) Leaders — Alastair Moock And Friends\u003c/li>\n\u003cli>I’m An Optimist — Dog On Fleas\u003c/li>\n\u003cli>Songs For Singin’ — The Okee Dokee Brothers\u003c/li>\n\u003cli>Wild Life — Justin Roberts\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Comedy Album \u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Black Mitzvah — Tiffany Haddish\u003c/li>\n\u003cli>I Love Everything — Patton Oswalt\u003c/li>\n\u003cli>The Pale Tourist — Jim Gaffigan\u003c/li>\n\u003cli>Paper Tiger — Bill Burr\u003c/li>\n\u003cli>23 Hours To Kill — Jerry Seinfeld\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Musical Theater Album \u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new recordings. Award to the principal vocalist(s) and the album producer(s) of 51% or more playing time of the album. The lyricist(s) and composer(s) of a new score are eligible for an Award if they have written and/or composed a new score which comprises 51% or more playing time of the album.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Amélie — Audrey Brisson, Chris Jared, Caolan McCarthy & Jez Unwin, principal soloists; Michael Fentiman, Sean Patrick Flahaven, Barnaby Race & Nathan Tysen, producers; Nathan Tysen, lyricist; Daniel Messe, composer & lyricist (Original London Cast)\u003c/li>\n\u003cli>American Utopia On Broadway — David Byrne, principal soloist; David Byrne, producer (David Byrne, composer & lyricist) (Original Cast)\u003c/li>\n\u003cli>Jagged Little Pill — Kathryn Gallagher, Celia Rose Gooding, Lauren Patten & Elizabeth Stanley, principal soloists; Neal Avron, Pete Ganbarg, Tom Kitt, Michael Parker, Craig Rosen & Vivek J. Tiwary, producers (Glen Ballard & Alanis Morissette, lyricists) (Original Broadway Cast)\u003c/li>\n\u003cli>Little Shop Of Horrors — Tammy Blanchard, Jonathan Groff & Tom Alan Robbins, principal soloists; Will Van Dyke, Michael Mayer, Alan Menken & Frank Wolf, producers (Alan Menken, composer; Howard Ashman, lyricist) (The New Off-Broadway Cast)\u003c/li>\n\u003cli>The Prince Of Egypt — Christine Allado, Luke Brady, Alexia Khadime & Liam Tamne, principal soloists; Dominick Amendum & Stephen Schwartz, producers; Stephen Schwartz, composer & lyricist (Original Cast)\u003c/li>\n\u003cli>Soft Power — Francis Jue, Austin Ku, Alyse Alan Louis & Conrad Ricamora, principal soloists; Matt Stine, producer; David Henry Hwang, lyricist; Jeanine Tesori, composer & lyricist (Original Cast)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Compilation Soundtrack For Visual Media\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Award to the artist(s) and/or ‘in studio’ producer(s) of a majority of the tracks on the album. In the absence of both, award to the one or two individuals proactively responsible for the concept and musical direction of the album and for the selection of artists, songs and producers, as applicable. Award also goes to appropriately credited music supervisor(s).\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>A Beautiful Day In The Neighborhood — (Various Artists)\u003c/li>\n\u003cli>Bill & Ted Face The Music — (Various Artists)\u003c/li>\n\u003cli>Eurovision Song Contest: The Story Of Fire Saga — (Various Artists)\u003c/li>\n\u003cli>Frozen 2 — (Various Artists)\u003c/li>\n\u003cli>Jojo Rabbit — (Various Artists)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Score Soundtrack For Visual Media \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Award to composer(s) for an original score created specifically for, or as a companion to, a current legitimate motion picture, television show or series, video games or other visual media.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Ad Astra — Max Richter, composer\u003c/li>\n\u003cli>Becoming — Kamasi Washington, composer\u003c/li>\n\u003cli>Joker — Hildur Guðnadóttir, composer\u003c/li>\n\u003cli>1917 — Thomas Newman, composer\u003c/li>\n\u003cli>Star Wars: The Rise Of Skywalker — John Williams, composer\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Song Written For Visual Media \u003c/strong>\u003c/p>\n\u003cp>\u003cem>A songwriter(s) award. For a song (melody & lyrics) written specifically for a motion picture, television, video games or other visual media, and released for the first time during the eligibility year. (Artist names appear in parentheses.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Beautiful Ghosts” [From Cats] — Andrew Lloyd Webber & Taylor Swift, songwriters\u003c/li>\n\u003cli>(Taylor Swift)\u003c/li>\n\u003cli>“Carried Me With You” [From Onward] — Brandi Carlile, Phil Hanseroth & Tim Hanseroth, songwriters (Brandi Carlile)\u003c/li>\n\u003cli>“Into The Unknown” [From Frozen 2] — Kristen Anderson-Lopez & Robert Lopez, songwriters (Idina Menzel & AURORA)\u003c/li>\n\u003cli>“No Time To Die” [From No Time To Die] — Billie Eilish O’Connell & Finneas Baird O’Connell, songwriters (Billie Eilish)\u003c/li>\n\u003cli>“Stand Up” [From Harriet] — Joshuah Brian Campbell & Cynthia Erivo, songwriters\u003c/li>\n\u003cli>(Cynthia Erivo)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Instrumental Composition\u003c/strong>\u003c/p>\n\u003cp>\u003cem>A composer’s award for an original composition (not an\u003c/em>\u003c/p>\n\u003cp>\u003cem>adaptation) first released during the eligibility year. Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Baby Jack” — Arturo O’Farrill, composer (Arturo O’Farrill & The Afro Latin Jazz Orchestra)\u003c/li>\n\u003cli>“Be Water Ii” — Christian Sands, composer (Christian Sands)\u003c/li>\n\u003cli>“Plumfield” — Alexandre Desplat, composer (Alexandre Desplat)\u003c/li>\n\u003cli>“Sputnik” — Maria Schneider, composer (Maria Schneider)\u003c/li>\n\u003cli>“Strata” — Remy Le Boeuf, composer (Remy Le Boeuf’s Assembly Of Shadows Featuring Anna Webber & Eric Miller)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Arrangement, Instrumental or A Cappella\u003c/strong>\u003c/p>\n\u003cp>\u003cem>An arranger’s award. (Artist names appear in parentheses.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Bathroom Dance” — Hildur Guðnadóttir, arranger (Hildur Guðnadóttir)\u003c/li>\n\u003cli>“Donna Lee” — John Beasley, arranger (John Beasley)\u003c/li>\n\u003cli>“Honeymooners” — Remy Le Boeuf, arranger (Remy Le Boeuf’s Assembly Of Shadows)\u003c/li>\n\u003cli>“Lift Every Voice And Sing” — Alvin Chea & Jarrett Johnson, arrangers (Jarrett Johnson Featuring Alvin Chea)\u003c/li>\n\u003cli>“Uranus: The Magician” — Jeremy Levy, arranger (Jeremy Levy Jazz Orchestra)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Arrangement, Instruments and Vocals\u003c/strong>\u003c/p>\n\u003cp>\u003cem>An arranger’s award. (Artist names appear in parentheses.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Asas Fechadas” — John Beasley & Maria Mendes, arrangers (Maria Mendes ft. John Beasley & Orkest Metropole)\u003c/li>\n\u003cli>“Desert Song” — Erin Bentlage, Sara Gazarek, Johnaye Kendrick & Amanda Taylor, arrangers (Säje)\u003c/li>\n\u003cli>“From This Place” — Alan Broadbent & Pat Metheny, arrangers (Pat Metheny ft. Meshell Ndegeocello)\u003c/li>\n\u003cli>“He Won’t Hold You” — Jacob Collier, arranger (Jacob Collier ft. Rapsody)\u003c/li>\n\u003cli>“Slow Burn” — Talia Billig, Nic Hard & Becca Stevens, arrangers (Becca Stevens Featuring Jacob Collier, Mark Lettieri, Justin Stanton, Jordan Perlson, Nic Hard, Keita Ogawa, Marcelo Woloski & Nate Werth)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Recording Package\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Everyday Life — Pilar Zeta, art director (Coldplay)\u003c/li>\n\u003cli>Funeral — Kyle Goen, art director (Lil Wayne)\u003c/li>\n\u003cli>Healer — Julian Gross & Hannah Hooper, art directors (Grouplove)\u003c/li>\n\u003cli>On Circles — Jordan Butcher, art director (Caspian)\u003c/li>\n\u003cli>Vols. 11 & 12 — Doug Cunningham & Jason Noto, art directors (Desert Sessions)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Boxed Or Special Limited Edition Package\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Flaming Pie (Collector’s Edition) — Linn Wie Andersen, Simon Earith, Paul McCartney & James Musgrave, art directors (Paul McCartney)\u003c/li>\n\u003cli>Giants Stadium 1987, 1989, 1991 — Lisa Glines & Doran Tyson, art directors (Grateful Dead)\u003c/li>\n\u003cli>Mode — Jeff Schulz, art director (Depeche Mode)\u003c/li>\n\u003cli>Ode To Joy — Lawrence Azerrad & Jeff Tweedy, art directors (Wilco)\u003c/li>\n\u003cli>The Story Of Ghostly International — Michael Cina & Molly Smith, art directors (Various\u003c/li>\n\u003cli>Artists)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Album Notes\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>At The Minstrel Show: Minstrel Routines From The Studio, 1894-1926 — Tim Brooks, album notes writer (Various Artists)\u003c/li>\n\u003cli>The Bakersfield Sound: Country Music Capital Of The West, 1940-1974 — Scott B. Bomar, album notes writer (Various