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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": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Fine Arts Museums of San Francisco (FAMSF), more commonly known as the de Young Museum and the Legion of Honor, \u003ca href=\"https://www.famsf.org/press-room/natasha-becker-joins-fine-arts-museums-san-francisco-inaugural-curator-african-art\" rel=\"noopener noreferrer\" target=\"_blank\">announced today\u003c/a> the appointment of independent curator Natasha Becker as the institution’s inaugural curator of African art. \u003c/p>\n\u003cp>Becker, who was born and raised in South Africa, has lived and worked between Cape Town and New York for the past decade. She comes to the FAMSF most recently from Harlem’s Faction Art Projects, where she was a curator-in-residence. According to today’s press release, Becker will report to Christina Hellmich, the curator in charge of the art of Africa, Oceania and the Americas. She will envision “new and expansive ways to interpret and present artworks in focused exhibitions and in dialogue with other works of art in the Museums’ collection.”\u003c/p>\n\u003cp>Though Becker holds a master’s in African history and a PhD in art history, much of her recent work has concerned contemporary African and African diaspora art. She is the co-founder of two collaborative curatorial platforms: New York City’s \u003ca href=\"http://assemblyroom.nyc/\" rel=\"noopener noreferrer\" target=\"_blank\">Assembly Room\u003c/a> and \u003ca href=\"https://underlineprojects.art/\" rel=\"noopener noreferrer\" target=\"_blank\">Underline Show\u003c/a> in Johannesburg. She has also served as a curatorial adviser at the Face Foundation and co-curator at the Ford Foundation Center for Social Justice. The press release notes Becker’s interest in promoting art from “the global south, as well as women artists, in addition to centering social justice within the contemporary art dialogue.”\u003c/p>\n\u003cp>“This is a time for accountability, for asking real questions, and for transformation in U.S. museums,” Becker said in a statement. “I believe in the contemporary value of historical collections and the important role of today’s artists in connecting people and leading these conversations.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Sundance Selects SF’s Roxie Theater as Sole NorCal Venue for 2021 Festival",
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"content": "\u003cp>For the first time, Bay Area movie buffs won’t have to trek out to snowy Utah to experience the \u003ca href=\"https://festival.sundance.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Sundance Film Festival\u003c/a> in January.\u003c/p>\n\u003cp>San Francisco’s \u003ca href=\"https://www.roxie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Roxie Theater\u003c/a> will play host to the week-long festival’s lineup of movies, talks and other events.\u003c/p>\n\u003cp>Sundance selected the Roxie, a historic indie theater with two screens, as one of 33 partner film presenters around the country. It’s the only Northern California theater chosen to partner with the festival. The other two presenters in California are near Los Angeles.\u003c/p>\n\u003cp>“Thanks to a constellation of independent cinema communities across the U.S. we are not putting on our festival alone,” said Sundance Festival Director Tabitha Jackson in a statement released Wednesday. “At the heart of all this is a belief in the power of coming together, and the desire to preserve what makes a festival unique—a collaborative spirit, a collective energy, and a celebration of the art, artists, and ideas that leave us changed.”\u003c/p>\n\u003cfigure id=\"attachment_13889836\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889836\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/RoxieTheatre-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RoxieTheatre-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RoxieTheatre-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RoxieTheatre-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RoxieTheatre-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RoxieTheatre-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RoxieTheatre-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RoxieTheatre.jpg 1999w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Roxie Theater is among the 33 presenters selected by Sundance around the country to screen 2021 festival programming. \u003ccite>(Courtesy Roxie Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to a Sundance representative, the Institute has previously led and collaborated on domestic and international public film programs, but this is the first time the annual festival’s full program has been available beyond Park City.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like many other cultural events these days, the Sundance Festival is also happening online.\u003c/p>\n\u003cp>And unless the COVID-19-related health and safety restrictions lift in time for the 2021 event, which runs Jan. 28–Feb. 3, the in-person screenings will take place at the Fort Mason Drive-In, and not at the theater’s home-base in the Mission District.\u003c/p>\n\u003cp>The Roxie’s director of programming, Isabel Fondevila, told KQED the festival’s organizers reached out to her over the summer about the potential collaboration.\u003c/p>\n\u003cp>“We’re not sure why we are the only partner theater in Northern California because there are definitely a lot of fantastic independent movie theaters around here,” Fondevila said. “The Roxie has been around for a while and has a reputation for its programing and curation. We do show mostly independent films, and that includes a lot of films that have come out of Sundance. So I think those things helped.”\u003c/p>\n\u003cp>Under the terms of the partnership, Fondevila said Sundance is making a financial contribution to all of the satellite screen partners, including the Roxie, to help cover some of the costs associated with putting together the festival in the many remote locations.\u003c/p>\n\u003cp>Fondevila said the festival is also providing its partners with additional resources, like sponsorship knowhow. Plus, the Roxie gets to keep all of the income from festival ticket sales in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Sundance does not need to do satellite screenings all over the country,” Fondevila said. “But they really believe a healthy ecosystem for artists and audiences requires that independent cinemas across the country survive and thrive.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the first time, Bay Area movie buffs won’t have to trek out to snowy Utah to experience the \u003ca href=\"https://festival.sundance.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Sundance Film Festival\u003c/a> in January.\u003c/p>\n\u003cp>San Francisco’s \u003ca href=\"https://www.roxie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Roxie Theater\u003c/a> will play host to the week-long festival’s lineup of movies, talks and other events.\u003c/p>\n\u003cp>Sundance selected the Roxie, a historic indie theater with two screens, as one of 33 partner film presenters around the country. It’s the only Northern California theater chosen to partner with the festival. The other two presenters in California are near Los Angeles.\u003c/p>\n\u003cp>“Thanks to a constellation of independent cinema communities across the U.S. we are not putting on our festival alone,” said Sundance Festival Director Tabitha Jackson in a statement released Wednesday. “At the heart of all this is a belief in the power of coming together, and the desire to preserve what makes a festival unique—a collaborative spirit, a collective energy, and a celebration of the art, artists, and ideas that leave us changed.”\u003c/p>\n\u003cfigure id=\"attachment_13889836\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889836\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/RoxieTheatre-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RoxieTheatre-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RoxieTheatre-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RoxieTheatre-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RoxieTheatre-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RoxieTheatre-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RoxieTheatre-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RoxieTheatre.jpg 1999w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Roxie Theater is among the 33 presenters selected by Sundance around the country to screen 2021 festival programming. \u003ccite>(Courtesy Roxie Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to a Sundance representative, the Institute has previously led and collaborated on domestic and international public film programs, but this is the first time the annual festival’s full program has been available beyond Park City.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like many other cultural events these days, the Sundance Festival is also happening online.\u003c/p>\n\u003cp>And unless the COVID-19-related health and safety restrictions lift in time for the 2021 event, which runs Jan. 28–Feb. 3, the in-person screenings will take place at the Fort Mason Drive-In, and not at the theater’s home-base in the Mission District.\u003c/p>\n\u003cp>The Roxie’s director of programming, Isabel Fondevila, told KQED the festival’s organizers reached out to her over the summer about the potential collaboration.\u003c/p>\n\u003cp>“We’re not sure why we are the only partner theater in Northern California because there are definitely a lot of fantastic independent movie theaters around here,” Fondevila said. “The Roxie has been around for a while and has a reputation for its programing and curation. We do show mostly independent films, and that includes a lot of films that have come out of Sundance. So I think those things helped.”\u003c/p>\n\u003cp>Under the terms of the partnership, Fondevila said Sundance is making a financial contribution to all of the satellite screen partners, including the Roxie, to help cover some of the costs associated with putting together the festival in the many remote locations.\u003c/p>\n\u003cp>Fondevila said the festival is also providing its partners with additional resources, like sponsorship knowhow. Plus, the Roxie gets to keep all of the income from festival ticket sales in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Sundance does not need to do satellite screenings all over the country,” Fondevila said. “But they really believe a healthy ecosystem for artists and audiences requires that independent cinemas across the country survive and thrive.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Beyoncé, Dua Lipa Headline 2021 Grammy Nominations",
"headTitle": "Beyoncé, Dua Lipa Headline 2021 Grammy Nominations | KQED",
"content": "\u003cp>The Recording Academy announced its 2021 Grammy nominations on Tuesday, with Beyoncé, rising pop star Dua Lipa and stoner superstar Post Malone leading a diffuse field.\u003c/p>\n\u003cp>Beyonce features on two songs in the record of the year category, which essentially rewards the year’s best single: the remix of Megan Thee Stallion’s “Savage” and her own “Black Parade.” The latter was also nominated for song of the year, which is awarded to the winner’s songwriters.\u003c/p>\n\u003cp>The Grammys made several changes to its structure this year, including increasing its voting membership\u003ca href=\"https://www.grammy.com/press-releases/recording-academy%C2%AE-invites-2300-qualified-music-creators-and-professionals-join-its\" target=\"_blank\" rel=\"noopener noreferrer\"> by 2,300\u003c/a> and tweaking its nominations process after years of criticism over a lack of diversity amid the ceremony’s top categories. The moves were meant to “to evolve with the musical landscape and to ensure that the … nominating process and rules are more transparent and fair,” according to \u003ca href=\"https://www.grammy.com/press-releases/recording-academy%C2%AE-adopts-major-changes-63rd-annual-grammys%C2%AE-and-releases-rules\" target=\"_blank\" rel=\"noopener noreferrer\">a statement on its website\u003c/a>.\u003c/p>\n\u003cp>The Academy also made its\u003ca href=\"https://www.grammy.com/sites/com/files/2020rulebook.pdf\" target=\"_blank\" rel=\"noopener noreferrer\"> rules and guidelines\u003c/a> public for the first time, including definitions for previously murky eligibility requirements and voting guidelines. It also changed the names of several categories—the Latin Pop Album category was renamed to the slightly more-inclusive Best Latin Pop Or Urban Album—and instituted a method for flagging conflicts of interest on its still-secretive Nominations Review Committees, whose members are not made public.\u003c/p>\n\u003cp>In addition, the Academy made several personnel changes, most notably \u003ca href=\"https://www.npr.org/2020/03/02/811309417/the-recording-academy-fires-deborah-dugan-its-short-lived-leader\" target=\"_blank\" rel=\"noopener noreferrer\">the firing its first female CEO, Deborah Dugan\u003c/a>, after less than a year on the job. Dugan had accused the Academy of being “rigged” and “corrupt,” while the Academy had said she was terminated following a confidential investigation into allegations that Dugan had bullied a senior member of the Academy. Former Google executive Valeisha Butterfield Jones was appointed to Chief Diversity & Inclusion Officer, a new position created in response to \u003ca href=\"https://www.grammy.com/sites/com/files/final_task_force_report.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">recommendations\u003c/a> made by a task force focused on diversity and inclusion. She will “design, build and implement world-class programs and industry standards focused on inclusion, belonging and representation for underrepresented communities and creators.” [aside postid='arts_13889581,arts_13889392,arts_13889101' label='More Arts & Culture']\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The results of these efforts at the top of the marquee are mixed. The eight nominations in the album of the year category, for example, are gender-diverse but mostly white, save for the rock group Black Pumas and the multi-racial pop singer Jhené Aiko. Record of the year nominees form a richer field, including the fast-rising rapper DaBaby, pop provocateur Doja Cat and the aforementioned Megan Thee Stallion. All of the nominees for best pop vocal album are white artists.\u003c/p>\n\u003ch3>The 2021 Grammy Award Nominations\u003c/h3>\n\u003cp>\u003cstrong>Record Of The Year\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Awarded to the artist and producer(s), recording engineer(s), mixer(s) and mastering engineer(s), if other than the artist.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Black Parade” — Beyoncé\u003c/li>\n\u003cli>“Colors” — Black Pumas\u003c/li>\n\u003cli>“Rockstar” — DaBaby Featuring Roddy Ricch\u003c/li>\n\u003cli>“Say So” — Doja Cat\u003c/li>\n\u003cli>“Everything I Wanted” — Billie Eilish\u003c/li>\n\u003cli>“Don’t Start Now” — Dua Lipa\u003c/li>\n\u003cli>“Circles” — Post Malone\u003c/li>\n\u003cli>“Savage” — Megan Thee Stallion Featuring Beyoncé\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Song Of The Year\u003c/strong>\u003c/p>\n\u003cp>\u003cem>A songwriter(s) award. A song is eligible if it was first released or if it first achieved prominence during the eligibility year. (Recording artists’ names appear in parentheses.