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"title": "10 Takeaways From a Night of Strong Performances and Curveballs at the Grammys",
"headTitle": "10 Takeaways From a Night of Strong Performances and Curveballs at the Grammys | KQED",
"content": "\u003cp>This year’s Grammy Awards were \u003ca href=\"https://www.npr.org/2022/01/18/1073871920/grammys-rescheduled-moved-las-vegas-april-3\" target=\"_blank\" rel=\"noopener noreferrer\">supposed to take place in January\u003c/a>, but they wound up postponed until seven days after \u003ca href=\"https://www.npr.org/2022/03/24/1088592585/our-2022-oscars-recap\" target=\"_blank\" rel=\"noopener noreferrer\">a cursed Oscars telecast\u003c/a>. So, now that the awards season has mercifully concluded, here’s what you need to know about \u003ca href=\"https://www.npr.org/2022/04/04/1090348793/2022-grammys-winners-jon-batiste-silk-sonic\" target=\"_blank\" rel=\"noopener noreferrer\">the 2022 Grammys\u003c/a>—the lessons, storylines, triumphs and irritations that defined \u003ca href=\"https://www.npr.org/2022/04/03/1090342877/2022-grammys-full-list-winners-nominees\" target=\"_blank\" rel=\"noopener noreferrer\">the very long night\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>1. Never, ever underestimate the Grammys’ love for Bruno Mars.\u003c/strong>\u003c/p>\n\u003cp>Some of us—including this writer—decided months ago that song of the year and record of the year were bound to go to \u003ca href=\"https://www.npr.org/artists/998736720/olivia-rodrigo\" target=\"_blank\" rel=\"noopener noreferrer\">Olivia Rodrigo\u003c/a>‘s “drivers license.” The song was a massive smash, Rodrigo was 2021’s breakout star and the Grammys love to announce the arrival of new A-listers by burying them in trophies. (See \u003ca href=\"https://www.npr.org/artists/691274976/billie-eilish\" target=\"_blank\" rel=\"noopener noreferrer\">Billie Eilish\u003c/a>‘s \u003ca href=\"https://www.npr.org/2020/01/27/799879297/billie-eilish-sweeps-grammys-in-ceremony-clouded-by-controversy-and-mourning\" target=\"_blank\" rel=\"noopener noreferrer\">2020 Grammy sweep\u003c/a> for evidence of this phenomenon.)\u003c/p>\n\u003cp>But Rodrigo ran into a buzzsaw that prognosticators—again, including this writer—should have seen coming. The Grammys love \u003ca href=\"https://www.npr.org/artists/166969902/bruno-mars\" target=\"_blank\" rel=\"noopener noreferrer\">Bruno Mars\u003c/a> with the intensity of 10,000 suns and would prefer not to pass up \u003cem>any\u003c/em> opportunity to lavish Grammys on him. \u003ca href=\"https://www.npr.org/artists/1054392430/silk-sonic\" target=\"_blank\" rel=\"noopener noreferrer\">Silk Sonic\u003c/a>, his collaboration with \u003ca href=\"https://www.npr.org/artists/464866525/anderson-paak\" target=\"_blank\" rel=\"noopener noreferrer\">Anderson .Paak\u003c/a>, crafts impeccable throwback soul that’s essentially one big sprawling field of fresh-cut catnip for Grammy voters. Silk Sonic’s debut album, \u003cem>An Evening With Silk Sonic\u003c/em>, wasn’t eligible for album of the year consideration, but don’t be surprised if it’s a frontrunner for the award in 2023; if “Leave the Door Open” could win song and record of the year against this competition, the album is going to be tough to beat once it’s finally eligible.\u003c/p>\n\u003cp>\u003cstrong>2. The Rodrigopocalypse didn’t quite materialize.\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She was always a sure thing for best new artist, plus she took home best pop solo performance and best pop vocal album, beating out heavy hitters Eilish, \u003ca href=\"https://www.npr.org/artists/623390256/doja-cat\" target=\"_blank\" rel=\"noopener noreferrer\">Doja Cat\u003c/a>, \u003ca href=\"https://www.npr.org/artists/125915323/justin-bieber\" target=\"_blank\" rel=\"noopener noreferrer\">Justin Bieber\u003c/a> and \u003ca href=\"https://www.npr.org/artists/522184181/ariana-grande\" target=\"_blank\" rel=\"noopener noreferrer\">Ariana Grande\u003c/a> in the process. But talks of a sweep in the big four categories—song of the year, record of the year, best new artist, album of the year—took a big hit right away. Song of the year went to Silk Sonic early in the telecast, and Rodrigo wound up only batting .250.\u003c/p>\n\u003cp>That said, she still had a good night: She got to give two speeches during the telecast and her performance of “drivers license” was enormously assured. At 19, she helped further establish herself as a force worthy of music’s grandest stage.\u003c/p>\n\u003cfigure id=\"attachment_13902590\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902590\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A2725.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2725.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2725-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2725-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jon Batiste backstage at BottleRock Napa Valley festival on Sunday, Sept. 5, 2021. \u003ccite>(Estefany Gonzalez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>3. Those 11 Jon Batiste nominations were no fluke.\u003c/strong>\u003c/p>\n\u003cp>Speaking of forces… bandleader, pianist and composer \u003ca href=\"https://www.npr.org/artists/208638149/jon-batiste\" target=\"_blank\" rel=\"noopener noreferrer\">Jon Batiste\u003c/a> was nominated across an astounding 11 different Grammy categories Sunday—including album of the year and record of the year, plus genres as far afield as jazz, R&B and contemporary classical. He’d won four trophies before the telecast even began, then locked down a fifth at the end of the night, when \u003cem>We Are\u003c/em> won album of the year. Much of the pre-show chatter about this particular category was centered on Rodrigo, Eilish or a dark horse in the form of \u003ca href=\"https://www.npr.org/artists/15200004/tony-bennett\" target=\"_blank\" rel=\"noopener noreferrer\">Tony Bennett\u003c/a> and \u003ca href=\"https://www.npr.org/artists/120001078/lady-gaga\" target=\"_blank\" rel=\"noopener noreferrer\">Lady Gaga\u003c/a>‘s \u003cem>Love for Sale\u003c/em>. But in the end, the year’s most decorated nominee took the night’s biggest prize.\u003c/p>\n\u003cp>\u003cstrong>4. Jazmine Sullivan and Doja Cat broke major winless streaks…\u003c/strong>\u003c/p>\n\u003cp>R&B singer-songwriter \u003ca href=\"https://www.npr.org/artists/519967140/jazmine-sullivan\" target=\"_blank\" rel=\"noopener noreferrer\">Jazmine Sullivan\u003c/a> was 0-for-12 at the Grammys coming into Sunday—and seemed at serious risk of extending her winless streak to 15, in spite of \u003cem>Heaux Tales\u003c/em>‘ status as one of 2021’s best-loved albums. (NPR Music had it at \u003ca href=\"https://www.npr.org/2021/12/01/1054333297/the-50-best-albums-of-2021-page-5\" target=\"_blank\" rel=\"noopener noreferrer\">No. 1 for the year\u003c/a>.) But Sullivan’s “Pick Up Your Feelings” sneaked into a tie with Silk Sonic’s “Leave the Door Open” for best R&B performance, and then \u003cem>Heaux Tales\u003c/em> beat a powerhouse field—including Batiste’s \u003cem>We Are\u003c/em>—to take best R&B album.\u003c/p>\n\u003cp>Later, Doja Cat ended her own winless streak: She \u003cem>would\u003c/em> have been 0-for-11 if “Kiss Me More”—her hit with \u003ca href=\"https://www.npr.org/artists/532236099/sza\" target=\"_blank\" rel=\"noopener noreferrer\">SZA\u003c/a>—hadn’t taken the prize for best pop duo/group performance. Her emotional speech made it clear that the Grammy validation mattered.\u003c/p>\n\u003cp>\u003cstrong>5. …but there were a few surprising shutouts.\u003c/strong>\u003c/p>\n\u003cp>Justin Bieber has never been a runaway Grammy favorite (he’s only won twice in 22 nominations) so his 0-for-8 result on the night wasn’t a massive surprise. But few saw Eilish’s 0-for-7 evening coming—not that the superstar seemed to mind, given that she’d won an Oscar a week earlier and has never seemed to stake her happiness on awards anyway. \u003ca href=\"https://www.npr.org/artists/718208340/lil-nas-x\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Nas X\u003c/a> and \u003ca href=\"https://www.npr.org/artists/14994052/brandi-carlile\" target=\"_blank\" rel=\"noopener noreferrer\">Brandi Carlile\u003c/a> each went 0-for-5 and had to console themselves with the knowledge that their live performances were characteristically fantastic.\u003c/p>\n\u003cp>\u003cstrong>6. The first hour was pretty mind-blowing.\u003c/strong>\u003c/p>\n\u003cp>The Grammys are, first and foremost, a three-and-a-half-hour infomercial for the music industry: They’re meant to sweep across as many popular genres as possible, showcase the best those genres have to offer and attract the largest possible audience in the process. As such, it only makes sense that this year’s Grammys were front-loaded to an immensely satisfying degree, with a string of superstars operating at the top of their game.\u003c/p>\n\u003cp>Silk Sonic kicked off the night with “777,” a song about Las Vegas befitting the Grammy ceremony’s new home, then gave way to five more slam dunks in the show’s first hour—namely Rodrigo, \u003ca href=\"https://www.npr.org/artists/611374965/j-balvin\" target=\"_blank\" rel=\"noopener noreferrer\">J Balvin\u003c/a>, \u003ca href=\"https://www.npr.org/artists/554496915/bts\">BTS\u003c/a>, Lil Nas X and Eilish. With six headliners packed into its first hour, the Grammys set the bar extraordinarily high early on.\u003c/p>\n\u003cp>\u003cstrong>7. The Grammys did what the Oscars couldn’t…\u003c/strong>\u003c/p>\n\u003cp>Not only did Questlove get to accept an award for \u003cem>Summer of Soul\u003c/em> without it being overshadowed by a violent temper tantrum, but the Grammys also did a far more effective job highlighting the plight of the Ukrainian people. President Volodymyr Zelenskyy spoke via video about music and resilience before \u003ca href=\"https://www.npr.org/artists/15838633/john-legend\" target=\"_blank\" rel=\"noopener noreferrer\">John Legend\u003c/a> performed “Free” with the aid of musicians Siuzanna Iglidan and Mika Newton, as well as poet Lyuba Yakimchuk. It was an elegant display and a good look for the Grammys. [aside postid='arts_13911492']\u003c/p>\n\u003cp>\u003cstrong>8. …but that Louis C.K. win will burn for a while.\u003c/strong>\u003c/p>\n\u003cp>The Grammys did so much right Sunday, and offered so many wins worth celebrating, but they couldn’t help but step on a rake when it came time to pick a winner for best comedy album. Watching them \u003ca href=\"https://www.npr.org/2022/04/04/1090743278/louis-c-k-crawls-out-of-cancellation-wins-a-grammy-and-triggers-a-backlash\" target=\"_blank\" rel=\"noopener noreferrer\">reward Louis C.K.\u003c/a>, who has faced allegations of sexual misconduct from multiple women—and admitted that “\u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/10/563316860/louis-c-k-admits-to-sexual-harassment-of-multiple-female-comedians\" target=\"_blank\" rel=\"noopener noreferrer\">the stories are true\u003c/a>“—really stung. It’s hard to make the (already specious) case that cancel culture is running amok and unfairly ruining lives when Louis C.K., of all people, wins a Grammy Award in 2022.\u003c/p>\n\u003cp>\u003cstrong>9. The tributes were truly heartwarming.\u003c/strong>\u003c/p>\n\u003cp>The “In Memoriam” section of any awards show is bound to unlock a few emotional floodgates: Great entertainers die all the time, after all. But the Grammys did a nice job bookending their tribute with lovely tributes to \u003ca href=\"https://www.npr.org/artists/17000138/foo-fighters\" target=\"_blank\" rel=\"noopener noreferrer\">Foo Fighters\u003c/a> drummer Taylor Hawkins (who died March 25) and Broadway legend \u003ca href=\"https://www.npr.org/artists/15871266/stephen-sondheim\" target=\"_blank\" rel=\"noopener noreferrer\">Stephen Sondheim\u003c/a> (who died in November). Set to pieces sung by \u003ca href=\"https://www.npr.org/2021/09/27/1040848525/ben-platt-dear-evan-hansen-movie\" target=\"_blank\" rel=\"noopener noreferrer\">Ben Platt\u003c/a>, \u003ca href=\"https://www.npr.org/2021/09/25/1040718364/cynthia-erivo-sings-her-own-words-in-her-1st-solo-album\" target=\"_blank\" rel=\"noopener noreferrer\">Cynthia Erivo\u003c/a>, \u003ca href=\"https://www.npr.org/2021/12/14/1063788231/ariana-debose-and-rachel-zegler-say-west-side-story-gets-it-right-on-representat\" target=\"_blank\" rel=\"noopener noreferrer\">Rachel Zegler\u003c/a> and \u003ca href=\"https://www.npr.org/artists/783342863/leslie-odom-jr\" target=\"_blank\" rel=\"noopener noreferrer\">Leslie Odom Jr.\u003c/a>, the segment did justice to its subjects while also reminding viewers about the power of live theater.\u003c/p>\n\u003cp>As a nice bonus, Eilish performed “Happier Than Ever” while clad in a T-shirt with Hawkins’ face on it.\u003c/p>\n\u003cp>\u003cstrong>10. The Grammys really need to figure out what to do about hip-hop.\u003c/strong>\u003c/p>\n\u003cp>If the Grammys are looking for a note to take into next year, besides maybe “Don’t give an award to Louis C.K. next time,” they’d do well to assess just how much credibility they’ve lost in the world of hip-hop. Two of the rap categories (best rap performance and best rap album) had only four nominees because \u003ca href=\"https://www.npr.org/artists/250250872/drake\" target=\"_blank\" rel=\"noopener noreferrer\">Drake\u003c/a> pulled his music from contention between the announcement of nominations and the telecast. \u003ca href=\"https://www.npr.org/artists/780443851/baby-keem\" target=\"_blank\" rel=\"noopener noreferrer\">Baby Keem\u003c/a> and \u003ca href=\"https://www.npr.org/artists/166009689/kendrick-lamar\" target=\"_blank\" rel=\"noopener noreferrer\">Kendrick Lamar\u003c/a>‘s excellent “family ties” was a great choice for best rap performance, but Lamar skipped the ceremony; two more prizes went to \u003ca href=\"https://www.npr.org/artists/14889532/kanye-west\" target=\"_blank\" rel=\"noopener noreferrer\">Kanye West\u003c/a>, who was absent for \u003ca href=\"https://www.npr.org/2022/03/20/1087787313/ye-kanye-grammys\" target=\"_blank\" rel=\"noopener noreferrer\">different reasons\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>West picked up the only hip-hop nomination among 10 contenders for album of the year—an award he was pretty clearly never a threat to win—and rap (\u003ca href=\"https://www.npr.org/artists/16001441/nas\" target=\"_blank\" rel=\"noopener noreferrer\">Nas\u003c/a> aside) scarcely turned up amid the dozens of performances throughout the night. The Grammys’ relationship with hip-hop has only grown more fraught in recent years, and Sunday night’s telecast did nothing to help.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/div>\n\n",
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"excerpt": "Here's what you need to know about the 2022 Grammys—the lessons, storylines, triumphs and irritations that defined the night.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This year’s Grammy Awards were \u003ca href=\"https://www.npr.org/2022/01/18/1073871920/grammys-rescheduled-moved-las-vegas-april-3\" target=\"_blank\" rel=\"noopener noreferrer\">supposed to take place in January\u003c/a>, but they wound up postponed until seven days after \u003ca href=\"https://www.npr.org/2022/03/24/1088592585/our-2022-oscars-recap\" target=\"_blank\" rel=\"noopener noreferrer\">a cursed Oscars telecast\u003c/a>. So, now that the awards season has mercifully concluded, here’s what you need to know about \u003ca href=\"https://www.npr.org/2022/04/04/1090348793/2022-grammys-winners-jon-batiste-silk-sonic\" target=\"_blank\" rel=\"noopener noreferrer\">the 2022 Grammys\u003c/a>—the lessons, storylines, triumphs and irritations that defined \u003ca href=\"https://www.npr.org/2022/04/03/1090342877/2022-grammys-full-list-winners-nominees\" target=\"_blank\" rel=\"noopener noreferrer\">the very long night\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>1. Never, ever underestimate the Grammys’ love for Bruno Mars.\u003c/strong>\u003c/p>\n\u003cp>Some of us—including this writer—decided months ago that song of the year and record of the year were bound to go to \u003ca href=\"https://www.npr.org/artists/998736720/olivia-rodrigo\" target=\"_blank\" rel=\"noopener noreferrer\">Olivia Rodrigo\u003c/a>‘s “drivers license.” The song was a massive smash, Rodrigo was 2021’s breakout star and the Grammys love to announce the arrival of new A-listers by burying them in trophies. (See \u003ca href=\"https://www.npr.org/artists/691274976/billie-eilish\" target=\"_blank\" rel=\"noopener noreferrer\">Billie Eilish\u003c/a>‘s \u003ca href=\"https://www.npr.org/2020/01/27/799879297/billie-eilish-sweeps-grammys-in-ceremony-clouded-by-controversy-and-mourning\" target=\"_blank\" rel=\"noopener noreferrer\">2020 Grammy sweep\u003c/a> for evidence of this phenomenon.)\u003c/p>\n\u003cp>But Rodrigo ran into a buzzsaw that prognosticators—again, including this writer—should have seen coming. The Grammys love \u003ca href=\"https://www.npr.org/artists/166969902/bruno-mars\" target=\"_blank\" rel=\"noopener noreferrer\">Bruno Mars\u003c/a> with the intensity of 10,000 suns and would prefer not to pass up \u003cem>any\u003c/em> opportunity to lavish Grammys on him. \u003ca href=\"https://www.npr.org/artists/1054392430/silk-sonic\" target=\"_blank\" rel=\"noopener noreferrer\">Silk Sonic\u003c/a>, his collaboration with \u003ca href=\"https://www.npr.org/artists/464866525/anderson-paak\" target=\"_blank\" rel=\"noopener noreferrer\">Anderson .Paak\u003c/a>, crafts impeccable throwback soul that’s essentially one big sprawling field of fresh-cut catnip for Grammy voters. Silk Sonic’s debut album, \u003cem>An Evening With Silk Sonic\u003c/em>, wasn’t eligible for album of the year consideration, but don’t be surprised if it’s a frontrunner for the award in 2023; if “Leave the Door Open” could win song and record of the year against this competition, the album is going to be tough to beat once it’s finally eligible.\u003c/p>\n\u003cp>\u003cstrong>2. The Rodrigopocalypse didn’t quite materialize.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She was always a sure thing for best new artist, plus she took home best pop solo performance and best pop vocal album, beating out heavy hitters Eilish, \u003ca href=\"https://www.npr.org/artists/623390256/doja-cat\" target=\"_blank\" rel=\"noopener noreferrer\">Doja Cat\u003c/a>, \u003ca href=\"https://www.npr.org/artists/125915323/justin-bieber\" target=\"_blank\" rel=\"noopener noreferrer\">Justin Bieber\u003c/a> and \u003ca href=\"https://www.npr.org/artists/522184181/ariana-grande\" target=\"_blank\" rel=\"noopener noreferrer\">Ariana Grande\u003c/a> in the process. But talks of a sweep in the big four categories—song of the year, record of the year, best new artist, album of the year—took a big hit right away. Song of the year went to Silk Sonic early in the telecast, and Rodrigo wound up only batting .250.\u003c/p>\n\u003cp>That said, she still had a good night: She got to give two speeches during the telecast and her performance of “drivers license” was enormously assured. At 19, she helped further establish herself as a force worthy of music’s grandest stage.\u003c/p>\n\u003cfigure id=\"attachment_13902590\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902590\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A2725.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2725.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2725-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2725-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jon Batiste backstage at BottleRock Napa Valley festival on Sunday, Sept. 5, 2021. \u003ccite>(Estefany Gonzalez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>3. Those 11 Jon Batiste nominations were no fluke.\u003c/strong>\u003c/p>\n\u003cp>Speaking of forces… bandleader, pianist and composer \u003ca href=\"https://www.npr.org/artists/208638149/jon-batiste\" target=\"_blank\" rel=\"noopener noreferrer\">Jon Batiste\u003c/a> was nominated across an astounding 11 different Grammy categories Sunday—including album of the year and record of the year, plus genres as far afield as jazz, R&B and contemporary classical. He’d won four trophies before the telecast even began, then locked down a fifth at the end of the night, when \u003cem>We Are\u003c/em> won album of the year. Much of the pre-show chatter about this particular category was centered on Rodrigo, Eilish or a dark horse in the form of \u003ca href=\"https://www.npr.org/artists/15200004/tony-bennett\" target=\"_blank\" rel=\"noopener noreferrer\">Tony Bennett\u003c/a> and \u003ca href=\"https://www.npr.org/artists/120001078/lady-gaga\" target=\"_blank\" rel=\"noopener noreferrer\">Lady Gaga\u003c/a>‘s \u003cem>Love for Sale\u003c/em>. But in the end, the year’s most decorated nominee took the night’s biggest prize.\u003c/p>\n\u003cp>\u003cstrong>4. Jazmine Sullivan and Doja Cat broke major winless streaks…\u003c/strong>\u003c/p>\n\u003cp>R&B singer-songwriter \u003ca href=\"https://www.npr.org/artists/519967140/jazmine-sullivan\" target=\"_blank\" rel=\"noopener noreferrer\">Jazmine Sullivan\u003c/a> was 0-for-12 at the Grammys coming into Sunday—and seemed at serious risk of extending her winless streak to 15, in spite of \u003cem>Heaux Tales\u003c/em>‘ status as one of 2021’s best-loved albums. (NPR Music had it at \u003ca href=\"https://www.npr.org/2021/12/01/1054333297/the-50-best-albums-of-2021-page-5\" target=\"_blank\" rel=\"noopener noreferrer\">No. 1 for the year\u003c/a>.) But Sullivan’s “Pick Up Your Feelings” sneaked into a tie with Silk Sonic’s “Leave the Door Open” for best R&B performance, and then \u003cem>Heaux Tales\u003c/em> beat a powerhouse field—including Batiste’s \u003cem>We Are\u003c/em>—to take best R&B album.\u003c/p>\n\u003cp>Later, Doja Cat ended her own winless streak: She \u003cem>would\u003c/em> have been 0-for-11 if “Kiss Me More”—her hit with \u003ca href=\"https://www.npr.org/artists/532236099/sza\" target=\"_blank\" rel=\"noopener noreferrer\">SZA\u003c/a>—hadn’t taken the prize for best pop duo/group performance. Her emotional speech made it clear that the Grammy validation mattered.\u003c/p>\n\u003cp>\u003cstrong>5. …but there were a few surprising shutouts.\u003c/strong>\u003c/p>\n\u003cp>Justin Bieber has never been a runaway Grammy favorite (he’s only won twice in 22 nominations) so his 0-for-8 result on the night wasn’t a massive surprise. But few saw Eilish’s 0-for-7 evening coming—not that the superstar seemed to mind, given that she’d won an Oscar a week earlier and has never seemed to stake her happiness on awards anyway. \u003ca href=\"https://www.npr.org/artists/718208340/lil-nas-x\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Nas X\u003c/a> and \u003ca href=\"https://www.npr.org/artists/14994052/brandi-carlile\" target=\"_blank\" rel=\"noopener noreferrer\">Brandi Carlile\u003c/a> each went 0-for-5 and had to console themselves with the knowledge that their live performances were characteristically fantastic.\u003c/p>\n\u003cp>\u003cstrong>6. The first hour was pretty mind-blowing.\u003c/strong>\u003c/p>\n\u003cp>The Grammys are, first and foremost, a three-and-a-half-hour infomercial for the music industry: They’re meant to sweep across as many popular genres as possible, showcase the best those genres have to offer and attract the largest possible audience in the process. As such, it only makes sense that this year’s Grammys were front-loaded to an immensely satisfying degree, with a string of superstars operating at the top of their game.\u003c/p>\n\u003cp>Silk Sonic kicked off the night with “777,” a song about Las Vegas befitting the Grammy ceremony’s new home, then gave way to five more slam dunks in the show’s first hour—namely Rodrigo, \u003ca href=\"https://www.npr.org/artists/611374965/j-balvin\" target=\"_blank\" rel=\"noopener noreferrer\">J Balvin\u003c/a>, \u003ca href=\"https://www.npr.org/artists/554496915/bts\">BTS\u003c/a>, Lil Nas X and Eilish. With six headliners packed into its first hour, the Grammys set the bar extraordinarily high early on.