Artists)\u003c/li>\n\u003cli>Dead Man’s Pop — Bob Mehr, album notes writer (The Replacements)\u003c/li>\n\u003cli>The Missing Link: How Gus Haenschen Got Us From Joplin To Jazz And Shaped The Music Business — Colin Hancock, album notes writer (Various Artists)\u003c/li>\n\u003cli>Out Of A Clear Blue Sky — David Sager, album notes writer (Nat Brusiloff)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Historical Album\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Celebrated, 1895-1896 — Meagan Hennessey & Richard Martin, compilation producers; Richard Martin, mastering engineer (Unique Quartette)\u003c/li>\n\u003cli>Hittin’ The Ramp: The Early Years (1936 – 1943) — Zev Feldman, Will Friedwald & George Klabin, compilation producers; Matthew Lutthans, mastering engineer (Nat King Cole)\u003c/li>\n\u003cli>It’s Such A Good Feeling: The Best Of Mister Rogers — Lee Lodyga & Cheryl Pawelski, compilation producers; Michael Graves, mastering engineer (Mister Rogers)\u003c/li>\n\u003cli>1999 Super Deluxe Edition — Michael Howe, compilation producer; Bernie Grundman, mastering engineer (Prince)\u003c/li>\n\u003cli>Souvenir — Carolyn Agger, compilation producer; Miles Showell, mastering engineer (Orchestral Manoeuvres In The Dark)\u003c/li>\n\u003cli>Throw Down Your Heart: The Complete Africa Sessions — Béla Fleck, compilation producer; Richard Dodd, mastering engineer (Béla Fleck)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Engineered Album, Non-Classical\u003c/strong>\u003c/p>\n\u003cp>\u003cem>An engineer’s award. (Artists’ names appear in parentheses.)\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Black Hole Rainbow — Shawn Everett & Ivan Wayman, engineers; Bob Ludwig,\u003c/li>\n\u003cli>mastering engineer (Devon Gilfillian)\u003c/li>\n\u003cli>Expectations — Gary Paczosa & Mike Robinson, engineers; Paul Blakemore, mastering engineer (Katie Pruitt)\u003c/li>\n\u003cli>Hyperspace — Drew Brown, Andrew Coleman, Shawn Everett, Serban Ghenea, David Greenbaum, Jaycen Joshua & Mike Larson, engineers; Randy Merrill, mastering engineer (Beck)\u003c/li>\n\u003cli>Jaime — Shawn Everett, engineer; Shawn Everett, mastering engineer (Brittany Howard)\u003c/li>\n\u003cli>25 Trips — Shani Gandhi & Gary Paczosa, engineers; Adam Grover,\u003c/li>\n\u003cli>mastering engineer (Sierra Hull)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Producer Of The Year \u003c/strong>\u003c/p>\n\u003cp>\u003cem>A producer’s award.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Jack Antonoff\u003c/li>\n\u003cli>Dan Auerbach\u003c/li>\n\u003cli>Dave Cobb\u003c/li>\n\u003cli>Flying Lotus\u003c/li>\n\u003cli>Andrew Watt\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Remixed Recording \u003c/strong>\u003c/p>\n\u003cp>\u003cem>A remixer’s award. (Artists’ names appear in parentheses for identification.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Do You Ever (RAC Mix)” — RAC, remixer (Phil Good)\u003c/li>\n\u003cli>“Imaginary Friends (Morgan Page Remix)” — Morgan Page, remixer (Deadmau5)\u003c/li>\n\u003cli>“Praying For You (Louie Vega Main Remix)” — Louie Vega, remixer (Jasper Street Co.)\u003c/li>\n\u003cli>“Roses (Imanbek Remix)” — Imanbek Zeikenov, remixer (SAINt JHN)\u003c/li>\n\u003cli>“Young & Alive (Bazzi Vs. Haywyre Remix)” — Haywyre, remixer (Bazzi)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Engineered Album, Classical \u003c/strong>\u003c/p>\n\u003cp>\u003cem>An engineer’s award. (Artist names appear in parentheses.)\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Danielpour: The Passion Of Yeshua — Bernd Gottinger, engineer (JoAnn Falletta, James K. Bass, Adam Luebke, UCLA Chamber Singers, Buffalo Philharmonic Orchestra & Buffalo Philharmonic Chorus)\u003c/li>\n\u003cli>Gershwin: Porgy And Bess — David Frost & John Kerswell, engineers; Silas Brown, mastering engineer (David Robertson, Eric Owens, Angel Blue, Metropolitan Opera Orchestra & Chorus)\u003c/li>\n\u003cli>Hynes: Fields — Kyle Pyke, engineer; Jesse Lewis & Kyle Pyke, mastering engineers (Devonté Hynes & Third Coast Percussion)\u003c/li>\n\u003cli>Ives: Complete Symphonies — Alexander Lipay & Dmitriy Lipay, engineers; Alexander Lipay & Dmitriy Lipay, mastering engineers (Gustavo Dudamel & Los Angeles Philharmonic)\u003c/li>\n\u003cli>Shostakovich: Symphony No. 13, ‘Babi Yar’ — David Frost & Charlie Post, engineers; Silas Brown, mastering engineer (Riccardo Muti & Chicago Symphony Orchestra)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Producer Of The Year, Classical \u003c/strong>\u003c/p>\n\u003cp>\u003cem>A producer’s award. (Artist names appear in parentheses.)\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Blanton Alspaugh\u003c/li>\n\u003cli>David Frost\u003c/li>\n\u003cli>Jesse Lewis\u003c/li>\n\u003cli>Dmitriy Lipay\u003c/li>\n\u003cli>Elaine Martone\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Orchestral Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Award to the conductor and to the orchestra.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Aspects Of America – Pulitzer Edition” — Carlos Kalmar, conductor (Oregon Symphony)\u003c/li>\n\u003cli>“Concurrence” — Daníel Bjarnason, conductor (Iceland Symphony Orchestra)\u003c/li>\n\u003cli>“Copland: Symphony No. 3” — Michael Tilson Thomas, conductor (San Francisco Symphony)\u003c/li>\n\u003cli>“Ives: Complete Symphonies” — Gustavo Dudamel, conductor (Los Angeles Philharmonic)\u003c/li>\n\u003cli>“Lutosławski: Symphonies Nos. 2 & 3” — Hannu Lintu, conductor (Finnish Radio Symphony Orchestra)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Opera Recording\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Award to the conductor, album producer(s) and principal soloists.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Dello Joio: The Trial At Rouen” — Gil Rose, conductor; Heather Buck & Stephen Powell; Gil Rose, producer (Boston Modern Orchestra Project; Odyssey Opera Chorus)\u003c/li>\n\u003cli>“Floyd, C.: Prince Of Players” — William Boggs, conductor; Keith Phares & Kate Royal; Blanton Alspaugh, producer (Milwaukee Symphony Orchestra; Florentine Opera Chorus)\u003c/li>\n\u003cli>“Gershwin: Porgy And Bess” — David Robertson, conductor; Angel Blue & Eric Owens; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)\u003c/li>\n\u003cli>“Handel: Agrippina” — Maxim Emelyanychev, conductor; Joyce DiDonato; Daniel Zalay, producer (Il Pomo D’Oro)\u003c/li>\n\u003cli>“Zemlinsky: Der Zwerg” — Donald Runnicles, conductor; David Butt Philip & Elena Tsallagova; Peter Ghirardini & Erwin Stürzer, producers (Orchestra Of The Deutsche Oper Berlin; Chorus Of The Deutsche Oper Berlin)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Choral Performance \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Award to the conductor, and to the choral director and/or chorus master where applicable and to the choral organization/ensemble.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Carthage” — Donald Nally, conductor (The Crossing)\u003c/li>\n\u003cli>“Danielpour: The Passion Of Yeshua” — JoAnn Falletta, conductor; James K. Bass & Adam Luebke, chorus masters (James K. Bass, J’Nai Bridges, Timothy Fallon, Kenneth Overton, Hila Plitmann & Matthew Worth; Buffalo Philharmonic Orchestra; Buffalo Philharmonic Chorus & UCLA Chamber Singers)\u003c/li>\n\u003cli>“Kastalsky: Requiem” — Leonard Slatkin, conductor; Charles Bruffy, Steven Fox & Benedict Sheehan, chorus masters (Joseph Charles Beutel & Anna Dennis; Orchestra Of St. Luke’s; Cathedral Choral Society, The Clarion Choir, Kansas City Chorale & The Saint Tikhon Choir)\u003c/li>\n\u003cli>“Moravec: Sanctuary Road” — Kent Tritle, conductor (Joshua Blue, Raehann Bryce-Davis, Dashon Burton, Malcolm J. Merriweather & Laquita Mitchell; Oratorio Society Of New York Orchestra; Oratorio Society Of New York Chorus)\u003c/li>\n\u003cli>“Once Upon A Time” — Matthew Guard, conductor (Sarah Walker; Skylark Vocal Ensemble)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Chamber Music/Small Ensemble Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new recordings of works with chamber or small ensemble (twenty-four or fewer members, not including the conductor). One award to the ensemble and one award to the conductor, if applicable.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Contemporary Voices” — Pacifica Quartet\u003c/li>\n\u003cli>“Healing Modes” — Brooklyn Rider\u003c/li>\n\u003cli>“Hearne, T.: Place” — Ted Hearne, Steven Bradshaw, Sophia Byrd, Josephine Lee, Isaiah Robinson, Sol Ruiz, Ayanna Woods & Place Orchestra\u003c/li>\n\u003cli>“Hynes: Fields” — Devonté Hynes & Third Coast Percussion\u003c/li>\n\u003cli>“The Schumann Quartets” — Dover Quartet\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Classical Instrumental Solo \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Award to the instrumental soloist(s) and to the conductor when applicable.