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Black Parade” — Denisia Andrews, Beyoncé, Stephen Bray, Shawn Carter, Brittany Coney, Derek James Dixie, Akil King, Kim “Kaydence” Krysiuk & Rickie “Caso” Tice, songwriters (Beyoncé)\u003c/li>\n\u003cli>“The Box” — Samuel Gloade & Rodrick Moore, songwriters (Roddy Ricch)\u003c/li>\n\u003cli>“Cardigan” — Aaron Dessner & Taylor Swift, songwriters (Taylor Swift)\u003c/li>\n\u003cli>“Circles” — Louis Bell, Adam Feeney, Kaan Gunesberk, Austin Post & Billy Walsh, songwriters (Post Malone)\u003c/li>\n\u003cli>“Don’t Start Now” — Caroline Ailin, Ian Kirkpatrick, Dua Lipa & Emily Warren, songwriters (Dua Lipa)\u003c/li>\n\u003cli>“Everything I Wanted” — Billie Eilish O’Connell & Finneas O’Connell, songwriters (Billie Eilish)\u003c/li>\n\u003cli>“I Can’t Breathe” — Dernst Emile II, H.E.R. & Tiara Thomas, songwriters (H.E.R.)\u003c/li>\n\u003cli>“If The World Was Ending” — Julia Michaels & JP Saxe, songwriters (JP Saxe Featuring Julia Michaels)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Album Of The Year\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Awarded to artist(s) and to featured artist(s), songwriter(s) of new material, producer(s), recording engineer(s), mixing and mastering engineer(s) credited with at least 33% playing time of the album, if other than the artist.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Chilombo \u003c/em>— Jhené Aiko\u003c/li>\n\u003cli>\u003cem>Black Pumas (Deluxe Edition) \u003c/em>— Black Pumas\u003c/li>\n\u003cli>\u003cem>Everyday Life\u003c/em> — Coldplay\u003c/li>\n\u003cli>\u003cem>Djesse Vol. 3 \u003c/em>— Jacob Collier\u003c/li>\n\u003cli>\u003cem>Women In Music Pt. III \u003c/em>— Haim\u003c/li>\n\u003cli>\u003cem>Future Nostalgia \u003c/em>— Dua Lipa\u003c/li>\n\u003cli>\u003cem>Hollywood’s Bleeding\u003c/em> — Post Malone\u003c/li>\n\u003cli>\u003cem>Folklore \u003c/em>— Taylor Swift\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best New Artist\u003c/strong>\u003c/p>\n\u003cp>\u003cem>This category recognizes an artist whose eligibility-year release(s) achieved a breakthrough into the public consciousness and notably impacted the musical landscape.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Ingrid Andress\u003c/li>\n\u003cli>Phoebe Bridgers\u003c/li>\n\u003cli>Chika\u003c/li>\n\u003cli>Noah Cyrus\u003c/li>\n\u003cli>D Smoke\u003c/li>\n\u003cli>Doja Cat\u003c/li>\n\u003cli>Kaytranada\u003c/li>\n\u003cli>Megan Thee Stallion\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Pop Duo/Group Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new vocal or instrumental duo/group or collaborative pop recordings. Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Un Dia (One Day)” — J Balvin, Dua Lipa, Bad Bunny & Tainy\u003c/li>\n\u003cli>“Intentions” — Justin Bieber Featuring Quavo\u003c/li>\n\u003cli>“Dynamite” — BTS\u003c/li>\n\u003cli>“Rain On Me” — Lady Gaga with Ariana Grande\u003c/li>\n\u003cli>“Exile” — Taylor Swift Featuring Bon Iver\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Pop Vocal Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing of new pop vocal recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Changes \u003c/em>— Justin Bieber\u003c/li>\n\u003cli>\u003cem>Chromatica\u003c/em> — Lady Gaga\u003c/li>\n\u003cli>\u003cem>Future Nostalgia \u003c/em>— Dua Lipa\u003c/li>\n\u003cli>\u003cem>Fine Line \u003c/em>— Harry Styles\u003c/li>\n\u003cli>\u003cem>Folklore \u003c/em>— Taylor Swift\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Dance/Electronic Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For vocal or instrumental albums.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Kick I\u003c/em> — Arca\u003c/li>\n\u003cli>\u003cem>Planet’s Mad\u003c/em> — Baauer\u003c/li>\n\u003cli>\u003cem>Energy \u003c/em>— Disclosure\u003c/li>\n\u003cli>\u003cem>Bubba\u003c/em> — Kaytranada\u003c/li>\n\u003cli>\u003cem>Good Faith\u003c/em> — Madeon\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Rock Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new vocal or instrumental solo, duo/group or collaborative rock recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Shameika” — Fiona Apple\u003c/li>\n\u003cli>“Not” — Big Thief\u003c/li>\n\u003cli>“Kyoto” — Phoebe Bridgers\u003c/li>\n\u003cli>“The Steps” — HAIM\u003c/li>\n\u003cli>“Stay High” — Brittany Howard\u003c/li>\n\u003cli>“Daylight” — Grace Potter\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Progressive R&B Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of newly recorded progressive vocal tracks derivative of R&B.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Chilombo \u003c/em>—Jhené Aiko\u003c/li>\n\u003cli>\u003cem>Ungodly Hour\u003c/em> — Chloe X Halle\u003c/li>\n\u003cli>\u003cem>Free Nationals \u003c/em>— Free Nationals\u003c/li>\n\u003cli>\u003cem>F*** Yo Feelings \u003c/em>— Robert Glasper\u003c/li>\n\u003cli>\u003cem>It Is What It Is \u003c/em>— Thundercat\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Rap Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For a rap performance. Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Deep Reverence” — Big Sean Featuring Nipsey Hussle\u003c/li>\n\u003cli>“Bop” — DaBaby\u003c/li>\n\u003cli>“What’s Poppin” — Jack Harlow\u003c/li>\n\u003cli>“The Bigger Picture” — Lil Baby\u003c/li>\n\u003cli>“Savage” — Megan Thee Stallion Featuring Beyoncé\u003c/li>\n\u003cli>“Dior” — Pop Smoke\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Country Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new country recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Lady Like\u003c/em>— Ingrid Andress\u003c/li>\n\u003cli>\u003cem>Your Life Is A Record\u003c/em>— Brandy Clark\u003c/li>\n\u003cli>\u003cem>Wildcard \u003c/em>— Miranda Lambert\u003c/li>\n\u003cli>\u003cem>Nightfall\u003c/em>— Little Big Town\u003c/li>\n\u003cli>\u003cem>Never Will \u003c/em>— Ashley McBryde\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Jazz Vocal Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new vocal jazz recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Ona \u003c/em>— Thana Alexa\u003c/li>\n\u003cli>\u003cem>Secrets Are The Best Stories\u003c/em> — Kurt Elling Featuring Danilo Pérez\u003c/li>\n\u003cli>\u003cem>Modern Ancestors\u003c/em> — Carmen Lundy\u003c/li>\n\u003cli>\u003cem>Holy Room: Live At Alte Oper \u003c/em>— Somi With Frankfurt Radio Big Band\u003c/li>\n\u003cli>\u003cem>What’s The Hurry\u003c/em> — Kenny Washington\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Latin Pop or Urban Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new Latin pop or urban recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>YHLQMDLG\u003c/em>— Bad Bunny\u003c/li>\n\u003cli>\u003cem>Por Primera Vez\u003c/em> — Camilo\u003c/li>\n\u003cli>\u003cem>Mesa Para Dos\u003c/em> — Kany García\u003c/li>\n\u003cli>\u003cem>Pausa\u003c/em> — Ricky Martin\u003c/li>\n\u003cli>\u003cem>3:33\u003c/em> — Debi Nova\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Americana Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new vocal or instrumental Americana recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Old Flowers\u003c/em> — Courtney Marie Andrews\u003c/li>\n\u003cli>\u003cem>Terms Of Surrender \u003c/em>— Hiss Golden Messenger\u003c/li>\n\u003cli>\u003cem>World On The Ground \u003c/em>— Sarah Jarosz\u003c/li>\n\u003cli>\u003cem>El Dorado\u003c/em> — Marcus King\u003c/li>\n\u003cli>\u003cem>Good Souls Better Angels \u003c/em>— Lucinda Williams\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Contemporary Blues Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new vocal or instrumental contemporary blues recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Have You Lost Your Mind Yet?\u003c/em> — Fantastic Negrito\u003c/li>\n\u003cli>\u003cem>Live At The Paramount \u003c/em>— Ruthie Foster Big Band\u003c/li>\n\u003cli>\u003cem>The Juice \u003c/em>— G. Love\u003c/li>\n\u003cli>\u003cem>Blackbirds\u003c/em> — Bettye LaVette\u003c/li>\n\u003cli>\u003cem>Up And Rolling \u003c/em>— North Mississippi Allstars\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Global Music Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new vocal or instrumental global music recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>FU Chronicles\u003c/em> — Antibalas\u003c/li>\n\u003cli>\u003cem>Twice As Tall \u003c/em>— Burna Boy\u003c/li>\n\u003cli>\u003cem>Agora \u003c/em>— Bebel Gilberto\u003c/li>\n\u003cli>\u003cem>Love Letters\u003c/em> — Anoushka Shankar\u003c/li>\n\u003cli>\u003cem>Amadjar \u003c/em>— Tinariwen\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Spoken Word Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Includes poetry, audio books and storytelling.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Acid For The Children: A Memoir \u003c/em>— Flea\u003c/li>\n\u003cli>\u003cem>Alex Trebek – The Answer Is…\u003c/em> — Ken Jennings\u003c/li>\n\u003cli>\u003cem>Blowout: Corrupted Democracy, Rogue State Russia, And The Richest, Most Destructive Industry On Earth\u003c/em> — Rachel Maddow\u003c/li>\n\u003cli>\u003cem>Catch And Kill\u003c/em> — Ronan Farrow\u003c/li>\n\u003cli>\u003cem>Charlotte’s Web (E.B. White)\u003c/em> — Meryl Streep (& Full Cast)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Music Film\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For concert/performance films or music documentaries. Award to the artist, video director and video producer.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Beastie Boys Story \u003c/em>— Beastie Boys\u003c/li>\n\u003cli>\u003cem>Black Is King\u003c/em> — Beyoncé\u003c/li>\n\u003cli>\u003cem>We Are Freestyle Love Supreme\u003c/em> — Freestyle Love Supreme\u003c/li>\n\u003cli>\u003cem>Linda Ronstadt: The Sound Of My Voice\u003c/em> — Linda Ronstadt\u003c/li>\n\u003cli>\u003cem>That Little Ol’ Band From Texas\u003c/em> — ZZ Top\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Pop Solo Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new vocal or instrumental pop recordings. Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Yummy” — Justin Bieber\u003c/li>\n\u003cli>“Say So” — Doja Cat\u003c/li>\n\u003cli>“Everything I Wanted” — Billie Eilish\u003c/li>\n\u003cli>“Don’t Start Now” — Dua Lipa\u003c/li>\n\u003cli>“Watermelon Sugar” — Harry Styles\u003c/li>\n\u003cli>“Cardigan” — Taylor Swift\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Traditional Pop Vocal Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new traditional pop recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Blue Umbrella — (Burt Bacharach &) Daniel Tashian\u003c/li>\n\u003cli>True Love: A Celebration Of Cole Porter — Harry Connick, Jr.\u003c/li>\n\u003cli>American Standard — James Taylor\u003c/li>\n\u003cli>Unfollow The Rules — Rufus Wainwright\u003c/li>\n\u003cli>Judy — Renée Zellweger\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Dance Recording\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For solo, duo, group or collaborative performances. Vocal or instrumental. Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“On My Mind” — Diplo & SIDEPIECE (Diplo & SIDEPIECE, producers; Luca Pretolesi, mixer)\u003c/li>\n\u003cli>“My High” — Disclosure ft. Aminé & Slowthai (Guy Lawrence & Howard Lawrence, producers; Guy Lawrence, mixer)\u003c/li>\n\u003cli>“The Difference” — Flume ft. Toro y Moi (Flume, producer; Eric J Dubowsky, mixer)\u003c/li>\n\u003cli>“Both Of Us” — Jayda G (Fred Again.. & Jayda G, producers; Fred Again.. & Jayda G, mixers)\u003c/li>\n\u003cli>“10%” — Kaytranada ft. Kali Uchis (Kaytranada, producer; Neal H. Pogue, mixer)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Contemporary Instrumental Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing approximately 51% or more playing time of instrumental material. For albums containing at least 51% playing time of new recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Axiom — Christian Scott Atunde Adjuah\u003c/li>\n\u003cli>Chronology Of A Dream: Live At The Village Vanguard — Jon Batiste\u003c/li>\n\u003cli>Take The Stairs — Black Violin\u003c/li>\n\u003cli>Americana — Grégoire Maret, Romain Collin & Bill Frisell\u003c/li>\n\u003cli>Live At The Royal Albert Hall — Snarky Puppy\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Metal Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new vocal or instrumental solo, duo/group or collaborative metal recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Bum-Rush” — Body Count\u003c/li>\n\u003cli>“Underneath” — Code Orange\u003c/li>\n\u003cli>“The In-Between” — In This Moment\u003c/li>\n\u003cli>“Bloodmoney” — Poppy\u003c/li>\n\u003cli>“Executioner’s Tax (Swing Of The Axe) – Live” — Power Trip\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Rock Song\u003c/strong>\u003c/p>\n\u003cp>\u003cem>A songwriter(s) Award. Includes rock, hard rock and metal songs. A song is eligible if it was first released or if it first achieved prominence during the eligibility year. (Artist names appear in parentheses.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Kyoto” — Phoebe Bridgers, Morgan Nagler & Marshall Vore, songwriters (Phoebe Bridgers)\u003c/li>\n\u003cli>“Lost In Yesterday” — Kevin Parker, songwriter (Tame Impala)\u003c/li>\n\u003cli>“Not” — Adrianne Lenker, songwriter (Big Thief)\u003c/li>\n\u003cli>“Shameika” — Fiona Apple, songwriter (Fiona Apple)\u003c/li>\n\u003cli>“Stay High” — Brittany Howard, songwriter (Brittany Howard)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Rock Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new rock, hard\u003c/em>\u003c/p>\n\u003cp>\u003cem>rock or metal recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>A Hero’s Death — Fontaines D.C.\u003c/li>\n\u003cli>Kiwanuka — Michael Kiwanuka\u003c/li>\n\u003cli>Daylight — Grace Potter\u003c/li>\n\u003cli>Sound & Fury — Sturgill Simpson\u003c/li>\n\u003cli>The New Abnormal — The Strokes\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Alternative Music Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Vocal or instrumental.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Fetch The Bolt Cutters — Fiona Apple\u003c/li>\n\u003cli>Hyperspace — Beck\u003c/li>\n\u003cli>Punisher — Phoebe Bridgers\u003c/li>\n\u003cli>Jaime — Brittany Howard\u003c/li>\n\u003cli>The Slow Rush — Tame Impala\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best R&B Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new vocal or instrumental R&B recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Lightning & Thunder” — Jhené Aiko ft. John Legend\u003c/li>\n\u003cli>“Black Parade” — Beyoncé\u003c/li>\n\u003cli>“All I Need” — Jacob Collier ft. Mahalia & Ty Dolla $Ign\u003c/li>\n\u003cli>“Goat Head” — Brittany Howard\u003c/li>\n\u003cli>“See Me” — Emily King\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Traditional R&B Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new vocal or instrumental traditional R&B recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Sit On Down” — The Baylor Project ft. Jean Baylor & Marcus Baylor\u003c/li>\n\u003cli>“Wonder What She Thinks Of Me” — Chloe X Halle\u003c/li>\n\u003cli>“Let Me Go” — Mykal Kilgore\u003c/li>\n\u003cli>“Anything For You” — Ledisi\u003c/li>\n\u003cli>“Distance” — Yebba\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best R&B Song\u003c/strong>\u003c/p>\n\u003cp>\u003cem>A songwriter(s) award. A song is eligible if it was first released or if it first achieved prominence during the eligibility year. (Artist names appear in parentheses.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Better Than I Imagine” — Robert Glasper, Meshell Ndegeocello & Gabriella Wilson, Songwriters (Robert Glasper Ft. H.E.R. & Meshell Ndegeocello)\u003c/li>\n\u003cli>“Black Parade” — Denisia Andrews, Beyoncé, Stephen Bray, Shawn Carter, Brittany Coney, Derek James Dixie, Akil King, Kim “Kaydence” Krysiuk & Rickie “Caso” Tice, Songwriters (Beyoncé)\u003c/li>\n\u003cli>“Collide” — Sam Barsh, Stacey Barthe, Sonyae Elise, Olu Fann, Akil King, Josh Lopez, Kaveh Rastegar & Benedetto Rotondi, Songwriters (Tiana Major9 & Earthgang)\u003c/li>\n\u003cli>“Do It” — Chloe Bailey, Halle Bailey, Anton Kuhl, Victoria Monét, Scott Storch & Vincent Van Den Ende, Songwriters (Chloe X Halle)\u003c/li>\n\u003cli>“Slow Down” — Nasri Atweh, Badriia Bourelly, Skip Marley, Ryan Williamson & Gabriella Wilson, Songwriters (Skip Marley & H.E.R.)