\u003c/p>\n\u003cp>\u003cstrong>7. The Grammys did what the Oscars couldn’t…\u003c/strong>\u003c/p>\n\u003cp>Not only did Questlove get to accept an award for \u003cem>Summer of Soul\u003c/em> without it being overshadowed by a violent temper tantrum, but the Grammys also did a far more effective job highlighting the plight of the Ukrainian people. President Volodymyr Zelenskyy spoke via video about music and resilience before \u003ca href=\"https://www.npr.org/artists/15838633/john-legend\" target=\"_blank\" rel=\"noopener noreferrer\">John Legend\u003c/a> performed “Free” with the aid of musicians Siuzanna Iglidan and Mika Newton, as well as poet Lyuba Yakimchuk. It was an elegant display and a good look for the Grammys. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>8. …but that Louis C.K. win will burn for a while.\u003c/strong>\u003c/p>\n\u003cp>The Grammys did so much right Sunday, and offered so many wins worth celebrating, but they couldn’t help but step on a rake when it came time to pick a winner for best comedy album. Watching them \u003ca href=\"https://www.npr.org/2022/04/04/1090743278/louis-c-k-crawls-out-of-cancellation-wins-a-grammy-and-triggers-a-backlash\" target=\"_blank\" rel=\"noopener noreferrer\">reward Louis C.K.\u003c/a>, who has faced allegations of sexual misconduct from multiple women—and admitted that “\u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/10/563316860/louis-c-k-admits-to-sexual-harassment-of-multiple-female-comedians\" target=\"_blank\" rel=\"noopener noreferrer\">the stories are true\u003c/a>“—really stung. It’s hard to make the (already specious) case that cancel culture is running amok and unfairly ruining lives when Louis C.K., of all people, wins a Grammy Award in 2022.\u003c/p>\n\u003cp>\u003cstrong>9. The tributes were truly heartwarming.\u003c/strong>\u003c/p>\n\u003cp>The “In Memoriam” section of any awards show is bound to unlock a few emotional floodgates: Great entertainers die all the time, after all. But the Grammys did a nice job bookending their tribute with lovely tributes to \u003ca href=\"https://www.npr.org/artists/17000138/foo-fighters\" target=\"_blank\" rel=\"noopener noreferrer\">Foo Fighters\u003c/a> drummer Taylor Hawkins (who died March 25) and Broadway legend \u003ca href=\"https://www.npr.org/artists/15871266/stephen-sondheim\" target=\"_blank\" rel=\"noopener noreferrer\">Stephen Sondheim\u003c/a> (who died in November). Set to pieces sung by \u003ca href=\"https://www.npr.org/2021/09/27/1040848525/ben-platt-dear-evan-hansen-movie\" target=\"_blank\" rel=\"noopener noreferrer\">Ben Platt\u003c/a>, \u003ca href=\"https://www.npr.org/2021/09/25/1040718364/cynthia-erivo-sings-her-own-words-in-her-1st-solo-album\" target=\"_blank\" rel=\"noopener noreferrer\">Cynthia Erivo\u003c/a>, \u003ca href=\"https://www.npr.org/2021/12/14/1063788231/ariana-debose-and-rachel-zegler-say-west-side-story-gets-it-right-on-representat\" target=\"_blank\" rel=\"noopener noreferrer\">Rachel Zegler\u003c/a> and \u003ca href=\"https://www.npr.org/artists/783342863/leslie-odom-jr\" target=\"_blank\" rel=\"noopener noreferrer\">Leslie Odom Jr.\u003c/a>, the segment did justice to its subjects while also reminding viewers about the power of live theater.\u003c/p>\n\u003cp>As a nice bonus, Eilish performed “Happier Than Ever” while clad in a T-shirt with Hawkins’ face on it.\u003c/p>\n\u003cp>\u003cstrong>10. The Grammys really need to figure out what to do about hip-hop.\u003c/strong>\u003c/p>\n\u003cp>If the Grammys are looking for a note to take into next year, besides maybe “Don’t give an award to Louis C.K. next time,” they’d do well to assess just how much credibility they’ve lost in the world of hip-hop. Two of the rap categories (best rap performance and best rap album) had only four nominees because \u003ca href=\"https://www.npr.org/artists/250250872/drake\" target=\"_blank\" rel=\"noopener noreferrer\">Drake\u003c/a> pulled his music from contention between the announcement of nominations and the telecast. \u003ca href=\"https://www.npr.org/artists/780443851/baby-keem\" target=\"_blank\" rel=\"noopener noreferrer\">Baby Keem\u003c/a> and \u003ca href=\"https://www.npr.org/artists/166009689/kendrick-lamar\" target=\"_blank\" rel=\"noopener noreferrer\">Kendrick Lamar\u003c/a>‘s excellent “family ties” was a great choice for best rap performance, but Lamar skipped the ceremony; two more prizes went to \u003ca href=\"https://www.npr.org/artists/14889532/kanye-west\" target=\"_blank\" rel=\"noopener noreferrer\">Kanye West\u003c/a>, who was absent for \u003ca href=\"https://www.npr.org/2022/03/20/1087787313/ye-kanye-grammys\" target=\"_blank\" rel=\"noopener noreferrer\">different reasons\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>West picked up the only hip-hop nomination among 10 contenders for album of the year—an award he was pretty clearly never a threat to win—and rap (\u003ca href=\"https://www.npr.org/artists/16001441/nas\" target=\"_blank\" rel=\"noopener noreferrer\">Nas\u003c/a> aside) scarcely turned up amid the dozens of performances throughout the night. The Grammys’ relationship with hip-hop has only grown more fraught in recent years, and Sunday night’s telecast did nothing to help.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Five Big Takeaways From the SAG Awards—and What They Might Mean for the Oscars",
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"content": "\u003cp>The Screen Actors Guild Awards happened on Sunday night—the first of the guilds to give out their big prizes this season. The guilds—your Screen Actors Guild, but also your Directors Guild and your Producers Guild and your Writers Guild—make particularly interesting predictors of Oscar season (unlike, for instance, the Golden Globes), because they are chosen by some of the same voters. That can make guild awards solid predictors, or at least as solid as any. For instance, before \u003cem>Parasite \u003c/em>won what was originally considered a longshot best picture Oscar two years ago, it picked up a win at the SAG Awards, and that’s when its win for best picture started to look like a shot that was not quite so long.\u003c/p>\n\u003cp>So what can we take away from\u003ca href=\"https://www.sagawards.org/awards/nominees-and-recipients/28th-annual-screen-actors-guild-awards\" target=\"_blank\" rel=\"noopener noreferrer\"> Sunday night’s wins\u003c/a>?\u003c/p>\n\u003cp>[aside postid='arts_13909100']1. \u003cstrong>Here comes \u003c/strong>\u003cstrong>\u003cem>Squid Game\u003c/em>\u003c/strong>\u003cstrong>.\u003c/strong> The South Korean drama series about a game that offers participants the chance to get out of debt or literally die trying won big in television drama: Lee Jung-jae and Jung Ho-yeon won for lead actor and actress, and the show’s stunt ensemble won in their category as well. (The SAG Awards are one of the only places where stunt performers are honored, a regrettable omission elsewhere that was noted by my colleague Glen Weldon in a recent \u003ca href=\"https://www.npr.org/2022/02/27/1082867039/we-love-the-oscars-but-we-need-to-talk-about-those-awards-ceremony-changes\" target=\"_blank\" rel=\"noopener noreferrer\">lament about the Oscars\u003c/a>.)\u003c/p>\n\u003cp>When the Emmys come around in the fall, will \u003cem>Squid Game \u003c/em>manage to beat out the lauded \u003cem>Succession\u003c/em>, the cast of which won last night’s ensemble award? It’s always hard to know when popularity—hotness, if you will—is going to translate into awards recognition. Early signs for \u003cem>Squid Game \u003c/em>(and thus Netflix) are good, but \u003cem>Succession \u003c/em>is still a beast, and it had a very good third season. Should be a good fight.\u003c/p>\n\u003cp>2. \u003cem>\u003cstrong>CODA \u003c/strong>\u003c/em>\u003cstrong>is getting some good momentum. \u003c/strong>\u003cem>CODA\u003c/em>, the \u003ca href=\"https://www.npr.org/2021/08/13/1027033602/coda-will-yank-shamelessly-on-your-heartstrings-but-its-very-good-at-it\" target=\"_blank\" rel=\"noopener noreferrer\">crowd-pleaser\u003c/a> about a young girl named Ruby getting ready to leave for college (or not), won the award for its ensemble—the closest thing the SAG Awards have to best picture. And Troy Kotsur, who plays Ruby’s father, won the supporting actor award. Note that Kotsur was the first deaf actor to win a solo SAG award, and the cast was the first predominantly deaf cast to win.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13901279']The film has been on a bit of a roller-coaster: When it came out at Sundance, it was lauded and sold for a ton of money; hopes were high. But maybe because it sold to Apple TV, still a service that doesn’t have the reach of something like Netflix, and maybe because its theatrical release came in August, when theatrical attendance was still pretty rickety, it seemed to fade a little in the public consciousness.\u003c/p>\n\u003cp>Until recently, it felt to me—this, admittedly, is my extremely unscientific gut instinct—that best picture would probably go to either \u003cem>Power of the Dog \u003c/em>or \u003cem>Don’t Look Up\u003c/em>, but it’s easy to wonder whether \u003cem>CODA \u003c/em>might sneak in there. A crowd-pleaser does, after all, sometimes please just enough of the crowd.\u003c/p>\n\u003cp>\u003cstrong>3. Will Smith may be close.\u003c/strong> Will Smith has been nominated for Oscars twice before, for \u003cem>The Pursuit of Happyness \u003c/em>and \u003cem>Ali\u003c/em>. Some of his other performances have felt, for lack of a better word, awards-y, but have not been nominated: your \u003cem>Concussion\u003c/em>, your \u003cem>Seven Pounds\u003c/em>, and so forth. This year, he’s nominated for \u003cem>King Richard. \u003c/em>He’s already won the Golden Globe—but as we’ve discussed in the past, that doesn’t tell you much. Now, however, he’s won the SAG Award, which advances the notion that we may be looking at the Will Smith Oscar year.\u003c/p>\n\u003cp>[aside postid='arts_13906308']\u003cstrong>4. Your movie doesn’t have to be a big knockout for you to win.\u003c/strong> Full disclosure: \u003cem>The Eyes of Tammy Faye \u003c/em>is still on my Oscar spreadsheet as “To Watch,” not as “Watched.” But that film was nominated for just two Oscars: Jessica Chastain for best actress and the film’s makeup and hairstyling. It’s not a huge haul, and the reviews were what we might call good-not-great. Nevertheless, Chastain won the SAG on Sunday, and like Will Smith, she’s on her third Oscar nomination. But if she beats out, on Oscar night, Nicole Kidman, Olivia Colman, Kristen Stewart and Penélope Cruz? That’s a big win for a movie that has not necessarily been prominent this season.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>5. It’s an Ariana DeBose world.\u003c/strong> Ariana DeBose won for \u003cem>West Side Story \u003c/em>on Sunday, continuing—as a couple of folks noted—\u003ca href=\"https://twitter.com/joereid/status/1498106770119663620?cxt=HHwWiIC5yfGKrMopAAAA\" target=\"_blank\" rel=\"noopener noreferrer\">a talent pipeline\u003c/a> from Fox’s reality show \u003cem>So You Think You Can Dance\u003c/em>. But more directly, DeBose is just on a huge roll, and while there aren’t a lot of “rising star” stories anymore where \u003cem>everybody \u003c/em>seems to think the person is just luminous and fabulous, she’s got what feels like an extremely high approval rating at this point. \u003ca href=\"https://variety.com/2022/awards/news/ariana-debose-sag-winner-latina-1235186004/\" target=\"_blank\" rel=\"noopener noreferrer\">She’s also the first Latina actress and the first openly queer woman of color to win\u003c/a> for film. If you’re looking for a good story this Oscar season, look no further.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Five+big+takeaways+from+the+SAG+Awards+%E2%80%94+and+what+they+might+mean+for+the+Oscars&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Screen Actors Guild Awards happened on Sunday night—the first of the guilds to give out their big prizes this season. The guilds—your Screen Actors Guild, but also your Directors Guild and your Producers Guild and your Writers Guild—make particularly interesting predictors of Oscar season (unlike, for instance, the Golden Globes), because they are chosen by some of the same voters. That can make guild awards solid predictors, or at least as solid as any. For instance, before \u003cem>Parasite \u003c/em>won what was originally considered a longshot best picture Oscar two years ago, it picked up a win at the SAG Awards, and that’s when its win for best picture started to look like a shot that was not quite so long.\u003c/p>\n\u003cp>So what can we take away from\u003ca href=\"https://www.sagawards.org/awards/nominees-and-recipients/28th-annual-screen-actors-guild-awards\" target=\"_blank\" rel=\"noopener noreferrer\"> Sunday night’s wins\u003c/a>?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>1. \u003cstrong>Here comes \u003c/strong>\u003cstrong>\u003cem>Squid Game\u003c/em>\u003c/strong>\u003cstrong>.\u003c/strong> The South Korean drama series about a game that offers participants the chance to get out of debt or literally die trying won big in television drama: Lee Jung-jae and Jung Ho-yeon won for lead actor and actress, and the show’s stunt ensemble won in their category as well. (The SAG Awards are one of the only places where stunt performers are honored, a regrettable omission elsewhere that was noted by my colleague Glen Weldon in a recent \u003ca href=\"https://www.npr.org/2022/02/27/1082867039/we-love-the-oscars-but-we-need-to-talk-about-those-awards-ceremony-changes\" target=\"_blank\" rel=\"noopener noreferrer\">lament about the Oscars\u003c/a>.)\u003c/p>\n\u003cp>When the Emmys come around in the fall, will \u003cem>Squid Game \u003c/em>manage to beat out the lauded \u003cem>Succession\u003c/em>, the cast of which won last night’s ensemble award? It’s always hard to know when popularity—hotness, if you will—is going to translate into awards recognition. Early signs for \u003cem>Squid Game \u003c/em>(and thus Netflix) are good, but \u003cem>Succession \u003c/em>is still a beast, and it had a very good third season. Should be a good fight.\u003c/p>\n\u003cp>2. \u003cem>\u003cstrong>CODA \u003c/strong>\u003c/em>\u003cstrong>is getting some good momentum. \u003c/strong>\u003cem>CODA\u003c/em>, the \u003ca href=\"https://www.npr.org/2021/08/13/1027033602/coda-will-yank-shamelessly-on-your-heartstrings-but-its-very-good-at-it\" target=\"_blank\" rel=\"noopener noreferrer\">crowd-pleaser\u003c/a> about a young girl named Ruby getting ready to leave for college (or not), won the award for its ensemble—the closest thing the SAG Awards have to best picture. And Troy Kotsur, who plays Ruby’s father, won the supporting actor award. Note that Kotsur was the first deaf actor to win a solo SAG award, and the cast was the first predominantly deaf cast to win.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The film has been on a bit of a roller-coaster: When it came out at Sundance, it was lauded and sold for a ton of money; hopes were high. But maybe because it sold to Apple TV, still a service that doesn’t have the reach of something like Netflix, and maybe because its theatrical release came in August, when theatrical attendance was still pretty rickety, it seemed to fade a little in the public consciousness.\u003c/p>\n\u003cp>Until recently, it felt to me—this, admittedly, is my extremely unscientific gut instinct—that best picture would probably go to either \u003cem>Power of the Dog \u003c/em>or \u003cem>Don’t Look Up\u003c/em>, but it’s easy to wonder whether \u003cem>CODA \u003c/em>might sneak in there. A crowd-pleaser does, after all, sometimes please just enough of the crowd.\u003c/p>\n\u003cp>\u003cstrong>3. Will Smith may be close.\u003c/strong> Will Smith has been nominated for Oscars twice before, for \u003cem>The Pursuit of Happyness \u003c/em>and \u003cem>Ali\u003c/em>. Some of his other performances have felt, for lack of a better word, awards-y, but have not been nominated: your \u003cem>Concussion\u003c/em>, your \u003cem>Seven Pounds\u003c/em>, and so forth. This year, he’s nominated for \u003cem>King Richard. \u003c/em>He’s already won the Golden Globe—but as we’ve discussed in the past, that doesn’t tell you much. Now, however, he’s won the SAG Award, which advances the notion that we may be looking at the Will Smith Oscar year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>4. Your movie doesn’t have to be a big knockout for you to win.\u003c/strong> Full disclosure: \u003cem>The Eyes of Tammy Faye \u003c/em>is still on my Oscar spreadsheet as “To Watch,” not as “Watched.” But that film was nominated for just two Oscars: Jessica Chastain for best actress and the film’s makeup and hairstyling. It’s not a huge haul, and the reviews were what we might call good-not-great. Nevertheless, Chastain won the SAG on Sunday, and like Will Smith, she’s on her third Oscar nomination. But if she beats out, on Oscar night, Nicole Kidman, Olivia Colman, Kristen Stewart and Penélope Cruz? That’s a big win for a movie that has not necessarily been prominent this season.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>5. It’s an Ariana DeBose world.\u003c/strong> Ariana DeBose won for \u003cem>West Side Story \u003c/em>on Sunday, continuing—as a couple of folks noted—\u003ca href=\"https://twitter.com/joereid/status/1498106770119663620?cxt=HHwWiIC5yfGKrMopAAAA\" target=\"_blank\" rel=\"noopener noreferrer\">a talent pipeline\u003c/a> from Fox’s reality show \u003cem>So You Think You Can Dance\u003c/em>. But more directly, DeBose is just on a huge roll, and while there aren’t a lot of “rising star” stories anymore where \u003cem>everybody \u003c/em>seems to think the person is just luminous and fabulous, she’s got what feels like an extremely high approval rating at this point. \u003ca href=\"https://variety.com/2022/awards/news/ariana-debose-sag-winner-latina-1235186004/\" target=\"_blank\" rel=\"noopener noreferrer\">She’s also the first Latina actress and the first openly queer woman of color to win\u003c/a> for film. If you’re looking for a good story this Oscar season, look no further.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Five+big+takeaways+from+the+SAG+Awards+%E2%80%94+and+what+they+might+mean+for+the+Oscars&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "5 Takeaways From The 2021 Emmy Nominations",
"headTitle": "5 Takeaways From The 2021 Emmy Nominations | KQED",
"content": "\u003cp>This year’s Emmy nominations cover a time when the coronavirus pandemic turned the TV industry upside down. So it makes sense that the shows and performances announced Tuesday might include some choices that are a bit … unconventional.\u003c/p>\n\u003cp>Netflix’s continuation of \u003cem>The Karate Kid\u003c/em> franchise, \u003ca href=\"https://www.npr.org/2018/05/02/607087244/a-crane-kick-of-nostalgia-right-to-the-throat-cobra-kai\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Cobra Kai\u003c/em>\u003c/a>, nominated as best comedy series? \u003ca href=\"https://www.npr.org/2020/08/16/901256615/lovecraft-country-facing-monsters-and-a-monstrous-history\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Lovecraft Country\u003c/em>\u003c/a>, a series that was essentially canceled by HBO when it decided not to make a second season, racking up 18 nominations, including best drama series? Netflix’s middling comedy \u003ca href=\"https://www.npr.org/2020/10/02/919086574/emily-in-paris-is-a-painless-and-pretty-frolic-and-that-s-about-it\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Emily in Paris\u003c/em>\u003c/a>, widely ridiculed for snagging a Golden Globe nomination this year, also nominated for a best comedy series Emmy?[aside postID='arts_13884214']\u003c/p>\n\u003cp>Thankfully, the nominations announced this year were mostly devoid of head-scratching choices and did an admirable job of reflecting both promising newcomers and old masters during a period when lockdowns threatened to cripple the industry. It’s a heartening sign that it will take more than a pandemic to wipe out innovation and quality work in today’s TV universe.\u003c/p>\n\u003cp>Here are five more takeaways I had from the nominations for the 73rd Emmy Awards:\u003c/p>\n\u003ch2>Streaming services are more dominant than ever\u003c/h2>\n\u003cp>Sure, the most nominated media platform is HBO with 130 nods. But it only got there by including the nominations for streaming corporate sibling HBO Max with its total. Even so, streaming giant Netflix had the second-largest number of nominations at 129, and upstart Disney+ landed in third place with 71.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A peek at the most-nominated shows reveals Netflix’s \u003ca href=\"https://www.npr.org/2020/11/11/933785969/season-4-of-the-crown-introduces-princess-diana-and-more-juicy-drama\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Crown\u003c/em>\u003c/a> and Disney+’s \u003ca href=\"https://www.npr.org/2020/10/30/929505050/return-of-the-mandalorian-and-baby-yoda\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Mandalorian\u003c/em>\u003c/a> tied with 24 nominations, followed quickly by Disney+’s \u003ca href=\"https://www.npr.org/2021/03/05/973989043/wandavision-wraps-a-season-that-was-never-what-it-seemed\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>WandaVision\u003c/em>\u003c/a> (23) and Hulu’s \u003ca href=\"https://www.npr.org/2019/09/10/759437597/margaret-atwood-on-the-enduring-resonance-of-the-handmaid-s-tale\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Handmaid’s Tale\u003c/em>\u003c/a> (21). Indeed, among the top 10 most-nominated shows, just three—NBC’s \u003cem>Saturday Night Live\u003c/em>, along with \u003ca href=\"https://www.npr.org/2021/05/30/1001577416/mare-of-easttown-your-finale-questions-answered\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mare of Easttown\u003c/em>\u003c/a> and \u003cem>Lovecraft Country\u003c/em> on HBO–were not created by streaming services.\u003c/p>\n\u003ch2>Lots of diversity, though still often focused on Black people\u003c/h2>\n\u003cp>[aside postID='arts_13897419']It was wonderful to see \u003ca href=\"https://www.npr.org/2021/06/06/1000646372/farewell-to-pose-which-fused-grief-and-joy-right-up-to-the-finale\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Pose\u003c/em>\u003c/a> star Mj Rodriguez nominated as best actress in a drama, recognizing her powerhouse performance on that show with the first lead acting nomination for a transgender person. And for a critic like me, who has advocated for ethnic diversity in TV for decades, seeing nominations for ambitious, Black-centered shows such as \u003cem>Lovecraft Country\u003c/em>, Amazon Prime Video’s \u003cem>The Underground Railroad\u003c/em> and ABC’s \u003cem>Black-ish\u003c/em> right next to key nods for accomplished Black performers such as \u003ca href=\"https://www.npr.org/2020/12/28/949236178/bridgerton-is-a-delicious-raunchy-tale-of-1-very-hot-family\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Bridgerton\u003c/em>\u003c/a>’s Regé-Jean Page and Uzo Adubo from \u003ca href=\"https://www.npr.org/2021/06/28/1010891216/uzo-aduba-in-treatment-hbo-orange-is-the-new-black-crazy-eyes-netflix\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>In Treatment\u003c/em>\u003c/a> is like a dream come true. Best of all, the Emmys recognized Michaela Coel and her groundbreaking series, \u003ca href=\"https://www.npr.org/2020/06/07/871472968/i-may-destroy-you-is-hbo-s-new-unforgettable-unmissable-drama\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>I May Destroy You\u003c/em>\u003c/a>\u003cem>\u003c/em>, when the Golden Globes did not.\u003c/p>\n\u003cp>But it is time for the Emmys—and the TV industry at large—to spread that wealth beyond Black performers and Black-centered shows. Yes, Lin-Manuel Miranda, Rosie Perez, Anthony Ramos, Bowen Yang and Phillipa Soo all got key nominations. But if Disney+’s version of \u003cem>Hamilton\u003c/em> hadn’t been eligible, many of those nominations would not have occurred. So I’m hopeful this is a first step toward bringing even more—and more well-rounded—diversity to big Hollywood awards nominations.