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Adès: Concerto For Piano And Orchestra” — Kirill Gerstein; Thomas Adès, conductor (Boston Symphony Orchestra)\u003c/li>\n\u003cli>“Beethoven: Complete Piano Sonatas” — Igor Levit\u003c/li>\n\u003cli>“Bohemian Tales” — Augustin Hadelich; Jakub Hrůša, conductor (Charles Owen; Symphonieorchester Des Bayerischen Rundfunks)\u003c/li>\n\u003cli>“Destination Rachmaninov – Arrival” — Daniil Trifonov; Yannick Nézet-Séguin, conductor (The Philadelphia Orchestra)\u003c/li>\n\u003cli>“Theofanidis: Concerto For Viola And Chamber Orchestra” — Richard O’Neill; David Alan Miller, conductor (Albany Symphony)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Classical Solo Vocal Album \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Award to: vocalist(s), collaborative artist(s) (Ex: pianists, conductors, chamber groups) producer(s), recording engineers/mixers with 51% or more playing time of new material.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>American Composers At Play – William Bolcom, Ricky Ian Gordon, Lori Laitman, John Musto — Stephen Powell (Attacca Quartet, William Bolcom, Ricky Ian Gordon, Lori Laitman, John Musto, Charles Neidich & Jason Vieaux)\u003c/li>\n\u003cli>Clairières – Songs By Lili & Nadia Boulanger — Nicholas Phan; Myra Huang, accompanist\u003c/li>\n\u003cli>Farinelli — Cecilia Bartoli; Giovanni Antonini, conductor (Il Giardino Armonico)\u003c/li>\n\u003cli>A Lad’s Love — Brian Giebler; Steven McGhee, accompanist (Katie Hyun, Michael Katz, Jessica Meyer, Reginald Mobley & Ben Russell)\u003c/li>\n\u003cli>Smyth: The Prison — Sarah Brailey & Dashon Burton; James Blachly, conductor (Experiential Chorus; Experiential Orchestra)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Classical Compendium\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Award to the artist(s) and to the album producer(s) and engineer(s) of over 51% playing time of the album, if other than the artist.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Adès Conducts Adès — Mark Stone & Christianne Stotijn; Thomas Adès, conductor; Nick Squire, producer\u003c/li>\n\u003cli>Saariaho: Graal Théâtre; Circle Map; Neiges; Vers Toi Qui Es Si Loin — Clément Mao-Takacs, conductor; Hans Kipfer, producer\u003c/li>\n\u003cli>Serebrier: Symphonic Bach Variations; Laments And Hallelujahs; Flute Concerto — José Serebrier, conductor; Jens Braun, producer\u003c/li>\n\u003cli>Thomas, M.T.: From The Diary Of Anne Frank & Meditations On Rilke — Isabel Leonard; Michael Tilson Thomas, conductor; Jack Vad, producer\u003c/li>\n\u003cli>Woolf, L.P.: Fire And Flood — Matt Haimovitz; Julian Wachner, conductor; Blanton Alspaugh, producer\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Contemporary Classical Composition\u003c/strong>\u003c/p>\n\u003cp>\u003cem>A composer’s award. (For a contemporary classical composition composed within the last 25 years, and released for the first time during the eligibility year.) Award to the librettist, if applicable.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Adès: Concerto For Piano And Orchestra” — Thomas Adès, composer (Kirill Gerstein, Thomas Adès & Boston Symphony Orchestra)\u003c/li>\n\u003cli>“Danielpour: The Passion Of Yeshua” — Richard Danielpour, composer (JoAnn Falletta, James K. Bass, Adam Luebke, UCLA Chamber Singers, Buffalo Philharmonic Orchestra & Buffalo Philharmonic Chorus)\u003c/li>\n\u003cli>“Floyd, C.: Prince Of Players” — Carlisle Floyd, composer (William Boggs, Kate Royal, Keith Phares, Florentine Opera Chorus & Milwaukee Symphony Orchestra)\u003c/li>\n\u003cli>“Hearne, T.: Place” — Ted Hearne, composer (Ted Hearne, Steven Bradshaw, Sophia Byrd, Josephine Lee, Isaiah Robinson, Sol Ruiz, Ayanna Woods & Place Orchestra)\u003c/li>\n\u003cli>“Rouse: Symphony No. 5” — Christopher Rouse, composer (Giancarlo Guerrero &\u003c/li>\n\u003cli>Nashville Symphony)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Music Video\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Award to the artist, video director, and video producer.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Brown Skin Girl” — Beyoncé; Beyoncé Knowles-Carter & Jenn Nkiru, video directors; Lauren Baker, Astrid Edwards, Nathan Scherrer & Erinn Williams, video producers\u003c/li>\n\u003cli>“Life Is Good” — Future ft. Drake; Julien Christian Lutz, video director; Harv Glazer, video producer\u003c/li>\n\u003cli>“Lockdown” — Anderson .Paak; Dave Meyers, video director; Nathan Scherrer, video producer\u003c/li>\n\u003cli>“Adore You” — Harry Styles; Dave Meyers, video director; Nathan Scherrer, video producer\u003c/li>\n\u003cli>“Goliath” — Woodkid; Yoann Lemoine, video director\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9%2C+Dua+Lipa+Headline+2021+Grammy+Nominations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "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>\u003ca href=\"https://www.npr.org/artists/95782521/tracy-chapman\" target=\"_blank\" rel=\"noopener noreferrer\">Tracy Chapman\u003c/a> didn’t take long to release her masterpiece. Arriving near the end of the Reagan Era, the singer-songwriter’s classic, self-titled 1988 debut opened with a purposefully strummed blast of righteous indignation called “Talkin’ Bout a Revolution”—a song about class warfare punctuated by a clear warning that “poor people gonna rise up / and take what’s theirs.”\u003c/p>\n\u003cp>At the time, “Talkin’ Bout a Revolution” could get overshadowed by the track that immediately followed it on \u003cem>Tracy Chapman\u003c/em>—the Top 10 hit “\u003ca href=\"https://www.youtube.com/watch?v=DwrHwZyFN7M\" target=\"_blank\" rel=\"noopener noreferrer\">Fast Car\u003c/a>,” which remains one of the greatest songs ever written about working-class life—as well as the assortment of weary reflections on abuse (“Behind the Wall”), poverty (“Mountains o’ Things”), crime (“For My Lover”) and redemptive love (“Baby Can I Hold You,” “For You”) sprinkled throughout the album.\u003c/p>\n\u003cp>But “Talkin’ Bout a Revolution” was and is a crucial tone-setter for the more nuanced character studies on \u003cem>Tracy Chapman\u003c/em>: It’s there to remind us up-front that the lives she’s singing about \u003cem>matter\u003c/em>, and that her subjects—no matter how firmly they’ve been held down—wield fearsome power. “Finally, the tables are starting to turn,” she sang; that was 32 years ago.\u003c/p>\n\u003cp>Late Monday night, in the midst of the most momentous election of her life, Chapman gave her first TV performance since 2015, appearing on \u003cem>Late Night with Seth Meyers\u003c/em> to sing “Talkin’ Bout a Revolution” again—solo, acoustic, unadorned. She might not wait much longer for those tables to turn.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=R1P1g4C-Jjg&feature=emb_logo\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=Tracy+Chapman+Returns+To+Sing+Of+%27Revolution%27+On+The+Eve+Of+Election+Day&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/artists/95782521/tracy-chapman\" target=\"_blank\" rel=\"noopener noreferrer\">Tracy Chapman\u003c/a> didn’t take long to release her masterpiece. Arriving near the end of the Reagan Era, the singer-songwriter’s classic, self-titled 1988 debut opened with a purposefully strummed blast of righteous indignation called “Talkin’ Bout a Revolution”—a song about class warfare punctuated by a clear warning that “poor people gonna rise up / and take what’s theirs.”\u003c/p>\n\u003cp>At the time, “Talkin’ Bout a Revolution” could get overshadowed by the track that immediately followed it on \u003cem>Tracy Chapman\u003c/em>—the Top 10 hit “\u003ca href=\"https://www.youtube.com/watch?v=DwrHwZyFN7M\" target=\"_blank\" rel=\"noopener noreferrer\">Fast Car\u003c/a>,” which remains one of the greatest songs ever written about working-class life—as well as the assortment of weary reflections on abuse (“Behind the Wall”), poverty (“Mountains o’ Things”), crime (“For My Lover”) and redemptive love (“Baby Can I Hold You,” “For You”) sprinkled throughout the album.\u003c/p>\n\u003cp>But “Talkin’ Bout a Revolution” was and is a crucial tone-setter for the more nuanced character studies on \u003cem>Tracy Chapman\u003c/em>: It’s there to remind us up-front that the lives she’s singing about \u003cem>matter\u003c/em>, and that her subjects—no matter how firmly they’ve been held down—wield fearsome power. “Finally, the tables are starting to turn,” she sang; that was 32 years ago.\u003c/p>\n\u003cp>Late Monday night, in the midst of the most momentous election of her life, Chapman gave her first TV performance since 2015, appearing on \u003cem>Late Night with Seth Meyers\u003c/em> to sing “Talkin’ Bout a Revolution” again—solo, acoustic, unadorned. She might not wait much longer for those tables to turn.