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best R&B Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new R&B recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Happy 2 Be Here — Ant Clemons\u003c/li>\n\u003cli>Take Time — Giveon\u003c/li>\n\u003cli>To Feel Love/D — Luke James\u003c/li>\n\u003cli>Bigger Love — John Legend\u003c/li>\n\u003cli>All Rise — Gregory Porter\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Melodic Rap Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For a solo or collaborative performance containing both elements of R&B melodies and rap.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Rockstar” — DaBaby ft. Roddy Ricch\u003c/li>\n\u003cli>“Laugh Now, Cry Later” Drake ft. Lil Durk\u003c/li>\n\u003cli>“Lockdown” — Anderson .Paak\u003c/li>\n\u003cli>“The Box” — Roddy Ricch\u003c/li>\n\u003cli>“Highest In The Room” — Travis Scott\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Rap Song\u003c/strong>\u003c/p>\n\u003cp>\u003cem>A songwriter(s) award. A song is eligible if it was first released or if it first achieved prominence during the eligibility year. (Artist names appear in parentheses.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“The Bigger Picture” — Dominique Jones, Noah Pettigrew & Rai’shaun Williams, songwriters (Lil Baby)\u003c/li>\n\u003cli>“The Box” — Samuel Gloade & Rodrick Moore, songwriters (Roddy Ricch)\u003c/li>\n\u003cli>“Laugh Now, Cry Later” — Durk Banks, Rogét Chahayed, Aubrey Graham, Daveon Jackson, Ron Latour & Ryan Martinez, songwriters (Drake ft. Lil Durk)\u003c/li>\n\u003cli>“Rockstar” — Jonathan Lyndale Kirk, Ross Joseph Portaro Iv & Rodrick Moore, songwriters (Dababy ft. Roddy Ricch)\u003c/li>\n\u003cli>“Savage” — Beyoncé, Shawn Carter, Brittany Hazzard, Derrick Milano, Terius Nash, Megan Pete, Bobby Session Jr., Jordan Kyle Lanier Thorpe & Anthony White, songwriters (Megan Thee Stallion Ft. Beyoncé)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Rap Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new rap recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Black Habits — D Smoke\u003c/li>\n\u003cli>Alfredo — Freddie Gibbs & The Alchemist\u003c/li>\n\u003cli>A Written Testimony — Jay Electronica\u003c/li>\n\u003cli>King’s Disease — Nas\u003c/li>\n\u003cli>The Allegory — Royce Da 5’9″\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Country Solo Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new vocal or instrumental solo country recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Stick That In Your Country Song” — Eric Church\u003c/li>\n\u003cli>“Who You Thought I Was” — Brandy Clark\u003c/li>\n\u003cli>“When My Amy Prays — Vince Gill\u003c/li>\n\u003cli>“Black Like Me” — Mickey Guyton\u003c/li>\n\u003cli>“Bluebird” — Miranda Lambert\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Country Duo/Group Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new vocal or instrumental duo/group or collaborative country recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“All Night” — Brothers Osborne\u003c/li>\n\u003cli>“10,000 Hours” — Dan + Shay & Justin Bieber\u003c/li>\n\u003cli>“Ocean” — Lady A\u003c/li>\n\u003cli>“Sugar Coat” — Little Big Town\u003c/li>\n\u003cli>“Some People Do” — Old Dominion\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Country Song \u003c/strong>\u003c/p>\n\u003cp>\u003cem>A songwriter(s) Award. A song is eligible if it was first released or if it first achieved prominence during the eligibility year. (Artist names appear in parentheses.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Bluebird” — Luke Dick, Natalie Hemby & Miranda Lambert, songwriters (Miranda Lambert)\u003c/li>\n\u003cli>“The Bones” — Maren Morris, Jimmy Robbins & Laura Veltz, songwriters (Maren Morris)\u003c/li>\n\u003cli>“Crowded Table” — Brandi Carlile, Natalie Hemby & Lori Mckenna, songwriters (The Highwomen)\u003c/li>\n\u003cli>“More Hearts Than Mine” — Ingrid Andress, Sam Ellis & Derrick Southerland, songwriters (Ingrid Andress)\u003c/li>\n\u003cli>“Some People Do” — Jesse Frasure, Shane Mcanally, Matthew Ramsey & Thomas Rhett, songwriters (Old Dominion)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best New Age Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new vocal or instrumental new age recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Songs From The Bardo — Laurie Anderson, Tenzin Choegyal & Jesse Paris Smith\u003c/li>\n\u003cli>Periphery — Priya Darshini\u003c/li>\n\u003cli>Form//Less — Superposition\u003c/li>\n\u003cli>More Guitar Stories — Jim “Kimo” West\u003c/li>\n\u003cli>Meditations — Cory Wong & Jon Batiste\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Improvised Jazz Solo\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For an instrumental jazz solo performance. Two equal performers on one recording may be eligible as one entry. If the soloist listed appears on a recording billed to another artist, the latter’s name is in parenthesis for identification. Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Guinevere” — Christian Scott Atunde Adjuah, soloist\u003c/li>\n\u003cli>“Pachamama” — Regina Carter, soloist\u003c/li>\n\u003cli>“Celia” — Gerald Clayton, soloist\u003c/li>\n\u003cli>“All Blues” — Chick Corea, soloist\u003c/li>\n\u003cli>“Moe Honk” — Joshua Redman, soloist\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Jazz Instrumental Album \u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new instrumental jazz recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>On The Tender Spot Of Every Calloused Moment — Ambrose Akinmusire\u003c/li>\n\u003cli>Waiting Game — Terri Lyne Carrington And Social Science\u003c/li>\n\u003cli>Happening: Live At The Village Vanguard — Gerald Clayton\u003c/li>\n\u003cli>Trilogy 2 — Chick Corea, Christian Mcbride & Brian Blade\u003c/li>\n\u003cli>Roundagain — Redman Mehldau Mcbride Blade\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Large Jazz Ensemble Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new ensemble jazz recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Dialogues On Race — Gregg August\u003c/li>\n\u003cli>Monk’estra Plays John Beasley — John Beasley\u003c/li>\n\u003cli>The Intangible Between — Orrin Evans And The Captain Black Big Band\u003c/li>\n\u003cli>Songs You Like A Lot — John Hollenbeck With Theo Bleckmann, Kate\u003c/li>\n\u003cli>Mcgarry, Gary Versace And The Frankfurt Radio Big Band\u003c/li>\n\u003cli>Data Lords — Maria Schneider Orchestra\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Latin Jazz Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For vocal or instrumental albums containing at least 51% playing time of newly recorded material. The intent of this category is to recognize recordings that represent the blending of jazz with Latin, Iberian-American, Brazilian, and Argentinian tango music.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Tradiciones — Afro-peruvian Jazz Orchestra\u003c/li>\n\u003cli>Four Questions — Arturo O’farrill & The Afro Latin Jazz Orchestra\u003c/li>\n\u003cli>City Of Dreams — Chico Pinheiro\u003c/li>\n\u003cli>Viento Y Tiempo – Live At Blue Note Tokyo — Gonzalo Rubalcaba & Aymée Nuviola\u003c/li>\n\u003cli>Trane’s Delight — Poncho Sanchez\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Gospel Performance/Song\u003c/strong>\u003c/p>\n\u003cp>\u003cem>This award is given to the artist(s) and songwriter(s) (for new compositions) for the best traditional Christian, roots gospel or contemporary gospel single or track.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Wonderful Is Your Name” — Melvin Crispell III\u003c/li>\n\u003cli>“Release (Live)” — Ricky Dillard Ft. Tiff Joy; David Frazier, songwriter\u003c/li>\n\u003cli>“Come Together” — Rodney “Darkchild” Jerkins Presents: The Good News; Lashawn Daniels, Rodney Jerkins, Lecrae Moore & Jazz Nixon, songwriters\u003c/li>\n\u003cli>“Won’t Let Go” — Travis Greene; Travis Greene, songwriter\u003c/li>\n\u003cli>“Movin’ On” — Jonathan Mcreynolds & Mali Music; Darryl L. Howell, Jonathan Caleb Mcreynolds, Kortney Jamaal Pollard & Terrell Demetrius Wilson, songwriters\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Contemporary Christian Music Performance/Song \u003c/strong>\u003c/p>\n\u003cp>\u003cem>This award is given to the artist(s) and songwriter(s) (for new compositions) for the best contemporary Christian music single or track, (including pop, rap/hip-hop, Latin, or rock.)\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“The Blessing (Live)” — Kari Jobe, Cody Carnes & Elevation Worship; Chris Brown, Cody Carnes, Kari Jobe Carnes & Steven Furtick, songwriters\u003c/li>\n\u003cli>“Sunday Morning” — Lecrae Featuring Kirk Franklin; Denisia Andrews, Jones Terrence Antonio, Saint Bodhi, Brittany Coney, Kirk Franklin, Lasanna Harris, Shama Joseph, Stuart Lowery, Lecrae Moore & Nathanael Saint-fleur, songwriters\u003c/li>\n\u003cli>“Holy Water” — We The Kingdom; Andrew Bergthold, Ed Cash, Franni Cash, Martin Cash & Scott Cash, songwriters\u003c/li>\n\u003cli>“Famous For (I Believe)” — Tauren Wells Featuring Jenn Johnson; Chuck Butler, Krissy Nordhoff, Jordan Sapp, Alexis Slifer & Tauren Wells, songwriters\u003c/li>\n\u003cli>“There Was Jesus” — Zach Williams & Dolly Parton; Casey Beathard, Jonathan Smith & Zach Williams, songwriters\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Gospel Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of newly recorded, vocal, traditional or contemporary/R&B gospel music recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>2econd Wind: Ready — Anthony Brown & Group Therapy\u003c/li>\n\u003cli>My Tribute — Myron Butler\u003c/li>\n\u003cli>Choirmaster — Ricky Dillard\u003c/li>\n\u003cli>Gospel According To PJ — PJ Morton\u003c/li>\n\u003cli>Kierra — Kierra Sheard\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Contemporary Christian Music Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of newly recorded, vocal, contemporary Christian music, including pop, rap/hip hop, Latin, or rock recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Run To The Father — Cody Carnes\u003c/li>\n\u003cli>All Of My Best Friends — Hillsong Young & Free\u003c/li>\n\u003cli>Holy Water — We The Kingdom\u003c/li>\n\u003cli>Citizen Of Heaven — Tauren Wells\u003c/li>\n\u003cli>Jesus Is King — Kanye West\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Roots Gospel Album \u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of newly recorded, vocal, traditional/roots gospel music, including country, Southern gospel, bluegrass, and Americana recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Beautiful Day — Mark Bishop\u003c/li>\n\u003cli>20/20 — The Crabb Family\u003c/li>\n\u003cli>What Christmas Really Means — The Erwins\u003c/li>\n\u003cli>Celebrating Fisk! (The 150th Anniversary Album) — Fisk Jubilee Singers\u003c/li>\n\u003cli>Something Beautiful — Ernie Haase & Signature Sound\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Latin Rock or Alternative Album \u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new Latin rock or alternative recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Aura — Bajofondo\u003c/li>\n\u003cli>Monstruo — Cami\u003c/li>\n\u003cli>Sobrevolando — Cultura Profética\u003c/li>\n\u003cli>La Conquista Del Espacio — Fito Paez\u003c/li>\n\u003cli>Miss Colombia — Lido Pimienta\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Regional Mexican Music Album (Including Tejano)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new regional Mexican (banda, norteño, corridos, gruperos, mariachi, ranchera and Tejano) recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Hecho En México — Alejandro Fernández\u003c/li>\n\u003cli>La Serenata — Lupita Infante\u003c/li>\n\u003cli>Un Canto Por México, Vol. 1 — Natalia Lafourcade\u003c/li>\n\u003cli>Bailando Sones Y Huapangos Con — Mariachi Sol De Mexico De Jose Hernandez — Mariachi Sol De Mexico De Jose Hernandez\u003c/li>\n\u003cli>Ayayay! — Christian Nodal\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Tropical Latin Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new tropical Latin recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Mi Tumbao — José Alberto “El Ruiseñor”\u003c/li>\n\u003cli>Infinito — Edwin Bonilla\u003c/li>\n\u003cli>Sigo Cantando Al Amor (Deluxe) — Jorge Celedon & Sergio Luis\u003c/li>\n\u003cli>40 — Grupo Niche\u003c/li>\n\u003cli>Memorias De Navidad — Víctor Manuelle\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best American Roots Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new vocal or instrumental American roots recordings. This is for performances in the style of any of the subgenres encompassed in the American roots music field including Americana, bluegrass, blues, folk or regional roots. Award to the artist(s).\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Colors” — Black Pumas\u003c/li>\n\u003cli>“Deep In Love” — Bonny Light Horseman\u003c/li>\n\u003cli>“Short And Sweet” — Brittany Howard\u003c/li>\n\u003cli>“I’ll Be Gone” — Norah Jones & Mavis Staples\u003c/li>\n\u003cli>“I Remember Everything” — John Prine\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best American Roots Song \u003c/strong>\u003c/p>\n\u003cp>\u003cem>A songwriter(s) Award. Includes Americana, bluegrass, traditional blues, contemporary blues, folk or regional roots songs. A song is eligible if it was first released or if it first achieved prominence during the eligibility year. (Artist names appear in parentheses.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Cabin” — Laura Rogers & Lydia Rogers, songwriters (The Secret Sisters)\u003c/li>\n\u003cli>“Ceiling To The Floor” — Sierra Hull & Kai Welch, songwriters (Sierra Hull)\u003c/li>\n\u003cli>“Hometown” — Sarah Jarosz, Songwriter (Sarah Jarosz)\u003c/li>\n\u003cli>“I Remember Everything” — Pat Mclaughlin & John Prine, songwriters (John\u003c/li>\n\u003cli>Prine)\u003c/li>\n\u003cli>“Man Without A Soul” — Tom Overby & Lucinda Williams, songwriters (Lucinda\u003c/li>\n\u003cli>Williams)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Bluegrass Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new vocal or instrumental bluegrass recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Man On Fire — Danny Barnes\u003c/li>\n\u003cli>To Live In Two Worlds, Vol. 1 — Thomm Jutz\u003c/li>\n\u003cli>North Carolina Songbook — Steep Canyon Rangers\u003c/li>\n\u003cli>Home — Billy Strings\u003c/li>\n\u003cli>The John Hartford Fiddle Tune Project, Vol. 1 — (Various Artists)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Traditional Blues Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new vocal or instrumental traditional blues recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>All My Dues Are Paid — Frank Bey\u003c/li>\n\u003cli>You Make Me Feel — Don Bryant\u003c/li>\n\u003cli>That’s What I Heard — Robert Cray Band\u003c/li>\n\u003cli>Cypress Grove — Jimmy “Duck” Holmes\u003c/li>\n\u003cli>Rawer Than Raw — Bobby Rush\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Folk Album \u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new vocal or instrumental folk recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Bonny Light Horseman — Bonny Light Horseman\u003c/li>\n\u003cli>Thanks For The Dance — Leonard Cohen\u003c/li>\n\u003cli>Song For Our Daughter — Laura Marling\u003c/li>\n\u003cli>Saturn Return — The Secret Sisters\u003c/li>\n\u003cli>All The Good Times — Gillian Welch & David Rawlings\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Regional Roots Music Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new vocal or instrumental regional roots music recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>My Relatives “Nikso Kowaiks” — Black Lodge Singers\u003c/li>\n\u003cli>Cameron Dupuy And The Cajun Troubadours — Cameron Dupuy And The Cajun Troubadours\u003c/li>\n\u003cli>Lovely Sunrise — Nā Wai ʽehā\u003c/li>\n\u003cli>Atmosphere — New Orleans Nightcrawlers\u003c/li>\n\u003cli>A Tribute To Al Berard — Sweet Cecilia\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Reggae Album\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new reggae recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Upside Down 2020 — Buju Banton\u003c/li>\n\u003cli>Higher Place — Skip Marley\u003c/li>\n\u003cli>It All Comes Back To Love — Maxi Priest\u003c/li>\n\u003cli>Got To Be Tough — Toots & The Maytals\u003c/li>\n\u003cli>One World — The Wailers\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Children’s Music Album \u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new musical or spoken word recordings that are created and intended specifically for children.