\u003c/p>\n\u003ch2>Geeks rejoice! Superhero and genre shows get more love than ever\u003c/h2>\n\u003cp>True enough, \u003cem>Game of Thrones\u003c/em> often soaked up loads of nominations back in the day. But this year, several shows in the horror/superhero space, so often overlooked by major Hollywood awards, got love in major categories, including \u003cem>WandaVision\u003c/em>, \u003ci>The Mandalorian\u003c/i>, \u003cem>Lovecraft Country\u003c/em> and Amazon Prime Video’s dark superhero satire, \u003ca href=\"https://www.npr.org/2020/09/02/908811190/the-boys-return-for-a-2nd-season-even-more-twisted-than-the-1st\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Boys\u003c/em>\u003c/a> (which was the biggest surprise for me). We saw powerhouse studio Marvel get its first Emmy nominations this year, which likely means this is just a taste of future geekdom to come.\u003c/p>\n\u003ch2>‘Saturday Night Live’ remains an influential powerhouse\u003c/h2>\n\u003cp>Every few years, a snarky critic writes an epitaph for this annoyingly inconsistent-yet-often-brilliant sketch comedy landmark. And then \u003cem>SNL\u003c/em> racks up the Emmy nominations to prove just how premature those rumors of death truly are. It’s not just that its 21 nominations beat comedy favorite \u003cem>Ted Lasso\u003c/em> by one nod; it had a significant presence in supporting and guest acting comedy categories. Kenan Thompson even managed to snag a nomination as best lead actor in a comedy for his sitcom, \u003cem>Kenan\u003c/em>, while still starring as a major player on \u003cem>SNL\u003c/em>—where he was also nominated for best supporting actor in a comedy.[aside postID='arts_13897829']\u003c/p>\n\u003cp>Part of its domination this year came from reduced competition in the comedy space, for sure. (The pandemic seems to have cleared out more comedy shows than dramas.) But \u003cem>SNL\u003c/em> also pulled off some brilliant shows when the entire cast and writing staff were working remotely from home, following those episodes by welcoming back a live audience well before vaccines were widely available. Not bad for a series nearly ready for its own AARP card.\u003c/p>\n\u003ch2>Fewer notable snubs, but intense competition made some inevitable\u003c/h2>\n\u003cp>No matter what was nominated as best limited series, there were bound to be major shows left out—just because the competition in this space has grown immensely, thanks to big-name stars signing on for projects designed to last just one season. This includes series such as Kate Winslet’s \u003cem>Mare of Easttown\u003c/em>.\u003c/p>\n\u003cp>Still, it was unfortunate that Steve McQueen’s ode to Black immigrants in Britain, \u003ca href=\"https://www.npr.org/2020/11/20/936635676/small-axe-a-searing-portrait-of-racism-and-a-communitys-will-to-survive\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Small Axe\u003c/em>,\u003c/a> was left out of the category, along with Showtime’s \u003ca href=\"https://www.npr.org/2020/10/05/920311084/ethan-hawke-on-playing-john-brown-early-fame-and-making-a-friend-of-fear\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Good Lord Bird\u003c/em>,\u003c/a> HBO Max’s \u003ca href=\"https://www.npr.org/2021/02/19/968381311/its-a-sin-brings-a-lost-generation-of-gay-men-to-life\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>It’s a Sin\u003c/em>\u003c/a> and HBO’s \u003ca href=\"https://www.npr.org/2020/10/25/926843328/the-undoing-review-hbo\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Undoing\u003c/em>\u003c/a>. Similarly, \u003cem>Undoing\u003c/em> star Nicole Kidman’s lack of an acting nomination had to be one of the highest-profile acting snubs, along with Ethan Hawke from \u003cem>The Good Lord Bird\u003c/em>. And the Emmys also seemed to turn their back on the third season of Netflix’s \u003cem>Master of None\u003c/em>, passing up the opportunity to honor Naomi Ackie and Lena Waithe’s portrayal of a crumbling marriage. This snub made me wonder if onetime series star Aziz Ansari’s #MeToo controversy had an impact.\u003c/p>\n\u003cp>And much as I loved seeing the final season of \u003cem>Conan\u003c/em> get nominated as best variety talk series and \u003ca href=\"https://www.npr.org/2020/08/31/907762048/black-lady-sketch-show-is-tv-we-d-never-seen-before-says-dime-davis\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Black Lady Sketch Show\u003c/em>\u003c/a> nominated for best variety sketch series, Emmy dropped the ball by not showing love for NBC’s \u003cem>Late Night With Seth Meyers\u003c/em> and \u003cem>The Amber Ruffin Show\u003c/em> on Peacock in those categories. (\u003cem>Late Night\u003c/em> got a directing nod, and \u003cem>Amber Ruffin\u003c/em> was nominated for writing.) It’s time to expand these categories a bit so more great work can earn its due.\u003c/p>\n\u003cp>Winners for the 73rd Emmy Awards will be announced during a ceremony aired and streamed Sept. 19 on CBS and Paramount+, hosted by Cedric the Entertainer.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Copyright 2021 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This year’s Emmy nominations cover a time when the coronavirus pandemic turned the TV industry upside down. So it makes sense that the shows and performances announced Tuesday might include some choices that are a bit … unconventional.\u003c/p>\n\u003cp>Netflix’s continuation of \u003cem>The Karate Kid\u003c/em> franchise, \u003ca href=\"https://www.npr.org/2018/05/02/607087244/a-crane-kick-of-nostalgia-right-to-the-throat-cobra-kai\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Cobra Kai\u003c/em>\u003c/a>, nominated as best comedy series? \u003ca href=\"https://www.npr.org/2020/08/16/901256615/lovecraft-country-facing-monsters-and-a-monstrous-history\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Lovecraft Country\u003c/em>\u003c/a>, a series that was essentially canceled by HBO when it decided not to make a second season, racking up 18 nominations, including best drama series? Netflix’s middling comedy \u003ca href=\"https://www.npr.org/2020/10/02/919086574/emily-in-paris-is-a-painless-and-pretty-frolic-and-that-s-about-it\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Emily in Paris\u003c/em>\u003c/a>, widely ridiculed for snagging a Golden Globe nomination this year, also nominated for a best comedy series Emmy?\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thankfully, the nominations announced this year were mostly devoid of head-scratching choices and did an admirable job of reflecting both promising newcomers and old masters during a period when lockdowns threatened to cripple the industry. It’s a heartening sign that it will take more than a pandemic to wipe out innovation and quality work in today’s TV universe.\u003c/p>\n\u003cp>Here are five more takeaways I had from the nominations for the 73rd Emmy Awards:\u003c/p>\n\u003ch2>Streaming services are more dominant than ever\u003c/h2>\n\u003cp>Sure, the most nominated media platform is HBO with 130 nods. But it only got there by including the nominations for streaming corporate sibling HBO Max with its total. Even so, streaming giant Netflix had the second-largest number of nominations at 129, and upstart Disney+ landed in third place with 71.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A peek at the most-nominated shows reveals Netflix’s \u003ca href=\"https://www.npr.org/2020/11/11/933785969/season-4-of-the-crown-introduces-princess-diana-and-more-juicy-drama\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Crown\u003c/em>\u003c/a> and Disney+’s \u003ca href=\"https://www.npr.org/2020/10/30/929505050/return-of-the-mandalorian-and-baby-yoda\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Mandalorian\u003c/em>\u003c/a> tied with 24 nominations, followed quickly by Disney+’s \u003ca href=\"https://www.npr.org/2021/03/05/973989043/wandavision-wraps-a-season-that-was-never-what-it-seemed\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>WandaVision\u003c/em>\u003c/a> (23) and Hulu’s \u003ca href=\"https://www.npr.org/2019/09/10/759437597/margaret-atwood-on-the-enduring-resonance-of-the-handmaid-s-tale\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Handmaid’s Tale\u003c/em>\u003c/a> (21). Indeed, among the top 10 most-nominated shows, just three—NBC’s \u003cem>Saturday Night Live\u003c/em>, along with \u003ca href=\"https://www.npr.org/2021/05/30/1001577416/mare-of-easttown-your-finale-questions-answered\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mare of Easttown\u003c/em>\u003c/a> and \u003cem>Lovecraft Country\u003c/em> on HBO–were not created by streaming services.\u003c/p>\n\u003ch2>Lots of diversity, though still often focused on Black people\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It was wonderful to see \u003ca href=\"https://www.npr.org/2021/06/06/1000646372/farewell-to-pose-which-fused-grief-and-joy-right-up-to-the-finale\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Pose\u003c/em>\u003c/a> star Mj Rodriguez nominated as best actress in a drama, recognizing her powerhouse performance on that show with the first lead acting nomination for a transgender person. And for a critic like me, who has advocated for ethnic diversity in TV for decades, seeing nominations for ambitious, Black-centered shows such as \u003cem>Lovecraft Country\u003c/em>, Amazon Prime Video’s \u003cem>The Underground Railroad\u003c/em> and ABC’s \u003cem>Black-ish\u003c/em> right next to key nods for accomplished Black performers such as \u003ca href=\"https://www.npr.org/2020/12/28/949236178/bridgerton-is-a-delicious-raunchy-tale-of-1-very-hot-family\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Bridgerton\u003c/em>\u003c/a>’s Regé-Jean Page and Uzo Adubo from \u003ca href=\"https://www.npr.org/2021/06/28/1010891216/uzo-aduba-in-treatment-hbo-orange-is-the-new-black-crazy-eyes-netflix\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>In Treatment\u003c/em>\u003c/a> is like a dream come true. Best of all, the Emmys recognized Michaela Coel and her groundbreaking series, \u003ca href=\"https://www.npr.org/2020/06/07/871472968/i-may-destroy-you-is-hbo-s-new-unforgettable-unmissable-drama\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>I May Destroy You\u003c/em>\u003c/a>\u003cem>\u003c/em>, when the Golden Globes did not.\u003c/p>\n\u003cp>But it is time for the Emmys—and the TV industry at large—to spread that wealth beyond Black performers and Black-centered shows. Yes, Lin-Manuel Miranda, Rosie Perez, Anthony Ramos, Bowen Yang and Phillipa Soo all got key nominations. But if Disney+’s version of \u003cem>Hamilton\u003c/em> hadn’t been eligible, many of those nominations would not have occurred. So I’m hopeful this is a first step toward bringing even more—and more well-rounded—diversity to big Hollywood awards nominations.\u003c/p>\n\u003ch2>Geeks rejoice! Superhero and genre shows get more love than ever\u003c/h2>\n\u003cp>True enough, \u003cem>Game of Thrones\u003c/em> often soaked up loads of nominations back in the day. But this year, several shows in the horror/superhero space, so often overlooked by major Hollywood awards, got love in major categories, including \u003cem>WandaVision\u003c/em>, \u003ci>The Mandalorian\u003c/i>, \u003cem>Lovecraft Country\u003c/em> and Amazon Prime Video’s dark superhero satire, \u003ca href=\"https://www.npr.org/2020/09/02/908811190/the-boys-return-for-a-2nd-season-even-more-twisted-than-the-1st\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Boys\u003c/em>\u003c/a> (which was the biggest surprise for me). We saw powerhouse studio Marvel get its first Emmy nominations this year, which likely means this is just a taste of future geekdom to come.\u003c/p>\n\u003ch2>‘Saturday Night Live’ remains an influential powerhouse\u003c/h2>\n\u003cp>Every few years, a snarky critic writes an epitaph for this annoyingly inconsistent-yet-often-brilliant sketch comedy landmark. And then \u003cem>SNL\u003c/em> racks up the Emmy nominations to prove just how premature those rumors of death truly are. It’s not just that its 21 nominations beat comedy favorite \u003cem>Ted Lasso\u003c/em> by one nod; it had a significant presence in supporting and guest acting comedy categories. Kenan Thompson even managed to snag a nomination as best lead actor in a comedy for his sitcom, \u003cem>Kenan\u003c/em>, while still starring as a major player on \u003cem>SNL\u003c/em>—where he was also nominated for best supporting actor in a comedy.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Part of its domination this year came from reduced competition in the comedy space, for sure. (The pandemic seems to have cleared out more comedy shows than dramas.) But \u003cem>SNL\u003c/em> also pulled off some brilliant shows when the entire cast and writing staff were working remotely from home, following those episodes by welcoming back a live audience well before vaccines were widely available. Not bad for a series nearly ready for its own AARP card.\u003c/p>\n\u003ch2>Fewer notable snubs, but intense competition made some inevitable\u003c/h2>\n\u003cp>No matter what was nominated as best limited series, there were bound to be major shows left out—just because the competition in this space has grown immensely, thanks to big-name stars signing on for projects designed to last just one season. This includes series such as Kate Winslet’s \u003cem>Mare of Easttown\u003c/em>.\u003c/p>\n\u003cp>Still, it was unfortunate that Steve McQueen’s ode to Black immigrants in Britain, \u003ca href=\"https://www.npr.org/2020/11/20/936635676/small-axe-a-searing-portrait-of-racism-and-a-communitys-will-to-survive\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Small Axe\u003c/em>,\u003c/a> was left out of the category, along with Showtime’s \u003ca href=\"https://www.npr.org/2020/10/05/920311084/ethan-hawke-on-playing-john-brown-early-fame-and-making-a-friend-of-fear\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Good Lord Bird\u003c/em>,\u003c/a> HBO Max’s \u003ca href=\"https://www.npr.org/2021/02/19/968381311/its-a-sin-brings-a-lost-generation-of-gay-men-to-life\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>It’s a Sin\u003c/em>\u003c/a> and HBO’s \u003ca href=\"https://www.npr.org/2020/10/25/926843328/the-undoing-review-hbo\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Undoing\u003c/em>\u003c/a>. Similarly, \u003cem>Undoing\u003c/em> star Nicole Kidman’s lack of an acting nomination had to be one of the highest-profile acting snubs, along with Ethan Hawke from \u003cem>The Good Lord Bird\u003c/em>. And the Emmys also seemed to turn their back on the third season of Netflix’s \u003cem>Master of None\u003c/em>, passing up the opportunity to honor Naomi Ackie and Lena Waithe’s portrayal of a crumbling marriage. This snub made me wonder if onetime series star Aziz Ansari’s #MeToo controversy had an impact.\u003c/p>\n\u003cp>And much as I loved seeing the final season of \u003cem>Conan\u003c/em> get nominated as best variety talk series and \u003ca href=\"https://www.npr.org/2020/08/31/907762048/black-lady-sketch-show-is-tv-we-d-never-seen-before-says-dime-davis\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Black Lady Sketch Show\u003c/em>\u003c/a> nominated for best variety sketch series, Emmy dropped the ball by not showing love for NBC’s \u003cem>Late Night With Seth Meyers\u003c/em> and \u003cem>The Amber Ruffin Show\u003c/em> on Peacock in those categories. (\u003cem>Late Night\u003c/em> got a directing nod, and \u003cem>Amber Ruffin\u003c/em> was nominated for writing.) It’s time to expand these categories a bit so more great work can earn its due.\u003c/p>\n\u003cp>Winners for the 73rd Emmy Awards will be announced during a ceremony aired and streamed Sept. 19 on CBS and Paramount+, hosted by Cedric the Entertainer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>As a critic who loves glitzy awards shows and celebrations of great work, I find the Emmy season feels a bit like Christmas and the Super Bowl rolled into one, glorious package. But it can be ruined if the folks handing out the big awards make the wrong picks.\u003c/p>\n\u003cp>Just ask the Hollywood Foreign Press Association, which last year saw controversy over its \u003ca href=\"https://www.npr.org/2021/02/03/963726157/lack-of-diversity-mars-golden-globe-tv-nominations\" target=\"_blank\" rel=\"noopener noreferrer\">lack of diversity\u003c/a> in TV categories of the Golden Globes—epitomized by ignoring HBO’s compelling, Black-led drama \u003cem>I May Destroy You—\u003c/em>snowball into the snub that helped cripple a 77-year-old Hollywood institution.\u003c/p>\n\u003cp>So, as the members of the Academy of Television Arts and Sciences wrap up voting on nominations for the Emmys today, I have a few recommendations for under-the-radar potentials they should seriously consider.\u003c/p>\n\u003cp>These suggestions won’t necessarily avoid a Globes-level disaster; frankly, any institution that tone deaf seems bound for tragedy. But they can widen the field of consideration enough so that any one snub won’t make the entire enterprise look bad.\u003c/p>\n\u003cp>And if you’re not among Emmy voters, but simply someone who loves great TV, here’s a list of some shows and performances you might have missed while catching up on \u003cem>WandaVision\u003c/em> and \u003cem>Mare of Easttown\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Outstanding Supporting Actress, Comedy: Naomi Ackie, \u003c/strong>\u003cem>\u003cstrong>Master of None,\u003c/strong>\u003c/em>\u003cstrong> Netflix\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BQqh6yZaRNI\u003c/p>\n\u003cp>The latest season of Netflix’s \u003cem>Master of None\u003c/em> felt much more like a drama, centered on the decaying marriage between Ackie’s ambitious interior designer Alicia and Lena Waithe’s floundering novelist Denise. But the show was considered a comedy in previous seasons, focused on Aziz Ansari’s hapless actor Dev, so here we are. Ackie’s smart, determined Alicia is the beating heart of this new season for a reimagined show—a woman dedicated to having a baby despite how it affects her marriage or her health. The episode featuring her fertility struggles while moving on from Denise and building a new life is the biggest reason to watch at all, proof that they needed to pair Waithe with a talented, emotive actress to make this year’s episodes soar.\u003c/p>\n\u003cp>\u003cstrong>Outstanding Comedy Series: \u003c/strong>\u003cem>\u003cstrong>Shrill, \u003c/strong>\u003c/em>\u003cstrong>Hulu and/or \u003c/strong>\u003cem>\u003cstrong>Made for Love, \u003c/strong>\u003c/em>\u003cstrong>HBO Max\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=n2091t8zCvE\u003c/p>\n\u003cp>[aside postid='arts_13897829']In \u003cem>Shrill, Saturday Night Live\u003c/em>‘s Aidy Bryant has created an unassuming, yet surprisingly adept comedy about a millennial woman struggling to grow beyond the limited picture others have of her. And in the same way Bryant’s Annie refuses to let herself be defined as the fat girl who writes about body positivity for the lame weekly newspaper where she works, \u003cem>Shrill \u003c/em>refuses to limit itself to her story as an overweight woman, morphing in its third and final season into a perceptive, touching comedy about preparing for adulting.\u003c/p>\n\u003cp>\u003cem>Made for Love\u003c/em> is an odd, sci-fi-laced dark comedy featuring Cristin Milioti as a woman whose effort to leave her suffocating marriage to a tech billionaire is hampered by a chip he planted in her brain allowing him to track her movements and see what she sees. Of course, it’s an allegory for the suffocating nature of modern misogyny. But thanks to the comedic chops of Milioti and ace backups like Ray Romano as her sex doll-loving dad, it’s also a madcap treatise on the pitfalls of family, technology and personal relationships-as marketing.\u003c/p>\n\u003cp>\u003cstrong>Outstanding Lead Actor, Comedy: William Zabka, \u003c/strong>\u003cem>\u003cstrong>Cobra Kai, \u003c/strong>\u003c/em>\u003cstrong>Netflix\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LcDQqGJG8pA\u003c/p>\n\u003cp>For some reason, Netflix’s \u003cem>Karate Kid\u003c/em> update series is classified as a comedy for Emmy purposes (they probably figure the category offers less competition). Regardless, Zabka’s compelling, sympathetic take on grown-up-bad-guy Johnny Lawrence—a loser in his 50s still fighting to contain his anger and get past abusive father figures—is the series’ secret sauce. Lawrence’s struggles are the most realistic element of \u003cem>Cobra Kai\u003c/em> and close to the only performance worth repeated watching, once you peel away the nostalgia and what-do-they-look-like-now curiosity.\u003c/p>\n\u003cp>\u003cstrong>Outstanding Limited Series: \u003c/strong>\u003cem>\u003cstrong>Small Axe, \u003c/strong>\u003c/em>\u003cstrong>Amazon and \u003c/strong>\u003cem>\u003cstrong>The Underground Railroad,\u003c/strong>\u003c/em>\u003cstrong> Amazon\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SjFAEy-0BLk\u003c/p>\n\u003cp>With only five nomination slots and high-profile series like \u003cem>The Queen’s Gambit, Mare of Easttown, WandaVision\u003c/em> and \u003cem>The Undoing\u003c/em> in contention, this may be the most competitive category in the entire contest. So it will be tempting for Emmy voters to pick just one of two high-profile, big-budget projects centered on Black culture and characters.\u003c/p>\n\u003cp>But \u003cem>Small Ax\u003c/em>e and \u003cem>The Underground Railroad \u003c/em>are very different. \u003cem>Small Axe\u003c/em> is Oscar-winning director Steve McQueen’s effort to tell the untold story of Black immigrants in England with five evocative films. \u003cem>The Underground Railroad\u003c/em> is Oscar-winning director Barry Jenkins’ beautifully punishing, 10-episode take on Colson Whitehead’s novel leveraging magical realism in the story of an escaped slave’s journey to independence. Both deserve the honor of a nomination, no matter how crowded the field.\u003c/p>\n\u003cp>\u003cstrong>Outstanding Supporting Actress, Drama: Wunmi Mosaku,\u003c/strong>\u003cem>\u003cstrong> Lovecraft Country,\u003c/strong>\u003c/em>\u003cstrong> HBO\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eEvK1Zwi9XY\u003c/p>\n\u003cp>Perhaps the most subversive character in HBO’s series on a Black family trapped in a story of horror, afrofuturism and magic, Mosaku’s Ruby Baptiste is a Black woman who gains the ability through magic to become a white woman in 1950s America. It’s a painful transformation, which involves shedding skin in bloody ribbons. But what makes the transition truly chilling is Mosaku’s portrayal of a Black woman who suspects that being able to become white may solve all her problems, until it actually happens.\u003c/p>\n\u003cp>\u003cstrong>Outstanding Variety Sketch Series: \u003c/strong>\u003cem>\u003cstrong>The Amber Ruffin Show,\u003c/strong>\u003c/em>\u003cstrong> Peacock\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=etPUShGZMmw\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>This is another highly competitive category: last year, just three shows were nominated, with \u003cem>Saturday Night Live\u003c/em> a virtual lock for nomination and win. Still, Ruffin has managed to build a quietly powerful, sidesplitting series on NBC Universal’s streaming service Peacock. Ruffin marries devastatingly hilarious monologues on code switching at work, your mom’s take on social issues and white supremacy’s connection to the culture wars with her earnest, sweet attitude—like a hitman disguised as your little sister’s best friend. Since its debut last year, Ruffin has slowly found her voice, building an arsenal of awesome segments on a budget that would likely make shoestrings look generous. And an Emmy nomination just might convince Peacock to move her onto broadcast TV, perhaps in the old time slot once held by the departing \u003cem>A Little Late with Lilly Singh\u003c/em>. Your move, Emmy academy.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dear+Emmy+Voters+And+TV+Lovers%2C+Here%27s+What+You+Shouldn%27t+Miss&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a critic who loves glitzy awards shows and celebrations of great work, I find the Emmy season feels a bit like Christmas and the Super Bowl rolled into one, glorious package. But it can be ruined if the folks handing out the big awards make the wrong picks.