\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/R1P1g4C-Jjg'\n title='//www.youtube.com/embed/R1P1g4C-Jjg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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=Tracy+Chapman+Returns+To+Sing+Of+%27Revolution%27+On+The+Eve+Of+Election+Day&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">M\u003c/span>an, there sure are a number of Black men in the political arena looking like clowns these days. And as much as I enjoy a good laugh, I don’t think it’s really the time to be entertained.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>There’s a pretty big election happening right now in the United States. There are also international conversations and actions pushing changes in the way we’re policed, and there’s an ongoing global pandemic that has killed over one million people worldwide.\u003c/p>\n\u003cp>So why are we listening to entertainers?\u003c/p>\n\u003cp>Why do we need a breakdown of the meetings between \u003ca href=\"https://www.politico.com/news/2020/10/15/ice-cube-trump-partnership-429713\" target=\"_blank\" rel=\"noopener noreferrer\">Ice Cube\u003c/a> and President Trump’s camps? Why do we care about \u003ca href=\"https://www.foxnews.com/entertainment/50-cent-fk-donald-trump-after-support-president\" target=\"_blank\" rel=\"noopener noreferrer\">50 Cent’s flip-flopping political views\u003c/a>? Did we really need \u003ca href=\"https://news.yahoo.com/diddy-starts-political-party-empower-194913724.html\" target=\"_blank\" rel=\"noopener noreferrer\">Diddy\u003c/a> to hop on the airwaves and announce he’s starting a new political party? Why is \u003ca href=\"https://www.nytimes.com/2020/10/30/arts/music/lil-wayne-trump.html\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Wayne’s\u003c/a> support of Trump noteworthy? Why is \u003ca href=\"https://deadline.com/2020/09/jeezy-joe-biden-kanye-west-1234578676/\" target=\"_blank\" rel=\"noopener noreferrer\">Young Jeezy’s\u003c/a> support of Joe Biden a story? Why… \u003cem>is \u003c/em>\u003ca href=\"https://www.tmz.com/2020/10/03/kanye-west-california-ballot-vice-president-candidate/\" target=\"_blank\" rel=\"noopener noreferrer\">Kanye West\u003c/a>?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hella questions. At the top of my list: when it comes to creating change in our community, in this election cycle and beyond, what is the role of Black men? ‘Cause judging from these popular stories I’m seeing… it’s questionable.\u003c/p>\n\u003cfigure id=\"attachment_13888699\" class=\"wp-caption aligncenter\" style=\"max-width: 499px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13888699\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/123024745_134014161795446_9026917441314080281_n.jpg\" alt=\"\" width=\"499\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/123024745_134014161795446_9026917441314080281_n.jpg 499w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/123024745_134014161795446_9026917441314080281_n-160x160.jpg 160w\" sizes=\"(max-width: 499px) 100vw, 499px\">\u003cfigcaption class=\"wp-caption-text\">Truth. \u003ccite>(Via \u003ca href=\"https://www.instagram.com/ksj.events/\">Kola Shobo\u003c/a>/IG)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>ast week I turned to \u003ca href=\"https://twitter.com/OGpenn/status/1318220298383028225?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">social media\u003c/a> in search of answers. I needed stories of Black men taking action to make this world a bit better, both through electoral politics and outside of the political structure. No, you don’t hear me: I \u003ci>needed\u003c/i> these stories.\u003c/p>\n\u003cp>So it was refreshing to learn about Maryland’s \u003ca href=\"https://twitter.com/nealcarter\" target=\"_blank\" rel=\"noopener noreferrer\">Neal Carter\u003c/a> and his Nu View Consulting organization, which focuses on getting African Americans living with disabilities politically engaged. Or \u003ca href=\"https://twitter.com/CameronWhitten\" target=\"_blank\" rel=\"noopener noreferrer\">Cameron Whitten\u003c/a>, a Black man in Portland, Oregon who’s politically active; I’ve been following Black Lives Matter protests up there since the summer and he’s the first African American man involved that I’ve heard of.\u003c/p>\n\u003cp>I needed to be introduced to the education work \u003ca href=\"https://twitter.com/michaelsorrell\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Sorrell\u003c/a> is doing in Texas, the organizing work \u003ca href=\"https://twitter.com/LamontLilly\" target=\"_blank\" rel=\"noopener noreferrer\">Lamont Lilly\u003c/a> is doing out of Durham, NC, and the work of \u003ca href=\"https://twitter.com/codyrenard\" target=\"_blank\" rel=\"noopener noreferrer\">Cody Renard Richard,\u003c/a> who in \u003ca href=\"https://www.youtube.com/watch?v=H7KumWIxyTk&feature=emb_title\" target=\"_blank\" rel=\"noopener noreferrer\">this interview\u003c/a> from earlier this year explains how he’s fighting for equal rights in the world of Broadway theatre in New York.\u003c/p>\n\u003cp>https://youtu.be/3HtaCBegNWg\u003c/p>\n\u003cp>Locally, people suggested I check out the work of Tur-Ha Ak, whose work with \u003ca href=\"https://www.antipoliceterrorproject.org/\" target=\"_blank\" rel=\"noopener noreferrer\">the Anti Police-Terror Project\u003c/a> I’ve mentioned in my writing before. The Oakland group \u003ca href=\"https://www.youtube.com/watch?v=3HtaCBegNWg\" target=\"_blank\" rel=\"noopener noreferrer\">Black London\u003c/a> put out an admonition to vote and claim representation for the people in their video for “Power.” And I was asked to look at the work of \u003ca href=\"https://www.hellablackpod.com/pbo\" target=\"_blank\" rel=\"noopener noreferrer\">People’s Breakfast Oakland\u003c/a>, which I’ve also noted in past columns.\u003c/p>\n\u003cp>Partially inspired by People’s Breakfast Oakland, Sacramento’s \u003ca href=\"https://twitter.com/coach_jmcgowan\" target=\"_blank\" rel=\"noopener noreferrer\">Jordan McGowan\u003c/a> told me about co-founding the \u003ca href=\"https://twitter.com/sacneighbor916\" target=\"_blank\" rel=\"noopener noreferrer\">Sacramento Neighbor Project\u003c/a>, which focuses on community-based responses to police violence and using mutual aid to get resources to those in need. Without talking to McGowan, I might not have known about \u003ca href=\"https://news.yahoo.com/father-found-hanged-sacramento-park-120000333.html\" target=\"_blank\" rel=\"noopener noreferrer\">Willie Brown\u003c/a>, an African American man who has been on life support after being found hanging from a basketball hoop in a Sacramento park last week.\u003c/p>\n\u003cp>That might a bit more important than what \u003ca href=\"https://www.complex.com/music/2020/09/ti-interview-ring\" target=\"_blank\" rel=\"noopener noreferrer\">T.I\u003c/a>. has to say about politics.\u003c/p>\n\u003cp>But maybe it’s not \u003ci>sexy\u003c/i> enough? I’m not a media strategist or anything, but I’m starting to think big publications are more concerned with generating revenue from click-based advertising than actually informing the masses about critical issues during a time when so much is at stake.\u003c/p>\n\u003cp>Again, why are we listening to entertainers?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1NZEHNSC2Q0\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>K, here’s a story that might be more enticing: the former drug kingpin-turned-author, Oakland’s \u003ca href=\"https://www.instagram.com/p/CG2m3nTMjVZ/\" target=\"_blank\" rel=\"noopener noreferrer\">Darryl Reed\u003c/a>, who was granted clemency by President Obama, is voting for the first time and politically organizing in his community of East Oakland. Where’s the news on that?\u003c/p>\n\u003cp>Reed is supporting the organization \u003ca href=\"https://100blackmenba.org/\" target=\"_blank\" rel=\"noopener noreferrer\">100 Black Men of The Bay Area\u003c/a> to engage people in voter education, registration and voting. Neale Clunie, a representative for the organization, tells me they’re part of the “\u003ca href=\"https://100blackmenba.org/event/we-ride-we-vote/\" target=\"_blank\" rel=\"noopener noreferrer\">We Ride, We Vote\u003c/a>” biking and voting event on Sunday, Nov. 1, from 1-5 pm in San Francisco.\u003c/p>\n\u003cp>Clunie also tells me that his organization is teaming up with the \u003ca href=\"https://ncbw.org/\" target=\"_blank\" rel=\"noopener noreferrer\">National Coalition of 100 Black Women\u003c/a>. “Black women are the cornerstone of the Democratic party; they generally have a better turnout,” says Clunie. He’s right: according to \u003ca href=\"https://www.pewresearch.org/fact-tank/2020/08/18/men-and-women-in-the-u-s-continue-to-differ-in-voter-turnout-rate-party-identification/\" target=\"_blank\" rel=\"noopener noreferrer\">Pew Research\u003c/a>, eligible Black women voters have shown up more readily than Black men for decades. (To be fair, women vote in larger numbers than men in general.)\u003c/p>\n\u003cp>Much has been written about the power of Black women voters, and Pastor Michael McBride, of \u003ca href=\"https://thewayberkeley.