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>All The Ladies — Joanie Leeds\u003c/li>\n\u003cli>Be A Pain: An Album For Young (And Old) Leaders — Alastair Moock And Friends\u003c/li>\n\u003cli>I’m An Optimist — Dog On Fleas\u003c/li>\n\u003cli>Songs For Singin’ — The Okee Dokee Brothers\u003c/li>\n\u003cli>Wild Life — Justin Roberts\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Comedy Album \u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new recordings.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Black Mitzvah — Tiffany Haddish\u003c/li>\n\u003cli>I Love Everything — Patton Oswalt\u003c/li>\n\u003cli>The Pale Tourist — Jim Gaffigan\u003c/li>\n\u003cli>Paper Tiger — Bill Burr\u003c/li>\n\u003cli>23 Hours To Kill — Jerry Seinfeld\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Musical Theater Album \u003c/strong>\u003c/p>\n\u003cp>\u003cem>For albums containing at least 51% playing time of new recordings. Award to the principal vocalist(s) and the album producer(s) of 51% or more playing time of the album. The lyricist(s) and composer(s) of a new score are eligible for an Award if they have written and/or composed a new score which comprises 51% or more playing time of the album.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Amélie — Audrey Brisson, Chris Jared, Caolan McCarthy & Jez Unwin, principal soloists; Michael Fentiman, Sean Patrick Flahaven, Barnaby Race & Nathan Tysen, producers; Nathan Tysen, lyricist; Daniel Messe, composer & lyricist (Original London Cast)\u003c/li>\n\u003cli>American Utopia On Broadway — David Byrne, principal soloist; David Byrne, producer (David Byrne, composer & lyricist) (Original Cast)\u003c/li>\n\u003cli>Jagged Little Pill — Kathryn Gallagher, Celia Rose Gooding, Lauren Patten & Elizabeth Stanley, principal soloists; Neal Avron, Pete Ganbarg, Tom Kitt, Michael Parker, Craig Rosen & Vivek J. Tiwary, producers (Glen Ballard & Alanis Morissette, lyricists) (Original Broadway Cast)\u003c/li>\n\u003cli>Little Shop Of Horrors — Tammy Blanchard, Jonathan Groff & Tom Alan Robbins, principal soloists; Will Van Dyke, Michael Mayer, Alan Menken & Frank Wolf, producers (Alan Menken, composer; Howard Ashman, lyricist) (The New Off-Broadway Cast)\u003c/li>\n\u003cli>The Prince Of Egypt — Christine Allado, Luke Brady, Alexia Khadime & Liam Tamne, principal soloists; Dominick Amendum & Stephen Schwartz, producers; Stephen Schwartz, composer & lyricist (Original Cast)\u003c/li>\n\u003cli>Soft Power — Francis Jue, Austin Ku, Alyse Alan Louis & Conrad Ricamora, principal soloists; Matt Stine, producer; David Henry Hwang, lyricist; Jeanine Tesori, composer & lyricist (Original Cast)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Compilation Soundtrack For Visual Media\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Award to the artist(s) and/or ‘in studio’ producer(s) of a majority of the tracks on the album. In the absence of both, award to the one or two individuals proactively responsible for the concept and musical direction of the album and for the selection of artists, songs and producers, as applicable. Award also goes to appropriately credited music supervisor(s).\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>A Beautiful Day In The Neighborhood — (Various Artists)\u003c/li>\n\u003cli>Bill & Ted Face The Music — (Various Artists)\u003c/li>\n\u003cli>Eurovision Song Contest: The Story Of Fire Saga — (Various Artists)\u003c/li>\n\u003cli>Frozen 2 — (Various Artists)\u003c/li>\n\u003cli>Jojo Rabbit — (Various Artists)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Score Soundtrack For Visual Media \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Award to composer(s) for an original score created specifically for, or as a companion to, a current legitimate motion picture, television show or series, video games or other visual media.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Ad Astra — Max Richter, composer\u003c/li>\n\u003cli>Becoming — Kamasi Washington, composer\u003c/li>\n\u003cli>Joker — Hildur Guðnadóttir, composer\u003c/li>\n\u003cli>1917 — Thomas Newman, composer\u003c/li>\n\u003cli>Star Wars: The Rise Of Skywalker — John Williams, composer\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Song Written For Visual Media \u003c/strong>\u003c/p>\n\u003cp>\u003cem>A songwriter(s) award. For a song (melody & lyrics) written specifically for a motion picture, television, video games or other visual media, and released for the first time during the eligibility year. (Artist names appear in parentheses.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Beautiful Ghosts” [From Cats] — Andrew Lloyd Webber & Taylor Swift, songwriters\u003c/li>\n\u003cli>(Taylor Swift)\u003c/li>\n\u003cli>“Carried Me With You” [From Onward] — Brandi Carlile, Phil Hanseroth & Tim Hanseroth, songwriters (Brandi Carlile)\u003c/li>\n\u003cli>“Into The Unknown” [From Frozen 2] — Kristen Anderson-Lopez & Robert Lopez, songwriters (Idina Menzel & AURORA)\u003c/li>\n\u003cli>“No Time To Die” [From No Time To Die] — Billie Eilish O’Connell & Finneas Baird O’Connell, songwriters (Billie Eilish)\u003c/li>\n\u003cli>“Stand Up” [From Harriet] — Joshuah Brian Campbell & Cynthia Erivo, songwriters\u003c/li>\n\u003cli>(Cynthia Erivo)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Instrumental Composition\u003c/strong>\u003c/p>\n\u003cp>\u003cem>A composer’s award for an original composition (not an\u003c/em>\u003c/p>\n\u003cp>\u003cem>adaptation) first released during the eligibility year. Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Baby Jack” — Arturo O’Farrill, composer (Arturo O’Farrill & The Afro Latin Jazz Orchestra)\u003c/li>\n\u003cli>“Be Water Ii” — Christian Sands, composer (Christian Sands)\u003c/li>\n\u003cli>“Plumfield” — Alexandre Desplat, composer (Alexandre Desplat)\u003c/li>\n\u003cli>“Sputnik” — Maria Schneider, composer (Maria Schneider)\u003c/li>\n\u003cli>“Strata” — Remy Le Boeuf, composer (Remy Le Boeuf’s Assembly Of Shadows Featuring Anna Webber & Eric Miller)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Arrangement, Instrumental or A Cappella\u003c/strong>\u003c/p>\n\u003cp>\u003cem>An arranger’s award. (Artist names appear in parentheses.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Bathroom Dance” — Hildur Guðnadóttir, arranger (Hildur Guðnadóttir)\u003c/li>\n\u003cli>“Donna Lee” — John Beasley, arranger (John Beasley)\u003c/li>\n\u003cli>“Honeymooners” — Remy Le Boeuf, arranger (Remy Le Boeuf’s Assembly Of Shadows)\u003c/li>\n\u003cli>“Lift Every Voice And Sing” — Alvin Chea & Jarrett Johnson, arrangers (Jarrett Johnson Featuring Alvin Chea)\u003c/li>\n\u003cli>“Uranus: The Magician” — Jeremy Levy, arranger (Jeremy Levy Jazz Orchestra)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Arrangement, Instruments and Vocals\u003c/strong>\u003c/p>\n\u003cp>\u003cem>An arranger’s award. (Artist names appear in parentheses.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Asas Fechadas” — John Beasley & Maria Mendes, arrangers (Maria Mendes ft. John Beasley & Orkest Metropole)\u003c/li>\n\u003cli>“Desert Song” — Erin Bentlage, Sara Gazarek, Johnaye Kendrick & Amanda Taylor, arrangers (Säje)\u003c/li>\n\u003cli>“From This Place” — Alan Broadbent & Pat Metheny, arrangers (Pat Metheny ft. Meshell Ndegeocello)\u003c/li>\n\u003cli>“He Won’t Hold You” — Jacob Collier, arranger (Jacob Collier ft. Rapsody)\u003c/li>\n\u003cli>“Slow Burn” — Talia Billig, Nic Hard & Becca Stevens, arrangers (Becca Stevens Featuring Jacob Collier, Mark Lettieri, Justin Stanton, Jordan Perlson, Nic Hard, Keita Ogawa, Marcelo Woloski & Nate Werth)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Recording Package\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Everyday Life — Pilar Zeta, art director (Coldplay)\u003c/li>\n\u003cli>Funeral — Kyle Goen, art director (Lil Wayne)\u003c/li>\n\u003cli>Healer — Julian Gross & Hannah Hooper, art directors (Grouplove)\u003c/li>\n\u003cli>On Circles — Jordan Butcher, art director (Caspian)\u003c/li>\n\u003cli>Vols. 11 & 12 — Doug Cunningham & Jason Noto, art directors (Desert Sessions)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Boxed Or Special Limited Edition Package\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Flaming Pie (Collector’s Edition) — Linn Wie Andersen, Simon Earith, Paul McCartney & James Musgrave, art directors (Paul McCartney)\u003c/li>\n\u003cli>Giants Stadium 1987, 1989, 1991 — Lisa Glines & Doran Tyson, art directors (Grateful Dead)\u003c/li>\n\u003cli>Mode — Jeff Schulz, art director (Depeche Mode)\u003c/li>\n\u003cli>Ode To Joy — Lawrence Azerrad & Jeff Tweedy, art directors (Wilco)\u003c/li>\n\u003cli>The Story Of Ghostly International — Michael Cina & Molly Smith, art directors (Various\u003c/li>\n\u003cli>Artists)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Album Notes\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>At The Minstrel Show: Minstrel Routines From The Studio, 1894-1926 — Tim Brooks, album notes writer (Various Artists)\u003c/li>\n\u003cli>The Bakersfield Sound: Country Music Capital Of The West, 1940-1974 — Scott B. Bomar, album notes writer (Various Artists)\u003c/li>\n\u003cli>Dead Man’s Pop — Bob Mehr, album notes writer (The Replacements)\u003c/li>\n\u003cli>The Missing Link: How Gus Haenschen Got Us From Joplin To Jazz And Shaped The Music Business — Colin Hancock, album notes writer (Various Artists)\u003c/li>\n\u003cli>Out Of A Clear Blue Sky — David Sager, album notes writer (Nat Brusiloff)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Historical Album\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Celebrated, 1895-1896 — Meagan Hennessey & Richard Martin, compilation producers; Richard Martin, mastering engineer (Unique Quartette)\u003c/li>\n\u003cli>Hittin’ The Ramp: The Early Years (1936 – 1943) — Zev Feldman, Will Friedwald & George Klabin, compilation producers; Matthew Lutthans, mastering engineer (Nat King Cole)\u003c/li>\n\u003cli>It’s Such A Good Feeling: The Best Of Mister Rogers — Lee Lodyga & Cheryl Pawelski, compilation producers; Michael Graves, mastering engineer (Mister Rogers)\u003c/li>\n\u003cli>1999 Super Deluxe Edition — Michael Howe, compilation producer; Bernie Grundman, mastering engineer (Prince)\u003c/li>\n\u003cli>Souvenir — Carolyn Agger, compilation producer; Miles Showell, mastering engineer (Orchestral Manoeuvres In The Dark)\u003c/li>\n\u003cli>Throw Down Your Heart: The Complete Africa Sessions — Béla Fleck, compilation producer; Richard Dodd, mastering engineer (Béla Fleck)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Engineered Album, Non-Classical\u003c/strong>\u003c/p>\n\u003cp>\u003cem>An engineer’s award. (Artists’ names appear in parentheses.)\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Black Hole Rainbow — Shawn Everett & Ivan Wayman, engineers; Bob Ludwig,\u003c/li>\n\u003cli>mastering engineer (Devon Gilfillian)\u003c/li>\n\u003cli>Expectations — Gary Paczosa & Mike Robinson, engineers; Paul Blakemore, mastering engineer (Katie Pruitt)\u003c/li>\n\u003cli>Hyperspace — Drew Brown, Andrew Coleman, Shawn Everett, Serban Ghenea, David Greenbaum, Jaycen Joshua & Mike Larson, engineers; Randy Merrill, mastering engineer (Beck)\u003c/li>\n\u003cli>Jaime — Shawn Everett, engineer; Shawn Everett, mastering engineer (Brittany Howard)\u003c/li>\n\u003cli>25 Trips — Shani Gandhi & Gary Paczosa, engineers; Adam Grover,\u003c/li>\n\u003cli>mastering engineer (Sierra Hull)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Producer Of The Year \u003c/strong>\u003c/p>\n\u003cp>\u003cem>A producer’s award.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Jack Antonoff\u003c/li>\n\u003cli>Dan Auerbach\u003c/li>\n\u003cli>Dave Cobb\u003c/li>\n\u003cli>Flying Lotus\u003c/li>\n\u003cli>Andrew Watt\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Remixed Recording \u003c/strong>\u003c/p>\n\u003cp>\u003cem>A remixer’s award. (Artists’ names appear in parentheses for identification.) Singles or tracks only.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Do You Ever (RAC Mix)” — RAC, remixer (Phil Good)\u003c/li>\n\u003cli>“Imaginary Friends (Morgan Page Remix)” — Morgan Page, remixer (Deadmau5)\u003c/li>\n\u003cli>“Praying For You (Louie Vega Main Remix)” — Louie Vega, remixer (Jasper Street Co.)\u003c/li>\n\u003cli>“Roses (Imanbek Remix)” — Imanbek Zeikenov, remixer (SAINt JHN)\u003c/li>\n\u003cli>“Young & Alive (Bazzi Vs. Haywyre Remix)” — Haywyre, remixer (Bazzi)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Engineered Album, Classical \u003c/strong>\u003c/p>\n\u003cp>\u003cem>An engineer’s award. (Artist names appear in parentheses.)\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Danielpour: The Passion Of Yeshua — Bernd Gottinger, engineer (JoAnn Falletta, James K. Bass, Adam Luebke, UCLA Chamber Singers, Buffalo Philharmonic Orchestra & Buffalo Philharmonic Chorus)\u003c/li>\n\u003cli>Gershwin: Porgy And Bess — David Frost & John Kerswell, engineers; Silas Brown, mastering engineer (David Robertson, Eric Owens, Angel Blue, Metropolitan Opera Orchestra & Chorus)\u003c/li>\n\u003cli>Hynes: Fields — Kyle Pyke, engineer; Jesse Lewis & Kyle Pyke, mastering engineers (Devonté Hynes & Third Coast Percussion)\u003c/li>\n\u003cli>Ives: Complete Symphonies — Alexander Lipay & Dmitriy Lipay, engineers; Alexander Lipay & Dmitriy Lipay, mastering engineers (Gustavo Dudamel & Los Angeles Philharmonic)\u003c/li>\n\u003cli>Shostakovich: Symphony No. 13, ‘Babi Yar’ — David Frost & Charlie Post, engineers; Silas Brown, mastering engineer (Riccardo Muti & Chicago Symphony Orchestra)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Producer Of The Year, Classical \u003c/strong>\u003c/p>\n\u003cp>\u003cem>A producer’s award. (Artist names appear in parentheses.)\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Blanton Alspaugh\u003c/li>\n\u003cli>David Frost\u003c/li>\n\u003cli>Jesse Lewis\u003c/li>\n\u003cli>Dmitriy Lipay\u003c/li>\n\u003cli>Elaine Martone\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Orchestral Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Award to the conductor and to the orchestra.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Aspects Of America – Pulitzer Edition” — Carlos Kalmar, conductor (Oregon Symphony)\u003c/li>\n\u003cli>“Concurrence” — Daníel Bjarnason, conductor (Iceland Symphony Orchestra)\u003c/li>\n\u003cli>“Copland: Symphony No. 3” — Michael Tilson Thomas, conductor (San Francisco Symphony)\u003c/li>\n\u003cli>“Ives: Complete Symphonies” — Gustavo Dudamel, conductor (Los Angeles Philharmonic)\u003c/li>\n\u003cli>“Lutosławski: Symphonies Nos. 2 & 3” — Hannu Lintu, conductor (Finnish Radio Symphony Orchestra)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Opera Recording\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Award to the conductor, album producer(s) and principal soloists.