\u003c/p>\n\u003cp>Just ask the Hollywood Foreign Press Association, which last year saw controversy over its \u003ca href=\"https://www.npr.org/2021/02/03/963726157/lack-of-diversity-mars-golden-globe-tv-nominations\" target=\"_blank\" rel=\"noopener noreferrer\">lack of diversity\u003c/a> in TV categories of the Golden Globes—epitomized by ignoring HBO’s compelling, Black-led drama \u003cem>I May Destroy You—\u003c/em>snowball into the snub that helped cripple a 77-year-old Hollywood institution.\u003c/p>\n\u003cp>So, as the members of the Academy of Television Arts and Sciences wrap up voting on nominations for the Emmys today, I have a few recommendations for under-the-radar potentials they should seriously consider.\u003c/p>\n\u003cp>These suggestions won’t necessarily avoid a Globes-level disaster; frankly, any institution that tone deaf seems bound for tragedy. But they can widen the field of consideration enough so that any one snub won’t make the entire enterprise look bad.\u003c/p>\n\u003cp>And if you’re not among Emmy voters, but simply someone who loves great TV, here’s a list of some shows and performances you might have missed while catching up on \u003cem>WandaVision\u003c/em> and \u003cem>Mare of Easttown\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Outstanding Supporting Actress, Comedy: Naomi Ackie, \u003c/strong>\u003cem>\u003cstrong>Master of None,\u003c/strong>\u003c/em>\u003cstrong> Netflix\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/BQqh6yZaRNI'\n title='//www.youtube.com/embed/BQqh6yZaRNI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The latest season of Netflix’s \u003cem>Master of None\u003c/em> felt much more like a drama, centered on the decaying marriage between Ackie’s ambitious interior designer Alicia and Lena Waithe’s floundering novelist Denise. But the show was considered a comedy in previous seasons, focused on Aziz Ansari’s hapless actor Dev, so here we are. Ackie’s smart, determined Alicia is the beating heart of this new season for a reimagined show—a woman dedicated to having a baby despite how it affects her marriage or her health. The episode featuring her fertility struggles while moving on from Denise and building a new life is the biggest reason to watch at all, proof that they needed to pair Waithe with a talented, emotive actress to make this year’s episodes soar.\u003c/p>\n\u003cp>\u003cstrong>Outstanding Comedy Series: \u003c/strong>\u003cem>\u003cstrong>Shrill, \u003c/strong>\u003c/em>\u003cstrong>Hulu and/or \u003c/strong>\u003cem>\u003cstrong>Made for Love, \u003c/strong>\u003c/em>\u003cstrong>HBO Max\u003cbr>\n\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/n2091t8zCvE'\n title='//www.youtube.com/embed/n2091t8zCvE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In \u003cem>Shrill, Saturday Night Live\u003c/em>‘s Aidy Bryant has created an unassuming, yet surprisingly adept comedy about a millennial woman struggling to grow beyond the limited picture others have of her. And in the same way Bryant’s Annie refuses to let herself be defined as the fat girl who writes about body positivity for the lame weekly newspaper where she works, \u003cem>Shrill \u003c/em>refuses to limit itself to her story as an overweight woman, morphing in its third and final season into a perceptive, touching comedy about preparing for adulting.\u003c/p>\n\u003cp>\u003cem>Made for Love\u003c/em> is an odd, sci-fi-laced dark comedy featuring Cristin Milioti as a woman whose effort to leave her suffocating marriage to a tech billionaire is hampered by a chip he planted in her brain allowing him to track her movements and see what she sees. Of course, it’s an allegory for the suffocating nature of modern misogyny. But thanks to the comedic chops of Milioti and ace backups like Ray Romano as her sex doll-loving dad, it’s also a madcap treatise on the pitfalls of family, technology and personal relationships-as marketing.\u003c/p>\n\u003cp>\u003cstrong>Outstanding Lead Actor, Comedy: William Zabka, \u003c/strong>\u003cem>\u003cstrong>Cobra Kai, \u003c/strong>\u003c/em>\u003cstrong>Netflix\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/LcDQqGJG8pA'\n title='//www.youtube.com/embed/LcDQqGJG8pA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For some reason, Netflix’s \u003cem>Karate Kid\u003c/em> update series is classified as a comedy for Emmy purposes (they probably figure the category offers less competition). Regardless, Zabka’s compelling, sympathetic take on grown-up-bad-guy Johnny Lawrence—a loser in his 50s still fighting to contain his anger and get past abusive father figures—is the series’ secret sauce. Lawrence’s struggles are the most realistic element of \u003cem>Cobra Kai\u003c/em> and close to the only performance worth repeated watching, once you peel away the nostalgia and what-do-they-look-like-now curiosity.\u003c/p>\n\u003cp>\u003cstrong>Outstanding Limited Series: \u003c/strong>\u003cem>\u003cstrong>Small Axe, \u003c/strong>\u003c/em>\u003cstrong>Amazon and \u003c/strong>\u003cem>\u003cstrong>The Underground Railroad,\u003c/strong>\u003c/em>\u003cstrong> Amazon\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/SjFAEy-0BLk'\n title='//www.youtube.com/embed/SjFAEy-0BLk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With only five nomination slots and high-profile series like \u003cem>The Queen’s Gambit, Mare of Easttown, WandaVision\u003c/em> and \u003cem>The Undoing\u003c/em> in contention, this may be the most competitive category in the entire contest. So it will be tempting for Emmy voters to pick just one of two high-profile, big-budget projects centered on Black culture and characters.\u003c/p>\n\u003cp>But \u003cem>Small Ax\u003c/em>e and \u003cem>The Underground Railroad \u003c/em>are very different. \u003cem>Small Axe\u003c/em> is Oscar-winning director Steve McQueen’s effort to tell the untold story of Black immigrants in England with five evocative films. \u003cem>The Underground Railroad\u003c/em> is Oscar-winning director Barry Jenkins’ beautifully punishing, 10-episode take on Colson Whitehead’s novel leveraging magical realism in the story of an escaped slave’s journey to independence. Both deserve the honor of a nomination, no matter how crowded the field.\u003c/p>\n\u003cp>\u003cstrong>Outstanding Supporting Actress, Drama: Wunmi Mosaku,\u003c/strong>\u003cem>\u003cstrong> Lovecraft Country,\u003c/strong>\u003c/em>\u003cstrong> HBO\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/eEvK1Zwi9XY'\n title='//www.youtube.com/embed/eEvK1Zwi9XY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Perhaps the most subversive character in HBO’s series on a Black family trapped in a story of horror, afrofuturism and magic, Mosaku’s Ruby Baptiste is a Black woman who gains the ability through magic to become a white woman in 1950s America. It’s a painful transformation, which involves shedding skin in bloody ribbons. But what makes the transition truly chilling is Mosaku’s portrayal of a Black woman who suspects that being able to become white may solve all her problems, until it actually happens.\u003c/p>\n\u003cp>\u003cstrong>Outstanding Variety Sketch Series: \u003c/strong>\u003cem>\u003cstrong>The Amber Ruffin Show,\u003c/strong>\u003c/em>\u003cstrong> Peacock\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/etPUShGZMmw'\n title='//www.youtube.com/embed/etPUShGZMmw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is another highly competitive category: last year, just three shows were nominated, with \u003cem>Saturday Night Live\u003c/em> a virtual lock for nomination and win. Still, Ruffin has managed to build a quietly powerful, sidesplitting series on NBC Universal’s streaming service Peacock. Ruffin marries devastatingly hilarious monologues on code switching at work, your mom’s take on social issues and white supremacy’s connection to the culture wars with her earnest, sweet attitude—like a hitman disguised as your little sister’s best friend. Since its debut last year, Ruffin has slowly found her voice, building an arsenal of awesome segments on a budget that would likely make shoestrings look generous. And an Emmy nomination just might convince Peacock to move her onto broadcast TV, perhaps in the old time slot once held by the departing \u003cem>A Little Late with Lilly Singh\u003c/em>. Your move, Emmy academy.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dear+Emmy+Voters+And+TV+Lovers%2C+Here%27s+What+You+Shouldn%27t+Miss&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "NBC Won't Air 2022 Golden Globes in Rebuke to Hollywood Foreign Press Association",
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"content": "\u003cp>NBC has said “no, thanks” to the Golden Globes next year, telling the Hollywood Foreign Press Association it needs to get its act together on lack of diversity and other problems recently uncovered.\u003c/p>\n\u003cp>The network is the latest company to distance itself from the press group which has been \u003ca href=\"https://www.latimes.com/entertainment-arts/business/story/2021-02-21/hfpa-golden-globes-2021\" target=\"_blank\" rel=\"noopener noreferrer\">accused \u003c/a>of self-dealing, corruption and conflicts of interest.\u003c/p>\n\u003cp>[aside postid='arts_13893446']“We continue to believe that the HFPA is committed to meaningful reform,” NBC said in a statement on Monday. “However, change of this magnitude takes time and work, and we feel strongly that the HFPA needs time to do it right. As such, NBC will not air the 2022 Golden Globes. Assuming the organization executes on its plan, we are hopeful we will be in a position to air the show in January 2023.”\u003c/p>\n\u003cp>The 86-member organization has been scrambling to clean up its reputation and voted last week for an \u003ca href=\"https://deadline.com/2021/05/hfpa-reform-vote-inclusion-ali-sar-golden-globes-1234751269/\" target=\"_blank\" rel=\"noopener noreferrer\">overhaul proposal\u003c/a> that includes finding a new CEO, a Chief Diversity, Equity & Inclusion Officer, and a hotline to report conduct violations. It also kick-starts a search for new members, which at the moment includes zero Black people.\u003c/p>\n\u003cp>But the pledges of transformation have done little to assuage entertainment companies. On the same day that the HFPA approved the new plan, Netflix co-CEO Ted Sarandos announced the streaming company is cutting ties with the Golden Globes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We don’t believe these proposed new policies—particularly around the size and speed of membership growth—will tackle the HFPA’s systemic diversity and inclusion challenges, or the lack of clear standards for how your members should operate,” Sarandos said in a letter to the HFPA’s Leadership Committee obtained by NPR.\u003c/p>\n\u003cp>“So we’re stopping any activities with your organization until more meaningful changes are made.”\u003c/p>\n\u003cp>Amazon Studios has also given the HFPA the change-or-else ultimatum.\u003c/p>\n\u003cp>“We have not been working with the HFPA since these issues were first raised, and like the rest of the industry, we are awaiting a sincere and significant resolution before moving forward,” Jennifer Salke, who heads the studio, said in a statement \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-news/nbc-will-not-air-2022-golden-globes-1234950687/\" target=\"_blank\" rel=\"noopener noreferrer\">according \u003c/a>to \u003cem>The Hollywood Reporter. \u003c/em>\u003c/p>\n\u003cp>And in another devastating blow to the beleaguered organization, WarnerMedia on Sunday said it too is no longer engaging with the HFPA.\u003c/p>\n\u003cp>[aside postid='arts_13892207']“While we commend the HFPA membership’s approval of the plan to move towards radical reform, we don’t believe the plan goes far enough in addressing the breadth of our concerns, nor does your timeline capture the immediate need by which these issues should be addressed,” WarnerMedia president Ali Sar wrote in a letter.\u003c/p>\n\u003cp>He continued: “WarnerMedia Studios and Networks will continue to refrain from direct engagement with the HFPA, including sanctioned press conferences and invitations to cover other industry events with talent, until these changes are implemented.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sar added that the boycott “includes work with HBO, HBO Max, Warner Bros. Pictures Group, Warner Bros. Television, TNT and TBS.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=NBC+Won%27t+Air+2022+Golden+Globes+In+Rebuke+To+Hollywood+Foreign+Press+Association&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>NBC has said “no, thanks” to the Golden Globes next year, telling the Hollywood Foreign Press Association it needs to get its act together on lack of diversity and other problems recently uncovered.\u003c/p>\n\u003cp>The network is the latest company to distance itself from the press group which has been \u003ca href=\"https://www.latimes.com/entertainment-arts/business/story/2021-02-21/hfpa-golden-globes-2021\" target=\"_blank\" rel=\"noopener noreferrer\">accused \u003c/a>of self-dealing, corruption and conflicts of interest.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We continue to believe that the HFPA is committed to meaningful reform,” NBC said in a statement on Monday. “However, change of this magnitude takes time and work, and we feel strongly that the HFPA needs time to do it right. As such, NBC will not air the 2022 Golden Globes. Assuming the organization executes on its plan, we are hopeful we will be in a position to air the show in January 2023.”\u003c/p>\n\u003cp>The 86-member organization has been scrambling to clean up its reputation and voted last week for an \u003ca href=\"https://deadline.com/2021/05/hfpa-reform-vote-inclusion-ali-sar-golden-globes-1234751269/\" target=\"_blank\" rel=\"noopener noreferrer\">overhaul proposal\u003c/a> that includes finding a new CEO, a Chief Diversity, Equity & Inclusion Officer, and a hotline to report conduct violations. It also kick-starts a search for new members, which at the moment includes zero Black people.\u003c/p>\n\u003cp>But the pledges of transformation have done little to assuage entertainment companies. On the same day that the HFPA approved the new plan, Netflix co-CEO Ted Sarandos announced the streaming company is cutting ties with the Golden Globes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We don’t believe these proposed new policies—particularly around the size and speed of membership growth—will tackle the HFPA’s systemic diversity and inclusion challenges, or the lack of clear standards for how your members should operate,” Sarandos said in a letter to the HFPA’s Leadership Committee obtained by NPR.\u003c/p>\n\u003cp>“So we’re stopping any activities with your organization until more meaningful changes are made.”\u003c/p>\n\u003cp>Amazon Studios has also given the HFPA the change-or-else ultimatum.\u003c/p>\n\u003cp>“We have not been working with the HFPA since these issues were first raised, and like the rest of the industry, we are awaiting a sincere and significant resolution before moving forward,” Jennifer Salke, who heads the studio, said in a statement \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-news/nbc-will-not-air-2022-golden-globes-1234950687/\" target=\"_blank\" rel=\"noopener noreferrer\">according \u003c/a>to \u003cem>The Hollywood Reporter. \u003c/em>\u003c/p>\n\u003cp>And in another devastating blow to the beleaguered organization, WarnerMedia on Sunday said it too is no longer engaging with the HFPA.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“While we commend the HFPA membership’s approval of the plan to move towards radical reform, we don’t believe the plan goes far enough in addressing the breadth of our concerns, nor does your timeline capture the immediate need by which these issues should be addressed,” WarnerMedia president Ali Sar wrote in a letter.\u003c/p>\n\u003cp>He continued: “WarnerMedia Studios and Networks will continue to refrain from direct engagement with the HFPA, including sanctioned press conferences and invitations to cover other industry events with talent, until these changes are implemented.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sar added that the boycott “includes work with HBO, HBO Max, Warner Bros. Pictures Group, Warner Bros. Television, TNT and TBS.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=NBC+Won%27t+Air+2022+Golden+Globes+In+Rebuke+To+Hollywood+Foreign+Press+Association&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Neither #OscarsSoWhite Nor #OscarsSoMale—What a Difference a Pandemic Makes",
"headTitle": "Neither #OscarsSoWhite Nor #OscarsSoMale—What a Difference a Pandemic Makes | KQED",
"content": "\u003cp>This past year of masks, lockdowns, and capacity restrictions has been the most catastrophic 12 months in the history of movie theaters. It has also been a banner year for diversity at the Oscars.\u003c/p>\n\u003cp>Odd as this might seem, I suspect those two things are related—a matter of industry imperatives meeting cold hard cash. And as salutary as the diversity part is, it’s going to take some work to make it permanent. The Academy of Motion Picture Arts and Sciences, which awards the Oscars, has signaled a willingness to do that work with inclusion standards for Best Picture nominees. They’ll start phasing them in next year.\u003c/p>\n\u003cp>This year, they got lucky.\u003c/p>\n\u003cp>One thing you don’t want, if you’re in charge of the Oscars, is a hashtag—especially something like #OscarsSoWhite—as telecast host Chris Rock acknowledged in 2016, when that one went viral. “It’s the 88th Academy Awards,” he said then to applause, “which means this whole no-black-nominees thing has happened at least 71 other times.”\u003c/p>\n\u003cp>The situation didn’t change much in the next few years. Last year’s Oscars were again among the least diverse in recent memory; only one of 20 acting nominees was non-white.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But this year, nine of the 20—almost half the acting nominees—are non-white.\u003c/p>\n\u003cp>Another telecast, another hashtag: 2018 was the year of #OscarsSoMale, which Frances McDormand riffed on in her Best Actress acceptance speech by asking to have “all the female nominees in every category stand with me in this room tonight.” [aside postid='arts_13892640']\u003c/p>\n\u003cp>Dozens of women stood as the crowd cheered but, again, it didn’t initially have much effect. Last year, just as in 86 of the 91 previous years, not a single woman director was nominated, even though McDormand had closed-out this speech urging her colleagues to insist on women behind the camera by adding a clause to their contracts called an “inclusion rider.”\u003c/p>\n\u003cp>But McDormand took her own advice and this year, what a difference a pandemic makes. She produced as well as starred in \u003cem>Nomadland\u003c/em>, a film based on a book by a woman, featuring the stories of quite a few women, and scripted, edited and directed by Chloe Zhao, who, for the first time in Hollywood history, is a woman competing with a second woman in the directing category.\u003c/p>\n\u003cp>As for the unprecedented number of actors of color among the nominees, it represents a remarkable moment of recognition.\u003c/p>\n\u003cp>There were the nominations for vibrant performances in the true stories of celebrated African-American figures: Daniel Kaluuya and Lakeith Stanfield, each a Best Supporting Actor nominee as, respectively, Black Panther Fred Hampton and the informant who set him up for assassination in \u003cem>Judas and the Black Messiah\u003c/em>; Andra Day as Best Actress for playing blues legend Lady Day in \u003cem>The United States Vs. Billie Holiday\u003c/em>; Leslie Odom Jr. for Supporting Actor as Sam Cooke in \u003cem>One Night in Miami. \u003c/em>[aside postid='arts_13890664']\u003c/p>\n\u003cp>And there were nominations for acting as fictional characters too: A blues singer and her trumpet player in \u003cem>Ma Rainey’s Black Bottom\u003c/em> earned Viola Davis and the late Chadwick Bosemen nods for Best Actress and Actor. Youn Yuh-Jung received a supporting actress nomination as a feisty grandmother in \u003cem>Minari\u003c/em>, the story of Korean immigrants in Arkansas. Riz Ahmed became the first Muslim Best Actor nominee playing a heavy metal drummer who suffers hearing loss in \u003cem>Sound of Metal.\u003c/em>\u003c/p>\n\u003cp>All are eye-opening performances that, taken together, are a clear sign that this is a year of inclusion for the Academy.\u003c/p>\n\u003cp>But not necessarily because Tinseltown has awakened to the virtues of diversity. These are the films that studios decided to open in the middle of a pandemic, a decision that they were well aware would have financial consequences.\u003c/p>\n\u003cp>Films usually get an Oscar bounce from being nominated—a bump in ticket sales that, in a normal year, can amount to many millions of dollars, and also give a film far more reach.\u003c/p>\n\u003cp>Last year’s Best Picture winner, \u003cem>Parasite\u003c/em>, is a case in point. The film was playing in 300 theaters before it was nominated. Following the award, its run in the U.S. expanded to five times as many theaters.\u003c/p>\n\u003cp>But this year, with cinemas mostly closed, and audiences skittish about crowds, that box office bounce doesn’t exist. If you take all eight of the Best Picture nominees, and combine their earnings, the total comes to barely $35 million worldwide. That would be an unimpressive number for just one nominee in a normal year.\u003c/p>\n\u003cp>So to compete for an Oscar in 2020, a filmmaker had to make an almost Faustian bargain: Come out mid-pandemic for awards consideration and lose your shirt, or sell your soul for bigger box office after the pandemic and lose your shot. [aside postid='arts_13893138']\u003c/p>\n\u003cp>Many of the films regarded as Oscar shoo-ins decided to wait. A new version of the musical \u003cem>West Side Story,\u003c/em> for instance, with a script by Pulitzer winner Tony Kushner, directed by Oscar winner Steven Spielberg. Also the star-studded costume epic \u003cem>The Last Duel\u003c/em> from \u003cem>Gladiator \u003c/em>director Ridley Scott. And \u003cem>The French Dispatch\u003c/em>, the latest weirdness from Wes Anderson, director of \u003cem>Grand Budapest Hotel.\u003c/em>\u003c/p>\n\u003cp>These films were all shot, edited, and ready-to-go in plenty of time for Oscar consideration, but their studios opted to wait. And from a financial perspective, it’s easy to see why. Until a couple of weeks ago, New York and Los Angeles—the two markets that make-or-break prestige pictures—were still not allowing theaters to open.\u003c/p>\n\u003cp>Almost as bad, the theaters elsewhere that were open were reducing attendance to as little as 25 per cent of capacity. That scared off even the commercial crowd, from 007, to Marvel superheroes, to the \u003cem>Fast & Furious\u003c/em> crew.\u003c/p>\n\u003cp>If they weren’t willing to brave the crippling economics at cinemas in a pandemic year, why should Oscar hopefuls?\u003c/p>\n\u003cp>So when filmmakers had the clout to say “let’s wait” they did. And who had that clout? The same mostly male, mostly white stars, producers and studio heads who’ve always had it.\u003c/p>\n\u003cp>Who apparently didn’t have that clout? Well, start with the women who made \u003cem>Nomadland\u003c/em> and \u003cem>Promising Young Woman\u003c/em>. Or the Korean-American director of the low-budget indie, \u003cem>Minari.\u003c/em>\u003c/p>\n\u003cp>Or even the well-connected folks behind \u003cem>Judas and the Black Messiah\u003c/em> who are the first all-Black producing team ever nominated for Best Picture. They told \u003cem>The Hollywood Reporter\u003c/em> they’d originally thought their film would perform about as well as \u003cem>Straight Outta Compton\u003c/em>, which earned $200 million worldwide. [aside postid='arts_13895652']\u003c/p>\n\u003cp>The pandemic lowered that estimate, and Warner’s decision to stream all its films the same day they hit theaters lowered it further. Left with no choice but to go along, the producers watched as their film stalled at the box office. Instead of $200 million, \u003cem>Judas and the Black Messiah\u003c/em> has made less than $6 million.