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Way Christian Center in Berkeley,\u003c/a> says that doesn’t have to negatively impact Black men when it comes to voting or community organizing.\u003c/p>\n\u003cp>“Men don’t have to shrink or cower or disappear for women to be strong,” Pastor McBride tells me. “We just have to be willing and humble. Coordination with all of our community is happening at the same time.”\u003c/p>\n\u003cp>(McBride, who was on the move when we talked, mistakenly thought I said my name was “Twin” when I introduced myself as Pen. He explained that Twin is someone he’s working with in order to quell a festering beef after a recent shooting—evidence of Pastor McBride’s community involvement.)\u003c/p>\n\u003cp>McBride then said he’s on the verge of embarking on a “\u003ca href=\"https://www.instagram.com/p/CG_dCXUBmYo/\" target=\"_blank\" rel=\"noopener noreferrer\">Black bus tour\u003c/a>” through the United States’ southeast region. He and a team of folks aim to hit 14 cities—Orlando, Atlanta and Raleigh, to name a few—over a span of 10 days to assist people in getting to the polls.\u003c/p>\n\u003cp>McBride says the role of Black men right now is “to be what we’ve always been when we’ve been at our best.” Black men are freedom fighters, truth tellers and protectors of our community, he says. “We need to lead with a healthy sense of strength and humility to understand the complexity of the issues that have impacted all of the members of the community,” says McBride. “Leadership doesn’t always require to be out in front. It’s about discerning the moment. The plight of Black people requires a lot more coordination in order to beat white supremacy.”\u003c/p>\n\u003cfigure id=\"attachment_13888697\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13888697\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/image-asset-800x533.jpg\" alt=\"Pastor Michael McBride, center, leads a 2017 march in Berkeley to protest white supremacists.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/image-asset-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/image-asset-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/image-asset-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/image-asset-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/image-asset.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pastor Michael McBride, center, leads a 2017 march in Berkeley to protest white supremacists. \u003ccite>(Courtesy Michael McBride)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>long with the prevalence of Black male entertainers’ tone-deaf participation in politics, the popular stories of actual Black male politicians have been disheartening.\u003c/p>\n\u003cp>The story of Kentucky’s\u003ca href=\"https://thegrio.com/2020/10/21/something-fishy-about-daniel-cameron-breonna-taylor-case/\" target=\"_blank\" rel=\"noopener noreferrer\"> Attorney General Daniel Cameron \u003c/a>blocking the process of holding the cops who killed Breonna Taylor accountable is disgusting. The highly publicized extramarital affair of former Florida Governor Candidate \u003ca href=\"https://www.cnn.com/2020/09/14/politics/andrew-gillum-bisexual/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">Andrew Gillium\u003c/a> makes me ask what the media’s aim is. And here in the Bay Area, I’ve been following the unearthing of details around front-running Vallejo mayoral candidate \u003ca href=\"https://openvallejo.org/2020/10/13/domestic-violence-bordering-on-torture-records-reveal-years-of-allegations-against-vallejo-councilmember/\" target=\"_blank\" rel=\"noopener noreferrer\">Hakeem Brown\u003c/a> and his history of domestic abuse.\u003c/p>\n\u003cp>So, again, I \u003ci>needed\u003c/i> these benevolent stories.\u003c/p>\n\u003cp>I’m not giving anyone a pass as a “good guy.” I’m not naive enough to think that in this society any man has clean hands—or any human, for that matter.\u003c/p>\n\u003cp>But there should be more appreciation for someone like Colin Kaepernick, who is using his popularity to back \u003ca href=\"https://level.medium.com/abolition-for-the-people-397ef29e3ca5\" target=\"_blank\" rel=\"noopener noreferrer\">Abolition For The People\u003c/a>, a publication rooted in challenging America’s prison-industrial complex. Or acclaimed poet \u003ca href=\"https://www.latimes.com/entertainment-arts/story/2020-10-05/45-lies-trump-poetry-project-rappers-broadway-daveed-diggs\" target=\"_blank\" rel=\"noopener noreferrer\">Marc Bamuthi Joseph\u003c/a>, who’s using his platform to let other lyricists express themselves about the lies our current president has told in a project he calls \u003ca href=\"https://www.instagram.com/45lies2020/\" target=\"_blank\" rel=\"noopener noreferrer\">45 Lies\u003c/a>.\u003c/p>\n\u003cp>Hell, even \u003ca href=\"https://youtu.be/Oq56pAdXqi8\" target=\"_blank\" rel=\"noopener noreferrer\">Mike Tyson\u003c/a>, who recently had a conversation with Lil Boosie about his derogatory comments on the LGBTQ community.\u003c/p>\n\u003cp>Black male celebrities can do so much by simply not playing into the media’s need to feed off of clickbait. I’m not saying don’t get involved in politics, this isn’t a “\u003ca href=\"https://www.youtube.com/watch?v=AlHuaOIvRLY\" target=\"_blank\" rel=\"noopener noreferrer\">shut up and dribble\u003c/a>” situation. (Or even a shut up and “riddle” situation, for the rappers in the room.)\u003c/p>\n\u003cp>But there’s another way.\u003c/p>\n\u003cp>Barbershop-style discussions with former President \u003ca href=\"https://www.yahoo.com/entertainment/barack-obama-stopping-lebron-james-175511212.html\">Barack Obama\u003c/a> are cool and all, but the best approach is using your platform to push the ideas of lesser-known people who, though not always “newsworthy,” have been steeped in the work.\u003c/p>\n\u003cp>https://youtu.be/LMJvApfx_Ik\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>ith the reintroduction of the term “super predator” into the popular lexicon, this week’s research proved to be the reminder I needed, just a note that we’re much more than what popular media depicts.\u003c/p>\n\u003cp>And as a Black man, who is also a member of “the media,” it’s my job to do all that I can to make sure we push for more of what\u003ca href=\"https://www.latimes.com/opinion/story/2020-09-27/los-angeles-times-apology-racism\" target=\"_blank\" rel=\"noopener noreferrer\"> The Los Angeles Times\u003c/a> attempted to do a few weeks ago with its public apology for its decades worth of misrepresenting Black and brown urban communities.\u003c/p>\n\u003cp>Again, there is a lot going on in the world: I haven’t even mentioned global warming.\u003c/p>\n\u003cp>But this had to be written, if not then we’d risk falling back down a path that could lead to the type of storytelling that supported the incarceration of the \u003ca href=\"https://www.usatoday.com/story/news/politics/2019/06/19/what-trump-has-said-central-park-five/1501321001/\">Central Park Five\u003c/a> and the passing of the \u003ca href=\"https://www.vox.com/policy-and-politics/2019/6/20/18677998/joe-biden-1994-crime-bill-law-mass-incarceration\" target=\"_blank\" rel=\"noopener noreferrer\">1994 Crime Bill\u003c/a>—a bill that adversely impacted a generation of Black men.\u003c/p>\n\u003cp>Well, not the \u003cem>entire\u003c/em> generation. There were some entertainers who made so-called “gangsta rap” music and leveraged the concept of being a “super predator” for their own financial gain.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>A few of them are now being postured as “political leaders.” Go figure.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">M\u003c/span>an, there sure are a number of Black men in the political arena looking like clowns these days. And as much as I enjoy a good laugh, I don’t think it’s really the time to be entertained.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>There’s a pretty big election happening right now in the United States. There are also international conversations and actions pushing changes in the way we’re policed, and there’s an ongoing global pandemic that has killed over one million people worldwide.\u003c/p>\n\u003cp>So why are we listening to entertainers?