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Dello Joio: The Trial At Rouen” — Gil Rose, conductor; Heather Buck & Stephen Powell; Gil Rose, producer (Boston Modern Orchestra Project; Odyssey Opera Chorus)\u003c/li>\n\u003cli>“Floyd, C.: Prince Of Players” — William Boggs, conductor; Keith Phares & Kate Royal; Blanton Alspaugh, producer (Milwaukee Symphony Orchestra; Florentine Opera Chorus)\u003c/li>\n\u003cli>“Gershwin: Porgy And Bess” — David Robertson, conductor; Angel Blue & Eric Owens; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)\u003c/li>\n\u003cli>“Handel: Agrippina” — Maxim Emelyanychev, conductor; Joyce DiDonato; Daniel Zalay, producer (Il Pomo D’Oro)\u003c/li>\n\u003cli>“Zemlinsky: Der Zwerg” — Donald Runnicles, conductor; David Butt Philip & Elena Tsallagova; Peter Ghirardini & Erwin Stürzer, producers (Orchestra Of The Deutsche Oper Berlin; Chorus Of The Deutsche Oper Berlin)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Choral Performance \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Award to the conductor, and to the choral director and/or chorus master where applicable and to the choral organization/ensemble.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Carthage” — Donald Nally, conductor (The Crossing)\u003c/li>\n\u003cli>“Danielpour: The Passion Of Yeshua” — JoAnn Falletta, conductor; James K. Bass & Adam Luebke, chorus masters (James K. Bass, J’Nai Bridges, Timothy Fallon, Kenneth Overton, Hila Plitmann & Matthew Worth; Buffalo Philharmonic Orchestra; Buffalo Philharmonic Chorus & UCLA Chamber Singers)\u003c/li>\n\u003cli>“Kastalsky: Requiem” — Leonard Slatkin, conductor; Charles Bruffy, Steven Fox & Benedict Sheehan, chorus masters (Joseph Charles Beutel & Anna Dennis; Orchestra Of St. Luke’s; Cathedral Choral Society, The Clarion Choir, Kansas City Chorale & The Saint Tikhon Choir)\u003c/li>\n\u003cli>“Moravec: Sanctuary Road” — Kent Tritle, conductor (Joshua Blue, Raehann Bryce-Davis, Dashon Burton, Malcolm J. Merriweather & Laquita Mitchell; Oratorio Society Of New York Orchestra; Oratorio Society Of New York Chorus)\u003c/li>\n\u003cli>“Once Upon A Time” — Matthew Guard, conductor (Sarah Walker; Skylark Vocal Ensemble)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Chamber Music/Small Ensemble Performance\u003c/strong>\u003c/p>\n\u003cp>\u003cem>For new recordings of works with chamber or small ensemble (twenty-four or fewer members, not including the conductor). One award to the ensemble and one award to the conductor, if applicable.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Contemporary Voices” — Pacifica Quartet\u003c/li>\n\u003cli>“Healing Modes” — Brooklyn Rider\u003c/li>\n\u003cli>“Hearne, T.: Place” — Ted Hearne, Steven Bradshaw, Sophia Byrd, Josephine Lee, Isaiah Robinson, Sol Ruiz, Ayanna Woods & Place Orchestra\u003c/li>\n\u003cli>“Hynes: Fields” — Devonté Hynes & Third Coast Percussion\u003c/li>\n\u003cli>“The Schumann Quartets” — Dover Quartet\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Classical Instrumental Solo \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Award to the instrumental soloist(s) and to the conductor when applicable.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Adès: Concerto For Piano And Orchestra” — Kirill Gerstein; Thomas Adès, conductor (Boston Symphony Orchestra)\u003c/li>\n\u003cli>“Beethoven: Complete Piano Sonatas” — Igor Levit\u003c/li>\n\u003cli>“Bohemian Tales” — Augustin Hadelich; Jakub Hrůša, conductor (Charles Owen; Symphonieorchester Des Bayerischen Rundfunks)\u003c/li>\n\u003cli>“Destination Rachmaninov – Arrival” — Daniil Trifonov; Yannick Nézet-Séguin, conductor (The Philadelphia Orchestra)\u003c/li>\n\u003cli>“Theofanidis: Concerto For Viola And Chamber Orchestra” — Richard O’Neill; David Alan Miller, conductor (Albany Symphony)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Classical Solo Vocal Album \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Award to: vocalist(s), collaborative artist(s) (Ex: pianists, conductors, chamber groups) producer(s), recording engineers/mixers with 51% or more playing time of new material.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>American Composers At Play – William Bolcom, Ricky Ian Gordon, Lori Laitman, John Musto — Stephen Powell (Attacca Quartet, William Bolcom, Ricky Ian Gordon, Lori Laitman, John Musto, Charles Neidich & Jason Vieaux)\u003c/li>\n\u003cli>Clairières – Songs By Lili & Nadia Boulanger — Nicholas Phan; Myra Huang, accompanist\u003c/li>\n\u003cli>Farinelli — Cecilia Bartoli; Giovanni Antonini, conductor (Il Giardino Armonico)\u003c/li>\n\u003cli>A Lad’s Love — Brian Giebler; Steven McGhee, accompanist (Katie Hyun, Michael Katz, Jessica Meyer, Reginald Mobley & Ben Russell)\u003c/li>\n\u003cli>Smyth: The Prison — Sarah Brailey & Dashon Burton; James Blachly, conductor (Experiential Chorus; Experiential Orchestra)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Classical Compendium\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Award to the artist(s) and to the album producer(s) and engineer(s) of over 51% playing time of the album, if other than the artist.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Adès Conducts Adès — Mark Stone & Christianne Stotijn; Thomas Adès, conductor; Nick Squire, producer\u003c/li>\n\u003cli>Saariaho: Graal Théâtre; Circle Map; Neiges; Vers Toi Qui Es Si Loin — Clément Mao-Takacs, conductor; Hans Kipfer, producer\u003c/li>\n\u003cli>Serebrier: Symphonic Bach Variations; Laments And Hallelujahs; Flute Concerto — José Serebrier, conductor; Jens Braun, producer\u003c/li>\n\u003cli>Thomas, M.T.: From The Diary Of Anne Frank & Meditations On Rilke — Isabel Leonard; Michael Tilson Thomas, conductor; Jack Vad, producer\u003c/li>\n\u003cli>Woolf, L.P.: Fire And Flood — Matt Haimovitz; Julian Wachner, conductor; Blanton Alspaugh, producer\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Contemporary Classical Composition\u003c/strong>\u003c/p>\n\u003cp>\u003cem>A composer’s award. (For a contemporary classical composition composed within the last 25 years, and released for the first time during the eligibility year.) Award to the librettist, if applicable.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Adès: Concerto For Piano And Orchestra” — Thomas Adès, composer (Kirill Gerstein, Thomas Adès & Boston Symphony Orchestra)\u003c/li>\n\u003cli>“Danielpour: The Passion Of Yeshua” — Richard Danielpour, composer (JoAnn Falletta, James K. Bass, Adam Luebke, UCLA Chamber Singers, Buffalo Philharmonic Orchestra & Buffalo Philharmonic Chorus)\u003c/li>\n\u003cli>“Floyd, C.: Prince Of Players” — Carlisle Floyd, composer (William Boggs, Kate Royal, Keith Phares, Florentine Opera Chorus & Milwaukee Symphony Orchestra)\u003c/li>\n\u003cli>“Hearne, T.: Place” — Ted Hearne, composer (Ted Hearne, Steven Bradshaw, Sophia Byrd, Josephine Lee, Isaiah Robinson, Sol Ruiz, Ayanna Woods & Place Orchestra)\u003c/li>\n\u003cli>“Rouse: Symphony No. 5” — Christopher Rouse, composer (Giancarlo Guerrero &\u003c/li>\n\u003cli>Nashville Symphony)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Music Video\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Award to the artist, video director, and video producer.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Brown Skin Girl” — Beyoncé; Beyoncé Knowles-Carter & Jenn Nkiru, video directors; Lauren Baker, Astrid Edwards, Nathan Scherrer & Erinn Williams, video producers\u003c/li>\n\u003cli>“Life Is Good” — Future ft. 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. 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"content": "\u003cp>As much as we might wish otherwise, Thanksgiving is different this year. With COVID-19 cases across the country on the rise, traveling, mixing households and enjoying a lengthy indoor meal are all risks we just can’t condone. [aside postid='news_11846759']\u003c/p>\n\u003cp>There’s no replacement for the warmth and coziness of spending time with friends and family in person, so that’s why we’ve gathered suggestions for fulfilling, distracting or weird things to do to help you get through the holiday. Stay strong, wear your masks—and plan to celebrate extra hard in 2021!\u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003ch2>Watch \u003cem>Alice’s Restaurant\u003c/em>\u003c/h2>\n\u003cp>Every Thanksgiving, it’s tradition in my house to listen to a full 18-minute version of Arlo Guthrie’s “\u003ca href=\"https://www.youtube.com/watch?v=m57gzA2JCcM&ab_channel=TenaflyViper\" target=\"_blank\" rel=\"noopener noreferrer\">Alice’s Restaurant\u003c/a>.” (There’s a multitude to choose from, thanks to many live recordings over the years.) It’s that rarest of beasts: a song about Thanksgiving magic that people actually want to listen to. That’s due in part to the fact that the lyrical “Thanksgiving dinner that couldn’t be beat” is merely a jumping off point to talk about the challenges young Americans faced in 1967—over-zealous policing, the draft, and government hypocrisy. Despite being such a product of its time, the song has continued to live because of Guthrie’s casual, rambling, hilarious delivery. [aside postid='bayareabites_139566']\u003c/p>\n\u003cp>In 2020, though—a year in which there will be no Thanksgiving gathering at my home—revisiting the song alone simply will not suffice. This year, I’ll be turning to the \u003cem>Alice’s Restaurant\u003c/em> movie—currently \u003ca href=\"https://www.youtube.com/watch?v=sP05C_agI3k\" target=\"_blank\" rel=\"noopener noreferrer\">streaming in full\u003c/a> on YouTube—that came out two years after the song became a hit. Not only is it a reminder that this is by no means the first time American families have found themselves separated by greater forces, it also reinforces the idea that family doesn’t always have to mean our literal relatives—we can make our own.\u003cem>—Rae Alexandra\u003c/em>\u003c/p>\n\u003ch2>Go On a Hike\u003c/h2>\n\u003cp>[aside postid='arts_13877190']This one is so obvious, yet so easy to forget. Getting outside for a hike is one of the best things your can do for your body and your mind, and, being an outdoor activity, it’s mostly COVID-safe. That’s doubly true if you can find a lesser-hiked, out-of-the-way trail. In the East Bay, avoid the crowds at Tilden Park and instead head to Joaquin Miller Park, which connects with Redwood Regional Park. In the South Bay, try the trails at Mount Hamilton or the Sierra Vista Open Space Preserve. In Marin, don’t fight for parking at Muir Woods or Mt. Tamalpais, and instead hike the short, scenic loop at Olompali State Park. And if you’re all the way up in my neck of the woods, in Sonoma County, there’s plenty of options outlined \u003ca href=\"https://www.kqed.org/arts/13877190/the-5-best-short-easy-hikes-in-sonoma-county\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>, with an emphasis on non-crowded trails.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003ch2>Trade Traditional Recipes for Wild Experiments\u003c/h2>\n\u003cp>Since you’re staying home with just your household this year (yes, you are), I encourage you to reject the pressure to cook a universally beloved dish. Instead, try something weird, and—most importantly—time consuming. Nothing distracts like a complicated recipe.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You could take a page from \u003ca href=\"https://www.atlasobscura.com/articles/add-a-surrealist-touch-to-your-thanksgiving-with-these-dali-recipes\" target=\"_blank\" rel=\"noopener noreferrer\">Salvador Dalí’s audacious, surrealist cookbook\u003c/a> (one dish combines artichokes, Swiss cheese and tequila). Or turn to Filippo Tommaso Marinetti’s multisensory \u003ca href=\"https://www.brainpickings.org/2014/01/21/futurist-cookbook-marinetti/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Futurist Cookbook\u003c/i>\u003c/a>, which attacks the very notions of goodness and taste. For the truly adventurous, may I suggest the \u003ca href=\"https://www.flickr.com/photos/charmandpoise/sets/72157594427234648/\" target=\"_blank\" rel=\"noopener noreferrer\">technicolor jiggle of once-popular Jell-O recipes\u003c/a>. I’m particularly intrigued by something called “Ring-Around-the-Tuna.” [aside postid='news_11847203']\u003c/p>\n\u003cp>While you’re thinking about food, and if you’re able, consider donating time and/or money to a local food bank. More and more Bay Area residents are facing food insecurity, and these organizations have been racing to keep up with demand.\u003cem>—S.H.\u003c/em>\u003c/p>\n\u003ch2>Plan a Day of Self-Care\u003c/h2>\n\u003cp>Skipping Thanksgiving might lead to a case of FOMO, especially if you check Instagram and see people ignoring public health guidelines and gathering with families. But how can you reframe your thinking and make your day off all about you and your pleasure, whatever that may mean to you? [aside postid='arts_13876619']\u003c/p>\n\u003cp>Turn your bathroom into a spa with an epsom salt bath (or foot soak if you don’t have a tub), face mask and your favorite TV show or book. Stock up ahead of time on your favorite snacks and desserts. If you partake in medicinals, an edible may be your calling. Wear soft fabrics or a onesie. Take a crisp, autumn walk while listening to an uplifting podcast. Think about whatever makes you feel warm, cozy and luxurious and let that be your mantra.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003ch2>Find Other Ways to Connect\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>Tempting as it may be to doomscroll (\u003ca href=\"https://www.kqed.org/arts/13886630/how-to-stop-doomscrolling-and-start-using-the-internet-mindfully\" target=\"_blank\" rel=\"noopener noreferrer\">don’t do it!\u003c/a>), use technology to connect with loved ones in meaningful ways. Schedule FaceTime dates throughout the day with the people you would normally spend Thanksgiving with, or get creative and hang out with them on Animal Crossing, Jackbox or Houseparty, which has interactive options and games. You can also “eat together” by cooking the same meal in your separate homes.\u003cem>—N.V. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This one is so obvious, yet so easy to forget. Getting outside for a hike is one of the best things your can do for your body and your mind, and, being an outdoor activity, it’s mostly COVID-safe. That’s doubly true if you can find a lesser-hiked, out-of-the-way trail. In the East Bay, avoid the crowds at Tilden Park and instead head to Joaquin Miller Park, which connects with Redwood Regional Park. In the South Bay, try the trails at Mount Hamilton or the Sierra Vista Open Space Preserve. In Marin, don’t fight for parking at Muir Woods or Mt. Tamalpais, and instead hike the short, scenic loop at Olompali State Park. And if you’re all the way up in my neck of the woods, in Sonoma County, there’s plenty of options outlined \u003ca href=\"https://www.kqed.org/arts/13877190/the-5-best-short-easy-hikes-in-sonoma-county\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>, with an emphasis on non-crowded trails.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003ch2>Trade Traditional Recipes for Wild Experiments\u003c/h2>\n\u003cp>Since you’re staying home with just your household this year (yes, you are), I encourage you to reject the pressure to cook a universally beloved dish. Instead, try something weird, and—most importantly—time consuming. Nothing distracts like a complicated recipe.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You could take a page from \u003ca href=\"https://www.atlasobscura.com/articles/add-a-surrealist-touch-to-your-thanksgiving-with-these-dali-recipes\" target=\"_blank\" rel=\"noopener noreferrer\">Salvador Dalí’s audacious, surrealist cookbook\u003c/a> (one dish combines artichokes, Swiss cheese and tequila). Or turn to Filippo Tommaso Marinetti’s multisensory \u003ca href=\"https://www.brainpickings.org/2014/01/21/futurist-cookbook-marinetti/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Futurist Cookbook\u003c/i>\u003c/a>, which attacks the very notions of goodness and taste. For the truly adventurous, may I suggest the \u003ca href=\"https://www.flickr.com/photos/charmandpoise/sets/72157594427234648/\" target=\"_blank\" rel=\"noopener noreferrer\">technicolor jiggle of once-popular Jell-O recipes\u003c/a>. I’m particularly intrigued by something called “Ring-Around-the-Tuna.