\u003c/p>\n\u003cp>It’s not easy to imagine a Steven Spielberg being put in that position.\u003c/p>\n\u003cp>Is this another way of saying Hollywood’s power and privilege still resides mostly with white men? The power to maximize box office; the privilege of making event pictures so expensive they can’t be treated as loss-leaders for streaming services.\u003c/p>\n\u003cp>Well, sure. But while dollars are important, for filmmakers who have traditionally been marginalized, they are not all-important.\u003c/p>\n\u003cp>This pandemic year will go down in history as the year without blockbusters—not one, single, billion-dollar superhero epic or action-adventure.\u003c/p>\n\u003cp>But it will also be remembered as a watershed for inclusion. The Academy of Motion Picture Arts and Sciences, which produces the Oscars has already made history by nominating the most diverse slate of actors ever, as well as a record number of women. Had studios thrown their weight behind the usual, big-budget spectacles, that might not have happened.\u003c/p>\n\u003cp>By letting less expensive, more socially conscious films lead the way back to cinemas, studios have—possibly inadvertently—ended up championing work that speaks to this moment.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Next year, the blockbusters will return, and with them, no doubt, a lot of inequities that seem wedded to the cash they generate. But in the meantime, audiences get to celebrate artists for whom the recognition brought by awards may just have greater value than dollars.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Neither+%23OscarsSoWhite+Nor+%23OscarsSoMale+%E2%80%94+What+A+Difference+A+Pandemic+Makes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This past year of masks, lockdowns, and capacity restrictions has been the most catastrophic 12 months in the history of movie theaters. It has also been a banner year for diversity at the Oscars.\u003c/p>\n\u003cp>Odd as this might seem, I suspect those two things are related—a matter of industry imperatives meeting cold hard cash. And as salutary as the diversity part is, it’s going to take some work to make it permanent. The Academy of Motion Picture Arts and Sciences, which awards the Oscars, has signaled a willingness to do that work with inclusion standards for Best Picture nominees. They’ll start phasing them in next year.\u003c/p>\n\u003cp>This year, they got lucky.\u003c/p>\n\u003cp>One thing you don’t want, if you’re in charge of the Oscars, is a hashtag—especially something like #OscarsSoWhite—as telecast host Chris Rock acknowledged in 2016, when that one went viral. “It’s the 88th Academy Awards,” he said then to applause, “which means this whole no-black-nominees thing has happened at least 71 other times.”\u003c/p>\n\u003cp>The situation didn’t change much in the next few years. Last year’s Oscars were again among the least diverse in recent memory; only one of 20 acting nominees was non-white.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But this year, nine of the 20—almost half the acting nominees—are non-white.\u003c/p>\n\u003cp>Another telecast, another hashtag: 2018 was the year of #OscarsSoMale, which Frances McDormand riffed on in her Best Actress acceptance speech by asking to have “all the female nominees in every category stand with me in this room tonight.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dozens of women stood as the crowd cheered but, again, it didn’t initially have much effect. Last year, just as in 86 of the 91 previous years, not a single woman director was nominated, even though McDormand had closed-out this speech urging her colleagues to insist on women behind the camera by adding a clause to their contracts called an “inclusion rider.”\u003c/p>\n\u003cp>But McDormand took her own advice and this year, what a difference a pandemic makes. She produced as well as starred in \u003cem>Nomadland\u003c/em>, a film based on a book by a woman, featuring the stories of quite a few women, and scripted, edited and directed by Chloe Zhao, who, for the first time in Hollywood history, is a woman competing with a second woman in the directing category.\u003c/p>\n\u003cp>As for the unprecedented number of actors of color among the nominees, it represents a remarkable moment of recognition.\u003c/p>\n\u003cp>There were the nominations for vibrant performances in the true stories of celebrated African-American figures: Daniel Kaluuya and Lakeith Stanfield, each a Best Supporting Actor nominee as, respectively, Black Panther Fred Hampton and the informant who set him up for assassination in \u003cem>Judas and the Black Messiah\u003c/em>; Andra Day as Best Actress for playing blues legend Lady Day in \u003cem>The United States Vs. Billie Holiday\u003c/em>; Leslie Odom Jr. for Supporting Actor as Sam Cooke in \u003cem>One Night in Miami. \u003c/em>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And there were nominations for acting as fictional characters too: A blues singer and her trumpet player in \u003cem>Ma Rainey’s Black Bottom\u003c/em> earned Viola Davis and the late Chadwick Bosemen nods for Best Actress and Actor. Youn Yuh-Jung received a supporting actress nomination as a feisty grandmother in \u003cem>Minari\u003c/em>, the story of Korean immigrants in Arkansas. Riz Ahmed became the first Muslim Best Actor nominee playing a heavy metal drummer who suffers hearing loss in \u003cem>Sound of Metal.\u003c/em>\u003c/p>\n\u003cp>All are eye-opening performances that, taken together, are a clear sign that this is a year of inclusion for the Academy.\u003c/p>\n\u003cp>But not necessarily because Tinseltown has awakened to the virtues of diversity. These are the films that studios decided to open in the middle of a pandemic, a decision that they were well aware would have financial consequences.\u003c/p>\n\u003cp>Films usually get an Oscar bounce from being nominated—a bump in ticket sales that, in a normal year, can amount to many millions of dollars, and also give a film far more reach.\u003c/p>\n\u003cp>Last year’s Best Picture winner, \u003cem>Parasite\u003c/em>, is a case in point. The film was playing in 300 theaters before it was nominated. Following the award, its run in the U.S. expanded to five times as many theaters.\u003c/p>\n\u003cp>But this year, with cinemas mostly closed, and audiences skittish about crowds, that box office bounce doesn’t exist. If you take all eight of the Best Picture nominees, and combine their earnings, the total comes to barely $35 million worldwide. That would be an unimpressive number for just one nominee in a normal year.\u003c/p>\n\u003cp>So to compete for an Oscar in 2020, a filmmaker had to make an almost Faustian bargain: Come out mid-pandemic for awards consideration and lose your shirt, or sell your soul for bigger box office after the pandemic and lose your shot. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Many of the films regarded as Oscar shoo-ins decided to wait. A new version of the musical \u003cem>West Side Story,\u003c/em> for instance, with a script by Pulitzer winner Tony Kushner, directed by Oscar winner Steven Spielberg. Also the star-studded costume epic \u003cem>The Last Duel\u003c/em> from \u003cem>Gladiator \u003c/em>director Ridley Scott. And \u003cem>The French Dispatch\u003c/em>, the latest weirdness from Wes Anderson, director of \u003cem>Grand Budapest Hotel.\u003c/em>\u003c/p>\n\u003cp>These films were all shot, edited, and ready-to-go in plenty of time for Oscar consideration, but their studios opted to wait. And from a financial perspective, it’s easy to see why. Until a couple of weeks ago, New York and Los Angeles—the two markets that make-or-break prestige pictures—were still not allowing theaters to open.\u003c/p>\n\u003cp>Almost as bad, the theaters elsewhere that were open were reducing attendance to as little as 25 per cent of capacity. That scared off even the commercial crowd, from 007, to Marvel superheroes, to the \u003cem>Fast & Furious\u003c/em> crew.\u003c/p>\n\u003cp>If they weren’t willing to brave the crippling economics at cinemas in a pandemic year, why should Oscar hopefuls?\u003c/p>\n\u003cp>So when filmmakers had the clout to say “let’s wait” they did. And who had that clout? The same mostly male, mostly white stars, producers and studio heads who’ve always had it.\u003c/p>\n\u003cp>Who apparently didn’t have that clout? Well, start with the women who made \u003cem>Nomadland\u003c/em> and \u003cem>Promising Young Woman\u003c/em>. Or the Korean-American director of the low-budget indie, \u003cem>Minari.\u003c/em>\u003c/p>\n\u003cp>Or even the well-connected folks behind \u003cem>Judas and the Black Messiah\u003c/em> who are the first all-Black producing team ever nominated for Best Picture. They told \u003cem>The Hollywood Reporter\u003c/em> they’d originally thought their film would perform about as well as \u003cem>Straight Outta Compton\u003c/em>, which earned $200 million worldwide. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The pandemic lowered that estimate, and Warner’s decision to stream all its films the same day they hit theaters lowered it further. Left with no choice but to go along, the producers watched as their film stalled at the box office. Instead of $200 million, \u003cem>Judas and the Black Messiah\u003c/em> has made less than $6 million.\u003c/p>\n\u003cp>It’s not easy to imagine a Steven Spielberg being put in that position.\u003c/p>\n\u003cp>Is this another way of saying Hollywood’s power and privilege still resides mostly with white men? The power to maximize box office; the privilege of making event pictures so expensive they can’t be treated as loss-leaders for streaming services.\u003c/p>\n\u003cp>Well, sure. But while dollars are important, for filmmakers who have traditionally been marginalized, they are not all-important.\u003c/p>\n\u003cp>This pandemic year will go down in history as the year without blockbusters—not one, single, billion-dollar superhero epic or action-adventure.\u003c/p>\n\u003cp>But it will also be remembered as a watershed for inclusion. The Academy of Motion Picture Arts and Sciences, which produces the Oscars has already made history by nominating the most diverse slate of actors ever, as well as a record number of women. Had studios thrown their weight behind the usual, big-budget spectacles, that might not have happened.\u003c/p>\n\u003cp>By letting less expensive, more socially conscious films lead the way back to cinemas, studios have—possibly inadvertently—ended up championing work that speaks to this moment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Next year, the blockbusters will return, and with them, no doubt, a lot of inequities that seem wedded to the cash they generate. But in the meantime, audiences get to celebrate artists for whom the recognition brought by awards may just have greater value than dollars.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Neither+%23OscarsSoWhite+Nor+%23OscarsSoMale+%E2%80%94+What+A+Difference+A+Pandemic+Makes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Beyoncé Reigns and Billie Eilish Repeats at 2021 Grammy Awards",
"headTitle": "Beyoncé Reigns and Billie Eilish Repeats at 2021 Grammy Awards | KQED",
"content": "\u003cp>Beyoncé won four Grammy Awards to become the most celebrated performer in the awards show’s history during an unpredictable ceremony that mixed the arrival of major new artists with repeat victories by Grammy favorites and surprisingly intimate performances with more familiar staged bombast.\u003c/p>\n\u003cp>The two biggest awards of the night went to Billie Eilish’s “Everything I Wanted,” which won record of the year and Taylor Swift’s quarantine-produced \u003cem>folklore,\u003c/em> which picked up the album of the year prize. After coming up empty in her first five nominations Sunday, Swift had to wait for most of the ceremony before taking home her third career Grammy in that category, becoming just the fourth artist to do so.\u003c/p>\n\u003cp>Upon receiving the Recording Academy’s most prestigious award, Eilish, who swept the major categories in last year’s awards, immediately deflected credit and said Houston rapper Megan Thee Stallion should have won the award for her song “Savage.”\u003c/p>\n\u003cp>“This is really embarrassing to me,” Eilish said. “Megan … girl, you deserve this.”\u003c/p>\n\u003cp>Megan Thee Stallion, one of the music industry’s most notable new arrivals in 2020, still took home three awards: best new artist, best rap song and best rap performance. Her “Savage” remix featuring Beyoncé helped the latter pass Alison Krauss for most Grammys ever by a female artist and tie super-producer Quincy Jones at 28 career trophies. Only classical conductor Georg Solti (31) has won more Grammy hardware.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I wanted to uplift, encourage and celebrate all the beautiful Black queens and kings that continue to inspire me and inspire the whole world,” Beyoncé said after accepting the Grammy for best R&B performance for her Juneteenth surprise single “Black Parade.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QG00h0OASmw\u003c/p>\n\u003cp>The shockwaves of Summer 2020, when a nation defied lockdown to protest the killings of George Floyd and Breonna Taylor at the hands of police, were felt on the outdoor stage at Los Angeles’ Staples Center. H.E.R.’s “\u003ca href=\"https://www.npr.org/sections/we-insist-a-timeline-of-protest-music-in-2020/2020/09/02/903233585/h-e-r-questions-indifference-to-black-agony-on-i-can-t-breathe\" target=\"_blank\" rel=\"noopener noreferrer\">I Can’t Breathe\u003c/a>,” which was also released on Juneteenth, took home song of the year.\u003c/p>\n\u003cp>“You know that fight we had in Summer 2020?” H.E.R. said before she left the stage. “Keep that.”\u003c/p>\n\u003cp>Chart-topping rapper Lil Baby was even more explicit, bringing his nominated anthem “The Bigger Picture” to life in a pre-produced segment that portrayed two police officers killing a Black man after a traffic stop. The video featured Killer Mike delivering a verse from his Run The Jewels project and activist Tamika Mallory, who delivered a passionate plea directly to the White House.\u003c/p>\n\u003cp>“President Biden, we demand justice, equity, policy and everything else that freedom encompasses,” Mallory said. “And to accomplish this, we don’t need allies. We need accomplices. It’s bigger than black and white. This is not a trend, this is our plight.”\u003c/p>\n\u003cp>The ongoing pandemic forced CBS and the Recording Academy to rethink the performances that add up to “Music’s Biggest Night.” Instead of shuffling artists on and off a huge stage in front of a packed arena, host Trevor Noah ushered the cameras into a spacious room featuring a handful of nominees who performed in round robin fashion. Mostly gone were the Broadway sets and “Grammy moments” of retired producer Ken Erhlich, who helmed the broadcast from 1980 until last year. Instead, first-time executive producer Ben Winston often opted for low-key memories by cutting away from performers to capture giddy reactions from their fellow nominees.\u003c/p>\n\u003cp>Harry Styles, donning a scarf and jacket, kicked off the evening’s performances with “Watermelon Sugar,” which later was named best pop solo performance. Rising pop star Dua Lipa, who was favored by some to sweep the big three awards coming into the night, was shut out of the major awards, but did take home best pop vocal album.\u003c/p>\n\u003cp>Sunday night marked the first time the Grammys included the Latin pop album award in its primetime telecast. That prize went to \u003cem>YHLQMDLG \u003c/em>by streaming giant Bad Bunny, who gave one of the night’s most electrifying performances with his “DÁKITI” co-star Jhay Cortez.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vv-Y1Ejhk4o\u003c/p>\n\u003cp>The night’s most affecting live performance was, arguably, Mickey Guyton’s “Black Like Me,” which lost out to Vince Gill’s “When My Amy Prays” for best country solo performance earlier in the day. The song was released in the wake of George Floyd’s killing last summer and documents the marginalization that Black people can feel in everyday America.\u003c/p>\n\u003cp>Guyton’s song kicked off a segment of live performances from women nominated in country music categories, which might have featured more female voices than a week’s worth of country radio. Miranda Lambert, who earlier won the best country album award for \u003cem>Wildcard\u003c/em>, performed her nominated song “Bluebird,” while Maren Morris sang “The Bones” with help from John Mayer on guitar.\u003c/p>\n\u003cp>Earlier in the day, Fiona Apple, whose critically-acclaimed album \u003cem>Fetch the Bolt Cutters\u003c/em> received no nominations in the major categories, did win two categories that gave her a chance, capturing both best alternative music album and best rock performance for “Shameika.” The latter came up short in the best rock song category, which was won by Brittany Howard for “Stay High.” That effervescent single from Howard’s album \u003cem>Jaime\u003c/em> was the \u003ca href=\"https://www.npr.org/2019/12/11/778227298/heavy-rotation-public-radios-most-popular-songs-of-2019\" target=\"_blank\" rel=\"noopener noreferrer\">most-played song on NPR stations in 2019\u003c/a>.\u003c/p>\n\u003cp>Two iconic departed musicians received awards from the Academy after unexpected deaths. Chick Corea, who died suddenly in February from cancer, was named a winner for best jazz instrumental album (\u003cem>Trilogy 2\u003c/em> with Christian McBride & Brian Blade) and best improvised jazz solo (for “All Blues” from the same album). Beloved songwriter John Prine, who died last April after contracting COVID-19, was awarded two Grammys for the posthumously released “I Remember Everything,” which was named best American roots performance and best American roots song.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fTJDZiW_paM\u003c/p>\n\u003cp>Brandi Carlile performed the song in tribute to Prine during the section of the telecast that paid tribute to dozens of musicians and music professionals who died since last year’s show. Earlier in the day, Carlile, Natalie Hemby and Lori McKenna won the best country song for The Highwomen’s “Crowded Table.”\u003c/p>\n\u003cp>Nas won his first career Grammy, picking up the best rap album prize for his 13th studio album, \u003cem>King’s Disease\u003c/em>. Nas edged critical favorite Freddie Gibbs and The Alchemist’s \u003cem>Alfredo\u003c/em>, but the category received more notoriety for what wasn’t nominated, namely Lil Uzi Vert’s \u003cem>Eternal Atake\u003c/em> and Lil Baby’s \u003cem>My Turn\u003c/em>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Montreal producer Kaytranada took home both of the dance/electronic category’s awards, winning best dance recording for “10%,” which featured Kali Uchis, and best dance/electronic album for \u003cem>Bubba\u003c/em>. The recognition was justice served for an album released in mid-December 2019, after most of the year’s “best of” lists had already been published. Kaytranada’s victory for \u003cem>Bubba\u003c/em> marked the first time a Black musician took home the dance/electronic album Grammy in the category’s 17-year history.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9+Reigns+And+Billie+Eilish+Repeats+At+2021+Grammy+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beyoncé won four Grammy Awards to become the most celebrated performer in the awards show’s history during an unpredictable ceremony that mixed the arrival of major new artists with repeat victories by Grammy favorites and surprisingly intimate performances with more familiar staged bombast.\u003c/p>\n\u003cp>The two biggest awards of the night went to Billie Eilish’s “Everything I Wanted,” which won record of the year and Taylor Swift’s quarantine-produced \u003cem>folklore,\u003c/em> which picked up the album of the year prize. After coming up empty in her first five nominations Sunday, Swift had to wait for most of the ceremony before taking home her third career Grammy in that category, becoming just the fourth artist to do so.\u003c/p>\n\u003cp>Upon receiving the Recording Academy’s most prestigious award, Eilish, who swept the major categories in last year’s awards, immediately deflected credit and said Houston rapper Megan Thee Stallion should have won the award for her song “Savage.”\u003c/p>\n\u003cp>“This is really embarrassing to me,” Eilish said. “Megan … girl, you deserve this.”\u003c/p>\n\u003cp>Megan Thee Stallion, one of the music industry’s most notable new arrivals in 2020, still took home three awards: best new artist, best rap song and best rap performance. Her “Savage” remix featuring Beyoncé helped the latter pass Alison Krauss for most Grammys ever by a female artist and tie super-producer Quincy Jones at 28 career trophies. Only classical conductor Georg Solti (31) has won more Grammy hardware.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I wanted to uplift, encourage and celebrate all the beautiful Black queens and kings that continue to inspire me and inspire the whole world,” Beyoncé said after accepting the Grammy for best R&B performance for her Juneteenth surprise single “Black Parade.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/QG00h0OASmw'\n title='//www.youtube.com/embed/QG00h0OASmw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The shockwaves of Summer 2020, when a nation defied lockdown to protest the killings of George Floyd and Breonna Taylor at the hands of police, were felt on the outdoor stage at Los Angeles’ Staples Center. H.E.R.’s “\u003ca href=\"https://www.npr.org/sections/we-insist-a-timeline-of-protest-music-in-2020/2020/09/02/903233585/h-e-r-questions-indifference-to-black-agony-on-i-can-t-breathe\" target=\"_blank\" rel=\"noopener noreferrer\">I Can’t Breathe\u003c/a>,” which was also released on Juneteenth, took home song of the year.\u003c/p>\n\u003cp>“You know that fight we had in Summer 2020?” H.E.R. said before she left the stage. “Keep that.”\u003c/p>\n\u003cp>Chart-topping rapper Lil Baby was even more explicit, bringing his nominated anthem “The Bigger Picture” to life in a pre-produced segment that portrayed two police officers killing a Black man after a traffic stop. The video featured Killer Mike delivering a verse from his Run The Jewels project and activist Tamika Mallory, who delivered a passionate plea directly to the White House.\u003c/p>\n\u003cp>“President Biden, we demand justice, equity, policy and everything else that freedom encompasses,” Mallory said. “And to accomplish this, we don’t need allies. We need accomplices. It’s bigger than black and white. This is not a trend, this is our plight.”\u003c/p>\n\u003cp>The ongoing pandemic forced CBS and the Recording Academy to rethink the performances that add up to “Music’s Biggest Night.” Instead of shuffling artists on and off a huge stage in front of a packed arena, host Trevor Noah ushered the cameras into a spacious room featuring a handful of nominees who performed in round robin fashion. Mostly gone were the Broadway sets and “Grammy moments” of retired producer Ken Erhlich, who helmed the broadcast from 1980 until last year. Instead, first-time executive producer Ben Winston often opted for low-key memories by cutting away from performers to capture giddy reactions from their fellow nominees.\u003c/p>\n\u003cp>Harry Styles, donning a scarf and jacket, kicked off the evening’s performances with “Watermelon Sugar,” which later was named best pop solo performance. Rising pop star Dua Lipa, who was favored by some to sweep the big three awards coming into the night, was shut out of the major awards, but did take home best pop vocal album.\u003c/p>\n\u003cp>Sunday night marked the first time the Grammys included the Latin pop album award in its primetime telecast. That prize went to \u003cem>YHLQMDLG \u003c/em>by streaming giant Bad Bunny, who gave one of the night’s most electrifying performances with his “DÁKITI” co-star Jhay Cortez.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vv-Y1Ejhk4o'\n title='//www.youtube.com/embed/vv-Y1Ejhk4o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The night’s most affecting live performance was, arguably, Mickey Guyton’s “Black Like Me,” which lost out to Vince Gill’s “When My Amy Prays” for best country solo performance earlier in the day. The song was released in the wake of George Floyd’s killing last summer and documents the marginalization that Black people can feel in everyday America.\u003c/p>\n\u003cp>Guyton’s song kicked off a segment of live performances from women nominated in country music categories, which might have featured more female voices than a week’s worth of country radio. Miranda Lambert, who earlier won the best country album award for \u003cem>Wildcard\u003c/em>, performed her nominated song “Bluebird,” while Maren Morris sang “The Bones” with help from John Mayer on guitar.\u003c/p>\n\u003cp>Earlier in the day, Fiona Apple, whose critically-acclaimed album \u003cem>Fetch the Bolt Cutters\u003c/em> received no nominations in the major categories, did win two categories that gave her a chance, capturing both best alternative music album and best rock performance for “Shameika.” The latter came up short in the best rock song category, which was won by Brittany Howard for “Stay High.” That effervescent single from Howard’s album \u003cem>Jaime\u003c/em> was the \u003ca href=\"https://www.npr.org/2019/12/11/778227298/heavy-rotation-public-radios-most-popular-songs-of-2019\" target=\"_blank\" rel=\"noopener noreferrer\">most-played song on NPR stations in 2019\u003c/a>.\u003c/p>\n\u003cp>Two iconic departed musicians received awards from the Academy after unexpected deaths. Chick Corea, who died suddenly in February from cancer, was named a winner for best jazz instrumental album (\u003cem>Trilogy 2\u003c/em> with Christian McBride & Brian Blade) and best improvised jazz solo (for “All Blues” from the same album). Beloved songwriter John Prine, who died last April after contracting COVID-19, was awarded two Grammys for the posthumously released “I Remember Everything,” which was named best American roots performance and best American roots song.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fTJDZiW_paM'\n title='//www.youtube.com/embed/fTJDZiW_paM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Brandi Carlile performed the song in tribute to Prine during the section of the telecast that paid tribute to dozens of musicians and music professionals who died since last year’s show. Earlier in the day, Carlile, Natalie Hemby and Lori McKenna won the best country song for The Highwomen’s “Crowded Table.”\u003c/p>\n\u003cp>Nas won his first career Grammy, picking up the best rap album prize for his 13th studio album, \u003cem>King’s Disease\u003c/em>. Nas edged critical favorite Freddie Gibbs and The Alchemist’s \u003cem>Alfredo\u003c/em>, but the category received more notoriety for what wasn’t nominated, namely Lil Uzi Vert’s \u003cem>Eternal Atake\u003c/em> and Lil Baby’s \u003cem>My Turn\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Montreal producer Kaytranada took home both of the dance/electronic category’s awards, winning best dance recording for “10%,” which featured Kali Uchis, and best dance/electronic album for \u003cem>Bubba\u003c/em>. The recognition was justice served for an album released in mid-December 2019, after most of the year’s “best of” lists had already been published. Kaytranada’s victory for \u003cem>Bubba\u003c/em> marked the first time a Black musician took home the dance/electronic album Grammy in the category’s 17-year history.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9+Reigns+And+Billie+Eilish+Repeats+At+2021+Grammy+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Not Even Amy Poehler and Tina Fey Could Save This Year's Snoozy Golden Globes",