\u003c/p>\n\u003cp>Why do we need a breakdown of the meetings between \u003ca href=\"https://www.politico.com/news/2020/10/15/ice-cube-trump-partnership-429713\" target=\"_blank\" rel=\"noopener noreferrer\">Ice Cube\u003c/a> and President Trump’s camps? Why do we care about \u003ca href=\"https://www.foxnews.com/entertainment/50-cent-fk-donald-trump-after-support-president\" target=\"_blank\" rel=\"noopener noreferrer\">50 Cent’s flip-flopping political views\u003c/a>? Did we really need \u003ca href=\"https://news.yahoo.com/diddy-starts-political-party-empower-194913724.html\" target=\"_blank\" rel=\"noopener noreferrer\">Diddy\u003c/a> to hop on the airwaves and announce he’s starting a new political party? Why is \u003ca href=\"https://www.nytimes.com/2020/10/30/arts/music/lil-wayne-trump.html\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Wayne’s\u003c/a> support of Trump noteworthy? Why is \u003ca href=\"https://deadline.com/2020/09/jeezy-joe-biden-kanye-west-1234578676/\" target=\"_blank\" rel=\"noopener noreferrer\">Young Jeezy’s\u003c/a> support of Joe Biden a story? Why… \u003cem>is \u003c/em>\u003ca href=\"https://www.tmz.com/2020/10/03/kanye-west-california-ballot-vice-president-candidate/\" target=\"_blank\" rel=\"noopener noreferrer\">Kanye West\u003c/a>?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hella questions. At the top of my list: when it comes to creating change in our community, in this election cycle and beyond, what is the role of Black men? ‘Cause judging from these popular stories I’m seeing… it’s questionable.\u003c/p>\n\u003cfigure id=\"attachment_13888699\" class=\"wp-caption aligncenter\" style=\"max-width: 499px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13888699\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/123024745_134014161795446_9026917441314080281_n.jpg\" alt=\"\" width=\"499\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/123024745_134014161795446_9026917441314080281_n.jpg 499w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/123024745_134014161795446_9026917441314080281_n-160x160.jpg 160w\" sizes=\"(max-width: 499px) 100vw, 499px\">\u003cfigcaption class=\"wp-caption-text\">Truth. \u003ccite>(Via \u003ca href=\"https://www.instagram.com/ksj.events/\">Kola Shobo\u003c/a>/IG)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>ast week I turned to \u003ca href=\"https://twitter.com/OGpenn/status/1318220298383028225?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">social media\u003c/a> in search of answers. I needed stories of Black men taking action to make this world a bit better, both through electoral politics and outside of the political structure. No, you don’t hear me: I \u003ci>needed\u003c/i> these stories.\u003c/p>\n\u003cp>So it was refreshing to learn about Maryland’s \u003ca href=\"https://twitter.com/nealcarter\" target=\"_blank\" rel=\"noopener noreferrer\">Neal Carter\u003c/a> and his Nu View Consulting organization, which focuses on getting African Americans living with disabilities politically engaged. Or \u003ca href=\"https://twitter.com/CameronWhitten\" target=\"_blank\" rel=\"noopener noreferrer\">Cameron Whitten\u003c/a>, a Black man in Portland, Oregon who’s politically active; I’ve been following Black Lives Matter protests up there since the summer and he’s the first African American man involved that I’ve heard of.\u003c/p>\n\u003cp>I needed to be introduced to the education work \u003ca href=\"https://twitter.com/michaelsorrell\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Sorrell\u003c/a> is doing in Texas, the organizing work \u003ca href=\"https://twitter.com/LamontLilly\" target=\"_blank\" rel=\"noopener noreferrer\">Lamont Lilly\u003c/a> is doing out of Durham, NC, and the work of \u003ca href=\"https://twitter.com/codyrenard\" target=\"_blank\" rel=\"noopener noreferrer\">Cody Renard Richard,\u003c/a> who in \u003ca href=\"https://www.youtube.com/watch?v=H7KumWIxyTk&feature=emb_title\" target=\"_blank\" rel=\"noopener noreferrer\">this interview\u003c/a> from earlier this year explains how he’s fighting for equal rights in the world of Broadway theatre in New York.\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/3HtaCBegNWg'\n title='//www.youtube.com/embed/3HtaCBegNWg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Locally, people suggested I check out the work of Tur-Ha Ak, whose work with \u003ca href=\"https://www.antipoliceterrorproject.org/\" target=\"_blank\" rel=\"noopener noreferrer\">the Anti Police-Terror Project\u003c/a> I’ve mentioned in my writing before. The Oakland group \u003ca href=\"https://www.youtube.com/watch?v=3HtaCBegNWg\" target=\"_blank\" rel=\"noopener noreferrer\">Black London\u003c/a> put out an admonition to vote and claim representation for the people in their video for “Power.” And I was asked to look at the work of \u003ca href=\"https://www.hellablackpod.com/pbo\" target=\"_blank\" rel=\"noopener noreferrer\">People’s Breakfast Oakland\u003c/a>, which I’ve also noted in past columns.\u003c/p>\n\u003cp>Partially inspired by People’s Breakfast Oakland, Sacramento’s \u003ca href=\"https://twitter.com/coach_jmcgowan\" target=\"_blank\" rel=\"noopener noreferrer\">Jordan McGowan\u003c/a> told me about co-founding the \u003ca href=\"https://twitter.com/sacneighbor916\" target=\"_blank\" rel=\"noopener noreferrer\">Sacramento Neighbor Project\u003c/a>, which focuses on community-based responses to police violence and using mutual aid to get resources to those in need. Without talking to McGowan, I might not have known about \u003ca href=\"https://news.yahoo.com/father-found-hanged-sacramento-park-120000333.html\" target=\"_blank\" rel=\"noopener noreferrer\">Willie Brown\u003c/a>, an African American man who has been on life support after being found hanging from a basketball hoop in a Sacramento park last week.\u003c/p>\n\u003cp>That might a bit more important than what \u003ca href=\"https://www.complex.com/music/2020/09/ti-interview-ring\" target=\"_blank\" rel=\"noopener noreferrer\">T.I\u003c/a>. has to say about politics.\u003c/p>\n\u003cp>But maybe it’s not \u003ci>sexy\u003c/i> enough? I’m not a media strategist or anything, but I’m starting to think big publications are more concerned with generating revenue from click-based advertising than actually informing the masses about critical issues during a time when so much is at stake.\u003c/p>\n\u003cp>Again, why are we listening to entertainers?\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/1NZEHNSC2Q0'\n title='//www.youtube.com/embed/1NZEHNSC2Q0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>K, here’s a story that might be more enticing: the former drug kingpin-turned-author, Oakland’s \u003ca href=\"https://www.instagram.com/p/CG2m3nTMjVZ/\" target=\"_blank\" rel=\"noopener noreferrer\">Darryl Reed\u003c/a>, who was granted clemency by President Obama, is voting for the first time and politically organizing in his community of East Oakland. Where’s the news on that?\u003c/p>\n\u003cp>Reed is supporting the organization \u003ca href=\"https://100blackmenba.org/\" target=\"_blank\" rel=\"noopener noreferrer\">100 Black Men of The Bay Area\u003c/a> to engage people in voter education, registration and voting. Neale Clunie, a representative for the organization, tells me they’re part of the “\u003ca href=\"https://100blackmenba.org/event/we-ride-we-vote/\" target=\"_blank\" rel=\"noopener noreferrer\">We Ride, We Vote\u003c/a>” biking and voting event on Sunday, Nov. 1, from 1-5 pm in San Francisco.\u003c/p>\n\u003cp>Clunie also tells me that his organization is teaming up with the \u003ca href=\"https://ncbw.org/\" target=\"_blank\" rel=\"noopener noreferrer\">National Coalition of 100 Black Women\u003c/a>. “Black women are the cornerstone of the Democratic party; they generally have a better turnout,” says Clunie. He’s right: according to \u003ca href=\"https://www.pewresearch.org/fact-tank/2020/08/18/men-and-women-in-the-u-s-continue-to-differ-in-voter-turnout-rate-party-identification/\" target=\"_blank\" rel=\"noopener noreferrer\">Pew Research\u003c/a>, eligible Black women voters have shown up more readily than Black men for decades. (To be fair, women vote in larger numbers than men in general.)\u003c/p>\n\u003cp>Much has been written about the power of Black women voters, and Pastor Michael McBride, of \u003ca href=\"https://thewayberkeley.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Way Christian Center in Berkeley,\u003c/a> says that doesn’t have to negatively impact Black men when it comes to voting or community organizing.\u003c/p>\n\u003cp>“Men don’t have to shrink or cower or disappear for women to be strong,” Pastor McBride tells me. “We just have to be willing and humble. Coordination with all of our community is happening at the same time.”\u003c/p>\n\u003cp>(McBride, who was on the move when we talked, mistakenly thought I said my name was “Twin” when I introduced myself as Pen. He explained that Twin is someone he’s working with in order to quell a festering beef after a recent shooting—evidence of Pastor McBride’s community involvement.)\u003c/p>\n\u003cp>McBride then said he’s on the verge of embarking on a “\u003ca href=\"https://www.instagram.com/p/CG_dCXUBmYo/\" target=\"_blank\" rel=\"noopener noreferrer\">Black bus tour\u003c/a>” through the United States’ southeast region. He and a team of folks aim to hit 14 cities—Orlando, Atlanta and Raleigh, to name a few—over a span of 10 days to assist people in getting to the polls.