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While you’re thinking about food, and if you’re able, consider donating time and/or money to a local food bank. More and more Bay Area residents are facing food insecurity, and these organizations have been racing to keep up with demand.\u003cem>—S.H.\u003c/em>\u003c/p>\n\u003ch2>Plan a Day of Self-Care\u003c/h2>\n\u003cp>Skipping Thanksgiving might lead to a case of FOMO, especially if you check Instagram and see people ignoring public health guidelines and gathering with families. But how can you reframe your thinking and make your day off all about you and your pleasure, whatever that may mean to you? \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Turn your bathroom into a spa with an epsom salt bath (or foot soak if you don’t have a tub), face mask and your favorite TV show or book. Stock up ahead of time on your favorite snacks and desserts. If you partake in medicinals, an edible may be your calling. Wear soft fabrics or a onesie. Take a crisp, autumn walk while listening to an uplifting podcast. Think about whatever makes you feel warm, cozy and luxurious and let that be your mantra.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003ch2>Find Other Ways to Connect\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>Tempting as it may be to doomscroll (\u003ca href=\"https://www.kqed.org/arts/13886630/how-to-stop-doomscrolling-and-start-using-the-internet-mindfully\" target=\"_blank\" rel=\"noopener noreferrer\">don’t do it!\u003c/a>), use technology to connect with loved ones in meaningful ways. Schedule FaceTime dates throughout the day with the people you would normally spend Thanksgiving with, or get creative and hang out with them on Animal Crossing, Jackbox or Houseparty, which has interactive options and games. You can also “eat together” by cooking the same meal in your separate homes.\u003cem>—N.V. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Thanksgiving is rapidly approaching. And, this year, despite 253,000 dead Americans, clear \u003ca href=\"https://www.cdc.gov/coronavirus/2019-ncov/daily-life-coping/holidays/thanksgiving.html\" target=\"_blank\" rel=\"noopener noreferrer\">warnings from the CDC\u003c/a>, and more than a \u003ca href=\"https://www.nytimes.com/interactive/2020/us/coronavirus-us-cases.html\" target=\"_blank\" rel=\"noopener noreferrer\">million new U.S. coronavirus cases\u003c/a> a week, many of us are still fielding Thanksgiving invitations. Or, rather, trying to fend them off.\u003c/p>\n\u003cp>Saying no to spending holidays with family is tough on any normal year. But for those of us facing down multiple relatives who \u003cem>are\u003c/em> willing to travel, \u003cem>are\u003c/em> willing to break household pods and \u003cem>are\u003c/em> willing to eat maskless around a table without quarantining first, being the only one to say “no” can invite a lot of judgment and gaslighting.\u003c/p>\n\u003cp>Enter Rachel Maddow.\u003c/p>\n\u003cp>Last night, the MSNBC anchor shared an anecdote that should be enough to turn anyone off from travel and socializing for the forseeable future.\u003c/p>\n\u003cp>Broadcasting from home, Maddow shared the information that, two weeks ago, her partner of 21 years, Susan Mikula, tested positive for COVID-19. Maddow described nights spent awake, calling doctors over and over, and fighting to keep Mikula breathing. She described trying to care for the love of her life without physically being in the same room. Based on her delivery, the experience has left Maddow rattled and reevaluating priorities.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Believe me, whatever you have calculated into your life as acceptable risk, inevitable risk, something that you’re willing to go through because, statistically, hey, it probably will be fine, I’m just here to tell you to recalibrate that,” she warned. “Frankly, the country needs you to recalibrate that because there’s no room for you in the hospital anymore.”\u003c/p>\n\u003cp>Maddow expressed some understanding for those who take risks with their own welfare in order to snatch a tiny slice of normal life back. But she also explained that, unfortunately, that’s not how coronavirus works. “I’m guessing that you might be willing to risk yourself. Especially after all these months and all this time. It’s so frustrating, right?” she said. “You don’t get to just say, ‘I’m willing to get this thing and play the odds.’ You don’t get that choice. It won’t necessarily be you. It’ll be the person you most care about in the world. How can you bear that?”\u003c/p>\n\u003cp>Maddow’s monologue is an important and timely reminder about why we all retreated into social pods back in March—and why we should still be staying in them. “All you can do is move heaven and Earth to not get it and not transmit it,” Maddow concluded. “This thing is scary as hell. Whatever you have been doing to risk getting it, don’t.”\u003c/p>\n\u003cp>You—and the relatives you think need to hear it—can listen to Maddow and Mikula’s story in full below.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/MaddowBlog/status/1329613581621612551\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thanksgiving is rapidly approaching. And, this year, despite 253,000 dead Americans, clear \u003ca href=\"https://www.cdc.gov/coronavirus/2019-ncov/daily-life-coping/holidays/thanksgiving.html\" target=\"_blank\" rel=\"noopener noreferrer\">warnings from the CDC\u003c/a>, and more than a \u003ca href=\"https://www.nytimes.com/interactive/2020/us/coronavirus-us-cases.html\" target=\"_blank\" rel=\"noopener noreferrer\">million new U.S. coronavirus cases\u003c/a> a week, many of us are still fielding Thanksgiving invitations. Or, rather, trying to fend them off.\u003c/p>\n\u003cp>Saying no to spending holidays with family is tough on any normal year. But for those of us facing down multiple relatives who \u003cem>are\u003c/em> willing to travel, \u003cem>are\u003c/em> willing to break household pods and \u003cem>are\u003c/em> willing to eat maskless around a table without quarantining first, being the only one to say “no” can invite a lot of judgment and gaslighting.\u003c/p>\n\u003cp>Enter Rachel Maddow.\u003c/p>\n\u003cp>Last night, the MSNBC anchor shared an anecdote that should be enough to turn anyone off from travel and socializing for the forseeable future.\u003c/p>\n\u003cp>Broadcasting from home, Maddow shared the information that, two weeks ago, her partner of 21 years, Susan Mikula, tested positive for COVID-19. Maddow described nights spent awake, calling doctors over and over, and fighting to keep Mikula breathing. She described trying to care for the love of her life without physically being in the same room. Based on her delivery, the experience has left Maddow rattled and reevaluating priorities.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In the spirit of the New Deal, which hired artists for public works projects during the Great Depression, San Francisco Mayor London Breed \u003ca href=\"https://sfmayor.org/article/mayor-london-breed-announces-san-francisco-creative-corps-support-artists-and-promote-public\" rel=\"noopener noreferrer\" target=\"_blank\">announced a new program\u003c/a> that will employ artists to amplify crucial public health reminders this holiday season.\u003c/p>\n\u003cp>With COVID-19 rates up city- and statewide, San Francisco will deploy 30 actors, musicians, dancers and other performing artists as Community Health Ambassadors to promote pandemic safety practices. An additional 30 visual artists will be hired to paint temporary public health-themed murals on boarded-up storefronts.\u003c/p>\n\u003cp>“This new program supports artists financially while also reminding community members to stay safe this holiday season,” Mayor Breed said in a statement. “San Francisco’s artists and cultural organizations are what make our city such a vibrant place, and we need to do all we can to support them. The Creative Corps is an innovate approach to help our artists during this difficult time, and will bring some joy and fun to public spaces throughout the City.”\u003c/p>\n\u003cp>The \u003ca href=\"https://sfmayor.org/article/mayor-london-breed-announces-san-francisco-creative-corps-support-artists-and-promote-public\" target=\"_blank\" rel=\"noopener noreferrer\">Creative Corps\u003c/a> project has a budget of $250,000 from the Office of Economic and Workforce Development. Local organizations Yerba Buena Center for the Arts (YBCA) and Paint the Void will administer the program, and YBCA will collaborate with San Francisco Bay Area Theater Company, Dance Mission and SF Carnaval to select performing artists.\u003c/p>\n\u003cp>YBCA plans to train the Ambassadors to ensure messaging is accurate and consistent. But the artists will have flexibility in how they deliver public health reminders through their chosen form of expression in public places such as Shared Spaces corridors, streets with outdoor restaurants, parks, and other areas with high foot traffic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As far as murals go, Paint the Void will prioritize artists with strong ties to their chosen neighborhoods. An \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSfNEz4Pou6bl25rmcLamo_UwKUbGj3vLvtGaVERsAPIE9gMqQ/viewform\" target=\"_blank\" rel=\"noopener noreferrer\">application\u003c/a> for visual artists is now live.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the spirit of the New Deal, which hired artists for public works projects during the Great Depression, San Francisco Mayor London Breed \u003ca href=\"https://sfmayor.org/article/mayor-london-breed-announces-san-francisco-creative-corps-support-artists-and-promote-public\" rel=\"noopener noreferrer\" target=\"_blank\">announced a new program\u003c/a> that will employ artists to amplify crucial public health reminders this holiday season.\u003c/p>\n\u003cp>With COVID-19 rates up city- and statewide, San Francisco will deploy 30 actors, musicians, dancers and other performing artists as Community Health Ambassadors to promote pandemic safety practices. An additional 30 visual artists will be hired to paint temporary public health-themed murals on boarded-up storefronts.\u003c/p>\n\u003cp>“This new program supports artists financially while also reminding community members to stay safe this holiday season,” Mayor Breed said in a statement. “San Francisco’s artists and cultural organizations are what make our city such a vibrant place, and we need to do all we can to support them. The Creative Corps is an innovate approach to help our artists during this difficult time, and will bring some joy and fun to public spaces throughout the City.”\u003c/p>\n\u003cp>The \u003ca href=\"https://sfmayor.org/article/mayor-london-breed-announces-san-francisco-creative-corps-support-artists-and-promote-public\" target=\"_blank\" rel=\"noopener noreferrer\">Creative Corps\u003c/a> project has a budget of $250,000 from the Office of Economic and Workforce Development. Local organizations Yerba Buena Center for the Arts (YBCA) and Paint the Void will administer the program, and YBCA will collaborate with San Francisco Bay Area Theater Company, Dance Mission and SF Carnaval to select performing artists.\u003c/p>\n\u003cp>YBCA plans to train the Ambassadors to ensure messaging is accurate and consistent. But the artists will have flexibility in how they deliver public health reminders through their chosen form of expression in public places such as Shared Spaces corridors, streets with outdoor restaurants, parks, and other areas with high foot traffic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The director of Stanford’s Iris & B. Gerald Cantor Center for Visual Arts at Stanford University—better known as the Cantor Arts Center—has resigned following reports revealing a toxic work culture at the renowned university museum.\u003c/p>\n\u003cp>Susan Dackerman’s resignation, effective immediately, comes at the end of an inquiry into the Renaissance art scholar’s conduct during her roughly three-year tenure as director of the Cantor.\u003c/p>\n\u003cp>The deputy director also left the museum.\u003c/p>\n\u003cp>The external investigation revealed reports of staff being overworked and underappreciated.\u003c/p>\n\u003cp>According to a \u003ca href=\"https://www.stanforddaily.com/2020/08/17/toxic-work-culture-at-cantor-forces-staff-out-interventions-fall-short/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Stanford Daily\u003c/i> article\u003c/a> published in August, more than 30 staffers left under Dackerman’s leadership, many of them people of color.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At the same time, the world-class art institution continued to display an impressive public front, as with its 2019 acquisition of a major photography collection including works by Ansel Adams, Edward Weston, Gordon Parks and Helen Levitt, among others.\u003c/p>\n\u003cp>“But behind that facade hides what many Cantor employees have called a toxic work culture, demoralizing museum leadership and a University administration that seems loath to substantively address repeated concerns,” wrote Elena Shao in the \u003ci>Stanford Daily\u003c/i>. “All circumstances that have been pushing employees out at an alarming rate.”\u003c/p>\n\u003cp>In a letter to community members Thursday, Stanford’s interim senior associate vice president for the arts, Matthew Tiews, said the university is currently putting together a transition team.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“In this interim period, the university will be addressing internal concerns and structural considerations so that the museum is best positioned for success going forward,” Tiews said. “Stanford remains deeply committed to the success of the Cantor and of the arts at Stanford.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The director of Stanford’s Iris & B. Gerald Cantor Center for Visual Arts at Stanford University—better known as the Cantor Arts Center—has resigned following reports revealing a toxic work culture at the renowned university museum.\u003c/p>\n\u003cp>Susan Dackerman’s resignation, effective immediately, comes at the end of an inquiry into the Renaissance art scholar’s conduct during her roughly three-year tenure as director of the Cantor.\u003c/p>\n\u003cp>The deputy director also left the museum.\u003c/p>\n\u003cp>The external investigation revealed reports of staff being overworked and underappreciated.\u003c/p>\n\u003cp>According to a \u003ca href=\"https://www.stanforddaily.com/2020/08/17/toxic-work-culture-at-cantor-forces-staff-out-interventions-fall-short/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Stanford Daily\u003c/i> article\u003c/a> published in August, more than 30 staffers left under Dackerman’s leadership, many of them people of color.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the same time, the world-class art institution continued to display an impressive public front, as with its 2019 acquisition of a major photography collection including works by Ansel Adams, Edward Weston, Gordon Parks and Helen Levitt, among others.\u003c/p>\n\u003cp>“But behind that facade hides what many Cantor employees have called a toxic work culture, demoralizing museum leadership and a University administration that seems loath to substantively address repeated concerns,” wrote Elena Shao in the \u003ci>Stanford Daily\u003c/i>. “All circumstances that have been pushing employees out at an alarming rate.”