"headTitle": "Not Even Amy Poehler and Tina Fey Could Save This Year’s Snoozy Golden Globes | KQED",
"content": "\u003cp>In any given year, awards-season viewers are doing some combination of reveling in the booze-filled loosie-goosey nature of the Golden Globes while bemoaning the ostensible arbitrariness of many of its nominees and winners. Do \u003cem>you \u003c/em>recall the movie \u003cem>Salmon Fishing in the Yemen\u003c/em>? (Three nods in 2012, including best picture.) And really, \u003cem>The Kominsky Method \u003c/em>beat out shows like \u003cem>Barry \u003c/em>and \u003cem>The Good Place\u003c/em> for best TV drama in 2019? How?!\u003c/p>\n\u003cp>The mood going into this year’s Globes ceremony was different, however, and not just because the producers had Covid-related logistics to work out for a mostly virtual event. Just a few days earlier, the \u003cem>Los Angeles Times \u003c/em>published \u003ca href=\"https://www.latimes.com/entertainment-arts/business/story/2021-02-21/hfpa-golden-globes-2021-who-are-the-members\" target=\"_blank\" rel=\"noopener noreferrer\">two\u003c/a> \u003ca href=\"https://www.latimes.com/entertainment-arts/business/story/2021-02-21/hfpa-golden-globes-2021\" target=\"_blank\" rel=\"noopener noreferrer\">investigations\u003c/a> looking into the inner workings of the mysterious Hollywood Foreign Press Association, an organization of 87 “journalists” who vote on the awards. Those exposés unveiled a number of details which suggest the Globes are more frivolous (and corrupt) than even the most cynical among us may have considered. Among the reveals: a number of HFPA members were fabulously flown in to France and wined and dined for a set visit to \u003cem>Emily in Paris\u003c/em>, the wildly popular but critically reviled show which received three head-scratching nominations. Also, there are currently zero Black members in the HFPA.\u003c/p>\n\u003cp>On Sunday night, the ceremony addressed the diversity PR nightmare head-on, first via the opening banter between returning co-hosts Amy Poehler and Tina Fey, who were broadcast from the Beverly Hilton in Beverly Hills and the Rainbow Room in New York City, respectively. Sprinkled in between jokes about the differences between movies and television and an acknowledgement of the pandemic first responders in the audience, were cracks about the HFPA’s membership (“around 90 international—no Black—journalists,” a couple of whom “might be ghosts”) and a more serious admission that worthy Black performances and creators were overlooked this year.\u003c/p>\n\u003cp>And a bit later in the evening, three members of the HFPA emerged from obscurity to pledge that the organization felt bad about all the negative publicity and would commit to doing better about inclusion going forward. (There was no mention of whether or not all-expenses paid trips to fancy cities on a Hollywood studio’s dime was also being reconsidered.)\u003c/p>\n\u003cp>Once the awards-giving kicked off, it was often a bumpy ride. While presenters appeared in person in either New York or L.A., nominees attended remotely from their respective homes. The potential for technical chaos was realized almost immediately, when Daniel Kaluuya, who won the first award of the night for his role as Fred Hampton in \u003cem>Judas and the Black Messiah\u003c/em>, couldn’t be heard while giving his acceptance speech. After a few moments, presenter Laura Dern noted the difficulties and attempted to quickly wrap up and move to the next segment; luckily, Kaluuya was able to jump back in, this time with sound in check, and deliver typically charming remarks.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4FgS6q-xSoY\u003c/p>\n\u003cp>There were many more awkward sound-related issues, merely irritating and occasionally chaotic—was that acceptance speech where Catherine O’Hara, who took home an award for \u003cem>Schitt’s Creek\u003c/em>, kept being interrupted by her husband Bo Welch’s phone, a planned bit or a kerfluffle-turned-on-the-fly bit? I’m not sure, but whatever it was, it was a rare highlight in an otherwise dull night. The producers padded the run time with skits which, even in normal times, would feel forced—save for a perfectly weird skit involving Maya Rudolph and Kenan Thompson donning faux French accents, anything not directly related to the presentation of awards was superfluous.\u003c/p>\n\u003cp>The big winners of the night were a mixed bag of the surprising and predictable. \u003cem>Nomadland \u003c/em>won best motion picture, drama, and its director Chloe Zhao became the first Asian woman to win the best director award—and first woman since Barbra Streisand won for \u003cem>Yentl \u003c/em>nearly 40 years ago. Chadwick Boseman received a posthumous honor for \u003cem>Ma Rainey’s Black Bottom \u003c/em>in the best actor, drama category; his widow, Taylor Simone Ledward gave a stirring, heartbreaking speech on his behalf. Andra Day triumphed for her first feature starring role in \u003cem>The United States vs. Billie Holiday \u003c/em>in a stacked category that included Viola Davis and Frances McDormand.\u003c/p>\n\u003cp>While \u003cem>Emily In Paris \u003c/em>went home empty-handed—Netflix must be wondering, was that all-expenses paid set visit for all those HFPA members worth it after all?—crowd-pleaser \u003cem>The Queen’s Gambit\u003c/em> beat out Steve McQueen’s transformative\u003cem> Small Axe \u003c/em>for best limited series, drama. (Though John Boyega earned his first Globe win for his role in \u003cem>Red, White and Blue\u003c/em>, one of the films in \u003cem>Small Axe.\u003c/em>)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VG58uqZPWsU\u003c/p>\n\u003cp>The show was at its best when the veterans were involved. The 98-year-old Norman Lear was given the Carol Burnett Award for “outstanding contributions to television,” and, perhaps because it was coordinated ahead of time, the TV titan had by far the sharpest audio and visual set-up of all the remote celebrities. He kept his remarks short and sweet, proving yet again that he is a national treasure. Ditto Jane Fonda, who appeared in-person at the Rainbow Room to accept the other honorary award of the evening, the Cecil B. DeMille award. In one of the most riveting moments of the night, she gave a shout out to the recent works that inspired her, including \u003cem>Nomadland, Judas and the Black Messiah\u003c/em>, \u003cem>Minari\u003c/em> (which won after being controversially nominated in the Best Foreign Language category) and \u003cem>I May Destroy You\u003c/em> (which was notably shut out from any nominations despite its critical acclaim).\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Perhaps the one saving grace of this snooze fest was that it ended under three and a half hours. But considering how much time the producers had to execute a smooth and relatively painless event—and that they could have looked to last fall’s comparatively successful \u003ca href=\"https://www.npr.org/2020/09/21/915132850/the-emmys-pull-off-a-good-show-as-schitt-s-creek-and-watchmen-shine\" target=\"_blank\" rel=\"noopener noreferrer\">virtual Emmy Awards\u003c/a> for guidance—this year’s Golden Globes only further solidified the event’s irrelevance, for everyone to witness.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Nomadland%27+And+Chadwick+Boseman+Win+Big+During+A+Mostly+Snoozy+Golden+Globes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In any given year, awards-season viewers are doing some combination of reveling in the booze-filled loosie-goosey nature of the Golden Globes while bemoaning the ostensible arbitrariness of many of its nominees and winners. Do \u003cem>you \u003c/em>recall the movie \u003cem>Salmon Fishing in the Yemen\u003c/em>? (Three nods in 2012, including best picture.) And really, \u003cem>The Kominsky Method \u003c/em>beat out shows like \u003cem>Barry \u003c/em>and \u003cem>The Good Place\u003c/em> for best TV drama in 2019? How?!\u003c/p>\n\u003cp>The mood going into this year’s Globes ceremony was different, however, and not just because the producers had Covid-related logistics to work out for a mostly virtual event. Just a few days earlier, the \u003cem>Los Angeles Times \u003c/em>published \u003ca href=\"https://www.latimes.com/entertainment-arts/business/story/2021-02-21/hfpa-golden-globes-2021-who-are-the-members\" target=\"_blank\" rel=\"noopener noreferrer\">two\u003c/a> \u003ca href=\"https://www.latimes.com/entertainment-arts/business/story/2021-02-21/hfpa-golden-globes-2021\" target=\"_blank\" rel=\"noopener noreferrer\">investigations\u003c/a> looking into the inner workings of the mysterious Hollywood Foreign Press Association, an organization of 87 “journalists” who vote on the awards. Those exposés unveiled a number of details which suggest the Globes are more frivolous (and corrupt) than even the most cynical among us may have considered. Among the reveals: a number of HFPA members were fabulously flown in to France and wined and dined for a set visit to \u003cem>Emily in Paris\u003c/em>, the wildly popular but critically reviled show which received three head-scratching nominations. Also, there are currently zero Black members in the HFPA.\u003c/p>\n\u003cp>On Sunday night, the ceremony addressed the diversity PR nightmare head-on, first via the opening banter between returning co-hosts Amy Poehler and Tina Fey, who were broadcast from the Beverly Hilton in Beverly Hills and the Rainbow Room in New York City, respectively. Sprinkled in between jokes about the differences between movies and television and an acknowledgement of the pandemic first responders in the audience, were cracks about the HFPA’s membership (“around 90 international—no Black—journalists,” a couple of whom “might be ghosts”) and a more serious admission that worthy Black performances and creators were overlooked this year.\u003c/p>\n\u003cp>And a bit later in the evening, three members of the HFPA emerged from obscurity to pledge that the organization felt bad about all the negative publicity and would commit to doing better about inclusion going forward. (There was no mention of whether or not all-expenses paid trips to fancy cities on a Hollywood studio’s dime was also being reconsidered.)\u003c/p>\n\u003cp>Once the awards-giving kicked off, it was often a bumpy ride. While presenters appeared in person in either New York or L.A., nominees attended remotely from their respective homes. The potential for technical chaos was realized almost immediately, when Daniel Kaluuya, who won the first award of the night for his role as Fred Hampton in \u003cem>Judas and the Black Messiah\u003c/em>, couldn’t be heard while giving his acceptance speech. After a few moments, presenter Laura Dern noted the difficulties and attempted to quickly wrap up and move to the next segment; luckily, Kaluuya was able to jump back in, this time with sound in check, and deliver typically charming remarks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4FgS6q-xSoY'\n title='//www.youtube.com/embed/4FgS6q-xSoY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There were many more awkward sound-related issues, merely irritating and occasionally chaotic—was that acceptance speech where Catherine O’Hara, who took home an award for \u003cem>Schitt’s Creek\u003c/em>, kept being interrupted by her husband Bo Welch’s phone, a planned bit or a kerfluffle-turned-on-the-fly bit? I’m not sure, but whatever it was, it was a rare highlight in an otherwise dull night. The producers padded the run time with skits which, even in normal times, would feel forced—save for a perfectly weird skit involving Maya Rudolph and Kenan Thompson donning faux French accents, anything not directly related to the presentation of awards was superfluous.\u003c/p>\n\u003cp>The big winners of the night were a mixed bag of the surprising and predictable. \u003cem>Nomadland \u003c/em>won best motion picture, drama, and its director Chloe Zhao became the first Asian woman to win the best director award—and first woman since Barbra Streisand won for \u003cem>Yentl \u003c/em>nearly 40 years ago. Chadwick Boseman received a posthumous honor for \u003cem>Ma Rainey’s Black Bottom \u003c/em>in the best actor, drama category; his widow, Taylor Simone Ledward gave a stirring, heartbreaking speech on his behalf. Andra Day triumphed for her first feature starring role in \u003cem>The United States vs. Billie Holiday \u003c/em>in a stacked category that included Viola Davis and Frances McDormand.\u003c/p>\n\u003cp>While \u003cem>Emily In Paris \u003c/em>went home empty-handed—Netflix must be wondering, was that all-expenses paid set visit for all those HFPA members worth it after all?—crowd-pleaser \u003cem>The Queen’s Gambit\u003c/em> beat out Steve McQueen’s transformative\u003cem> Small Axe \u003c/em>for best limited series, drama. (Though John Boyega earned his first Globe win for his role in \u003cem>Red, White and Blue\u003c/em>, one of the films in \u003cem>Small Axe.\u003c/em>)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VG58uqZPWsU'\n title='//www.youtube.com/embed/VG58uqZPWsU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The show was at its best when the veterans were involved. The 98-year-old Norman Lear was given the Carol Burnett Award for “outstanding contributions to television,” and, perhaps because it was coordinated ahead of time, the TV titan had by far the sharpest audio and visual set-up of all the remote celebrities. He kept his remarks short and sweet, proving yet again that he is a national treasure. Ditto Jane Fonda, who appeared in-person at the Rainbow Room to accept the other honorary award of the evening, the Cecil B. DeMille award. In one of the most riveting moments of the night, she gave a shout out to the recent works that inspired her, including \u003cem>Nomadland, Judas and the Black Messiah\u003c/em>, \u003cem>Minari\u003c/em> (which won after being controversially nominated in the Best Foreign Language category) and \u003cem>I May Destroy You\u003c/em> (which was notably shut out from any nominations despite its critical acclaim).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Perhaps the one saving grace of this snooze fest was that it ended under three and a half hours. But considering how much time the producers had to execute a smooth and relatively painless event—and that they could have looked to last fall’s comparatively successful \u003ca href=\"https://www.npr.org/2020/09/21/915132850/the-emmys-pull-off-a-good-show-as-schitt-s-creek-and-watchmen-shine\" target=\"_blank\" rel=\"noopener noreferrer\">virtual Emmy Awards\u003c/a> for guidance—this year’s Golden Globes only further solidified the event’s irrelevance, for everyone to witness.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Nomadland%27+And+Chadwick+Boseman+Win+Big+During+A+Mostly+Snoozy+Golden+Globes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "3 Grammy Contenders Share Outrage at All-White Category, Decline Nominations",
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"content": "\u003cp>Three of the five acts nominated for the 2021 Best Children’s Album Grammy Award are saying “no thanks.” They’re upset that the contenders in their category are all white.\u003c/p>\n\u003cp>One of them is Alastair Moock, whose nominated album, \u003cem>Be A Pain,\u003c/em> is about American heroes who stood up for their principles: Dr. Martin Luther King, Jr., Harvey Milk, Rosa Parks, the Parkland shooting student protestors and others.\u003c/p>\n\u003cp>Upon hearing the news that he was nominated along with three other white male acts and one white woman, Moock smacked his head. “After this year, to have an all-white slate of nominees seemed really tone deaf,” he says.\u003c/p>\n\u003cp>The Boston-based singer-songwriter says he’d love to get a Grammy, “but I don’t want it like this, where the playing field’s not even.”\u003c/p>\n\u003cp>Moock is protesting by turning down his nomination. So are fellow acts Dog on Fleas and the Okee Dokee Brothers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We thought that it was the strongest thing we could do, to stand with people of color whose albums are too often left out of the Grammy nominations,” says Joe Mailander, one of the Okee Dokee Brothers. He hopes to expand notions of what children’s music is. “This is not just white guys with guitars playing for kids. We want to welcome all different types of music to this community.”\u003c/p>\n\u003cp>The Okee Dokee Brothers, Moock and Dog on Fleas—all “white guys with guitars”—sent a letter to the Recording Academy asking that their names be removed from the final Grammy ballots. They wrote they “couldn’t in good conscience benefit from a process that has historically overlooked women and artists of color.”\u003c/p>\n\u003cp>The other Okee Dokee Brother, Justin Lansing, said they felt a special responsibility to ask for change in a genre “tasked with modeling fairness and kindness to kids and families.”\u003c/p>\n\u003cp>Last month, the nominees met with the Recording Academy’s new CEO, Harvey Mason Jr., and its first ever Chief Diversity, Equity and Inclusion officer, Valeisha Butterfield Jones.\u003c/p>\n\u003cp>“We’re an organization that’s ready for change but you know, we’re not unique to the challenges of the world and to the challenges of our industry,” Butterfield Jones says of the 63-year-old organization being revamped. “I think it’s time. You know, we saw in 2020 a racial reckoning. So now, you know, it’s, you know, up to us what we’re going to do to take real and meaningful action.”\u003c/p>\n\u003cp>Butterfield Jones says since she started her job in May, she’s been looking for ways to increase diversity among the Academy’s membership and in the Grammy’s secret nominating committees. The Academy recently partnered with the racial justice group Color of Change to begin holding itself and record labels more accountable. They’re pushing for more transparency at the Academy and support for artists, especially those who are Black.\u003c/p>\n\u003cp>“We have made a very clear and firm commitment to diversity, equity and inclusion as a part of our core values,” Butterfield Jones says. “I think many of the actions that we’ve taken and have put into place are signs of that. But we still have a lot of work left to do.”\u003c/p>\n\u003cp>Family Music Forward, a collective whose mission is to amplify Black voices in children’s music, was also invited to the Recording Academy meetings last month.\u003c/p>\n\u003cp>“We had the floor, and we had the opportunity to voice our concerns. They definitely responded with a sense of urgency,” says Aaron Nigel Smith, a founding member of Family Music Forward.\u003c/p>\n\u003cp>The collective formed in early 2020, inspired by the Black Lives Matter movement. Smith says the Academy seemed open to recommendations such as restructuring the nominating committees.\u003c/p>\n\u003cp>“We left it in a very hopeful tone that we can keep a discussion going and work together to increase membership with people of color in the academy,” Smith says. He hopes the Academy can add more people “voting for projects that don’t necessarily sound like the mainstream, that might sound like [they’ve] got an African vibe or reggae vibe or a hip hop vibe.”\u003c/p>\n\u003cp>All of the musicians interviewed for this story agreed that Pierce Freelon should have been nominated this year for his critically-acclaimed album \u003cem>D.A.D.\u003c/em>, which has elements of hip hop, jazz, electronic and Afro Caribbean rhythms.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jmrbyfL2dSY\u003c/p>\n\u003cp>Freelon appreciated the stance the Grammy nominees took to support diverse artists. “I just couldn’t think of another example in my memory of white men specifically revoking their privilege in this way,” he says.\u003c/p>\n\u003cp>He points to other non-white artists who should be on the Grammy’s radar: Saul Paul, a rapper from Texas; Uno, Dos, Tres Andres, a bilingual singer born in Colombia; and the R&B Soul band Shine and the Moonbeams. He also thought about the 96-year-old folk singer Ella Jenkins.\u003c/p>\n\u003cp>“She’s probably the most prolific and foundational person in children’s music. And she’s a Black woman. But guess what? She’s never won a Grammy Award through the Recording Academy process,” Freelon says. “They had to give her an honorary lifetime achievement award, but she actually never got that recognition from her peers in the industry.”\u003c/p>\n\u003cp>One of the two Grammy nominees who decided to remain on the ballot is Joanie Leeds. Her ninth children’s folk music album is titled \u003cem>For All The Ladies\u003c/em>.