\u003c/p>\n\u003cp>McBride says the role of Black men right now is “to be what we’ve always been when we’ve been at our best.” Black men are freedom fighters, truth tellers and protectors of our community, he says. “We need to lead with a healthy sense of strength and humility to understand the complexity of the issues that have impacted all of the members of the community,” says McBride. “Leadership doesn’t always require to be out in front. It’s about discerning the moment. The plight of Black people requires a lot more coordination in order to beat white supremacy.”\u003c/p>\n\u003cfigure id=\"attachment_13888697\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13888697\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/image-asset-800x533.jpg\" alt=\"Pastor Michael McBride, center, leads a 2017 march in Berkeley to protest white supremacists.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/image-asset-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/image-asset-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/image-asset-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/image-asset-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/image-asset.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pastor Michael McBride, center, leads a 2017 march in Berkeley to protest white supremacists. \u003ccite>(Courtesy Michael McBride)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>long with the prevalence of Black male entertainers’ tone-deaf participation in politics, the popular stories of actual Black male politicians have been disheartening.\u003c/p>\n\u003cp>The story of Kentucky’s\u003ca href=\"https://thegrio.com/2020/10/21/something-fishy-about-daniel-cameron-breonna-taylor-case/\" target=\"_blank\" rel=\"noopener noreferrer\"> Attorney General Daniel Cameron \u003c/a>blocking the process of holding the cops who killed Breonna Taylor accountable is disgusting. The highly publicized extramarital affair of former Florida Governor Candidate \u003ca href=\"https://www.cnn.com/2020/09/14/politics/andrew-gillum-bisexual/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">Andrew Gillium\u003c/a> makes me ask what the media’s aim is. And here in the Bay Area, I’ve been following the unearthing of details around front-running Vallejo mayoral candidate \u003ca href=\"https://openvallejo.org/2020/10/13/domestic-violence-bordering-on-torture-records-reveal-years-of-allegations-against-vallejo-councilmember/\" target=\"_blank\" rel=\"noopener noreferrer\">Hakeem Brown\u003c/a> and his history of domestic abuse.\u003c/p>\n\u003cp>So, again, I \u003ci>needed\u003c/i> these benevolent stories.\u003c/p>\n\u003cp>I’m not giving anyone a pass as a “good guy.” I’m not naive enough to think that in this society any man has clean hands—or any human, for that matter.\u003c/p>\n\u003cp>But there should be more appreciation for someone like Colin Kaepernick, who is using his popularity to back \u003ca href=\"https://level.medium.com/abolition-for-the-people-397ef29e3ca5\" target=\"_blank\" rel=\"noopener noreferrer\">Abolition For The People\u003c/a>, a publication rooted in challenging America’s prison-industrial complex. Or acclaimed poet \u003ca href=\"https://www.latimes.com/entertainment-arts/story/2020-10-05/45-lies-trump-poetry-project-rappers-broadway-daveed-diggs\" target=\"_blank\" rel=\"noopener noreferrer\">Marc Bamuthi Joseph\u003c/a>, who’s using his platform to let other lyricists express themselves about the lies our current president has told in a project he calls \u003ca href=\"https://www.instagram.com/45lies2020/\" target=\"_blank\" rel=\"noopener noreferrer\">45 Lies\u003c/a>.\u003c/p>\n\u003cp>Hell, even \u003ca href=\"https://youtu.be/Oq56pAdXqi8\" target=\"_blank\" rel=\"noopener noreferrer\">Mike Tyson\u003c/a>, who recently had a conversation with Lil Boosie about his derogatory comments on the LGBTQ community.\u003c/p>\n\u003cp>Black male celebrities can do so much by simply not playing into the media’s need to feed off of clickbait. I’m not saying don’t get involved in politics, this isn’t a “\u003ca href=\"https://www.youtube.com/watch?v=AlHuaOIvRLY\" target=\"_blank\" rel=\"noopener noreferrer\">shut up and dribble\u003c/a>” situation. (Or even a shut up and “riddle” situation, for the rappers in the room.)\u003c/p>\n\u003cp>But there’s another way.\u003c/p>\n\u003cp>Barbershop-style discussions with former President \u003ca href=\"https://www.yahoo.com/entertainment/barack-obama-stopping-lebron-james-175511212.html\">Barack Obama\u003c/a> are cool and all, but the best approach is using your platform to push the ideas of lesser-known people who, though not always “newsworthy,” have been steeped in the work.\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/LMJvApfx_Ik'\n title='//www.youtube.com/embed/LMJvApfx_Ik'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>ith the reintroduction of the term “super predator” into the popular lexicon, this week’s research proved to be the reminder I needed, just a note that we’re much more than what popular media depicts.\u003c/p>\n\u003cp>And as a Black man, who is also a member of “the media,” it’s my job to do all that I can to make sure we push for more of what\u003ca href=\"https://www.latimes.com/opinion/story/2020-09-27/los-angeles-times-apology-racism\" target=\"_blank\" rel=\"noopener noreferrer\"> The Los Angeles Times\u003c/a> attempted to do a few weeks ago with its public apology for its decades worth of misrepresenting Black and brown urban communities.\u003c/p>\n\u003cp>Again, there is a lot going on in the world: I haven’t even mentioned global warming.\u003c/p>\n\u003cp>But this had to be written, if not then we’d risk falling back down a path that could lead to the type of storytelling that supported the incarceration of the \u003ca href=\"https://www.usatoday.com/story/news/politics/2019/06/19/what-trump-has-said-central-park-five/1501321001/\">Central Park Five\u003c/a> and the passing of the \u003ca href=\"https://www.vox.com/policy-and-politics/2019/6/20/18677998/joe-biden-1994-crime-bill-law-mass-incarceration\" target=\"_blank\" rel=\"noopener noreferrer\">1994 Crime Bill\u003c/a>—a bill that adversely impacted a generation of Black men.\u003c/p>\n\u003cp>Well, not the \u003cem>entire\u003c/em> generation. There were some entertainers who made so-called “gangsta rap” music and leveraged the concept of being a “super predator” for their own financial gain.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A few of them are now being postured as “political leaders.” Go figure.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "sf-clubs-and-bars-welcome-mayors-relief-effort-yet-too-little-too-late",
"title": "SF Clubs and Bars Welcome Mayor's Relief Effort, Yet 'Too Little Too Late'",
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"headTitle": "SF Clubs and Bars Welcome Mayor’s Relief Effort, Yet ‘Too Little Too Late’ | KQED",
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"content": "\u003cp>San Francisco Mayor London Breed’s announcement of $2.5 million in aid to the city’s beleaguered entertainment and nightlife industry is receiving a mixed response from local bars and clubs.\u003c/p>\n\u003cp>According to a statement from the mayor’s office on Monday, the city will waive clubs’ and bars’ regulatory license and business registration fees for two years, as well as these businesses’ payroll expense taxes for 2020. Businesses will not be required to pay back these fees at a later date, but will still have to file tax returns.\u003c/p>\n\u003cp>The statement says the city will provide financial relief for approximately 300 permitted entertainment venues which meet the criteria of gross receipts amounting to less than $20 million.[aside postid='arts_13886812']\u003c/p>\n\u003cp>“Our entertainment venues are a large part of the reason people flock to San Francisco and rave about our culture,” said \u003ca href=\"https://sf.gov/departments/city-administrator/entertainment-commission\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Entertainment Commission\u003c/a> president, Ben Bleiman. “They are also particularly vulnerable during these times due to their business models. We must do all we can to support these businesses, so that we have places to be able to come together once we’re able to come together again.”\u003c/p>\n\u003cp>Clubs and bars have now been shuttered for most of the year. The city’s nightlife scene has suffered more than many other major local industries since the COVID-19 pandemic hit. And hopes for a partial easing of restrictions currently scheduled for mid-November are tentative, to say the least.\u003c/p>\n\u003cp>Struggling business owners are glad to finally be getting help from the city, but remain doubtful this relief will be enough to see them through.\u003c/p>\n\u003cp>“I’m excited to see the city doing something, because so far they have done zero to help venues like ourselves,” says Dan Strachota, managing partner and talent buyer at the \u003ca href=\"https://www.rickshawstop.