\u003c/p>\n\u003cp>In a letter to community members Thursday, Stanford’s interim senior associate vice president for the arts, Matthew Tiews, said the university is currently putting together a transition team.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“In this interim period, the university will be addressing internal concerns and structural considerations so that the museum is best positioned for success going forward,” Tiews said. “Stanford remains deeply committed to the success of the Cantor and of the arts at Stanford.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Headlands Center for the Arts \u003ca href=\"https://mailchi.mp/headlands/announcing_mari_robles?e=9d7f9286bf\" target=\"_blank\" rel=\"noopener noreferrer\">has announced\u003c/a> arts leader, educator and organizer Maricelle (Mari) Robles as the nonprofit’s new executive director. She will begin on Dec. 14.\u003c/p>\n\u003cp>Robles was selected after an international search to replace Sharon Maidenberg, who served as Headlands’ executive director for over 11 years. “After speaking with Mari, we quickly realized that we had found the perfect fit,” Board Chair Robin Strawbridge is quoted saying in today’s announcement. “Her career and personal interests in the arts genuinely mirror our mission here at Headlands. She shares our deep value for bringing the arts to everyone in the Bay Area, and for creating a space for artists to grow and thrive.”[aside postID='arts_13887237']\u003c/p>\n\u003cp>Robles, who currently lives in New York, has a background in arts education. Headlands’ announcement emphasizes her interest, “as a Latinx woman of Puerto Rican heritage,” in “making art more accessible and welcoming to all.”\u003c/p>\n\u003cp>Robles served as the educator-in-charge of public programs and engagement at the Metropolitan Museum of Art in New York, the deputy director of education and public programs at the Pérez Art Museum in Miami, and the coordinator of youth and family programs at the Museum of Contemporary Art Chicago.\u003c/p>\n\u003cp>This will be the first time Robles has lived or worked in the Bay Area. Unique to Headlands’ executive director position, the job comes with housing on the arts center’s campus. She looks forward to the more reflective and slow-paced environment of the Marin Headlands, especially after a year like 2020. “I’m ready for the wild turkeys,” she says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Most recently, she was part of a team of cultural producers organizing public programming leading up to the 2020 \u003ca href=\"https://www.prospectneworleans.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Prospect New Orleans\u003c/a> triennial. The entire exhibition has since been pushed back a year due to the pandemic, with a new opening of Oct. 23, 2021.\u003c/p>\n\u003cp>Robles will step into the role with some \u003ca href=\"https://www.kqed.org/arts/13887237/headlands-to-end-affiliate-artist-program-launch-bay-area-fellowships\" target=\"_blank\" rel=\"noopener noreferrer\">major changes\u003c/a> on the horizon, including the end of Headlands’ affiliate artist program and the beginning of two funded fellowships. It’s also, she notes, a time of great upheaval and re-evaluation in the art world, as institutions grapple with their role in upholding white supremacy, and strive to adopt anti-racist practices.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Which is also why I’m excited to be, frankly, coming on to Headlands at this moment—a moment where the entire arts world is having a reckoning, as well as a more global reckoning around justice and race issues,” she says. “Headlands has been doing some of that work already, internally, thinking about racial equity. But really that’s something I value very much and have been working at intersection for some time.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Headlands Center for the Arts \u003ca href=\"https://mailchi.mp/headlands/announcing_mari_robles?e=9d7f9286bf\" target=\"_blank\" rel=\"noopener noreferrer\">has announced\u003c/a> arts leader, educator and organizer Maricelle (Mari) Robles as the nonprofit’s new executive director. She will begin on Dec. 14.\u003c/p>\n\u003cp>Robles was selected after an international search to replace Sharon Maidenberg, who served as Headlands’ executive director for over 11 years. “After speaking with Mari, we quickly realized that we had found the perfect fit,” Board Chair Robin Strawbridge is quoted saying in today’s announcement. “Her career and personal interests in the arts genuinely mirror our mission here at Headlands. She shares our deep value for bringing the arts to everyone in the Bay Area, and for creating a space for artists to grow and thrive.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Robles, who currently lives in New York, has a background in arts education. Headlands’ announcement emphasizes her interest, “as a Latinx woman of Puerto Rican heritage,” in “making art more accessible and welcoming to all.”\u003c/p>\n\u003cp>Robles served as the educator-in-charge of public programs and engagement at the Metropolitan Museum of Art in New York, the deputy director of education and public programs at the Pérez Art Museum in Miami, and the coordinator of youth and family programs at the Museum of Contemporary Art Chicago.\u003c/p>\n\u003cp>This will be the first time Robles has lived or worked in the Bay Area. Unique to Headlands’ executive director position, the job comes with housing on the arts center’s campus. She looks forward to the more reflective and slow-paced environment of the Marin Headlands, especially after a year like 2020. “I’m ready for the wild turkeys,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Most recently, she was part of a team of cultural producers organizing public programming leading up to the 2020 \u003ca href=\"https://www.prospectneworleans.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Prospect New Orleans\u003c/a> triennial. The entire exhibition has since been pushed back a year due to the pandemic, with a new opening of Oct. 23, 2021.\u003c/p>\n\u003cp>Robles will step into the role with some \u003ca href=\"https://www.kqed.org/arts/13887237/headlands-to-end-affiliate-artist-program-launch-bay-area-fellowships\" target=\"_blank\" rel=\"noopener noreferrer\">major changes\u003c/a> on the horizon, including the end of Headlands’ affiliate artist program and the beginning of two funded fellowships. It’s also, she notes, a time of great upheaval and re-evaluation in the art world, as institutions grapple with their role in upholding white supremacy, and strive to adopt anti-racist practices.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Which is also why I’m excited to be, frankly, coming on to Headlands at this moment—a moment where the entire arts world is having a reckoning, as well as a more global reckoning around justice and race issues,” she says. “Headlands has been doing some of that work already, internally, thinking about racial equity. But really that’s something I value very much and have been working at intersection for some time.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>While streaming services often get flack for cutting artists out of the deal (ahem, \u003ca href=\"https://www.kqed.org/arts/13888879/a-pandemic-is-not-the-time-for-spotify-to-undercut-artist-pay\" target=\"_blank\" rel=\"noopener noreferrer\">Spotify\u003c/a>), Oakland’s Bandcamp has been praised for its attempts to do right by musicians during the pandemic. On the first Friday of each month since April, the company has waived its fees so that 100% of music sales go to artists and independent labels. Now, as COVID-19 cases rise, cold weather sets in and IRL concerts remain a far-off possibility, Bandcamp has announced a new service on its platform for \u003ca href=\"https://daily.bandcamp.com/features/bandcamp-ticketed-livestream\" target=\"_blank\" rel=\"noopener noreferrer\">ticketed, livestreamed concerts\u003c/a>.\u003c/p>\n\u003cp>Monetizing livestreams has been difficult for artists during the pandemic. Oftentimes, they end up playing for tips that fall short, by far, of what they would have made on tour. And touring is independent musicians’ bread and butter.\u003c/p>\n\u003cp>Bandcamp Live has several benefits for artists: the livestream feature is built into its platform, so fans who buy music there can easily purchase tickets. During livestreams, artists can set up a “virtual merch table” that advertises their mp3s, cassettes, vinyl, T-shirts and whatever else they offer. And they have the option of engaging with fans in the chat. Bandcamp will eventually take a 10% convenience fee from ticket sales, but the company is waiving this charge until March 2021.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>\u003ci>This story was originally published on Nov. 12 and has been updated to reflect new developments.\u003c/i>\u003c/p>\n\u003cp>Days after announcing it would reopen to the public on Nov. 27 after eight months of closure, new state-issued restrictions required the Oakland Museum of California to reverse course. On Monday, \u003ca href=\"https://www.kqed.org/news/11847641/california-tightens-coronavirus-restrictions-most-counties-must-close-nonessential-indoor-businesses\" rel=\"noopener noreferrer\" target=\"_blank\">Gov. Gavin Newsom announced\u003c/a> 41 counties in the state are now in the most restrictive “purple” tier—including Alameda County.\u003c/p>\n\u003cp>OMCA’s reopening date is now up in the air. “OMCA staff and visitor safety remain a top priority and the Museum looks forward to welcoming the community back once it is determined safe to do so,” stated today’s press release.\u003c/p>\n\u003cp>Members would have gained entry to the museum as early as Nov. 20. Plans were in place to observe new safety protocols and manage capacity, with limited hours scheduled through the end of the year: Friday—Sunday, 11am–5pm. As with other recently reopened Bay Area museums, visitors would need to wear masks and reserve tickets for timed entry.\u003c/p>\n\u003cp>[aside postID='arts_13865204']OMCA’s signature interactive displays have been removed, but when the museum does reopen, visitors will be able to explore, for the first time, OMCA’s redesigned gardens, which are free and open to the public during museum hours. According to the museum’s original reopening announcement, the gardens boast new paving, newly installed sculptures, new native trees and plantings, a new lawn and a stage to be used for future performances and events. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One silver lining to the pandemic was OMCA’s ability to make this progress on its “\u003ca href=\"https://www.kqed.org/arts/13865204/oakland-museum-of-california-to-undergo-20m-renovation-to-exterior-courtyard\" rel=\"noopener noreferrer\" target=\"_blank\">campus transformation\u003c/a>” led by Hood Design Studio and Mark Cavagnero Associates. The renovations will eventually include two new entrances, opening OMCA up to foot traffic from Lake Merritt and 10th Street, and a redesigned café (home to \u003ca href=\"https://www.kqed.org/bayareabites/136360/chef-tanya-hollands-town-fare-raises-the-oakland-museums-culinary-profile\" rel=\"noopener noreferrer\" target=\"_blank\">Town Fare by Tanya Holland\u003c/a> when COVID-19 safety protocols allow).\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One silver lining to the pandemic was OMCA’s ability to make this progress on its “\u003ca href=\"https://www.kqed.org/arts/13865204/oakland-museum-of-california-to-undergo-20m-renovation-to-exterior-courtyard\" rel=\"noopener noreferrer\" target=\"_blank\">campus transformation\u003c/a>” led by Hood Design Studio and Mark Cavagnero Associates. The renovations will eventually include two new entrances, opening OMCA up to foot traffic from Lake Merritt and 10th Street, and a redesigned café (home to \u003ca href=\"https://www.kqed.org/bayareabites/136360/chef-tanya-hollands-town-fare-raises-the-oakland-museums-culinary-profile\" rel=\"noopener noreferrer\" target=\"_blank\">Town Fare by Tanya Holland\u003c/a> when COVID-19 safety protocols allow).\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SFAC Awards the Maya Angelou Monument to Lava Thomas, Finally",
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"content": "\u003cp>After a yearlong ordeal, Lava Thomas’ design for a monument to honor Dr. Maya Angelou at the main branch of the public library has finally been approved by the San Francisco Arts Commission. On Nov. 2, the commissioners voted unanimously to terminate the second request for qualifications (RFQ) launched by the SFAC in January and paused in August, and award the $250,000 project to Thomas, the 2019 review panel’s original selection.\u003c/p>\n\u003cp>Resolving this embarrassing delay in the city’s attempt to increase the representation of women in public monuments (there are currently only \u003ca href=\"https://sfgov.org/dosw/sites/default/files/DOSW%202019%20Report%20Representation%20of%20Women%20in%20City%20Property.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">three monuments to specific women\u003c/a> in San Francisco; 91% of the city’s monuments honor or depict men) became a top priority for Acting Director of Cultural Affairs Denise Bradley-Tyson when she assumed her position in early October.\u003c/p>\n\u003cp>[aside postID='arts_13889000,arts_13884238,arts_13883431' label='SFAC in the news']In just the past month, Bradley-Tyson moved swiftly to organize meetings with members of the arts commission, leveraging her personal connections to Mayor London Breed, Thomas and other stakeholders to pave the way for the Nov. 2 decision. \u003c/p>\n\u003cp>“With this issue—the discord around it had been going on for so many months—there was truly a willingness among all parties to find a path forward, to begin healing and focusing on the project itself,” says Bradley-Tyson.\u003c/p>\n\u003cp>The arts commission publicly \u003ca href=\"https://www.kqed.org/arts/13884238/sfac-apologizes-to-lava-thomas-for-mishandling-maya-angelou-monument\" rel=\"noopener noreferrer\" target=\"_blank\">apologized to Thomas\u003c/a> in early August during a meeting that saw nearly two hours of public comment criticizing the SFAC’s mishandling of the project. In September, Mayor Breed and Supervisor Catherine Stefani, who authored the original legislation to increase the representation of women in city monuments, and who favored “a significant figurative representation of Maya Angelou” as opposed to Thomas’ book-like design, met with Thomas privately and apologized to her. And in the Oct. 21 meeting of the SFAC’s visual arts committee, Stefani made a public apology, saying, “For the pain I caused you, Ms. Thomas, and the process you have had to endure, I am truly sorry. And to the others who have felt they were not seen or heard over the past year, I am also truly sorry.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m certain that Dr. Angelou’s spirit can rest knowing that justice has been served here today,” Thomas said to the visual arts committee on Oct. 21, accepting Stefani’s apology. “It has been a long time coming.”\u003c/p>\n\u003cp>Over the past year, as rumors swirled of exactly who blocked Thomas’ design (some named the mayor, others pointed to an anonymous private donor) and why, the conversation around which figures public monuments should recognize—and how—has become an international one. San Francisco is now \u003ca href=\"https://www.kqed.org/arts/13883431/city-to-evaluate-public-monuments-but-community-questions-its-track-record\" rel=\"noopener noreferrer\" target=\"_blank\">evaluating\u003c/a> all its existing monuments, after protestors targeted statuary in Golden Gate Park and the SFAC preemptively removed the \u003ca href=\"https://www.kqed.org/news/11825103/san-francisco-removes-controversial-christopher-columbus-statue-on-telegraph-hill\" rel=\"noopener noreferrer\" target=\"_blank\">Christopher Columbus\u003c/a> statue near Coit Tower.