\u003c/p>\n\u003cp>“I didn’t decline because my album is really about empowering young women. I mean, I have 20 women on my album. So for us, it was like it was kind of counter to our empowering women message to step down,” Leeds says. “I know that this is really about the guys that dropped out, but I feel like a lot of times women are kind of left on the side. It’s a shame. I wish there was more equality with women.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The other nominees and Family Music Forward say they support Leeds’s decision. Next year, they expect to see more women and people of color up for Grammy Awards.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=3+Grammy+Contenders+Share+Outrage+At+All-White+Category%2C+Decline+Nominations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Three of the five acts nominated for the 2021 Best Children’s Album Grammy Award are saying “no thanks.” They’re upset that the contenders in their category are all white.\u003c/p>\n\u003cp>One of them is Alastair Moock, whose nominated album, \u003cem>Be A Pain,\u003c/em> is about American heroes who stood up for their principles: Dr. Martin Luther King, Jr., Harvey Milk, Rosa Parks, the Parkland shooting student protestors and others.\u003c/p>\n\u003cp>Upon hearing the news that he was nominated along with three other white male acts and one white woman, Moock smacked his head. “After this year, to have an all-white slate of nominees seemed really tone deaf,” he says.\u003c/p>\n\u003cp>The Boston-based singer-songwriter says he’d love to get a Grammy, “but I don’t want it like this, where the playing field’s not even.”\u003c/p>\n\u003cp>Moock is protesting by turning down his nomination. So are fellow acts Dog on Fleas and the Okee Dokee Brothers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We thought that it was the strongest thing we could do, to stand with people of color whose albums are too often left out of the Grammy nominations,” says Joe Mailander, one of the Okee Dokee Brothers. He hopes to expand notions of what children’s music is. “This is not just white guys with guitars playing for kids. We want to welcome all different types of music to this community.”\u003c/p>\n\u003cp>The Okee Dokee Brothers, Moock and Dog on Fleas—all “white guys with guitars”—sent a letter to the Recording Academy asking that their names be removed from the final Grammy ballots. They wrote they “couldn’t in good conscience benefit from a process that has historically overlooked women and artists of color.”\u003c/p>\n\u003cp>The other Okee Dokee Brother, Justin Lansing, said they felt a special responsibility to ask for change in a genre “tasked with modeling fairness and kindness to kids and families.”\u003c/p>\n\u003cp>Last month, the nominees met with the Recording Academy’s new CEO, Harvey Mason Jr., and its first ever Chief Diversity, Equity and Inclusion officer, Valeisha Butterfield Jones.\u003c/p>\n\u003cp>“We’re an organization that’s ready for change but you know, we’re not unique to the challenges of the world and to the challenges of our industry,” Butterfield Jones says of the 63-year-old organization being revamped. “I think it’s time. You know, we saw in 2020 a racial reckoning. So now, you know, it’s, you know, up to us what we’re going to do to take real and meaningful action.”\u003c/p>\n\u003cp>Butterfield Jones says since she started her job in May, she’s been looking for ways to increase diversity among the Academy’s membership and in the Grammy’s secret nominating committees. The Academy recently partnered with the racial justice group Color of Change to begin holding itself and record labels more accountable. They’re pushing for more transparency at the Academy and support for artists, especially those who are Black.\u003c/p>\n\u003cp>“We have made a very clear and firm commitment to diversity, equity and inclusion as a part of our core values,” Butterfield Jones says. “I think many of the actions that we’ve taken and have put into place are signs of that. But we still have a lot of work left to do.”\u003c/p>\n\u003cp>Family Music Forward, a collective whose mission is to amplify Black voices in children’s music, was also invited to the Recording Academy meetings last month.\u003c/p>\n\u003cp>“We had the floor, and we had the opportunity to voice our concerns. They definitely responded with a sense of urgency,” says Aaron Nigel Smith, a founding member of Family Music Forward.\u003c/p>\n\u003cp>The collective formed in early 2020, inspired by the Black Lives Matter movement. Smith says the Academy seemed open to recommendations such as restructuring the nominating committees.\u003c/p>\n\u003cp>“We left it in a very hopeful tone that we can keep a discussion going and work together to increase membership with people of color in the academy,” Smith says. He hopes the Academy can add more people “voting for projects that don’t necessarily sound like the mainstream, that might sound like [they’ve] got an African vibe or reggae vibe or a hip hop vibe.”\u003c/p>\n\u003cp>All of the musicians interviewed for this story agreed that Pierce Freelon should have been nominated this year for his critically-acclaimed album \u003cem>D.A.D.\u003c/em>, which has elements of hip hop, jazz, electronic and Afro Caribbean rhythms.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/jmrbyfL2dSY'\n title='//www.youtube.com/embed/jmrbyfL2dSY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Freelon appreciated the stance the Grammy nominees took to support diverse artists. “I just couldn’t think of another example in my memory of white men specifically revoking their privilege in this way,” he says.\u003c/p>\n\u003cp>He points to other non-white artists who should be on the Grammy’s radar: Saul Paul, a rapper from Texas; Uno, Dos, Tres Andres, a bilingual singer born in Colombia; and the R&B Soul band Shine and the Moonbeams. He also thought about the 96-year-old folk singer Ella Jenkins.\u003c/p>\n\u003cp>“She’s probably the most prolific and foundational person in children’s music. And she’s a Black woman. But guess what? She’s never won a Grammy Award through the Recording Academy process,” Freelon says. “They had to give her an honorary lifetime achievement award, but she actually never got that recognition from her peers in the industry.”\u003c/p>\n\u003cp>One of the two Grammy nominees who decided to remain on the ballot is Joanie Leeds. Her ninth children’s folk music album is titled \u003cem>For All The Ladies\u003c/em>.\u003c/p>\n\u003cp>“I didn’t decline because my album is really about empowering young women. I mean, I have 20 women on my album. So for us, it was like it was kind of counter to our empowering women message to step down,” Leeds says. “I know that this is really about the guys that dropped out, but I feel like a lot of times women are kind of left on the side. It’s a shame. I wish there was more equality with women.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The other nominees and Family Music Forward say they support Leeds’s decision. Next year, they expect to see more women and people of color up for Grammy Awards.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=3+Grammy+Contenders+Share+Outrage+At+All-White+Category%2C+Decline+Nominations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Bay Area arts community has a strong showing in the latest round of \u003ca href=\"https://creative-capital.org/2020/12/08/the-2021-creative-capital-awards/\" target=\"_blank\" rel=\"noopener noreferrer\">Creative Capital Awards\u003c/a>, a national granting program that provides artists with up to $50,000 to realize ambitious, often large-scale projects. The funds are also combined with mentorship and advisory services to develop the capacity of the artists in each cohort.\u003c/p>\n\u003cp>[aside postID='arts_13836809']Of the 35 projects selected to receive the 2021 awards, six include Bay Area artists working in a variety of disciplines; their proposals include sci-fi inspired meals, documentary film, creative nonfiction and a floating opera. The local recipients are multidisciplinary collaborative \u003ca href=\"http://peopleskitchencollective.com/\" target=\"_blank\" rel=\"noopener noreferrer\">People’s Kitchen Collective\u003c/a> (Sita Kuratomi Bhaumik, Jocelyn Jackson, Saqib Keval); documentary filmmaker \u003ca href=\"https://throughmylens.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Reid Davenport\u003c/a>; educator and writer \u003ca href=\"https://www.annefinger.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Anne Finger\u003c/a>; novelist \u003ca href=\"https://www.mengj.in/\" target=\"_blank\" rel=\"noopener noreferrer\">Meng Jin\u003c/a>; musician and composer \u003ca href=\"http://kurtrohde.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kurt Rohde\u003c/a>; and documentary filmmaker \u003ca href=\"https://www.debsilva.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Débora Souza Silva\u003c/a>.\u003c/p>\n\u003cp>Creative Capital received nearly 4,000 applications way back in February 2020; the awards were announced on Dec. 8. “I almost forgot!” says Jin.\u003c/p>\n\u003cp>While the world today looks very different from the one in which the grantees wrote their applications, the Creative Capital Awards favor a development process that gives artists the time and support to adapt to challenges along the way (like, say, a global pandemic), though all six grantees said their plans remained pretty close to their proposals.\u003c/p>\n\u003cfigure id=\"attachment_13890635\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890635\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/02_PKC_Streets_Earthseed_Brooke-Anderson_02_1200.jpg\" alt=\"\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/02_PKC_Streets_Earthseed_Brooke-Anderson_02_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/02_PKC_Streets_Earthseed_Brooke-Anderson_02_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/02_PKC_Streets_Earthseed_Brooke-Anderson_02_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/02_PKC_Streets_Earthseed_Brooke-Anderson_02_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/02_PKC_Streets_Earthseed_Brooke-Anderson_02_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">People’s Kitchen Collective, ‘STREETS!,’ 2018 in Oakland. \u003ccite>(Brooke Anderson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For People’s Kitchen Collective, this timeline means they’ll be able to fully take advantage of Creative Capital’s expansive national network to connect with programming partners in various communities. “With Creative Capital, that ‘yes’ comes with so many more yeses,” says Jackson, who currently lives in Las Vegas.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The collaborative’s project, \u003ci>\u003ca href=\"https://creative-capital.org/projects/earthseed/\" target=\"_blank\" rel=\"noopener noreferrer\">Earthseed\u003c/a>\u003c/i>, will create resource kits and a series of meals inspired by Octavia Butler’s \u003ci>Parables\u003c/i> books and the Black Panther Party’s programs. Even though the trio is spread across three different cities (Bhaumik lives in Oakland, Keval in Mexico City), the Bay Area’s history of artistic activism feeds their practice.\u003c/p>\n\u003cp>“It’s this question of ‘How do we find ways to survive that come from within, from our own communities?’” Bhaumik says. “The Bay Area is full of these examples of people taking survival into their own hands and working between groups.” Now, when so much of the world and the systems it operates upon need to be rebuilt, Bhaumik says ideas of food sovereignty and mutual aid are even more important.\u003c/p>\n\u003cp>With this award comes a sense of stability. “It’s been really hard during this year to envision the future,” says Jin, noting the award changed that. \u003ca href=\"https://creative-capital.org/projects/mothers-and-girls-a-fake-memoir/\" target=\"_blank\" rel=\"noopener noreferrer\">Her novel\u003c/a>, which she also calls a “fake memoir,” addresses the contemporary conversation around autofiction, a big “new” literary genre \u003ca href=\"https://newrepublic.com/article/159951/can-black-novelist-write-autofiction\" target=\"_blank\" rel=\"noopener noreferrer\">mostly identified\u003c/a> with European and white American writers. “I want to rescope and rethink the ways in which autobiography and autobiographical readings affect writers of color in particular,” she says.\u003c/p>\n\u003cp>She’s also looking forward to connecting with other artists, not necessarily writers, in the Creative Capital cohort. “I’m interested in conceiving of fiction-writing as an active performance similar to the work of a performance artist,” she says. “I’m excited to be able to have conversations with artists who are experts in these kinds of ideas.”\u003c/p>\n\u003cfigure id=\"attachment_13890636\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890636\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Davenport_IDidntSeeYouThere_CCProject_2-Reid-Davenport_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Davenport_IDidntSeeYouThere_CCProject_2-Reid-Davenport_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Davenport_IDidntSeeYouThere_CCProject_2-Reid-Davenport_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Davenport_IDidntSeeYouThere_CCProject_2-Reid-Davenport_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Davenport_IDidntSeeYouThere_CCProject_2-Reid-Davenport_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Davenport_IDidntSeeYouThere_CCProject_2-Reid-Davenport_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A still from Reid Davenport’s ‘I Didn’t See You There.’ \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Davenport, who has already shot much of the footage for his documentary film \u003ci>\u003ca href=\"https://creative-capital.org/projects/i-didnt-see-you-there/\" target=\"_blank\" rel=\"noopener noreferrer\">I Didn’t See You There\u003c/a>\u003c/i> says, “Any time I can join a cohort I try to do so.” His work on the project started two years ago with the appearance of a circus tent outside his Oakland apartment, leading Davenport to examine the legacy of the “freak show” in his own life as a disabled filmmaker.\u003c/p>\n\u003cp>Similarly, Silva is already four years into her documentary, \u003ci>\u003ca href=\"https://creative-capital.org/projects/black-mothers/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Mothers\u003c/a>\u003c/i> which follows two women in \u003ca href=\"https://www.elle.com/culture/career-politics/news/a38111/who-are-mothers-of-the-movement-dnc/\" target=\"_blank\" rel=\"noopener noreferrer\">Mothers of the Movement\u003c/a>, a nationwide network of mothers whose children were killed by police.\u003c/p>\n\u003cp>For Silva, Oakland and its people have been a huge influence. “\u003ci>Black Mothers\u003c/i> really started with the case of Oscar Grant and the important work that his mother, Wanda, his uncle Cephus Johnson (‘Uncle Bobby’) and several local activists have been doing for over a decade,” she wrote in an email.\u003c/p>\n\u003cp>Her long-term commitment to the women at the center of her film is crucial to its aesthetic. “Ultimately,” she says, “I hope to create a film that reflects not only how I see the mothers but how they see themselves.”\u003c/p>\n\u003cfigure id=\"attachment_13890638\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890638\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Silva_BlackMothers_CCProject_FootageStill_3-De%CC%81bora-Souza-Silva-optimized_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Silva_BlackMothers_CCProject_FootageStill_3-Débora-Souza-Silva-optimized_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Silva_BlackMothers_CCProject_FootageStill_3-Débora-Souza-Silva-optimized_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Silva_BlackMothers_CCProject_FootageStill_3-Débora-Souza-Silva-optimized_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Silva_BlackMothers_CCProject_FootageStill_3-Débora-Souza-Silva-optimized_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Silva_BlackMothers_CCProject_FootageStill_3-Débora-Souza-Silva-optimized_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A still from Débora Souza Silva’s ‘Black Mothers.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other projects will take Bay Area awardees farther afield—for Finger and Rohde, to Berlin and New York, respectively. Finger’s book of personal essays, \u003ci>\u003ca href=\"https://creative-capital.org/projects/wheeling-in-berlin/\" target=\"_blank\" rel=\"noopener noreferrer\">Wheeling in Berlin\u003c/a>\u003c/i> is inspired by the figure of the “meandering dandy.” She hopes to be able to return to Germany soon to further inform her writing on historical figures, disability in art and her own travels as a wheelchair-user.\u003c/p>\n\u003cp>Each group of awardees traditionally gathers for a retreat to share their projects with one other. Finger looks forward to this being an in-person event. “To me it’s so much better when we can be with other people and talk in hallways and go out to dinner,” she says.\u003c/p>\n\u003cp>And for San Francisco-based Rohde, part of a three-person team behind \u003ci>\u003ca href=\"https://creative-capital.org/projects/newtown-odyssey/\" target=\"_blank\" rel=\"noopener noreferrer\">Newtown Odyssey\u003c/a>\u003c/i> (the aforementioned floating opera), travel to the site of his eventual performance piece is complicated by more than just the current pandemic: the project plans to be carbon neutral.\u003c/p>\n\u003cp>The opera itself will address issues of climate change, environmental justice and civic responsibility, but the specifics are still very much up in the air. “This is no question the most experimental space I’ve worked in,” Rohde says. Collaborating with New York artist Marie Lorenz and Syracuse writer Dana Spiotta, Rohde will compose the music for an opera to be performed and seen on a polluted industrial waterway between Brooklyn and Queens.\u003c/p>\n\u003cfigure id=\"attachment_13890637\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890637\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Lorenz_TideTaxi_NewtownOdyssey-Marie-Lorenz-optimized_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Lorenz_TideTaxi_NewtownOdyssey-Marie-Lorenz-optimized_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Lorenz_TideTaxi_NewtownOdyssey-Marie-Lorenz-optimized_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Lorenz_TideTaxi_NewtownOdyssey-Marie-Lorenz-optimized_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Lorenz_TideTaxi_NewtownOdyssey-Marie-Lorenz-optimized_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Lorenz_TideTaxi_NewtownOdyssey-Marie-Lorenz-optimized_1200-768x576.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An aerial image of Marie Lorenz’s ‘Tide Taxi’ on a polluted waterway. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rohde has to consider not just creating something that will be outside (a particular acoustic challenge), but on multiple, possibly moving stages. Questions of power, amplification, live instruments, pre-recorded sound, seasonal elements and the effect of those elements on instruments are all in play. “I can’t ask you to take your cello out in a boat,” he says.\u003c/p>\n\u003cp>The Creative Capital Award is meant for just such projects: challenging, expansive ones that change the way we think about what the arts can accomplish. \u003ci>Newtown Odyssey\u003c/i>’s commitment to carbon neutrality—an issue rarely broached in the fine art world—is a case in point.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Since our talk, I have been using a number of online carbon emission offset calculators,” Rohde later wrote in an email. “It looks like I will be planting a few trees for that round-trip flight next summer!”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Of the 35 projects selected to receive the 2021 awards, six include Bay Area artists working in a variety of disciplines; their proposals include sci-fi inspired meals, documentary film, creative nonfiction and a floating opera. The local recipients are multidisciplinary collaborative \u003ca href=\"http://peopleskitchencollective.com/\" target=\"_blank\" rel=\"noopener noreferrer\">People’s Kitchen Collective\u003c/a> (Sita Kuratomi Bhaumik, Jocelyn Jackson, Saqib Keval); documentary filmmaker \u003ca href=\"https://throughmylens.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Reid Davenport\u003c/a>; educator and writer \u003ca href=\"https://www.annefinger.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Anne Finger\u003c/a>; novelist \u003ca href=\"https://www.mengj.in/\" target=\"_blank\" rel=\"noopener noreferrer\">Meng Jin\u003c/a>; musician and composer \u003ca href=\"http://kurtrohde.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kurt Rohde\u003c/a>; and documentary filmmaker \u003ca href=\"https://www.debsilva.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Débora Souza Silva\u003c/a>.\u003c/p>\n\u003cp>Creative Capital received nearly 4,000 applications way back in February 2020; the awards were announced on Dec. 8. “I almost forgot!” says Jin.\u003c/p>\n\u003cp>While the world today looks very different from the one in which the grantees wrote their applications, the Creative Capital Awards favor a development process that gives artists the time and support to adapt to challenges along the way (like, say, a global pandemic), though all six grantees said their plans remained pretty close to their proposals.\u003c/p>\n\u003cfigure id=\"attachment_13890635\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890635\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/02_PKC_Streets_Earthseed_Brooke-Anderson_02_1200.jpg\" alt=\"\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/02_PKC_Streets_Earthseed_Brooke-Anderson_02_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/02_PKC_Streets_Earthseed_Brooke-Anderson_02_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/02_PKC_Streets_Earthseed_Brooke-Anderson_02_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/02_PKC_Streets_Earthseed_Brooke-Anderson_02_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/02_PKC_Streets_Earthseed_Brooke-Anderson_02_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">People’s Kitchen Collective, ‘STREETS!,’ 2018 in Oakland. \u003ccite>(Brooke Anderson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For People’s Kitchen Collective, this timeline means they’ll be able to fully take advantage of Creative Capital’s expansive national network to connect with programming partners in various communities. “With Creative Capital, that ‘yes’ comes with so many more yeses,” says Jackson, who currently lives in Las Vegas.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The collaborative’s project, \u003ci>\u003ca href=\"https://creative-capital.org/projects/earthseed/\" target=\"_blank\" rel=\"noopener noreferrer\">Earthseed\u003c/a>\u003c/i>, will create resource kits and a series of meals inspired by Octavia Butler’s \u003ci>Parables\u003c/i> books and the Black Panther Party’s programs. Even though the trio is spread across three different cities (Bhaumik lives in Oakland, Keval in Mexico City), the Bay Area’s history of artistic activism feeds their practice.\u003c/p>\n\u003cp>“It’s this question of ‘How do we find ways to survive that come from within, from our own communities?’” Bhaumik says. “The Bay Area is full of these examples of people taking survival into their own hands and working between groups.” Now, when so much of the world and the systems it operates upon need to be rebuilt, Bhaumik says ideas of food sovereignty and mutual aid are even more important.\u003c/p>\n\u003cp>With this award comes a sense of stability. “It’s been really hard during this year to envision the future,” says Jin, noting the award changed that. \u003ca href=\"https://creative-capital.org/projects/mothers-and-girls-a-fake-memoir/\" target=\"_blank\" rel=\"noopener noreferrer\">Her novel\u003c/a>, which she also calls a “fake memoir,” addresses the contemporary conversation around autofiction, a big “new” literary genre \u003ca href=\"https://newrepublic.com/article/159951/can-black-novelist-write-autofiction\" target=\"_blank\" rel=\"noopener noreferrer\">mostly identified\u003c/a> with European and white American writers. “I want to rescope and rethink the ways in which autobiography and autobiographical readings affect writers of color in particular,” she says.