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rickshaw Stop\u003c/a> in Hayes Valley. “But I’m uncertain how much this is going to help. Even if they waive all of our fees, there’s still so much money that has to be paid.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s welcome,” says Tadd Cortell, managing partner for the SOMA nightclub \u003ca href=\"https://www.monarchsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Monarch\u003c/a> and \u003ca href=\"https://www.thegreatnorthernsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Great Northern\u003c/a>, a music bar in the Inner Mission. “Any help targeted towards the nightlife industry is particularly helpful at this point. Being able to waive taxes and fees especially over the next two years will make a difference.”\u003c/p>\n\u003cp>But Cortell also says the city’s move is “too little too late.”\u003c/p>\n\u003cp>The nimble thinking required of venues in order to survive has resulted in sales of surplus off-sale liquor and online archival livestreams. So any help from the city is “awesome,” says San Francisco drag queen \u003ca href=\"https://www.kqed.org/trulyca/40/heklina\" rel=\"noopener noreferrer\" target=\"_blank\">Heklina\u003c/a>. “Small entertainment venues and bars have been hardest hit because they are seen as the most expendable, and they’re not as politically expedient to support as restaurants, or mom-and-pop stores. And the ones that have been allowed to open have had to jump through crazy hurdles like selling hot food,” Heklina says.[aside postid='arts_13878116']\u003c/p>\n\u003cp>San Francisco venues already had to pay their full fees this year, and Cortell wishes the city would have stepped forward with the fee breaks when the pandemic first started. And he doubts whether the $2.5 million in relief will help tide local venues over until they can reopen properly and find their financial footing again.\u003c/p>\n\u003cp>The Great Northern and Monarch have remained closed since mid-February and mid-March, respectively. He says the clubs collectively pay $44,000 in annual taxes and fees to the City of San Francisco, which includes payroll taxes and permits for running a place of assembly.\u003c/p>\n\u003cp>Cortell describes the city’s approach to stemming the spread of the coronavirus pandemic as “disciplined, but very restrictive.”\u003c/p>\n\u003cp>“We don’t want to be the cause of increasing a viral spike, but we also need to survive as businesses,” Cortell says.\u003c/p>\n\u003cp>Cortell’s businesses have relied on federal aid packages and rent relief from landlords in order to stay afloat over these past few months. He says things may improve in the second or third quarter of next year — if local and federal bodies are willing to step up.\u003c/p>\n\u003cp>“Whatever the city can do to help our industry, together with federal help, is the only way we can keep going into next year,” Cortell says. “Right now, all we can do is focus on getting to next week.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n",
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"title": "SF Clubs and Bars Welcome Mayor's Relief Effort, Yet 'Too Little Too Late' | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco Mayor London Breed’s announcement of $2.5 million in aid to the city’s beleaguered entertainment and nightlife industry is receiving a mixed response from local bars and clubs.\u003c/p>\n\u003cp>According to a statement from the mayor’s office on Monday, the city will waive clubs’ and bars’ regulatory license and business registration fees for two years, as well as these businesses’ payroll expense taxes for 2020. Businesses will not be required to pay back these fees at a later date, but will still have to file tax returns.\u003c/p>\n\u003cp>The statement says the city will provide financial relief for approximately 300 permitted entertainment venues which meet the criteria of gross receipts amounting to less than $20 million.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Our entertainment venues are a large part of the reason people flock to San Francisco and rave about our culture,” said \u003ca href=\"https://sf.gov/departments/city-administrator/entertainment-commission\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Entertainment Commission\u003c/a> president, Ben Bleiman. “They are also particularly vulnerable during these times due to their business models. We must do all we can to support these businesses, so that we have places to be able to come together once we’re able to come together again.”\u003c/p>\n\u003cp>Clubs and bars have now been shuttered for most of the year. The city’s nightlife scene has suffered more than many other major local industries since the COVID-19 pandemic hit. And hopes for a partial easing of restrictions currently scheduled for mid-November are tentative, to say the least.\u003c/p>\n\u003cp>Struggling business owners are glad to finally be getting help from the city, but remain doubtful this relief will be enough to see them through.\u003c/p>\n\u003cp>“I’m excited to see the city doing something, because so far they have done zero to help venues like ourselves,” says Dan Strachota, managing partner and talent buyer at the \u003ca href=\"https://www.rickshawstop.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rickshaw Stop\u003c/a> in Hayes Valley. “But I’m uncertain how much this is going to help. Even if they waive all of our fees, there’s still so much money that has to be paid.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s welcome,” says Tadd Cortell, managing partner for the SOMA nightclub \u003ca href=\"https://www.monarchsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Monarch\u003c/a> and \u003ca href=\"https://www.thegreatnorthernsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Great Northern\u003c/a>, a music bar in the Inner Mission. “Any help targeted towards the nightlife industry is particularly helpful at this point. Being able to waive taxes and fees especially over the next two years will make a difference.”\u003c/p>\n\u003cp>But Cortell also says the city’s move is “too little too late.”\u003c/p>\n\u003cp>The nimble thinking required of venues in order to survive has resulted in sales of surplus off-sale liquor and online archival livestreams. So any help from the city is “awesome,” says San Francisco drag queen \u003ca href=\"https://www.kqed.org/trulyca/40/heklina\" rel=\"noopener noreferrer\" target=\"_blank\">Heklina\u003c/a>. “Small entertainment venues and bars have been hardest hit because they are seen as the most expendable, and they’re not as politically expedient to support as restaurants, or mom-and-pop stores. And the ones that have been allowed to open have had to jump through crazy hurdles like selling hot food,” Heklina says.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>San Francisco venues already had to pay their full fees this year, and Cortell wishes the city would have stepped forward with the fee breaks when the pandemic first started. And he doubts whether the $2.5 million in relief will help tide local venues over until they can reopen properly and find their financial footing again.\u003c/p>\n\u003cp>The Great Northern and Monarch have remained closed since mid-February and mid-March, respectively. He says the clubs collectively pay $44,000 in annual taxes and fees to the City of San Francisco, which includes payroll taxes and permits for running a place of assembly.\u003c/p>\n\u003cp>Cortell describes the city’s approach to stemming the spread of the coronavirus pandemic as “disciplined, but very restrictive.”\u003c/p>\n\u003cp>“We don’t want to be the cause of increasing a viral spike, but we also need to survive as businesses,” Cortell says.\u003c/p>\n\u003cp>Cortell’s businesses have relied on federal aid packages and rent relief from landlords in order to stay afloat over these past few months. He says things may improve in the second or third quarter of next year — if local and federal bodies are willing to step up.\u003c/p>\n\u003cp>“Whatever the city can do to help our industry, together with federal help, is the only way we can keep going into next year,” Cortell says. “Right now, all we can do is focus on getting to next week.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"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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"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.",
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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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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
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"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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