\u003c/p>\n\u003cfigure id=\"attachment_13889111\" class=\"wp-caption alignright\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy.jpg\" alt=\"\" width=\"1200\" height=\"1442\" class=\"size-full wp-image-13889111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy-800x961.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy-1020x1226.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy-160x192.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy-768x923.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco’s Acting Director of Cultural Affairs Denise Bradley-Tyson. \u003ccite>(Courtesy SFAC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Against a background of calls for racial justice and increased transparency (many of them led by Thomas herself), the artist selection process for the Maya Angelou monument has spanned the tenure of three separate leaders of the SFAC. Tom DeCaigny departed after eight years as San Francisco’s director of cultural affairs at the beginning of 2020, and Deputy Director Rebekah Krell stepped in as acting director. When Krell left for a position in the city’s COVID Command Center in October, the mayor appointed Bradley-Tyson, former executive director of the Museum of the African Diaspora, in her stead. Bradley-Tyson will remain in the role until newly announced \u003ca href=\"https://www.kqed.org/arts/13889000/theres-a-new-director-of-cultural-affairs-in-san-francisco\" rel=\"noopener noreferrer\" target=\"_blank\">Ralph Remington\u003c/a> becomes DeCaigny’s official replacement in early 2021.\u003c/p>\n\u003cp>Despite her short tenure—or perhaps because of it—Bradley-Tyson has led the SFAC to effective action on the Maya Angelou monument. She quotes the famous writer, as many involved in the project are wont to do: “‘There is no greater agony than bearing an untold story inside you.’”\u003c/p>\n\u003cp>“I felt like this was one of those untold stories,” she says of Thomas’ spurned design.\u003c/p>\n\u003cp>Before the decision to cancel the second RFQ was finalized, a collector of Thomas’ work had actually approached the city offering to fund Thomas’ Maya Angelou monument and then donate the bronze sculpture to the city, ensuring it would enter the civic art collection, if in a more roundabout way. But this was an imperfect solution for many, since it meant Thomas’ design would retain second-tier status, and would have to be installed elsewhere in San Francisco (the SFAC’s commission would claim the space just outside the main branch of the public library). \u003c/p>\n\u003cp>So when canceling the second RFQ became a possibility, Bradley-Tyson and members of her office lead discussions with Thomas, the collector and library staff about turning that proposed funding towards other purposes. “We have someone who loves Lava’s work, loves what it stood for,” Bradley-Tyson says. “Rather than see this money go away, we had a discussion about how could this money be redeployed in terms of activating the monument so that it could be a living, breathing monument.”\u003c/p>\n\u003cp>The donor (who will be named once the paperwork is finalized) has promised $160,000 to create programming inside and outside of the library that centers around “the spirits and legacy of Dr. Maya Angelou,” Bradley-Tyson explains.\u003c/p>\n\u003cfigure id=\"attachment_13864655\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200.jpg\" alt=\"The verso of Lava Thomas' 'Portrait of a Phenomenal Woman.'\" width=\"1200\" height=\"970\" class=\"size-full wp-image-13864655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-800x647.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-768x621.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-1020x825.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of Lava Thomas’ proposed monument to Maya Angelou, ‘Portrait of a Phenomenal Woman.’ \u003ccite>(Courtesy of Eren Hebert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While some of the public comment at the SFAC’s Nov. 2 meeting touched on ways this long process might forever taint the Maya Angelou monument moving forward, Bradley-Tyson is more optimistic. “This is just the first step in reframing our city’s art collection to be one that includes women and people of color who are universal heroes, who inspire all of us,” she says. To her, the journey to eventually selecting Thomas’ design—even at its most painful moments—opened up a much-needed local conversation. She points to the coalitions that formed around Thomas, including the \u003ca href=\"https://www.seeblackwomxn.com/\" rel=\"noopener noreferrer\" target=\"_blank\">See Black Womxn\u003c/a> collective, and the outpouring of community support that pushed the SFAC to address the issue head-on. \u003c/p>\n\u003cp>“My personal hashtag became ‘monuments matter,’” Bradley-Tyson says. “I think as a nation we want to be proud of who we exalt in public spaces and also want to ensure that future generations see themselves in the monuments in our public spaces.”\u003c/p>\n\u003cp>To that end, the SFAC is working with Supervisor Stefani and the mayor’s office to establish an advisory committee to help guide the city through future representations of Black women and women of color in the public realm. Stefani said the committee would include Black women artists and arts professionals. “I also plan to advocate for funding to expand representation in the public realm with the input of this newly formed advisory committee,” Stefani said on Oct. 21, “as well as for educational programming focusing on cultural and racial equity in public art.”\u003c/p>\n\u003cp>Lava Thomas’ \u003ci>Portrait of a Phenomenal Woman\u003c/i> will be the first time a woman of color is honored with a monument on a piece of city property. San Francisco is a leader on so many issues, Bradley-Tyson says, and this can be yet another realm in which the city sets national precedence. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I’m confident we’ll be looked at in terms of the work we do in this space,” she says, “particularly as it relates to paying honor to more women and women of color.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a yearlong ordeal, Lava Thomas’ design for a monument to honor Dr. Maya Angelou at the main branch of the public library has finally been approved by the San Francisco Arts Commission. On Nov. 2, the commissioners voted unanimously to terminate the second request for qualifications (RFQ) launched by the SFAC in January and paused in August, and award the $250,000 project to Thomas, the 2019 review panel’s original selection.\u003c/p>\n\u003cp>Resolving this embarrassing delay in the city’s attempt to increase the representation of women in public monuments (there are currently only \u003ca href=\"https://sfgov.org/dosw/sites/default/files/DOSW%202019%20Report%20Representation%20of%20Women%20in%20City%20Property.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">three monuments to specific women\u003c/a> in San Francisco; 91% of the city’s monuments honor or depict men) became a top priority for Acting Director of Cultural Affairs Denise Bradley-Tyson when she assumed her position in early October.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In just the past month, Bradley-Tyson moved swiftly to organize meetings with members of the arts commission, leveraging her personal connections to Mayor London Breed, Thomas and other stakeholders to pave the way for the Nov. 2 decision. \u003c/p>\n\u003cp>“With this issue—the discord around it had been going on for so many months—there was truly a willingness among all parties to find a path forward, to begin healing and focusing on the project itself,” says Bradley-Tyson.\u003c/p>\n\u003cp>The arts commission publicly \u003ca href=\"https://www.kqed.org/arts/13884238/sfac-apologizes-to-lava-thomas-for-mishandling-maya-angelou-monument\" rel=\"noopener noreferrer\" target=\"_blank\">apologized to Thomas\u003c/a> in early August during a meeting that saw nearly two hours of public comment criticizing the SFAC’s mishandling of the project. In September, Mayor Breed and Supervisor Catherine Stefani, who authored the original legislation to increase the representation of women in city monuments, and who favored “a significant figurative representation of Maya Angelou” as opposed to Thomas’ book-like design, met with Thomas privately and apologized to her. And in the Oct. 21 meeting of the SFAC’s visual arts committee, Stefani made a public apology, saying, “For the pain I caused you, Ms. Thomas, and the process you have had to endure, I am truly sorry. And to the others who have felt they were not seen or heard over the past year, I am also truly sorry.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m certain that Dr. Angelou’s spirit can rest knowing that justice has been served here today,” Thomas said to the visual arts committee on Oct. 21, accepting Stefani’s apology. “It has been a long time coming.”\u003c/p>\n\u003cp>Over the past year, as rumors swirled of exactly who blocked Thomas’ design (some named the mayor, others pointed to an anonymous private donor) and why, the conversation around which figures public monuments should recognize—and how—has become an international one. San Francisco is now \u003ca href=\"https://www.kqed.org/arts/13883431/city-to-evaluate-public-monuments-but-community-questions-its-track-record\" rel=\"noopener noreferrer\" target=\"_blank\">evaluating\u003c/a> all its existing monuments, after protestors targeted statuary in Golden Gate Park and the SFAC preemptively removed the \u003ca href=\"https://www.kqed.org/news/11825103/san-francisco-removes-controversial-christopher-columbus-statue-on-telegraph-hill\" rel=\"noopener noreferrer\" target=\"_blank\">Christopher Columbus\u003c/a> statue near Coit Tower.\u003c/p>\n\u003cfigure id=\"attachment_13889111\" class=\"wp-caption alignright\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy.jpg\" alt=\"\" width=\"1200\" height=\"1442\" class=\"size-full wp-image-13889111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy-800x961.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy-1020x1226.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy-160x192.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy-768x923.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco’s Acting Director of Cultural Affairs Denise Bradley-Tyson. \u003ccite>(Courtesy SFAC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Against a background of calls for racial justice and increased transparency (many of them led by Thomas herself), the artist selection process for the Maya Angelou monument has spanned the tenure of three separate leaders of the SFAC. Tom DeCaigny departed after eight years as San Francisco’s director of cultural affairs at the beginning of 2020, and Deputy Director Rebekah Krell stepped in as acting director. When Krell left for a position in the city’s COVID Command Center in October, the mayor appointed Bradley-Tyson, former executive director of the Museum of the African Diaspora, in her stead. Bradley-Tyson will remain in the role until newly announced \u003ca href=\"https://www.kqed.org/arts/13889000/theres-a-new-director-of-cultural-affairs-in-san-francisco\" rel=\"noopener noreferrer\" target=\"_blank\">Ralph Remington\u003c/a> becomes DeCaigny’s official replacement in early 2021.\u003c/p>\n\u003cp>Despite her short tenure—or perhaps because of it—Bradley-Tyson has led the SFAC to effective action on the Maya Angelou monument. She quotes the famous writer, as many involved in the project are wont to do: “‘There is no greater agony than bearing an untold story inside you.’”\u003c/p>\n\u003cp>“I felt like this was one of those untold stories,” she says of Thomas’ spurned design.\u003c/p>\n\u003cp>Before the decision to cancel the second RFQ was finalized, a collector of Thomas’ work had actually approached the city offering to fund Thomas’ Maya Angelou monument and then donate the bronze sculpture to the city, ensuring it would enter the civic art collection, if in a more roundabout way. But this was an imperfect solution for many, since it meant Thomas’ design would retain second-tier status, and would have to be installed elsewhere in San Francisco (the SFAC’s commission would claim the space just outside the main branch of the public library). \u003c/p>\n\u003cp>So when canceling the second RFQ became a possibility, Bradley-Tyson and members of her office lead discussions with Thomas, the collector and library staff about turning that proposed funding towards other purposes. “We have someone who loves Lava’s work, loves what it stood for,” Bradley-Tyson says. “Rather than see this money go away, we had a discussion about how could this money be redeployed in terms of activating the monument so that it could be a living, breathing monument.”\u003c/p>\n\u003cp>The donor (who will be named once the paperwork is finalized) has promised $160,000 to create programming inside and outside of the library that centers around “the spirits and legacy of Dr. Maya Angelou,” Bradley-Tyson explains.\u003c/p>\n\u003cfigure id=\"attachment_13864655\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200.jpg\" alt=\"The verso of Lava Thomas' 'Portrait of a Phenomenal Woman.'\" width=\"1200\" height=\"970\" class=\"size-full wp-image-13864655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-800x647.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-768x621.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-1020x825.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of Lava Thomas’ proposed monument to Maya Angelou, ‘Portrait of a Phenomenal Woman.’ \u003ccite>(Courtesy of Eren Hebert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While some of the public comment at the SFAC’s Nov. 2 meeting touched on ways this long process might forever taint the Maya Angelou monument moving forward, Bradley-Tyson is more optimistic. “This is just the first step in reframing our city’s art collection to be one that includes women and people of color who are universal heroes, who inspire all of us,” she says. To her, the journey to eventually selecting Thomas’ design—even at its most painful moments—opened up a much-needed local conversation. She points to the coalitions that formed around Thomas, including the \u003ca href=\"https://www.seeblackwomxn.com/\" rel=\"noopener noreferrer\" target=\"_blank\">See Black Womxn\u003c/a> collective, and the outpouring of community support that pushed the SFAC to address the issue head-on. \u003c/p>\n\u003cp>“My personal hashtag became ‘monuments matter,’” Bradley-Tyson says. “I think as a nation we want to be proud of who we exalt in public spaces and also want to ensure that future generations see themselves in the monuments in our public spaces.”\u003c/p>\n\u003cp>To that end, the SFAC is working with Supervisor Stefani and the mayor’s office to establish an advisory committee to help guide the city through future representations of Black women and women of color in the public realm. Stefani said the committee would include Black women artists and arts professionals. “I also plan to advocate for funding to expand representation in the public realm with the input of this newly formed advisory committee,” Stefani said on Oct. 21, “as well as for educational programming focusing on cultural and racial equity in public art.”\u003c/p>\n\u003cp>Lava Thomas’ \u003ci>Portrait of a Phenomenal Woman\u003c/i> will be the first time a woman of color is honored with a monument on a piece of city property. San Francisco is a leader on so many issues, Bradley-Tyson says, and this can be yet another realm in which the city sets national precedence. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"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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"soldout": {
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