\u003c/p>\n\u003cp>She’s also looking forward to connecting with other artists, not necessarily writers, in the Creative Capital cohort. “I’m interested in conceiving of fiction-writing as an active performance similar to the work of a performance artist,” she says. “I’m excited to be able to have conversations with artists who are experts in these kinds of ideas.”\u003c/p>\n\u003cfigure id=\"attachment_13890636\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890636\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Davenport_IDidntSeeYouThere_CCProject_2-Reid-Davenport_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Davenport_IDidntSeeYouThere_CCProject_2-Reid-Davenport_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Davenport_IDidntSeeYouThere_CCProject_2-Reid-Davenport_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Davenport_IDidntSeeYouThere_CCProject_2-Reid-Davenport_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Davenport_IDidntSeeYouThere_CCProject_2-Reid-Davenport_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Davenport_IDidntSeeYouThere_CCProject_2-Reid-Davenport_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A still from Reid Davenport’s ‘I Didn’t See You There.’ \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Davenport, who has already shot much of the footage for his documentary film \u003ci>\u003ca href=\"https://creative-capital.org/projects/i-didnt-see-you-there/\" target=\"_blank\" rel=\"noopener noreferrer\">I Didn’t See You There\u003c/a>\u003c/i> says, “Any time I can join a cohort I try to do so.” His work on the project started two years ago with the appearance of a circus tent outside his Oakland apartment, leading Davenport to examine the legacy of the “freak show” in his own life as a disabled filmmaker.\u003c/p>\n\u003cp>Similarly, Silva is already four years into her documentary, \u003ci>\u003ca href=\"https://creative-capital.org/projects/black-mothers/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Mothers\u003c/a>\u003c/i> which follows two women in \u003ca href=\"https://www.elle.com/culture/career-politics/news/a38111/who-are-mothers-of-the-movement-dnc/\" target=\"_blank\" rel=\"noopener noreferrer\">Mothers of the Movement\u003c/a>, a nationwide network of mothers whose children were killed by police.\u003c/p>\n\u003cp>For Silva, Oakland and its people have been a huge influence. “\u003ci>Black Mothers\u003c/i> really started with the case of Oscar Grant and the important work that his mother, Wanda, his uncle Cephus Johnson (‘Uncle Bobby’) and several local activists have been doing for over a decade,” she wrote in an email.\u003c/p>\n\u003cp>Her long-term commitment to the women at the center of her film is crucial to its aesthetic. “Ultimately,” she says, “I hope to create a film that reflects not only how I see the mothers but how they see themselves.”\u003c/p>\n\u003cfigure id=\"attachment_13890638\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890638\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Silva_BlackMothers_CCProject_FootageStill_3-De%CC%81bora-Souza-Silva-optimized_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Silva_BlackMothers_CCProject_FootageStill_3-Débora-Souza-Silva-optimized_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Silva_BlackMothers_CCProject_FootageStill_3-Débora-Souza-Silva-optimized_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Silva_BlackMothers_CCProject_FootageStill_3-Débora-Souza-Silva-optimized_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Silva_BlackMothers_CCProject_FootageStill_3-Débora-Souza-Silva-optimized_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Silva_BlackMothers_CCProject_FootageStill_3-Débora-Souza-Silva-optimized_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A still from Débora Souza Silva’s ‘Black Mothers.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other projects will take Bay Area awardees farther afield—for Finger and Rohde, to Berlin and New York, respectively. Finger’s book of personal essays, \u003ci>\u003ca href=\"https://creative-capital.org/projects/wheeling-in-berlin/\" target=\"_blank\" rel=\"noopener noreferrer\">Wheeling in Berlin\u003c/a>\u003c/i> is inspired by the figure of the “meandering dandy.” She hopes to be able to return to Germany soon to further inform her writing on historical figures, disability in art and her own travels as a wheelchair-user.\u003c/p>\n\u003cp>Each group of awardees traditionally gathers for a retreat to share their projects with one other. Finger looks forward to this being an in-person event. “To me it’s so much better when we can be with other people and talk in hallways and go out to dinner,” she says.\u003c/p>\n\u003cp>And for San Francisco-based Rohde, part of a three-person team behind \u003ci>\u003ca href=\"https://creative-capital.org/projects/newtown-odyssey/\" target=\"_blank\" rel=\"noopener noreferrer\">Newtown Odyssey\u003c/a>\u003c/i> (the aforementioned floating opera), travel to the site of his eventual performance piece is complicated by more than just the current pandemic: the project plans to be carbon neutral.\u003c/p>\n\u003cp>The opera itself will address issues of climate change, environmental justice and civic responsibility, but the specifics are still very much up in the air. “This is no question the most experimental space I’ve worked in,” Rohde says. Collaborating with New York artist Marie Lorenz and Syracuse writer Dana Spiotta, Rohde will compose the music for an opera to be performed and seen on a polluted industrial waterway between Brooklyn and Queens.\u003c/p>\n\u003cfigure id=\"attachment_13890637\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890637\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Lorenz_TideTaxi_NewtownOdyssey-Marie-Lorenz-optimized_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Lorenz_TideTaxi_NewtownOdyssey-Marie-Lorenz-optimized_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Lorenz_TideTaxi_NewtownOdyssey-Marie-Lorenz-optimized_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Lorenz_TideTaxi_NewtownOdyssey-Marie-Lorenz-optimized_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Lorenz_TideTaxi_NewtownOdyssey-Marie-Lorenz-optimized_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Lorenz_TideTaxi_NewtownOdyssey-Marie-Lorenz-optimized_1200-768x576.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An aerial image of Marie Lorenz’s ‘Tide Taxi’ on a polluted waterway. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rohde has to consider not just creating something that will be outside (a particular acoustic challenge), but on multiple, possibly moving stages. Questions of power, amplification, live instruments, pre-recorded sound, seasonal elements and the effect of those elements on instruments are all in play. “I can’t ask you to take your cello out in a boat,” he says.\u003c/p>\n\u003cp>The Creative Capital Award is meant for just such projects: challenging, expansive ones that change the way we think about what the arts can accomplish. \u003ci>Newtown Odyssey\u003c/i>’s commitment to carbon neutrality—an issue rarely broached in the fine art world—is a case in point.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Since our talk, I have been using a number of online carbon emission offset calculators,” Rohde later wrote in an email. “It looks like I will be planting a few trees for that round-trip flight next summer!”\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. 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. 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One award to the ensemble and one award to the conductor, if applicable.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Contemporary Voices” — Pacifica Quartet\u003c/li>\n\u003cli>“Healing Modes” — Brooklyn Rider\u003c/li>\n\u003cli>“Hearne, T.: Place” — Ted Hearne, Steven Bradshaw, Sophia Byrd, Josephine Lee, Isaiah Robinson, Sol Ruiz, Ayanna Woods & Place Orchestra\u003c/li>\n\u003cli>“Hynes: Fields” — Devonté Hynes & Third Coast Percussion\u003c/li>\n\u003cli>“The Schumann Quartets” — Dover Quartet\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Classical Instrumental Solo \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Award to the instrumental soloist(s) and to the conductor when applicable.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Adès: Concerto For Piano And Orchestra” — Kirill Gerstein; Thomas Adès, conductor (Boston Symphony Orchestra)\u003c/li>\n\u003cli>“Beethoven: Complete Piano Sonatas” — Igor Levit\u003c/li>\n\u003cli>“Bohemian Tales” — Augustin Hadelich; Jakub Hrůša, conductor (Charles Owen; Symphonieorchester Des Bayerischen Rundfunks)\u003c/li>\n\u003cli>“Destination Rachmaninov – Arrival” — Daniil Trifonov; Yannick Nézet-Séguin, conductor (The Philadelphia Orchestra)\u003c/li>\n\u003cli>“Theofanidis: Concerto For Viola And Chamber Orchestra” — Richard O’Neill; David Alan Miller, conductor (Albany Symphony)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Classical Solo Vocal Album \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Award to: vocalist(s), collaborative artist(s) (Ex: pianists, conductors, chamber groups) producer(s), recording engineers/mixers with 51% or more playing time of new material.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>American Composers At Play – William Bolcom, Ricky Ian Gordon, Lori Laitman, John Musto — Stephen Powell (Attacca Quartet, William Bolcom, Ricky Ian Gordon, Lori Laitman, John Musto, Charles Neidich & Jason Vieaux)\u003c/li>\n\u003cli>Clairières – Songs By Lili & Nadia Boulanger — Nicholas Phan; Myra Huang, accompanist\u003c/li>\n\u003cli>Farinelli — Cecilia Bartoli; Giovanni Antonini, conductor (Il Giardino Armonico)\u003c/li>\n\u003cli>A Lad’s Love — Brian Giebler; Steven McGhee, accompanist (Katie Hyun, Michael Katz, Jessica Meyer, Reginald Mobley & Ben Russell)\u003c/li>\n\u003cli>Smyth: The Prison — Sarah Brailey & Dashon Burton; James Blachly, conductor (Experiential Chorus; Experiential Orchestra)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Classical Compendium\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Award to the artist(s) and to the album producer(s) and engineer(s) of over 51% playing time of the album, if other than the artist.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>Adès Conducts Adès — Mark Stone & Christianne Stotijn; Thomas Adès, conductor; Nick Squire, producer\u003c/li>\n\u003cli>Saariaho: Graal Théâtre; Circle Map; Neiges; Vers Toi Qui Es Si Loin — Clément Mao-Takacs, conductor; Hans Kipfer, producer\u003c/li>\n\u003cli>Serebrier: Symphonic Bach Variations; Laments And Hallelujahs; Flute Concerto — José Serebrier, conductor; Jens Braun, producer\u003c/li>\n\u003cli>Thomas, M.T.: From The Diary Of Anne Frank & Meditations On Rilke — Isabel Leonard; Michael Tilson Thomas, conductor; Jack Vad, producer\u003c/li>\n\u003cli>Woolf, L.P.: Fire And Flood — Matt Haimovitz; Julian Wachner, conductor; Blanton Alspaugh, producer\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Contemporary Classical Composition\u003c/strong>\u003c/p>\n\u003cp>\u003cem>A composer’s award. (For a contemporary classical composition composed within the last 25 years, and released for the first time during the eligibility year.) Award to the librettist, if applicable.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Adès: Concerto For Piano And Orchestra” — Thomas Adès, composer (Kirill Gerstein, Thomas Adès & Boston Symphony Orchestra)\u003c/li>\n\u003cli>“Danielpour: The Passion Of Yeshua” — Richard Danielpour, composer (JoAnn Falletta, James K. Bass, Adam Luebke, UCLA Chamber Singers, Buffalo Philharmonic Orchestra & Buffalo Philharmonic Chorus)\u003c/li>\n\u003cli>“Floyd, C.: Prince Of Players” — Carlisle Floyd, composer (William Boggs, Kate Royal, Keith Phares, Florentine Opera Chorus & Milwaukee Symphony Orchestra)\u003c/li>\n\u003cli>“Hearne, T.: Place” — Ted Hearne, composer (Ted Hearne, Steven Bradshaw, Sophia Byrd, Josephine Lee, Isaiah Robinson, Sol Ruiz, Ayanna Woods & Place Orchestra)\u003c/li>\n\u003cli>“Rouse: Symphony No. 5” — Christopher Rouse, composer (Giancarlo Guerrero &\u003c/li>\n\u003cli>Nashville Symphony)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Best Music Video\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Award to the artist, video director, and video producer.\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>“Brown Skin Girl” — Beyoncé; Beyoncé Knowles-Carter & Jenn Nkiru, video directors; Lauren Baker, Astrid Edwards, Nathan Scherrer & Erinn Williams, video producers\u003c/li>\n\u003cli>“Life Is Good” — Future ft. Drake; Julien Christian Lutz, video director; Harv Glazer, video producer\u003c/li>\n\u003cli>“Lockdown” — Anderson .Paak; Dave Meyers, video director; Nathan Scherrer, video producer\u003c/li>\n\u003cli>“Adore You” — Harry Styles; Dave Meyers, video director; Nathan Scherrer, video producer\u003c/li>\n\u003cli>“Goliath” — Woodkid; Yoann Lemoine, video director\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9%2C+Dua+Lipa+Headline+2021+Grammy+Nominations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This year’s National Book Awards ceremony was an evening with a message: We can do better.\u003c/p>\n\u003cp>The online-only event included a montage of Black winners past—narrated by LeVar Burton—with this admission: From 1936 to 1999, only 13 writers of color won a National Book Award.\u003c/p>\n\u003cp>“We haven’t been bold enough in our vision,” said National Book Foundation executive director Lisa Lucas, who will leave the foundation in January to become a senior vice president and publisher at Pantheon and Schocken Books. “We haven’t been brave enough in our choices. We haven’t been confident enough in our values to make sure that this industry, this community is as strong and inclusive and vibrant as it could be. As it should be. As it will be.” [aside postid='arts_13842502']\u003c/p>\n\u003cp>The Foundation made some strides towards that inclusivity tonight, with almost every medal going to an author of color. The evening began with the Literarian Award for Outstanding Service to the American Literary Community, given posthumously to the late Simon & Schuster CEO, Carolyn Reidy. But next up was Walter Mosley, who received the Medal for Distinguished Contribution to American Letters.\u003c/p>\n\u003cp>“Stories keep their deep connection to the human heart word by word, sentence by sentence,” he said. “We writers speak to our readers, but at the same time, they receive our stories, applying them to their own unique experience. In this way, writing is political and democratic in the extreme. We are free in our minds to imagine, to conjure anything. Anything at all.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Host Jason Reynolds paid tribute to Mosley, remembering an encounter with the writer at a literary event. “You simply said, ‘I see you.’ And I don’t know if you remember it,” Reynolds said, “but it meant the world to me, because it felt like you were saying that I had a place here, that I had earned a seat at the table, to sit amongst the other quilters, and to stitch my square.”\u003c/p>\n\u003cp>After an extended fundraising appeal, the first National Book Award of the night—for young people’s literature—went to Kacen Callender, for their heartwrenching \u003cem>King and the Dragonflies\u003c/em>. It’s a story about a young boy growing up in a small Louisiana town, who becomes convinced his late brother isn’t truly dead—he’s just become a dragonfly. “This is an interesting year to win,” Callender said. “This has been the hardest, most painful, most devastating year in many people’s memories, in our lifetime. But this has also been an empowering year for many, a year when we’re forced to pause and reflect, not only on ourselves but on the society we live in.” [aside postid='arts_13881489']\u003c/p>\n\u003cp>Next up was the Translated Literature award, which went to Japanese author Yu Miri, for \u003cem>Tokyo Ueno Station\u003c/em>, translated by Morgan Giles. In her speech, Miri thanked the people of Fukushima, where she lives, and recalled the terrible earthquake, tsunami and nuclear meltdown of 2011. The book is narrated by a ghost—originally from Fukushima but now haunting a Tokyo train station; our critic Michael Schaub called it “a stunning novel, and a harsh, uncompromising look at existential despair.”\u003c/p>\n\u003cp>The Poetry prize went to poet and translator Don Mee Choi, for her collection \u003cem>DMZ Colony\u003c/em>, which explores lives affected by colonization and war. In an emotional speech, Choi dedicated the award to her father. “Poetry and translation have changed my life,” she said. “For me, they are inseparable.”\u003c/p>\n\u003cp>Tamara Payne accepted the Nonfiction prize for \u003cem>The Dead Are Arising: The Life of Malcolm X\u003c/em>, a monumental biography begun by her father, journalist Les Payne, who spent decades interviewing anyone who’d ever known the late Black activist. Tamara Payne was her father’s primary researcher and finished the book after his death in 2018. “Definitive is a word we must use carefully when talking about biographies because it implies a degree of finality that research and new information may prove wrong,” says our reviewer Gabino Iglesias. “That said, Les and Tamara Payne’s \u003cem>The Dead Are Arising\u003c/em> is, for now, the definitive biography of Malcolm X.”\u003c/p>\n\u003cp>And finally, the Fiction prize went to Charles Yu for \u003cem>Interior Chinatown\u003c/em>, told from the point of view of a struggling actor most often seen as a generic Asian man in the background of a restaurant or a crime scene. Yu seemed taken aback by his victory, briefly wordless. “I prepared nothing, which tells you how realistic I thought this was,” he joked, wiping away a tear. “There’s not many reasons for hope right now, but to be here, hearing about all of these books, having read some of them, going on to read many more of them, it is what keeps me going, and I hope that this community can sustain other people in the same way.” [aside postid='pop_110573']\u003c/p>\n\u003cp>Perhaps it’s fitting to go back to Walter Mosley to close: “There’s a great weight hanging over the reception of an award when the underlying subject is ‘the first black man to receive,'” he said, putting pointed emphasis on those last words. “We, the people who are darker than blue, have been here on this continent, in this storm for 400 years. As a matter of course we have been chained, beaten, raped, murdered, robbed of our names, our history and often even our dignity. This has been an ongoing process. An unending anguish. And so one might be cowed by the monumental negative space surrounding that pinprick of light that this award represents. One might ask, could such a thing make a difference? Is this a dying gasp, or a first breath? Is today different from any other day over the past 400 years? I prefer to believe that we are on the threshold of a new day. That this evening is but one of ten thousand steps being taken to recognize the potential of this nation.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And the night ended with an unexpected treat, Translated Literature judge John Darnielle—otherwise known as the frontman of the band The Mountain Goats—giving an acoustic performance of his 2005 song “This Year,” with its unwittingly prescient chorus: “\u003ca href=\"https://www.youtube.com/watch?v=eetIgGXH6DA\" target=\"_blank\" rel=\"noopener noreferrer\">I am gonna make it through this year, if it kills me.\u003c/a>”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=2020%27s+National+Book+Awards+Strive+For+Inclusivity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Host Jason Reynolds paid tribute to Mosley, remembering an encounter with the writer at a literary event. “You simply said, ‘I see you.’ And I don’t know if you remember it,” Reynolds said, “but it meant the world to me, because it felt like you were saying that I had a place here, that I had earned a seat at the table, to sit amongst the other quilters, and to stitch my square.”\u003c/p>\n\u003cp>After an extended fundraising appeal, the first National Book Award of the night—for young people’s literature—went to Kacen Callender, for their heartwrenching \u003cem>King and the Dragonflies\u003c/em>. It’s a story about a young boy growing up in a small Louisiana town, who becomes convinced his late brother isn’t truly dead—he’s just become a dragonfly. “This is an interesting year to win,” Callender said. “This has been the hardest, most painful, most devastating year in many people’s memories, in our lifetime. But this has also been an empowering year for many, a year when we’re forced to pause and reflect, not only on ourselves but on the society we live in.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Next up was the Translated Literature award, which went to Japanese author Yu Miri, for \u003cem>Tokyo Ueno Station\u003c/em>, translated by Morgan Giles. In her speech, Miri thanked the people of Fukushima, where she lives, and recalled the terrible earthquake, tsunami and nuclear meltdown of 2011. The book is narrated by a ghost—originally from Fukushima but now haunting a Tokyo train station; our critic Michael Schaub called it “a stunning novel, and a harsh, uncompromising look at existential despair.”\u003c/p>\n\u003cp>The Poetry prize went to poet and translator Don Mee Choi, for her collection \u003cem>DMZ Colony\u003c/em>, which explores lives affected by colonization and war. In an emotional speech, Choi dedicated the award to her father. “Poetry and translation have changed my life,” she said. “For me, they are inseparable.”\u003c/p>\n\u003cp>Tamara Payne accepted the Nonfiction prize for \u003cem>The Dead Are Arising: The Life of Malcolm X\u003c/em>, a monumental biography begun by her father, journalist Les Payne, who spent decades interviewing anyone who’d ever known the late Black activist. Tamara Payne was her father’s primary researcher and finished the book after his death in 2018. “Definitive is a word we must use carefully when talking about biographies because it implies a degree of finality that research and new information may prove wrong,” says our reviewer Gabino Iglesias. “That said, Les and Tamara Payne’s \u003cem>The Dead Are Arising\u003c/em> is, for now, the definitive biography of Malcolm X.”\u003c/p>\n\u003cp>And finally, the Fiction prize went to Charles Yu for \u003cem>Interior Chinatown\u003c/em>, told from the point of view of a struggling actor most often seen as a generic Asian man in the background of a restaurant or a crime scene. Yu seemed taken aback by his victory, briefly wordless. “I prepared nothing, which tells you how realistic I thought this was,” he joked, wiping away a tear. “There’s not many reasons for hope right now, but to be here, hearing about all of these books, having read some of them, going on to read many more of them, it is what keeps me going, and I hope that this community can sustain other people in the same way.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And the night ended with an unexpected treat, Translated Literature judge John Darnielle—otherwise known as the frontman of the band The Mountain Goats—giving an acoustic performance of his 2005 song “This Year,” with its unwittingly prescient chorus: “\u003ca href=\"https://www.youtube.com/watch?v=eetIgGXH6DA\" target=\"_blank\" rel=\"noopener noreferrer\">I am gonna make it through this year, if it kills me.\u003c/a>”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=2020%27s+National+Book+Awards+Strive+For+Inclusivity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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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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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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"events": {},
"support": {}
}
}
}