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    15 Looks That Did the Most at Coachella

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    There was no shortage of celebrities onstage last weekend at the first installment of this year’s Coachella Valley Music and Arts Festival in Southern California, where Doja Cat, Billie Eilish and even Will Smith performed.Ms. Eilish surprised spectators by joining Lana del Rey for the folk-rock singer’s first Coachella set since 2014. Mr. Smith, who started his career as a rapper, also shocked many in the audience by performing a rendition of his song “Men in Black” with dancers dressed as aliens during the reggaeton singer J Balvin’s set.But some of the highest-profile performers at the festival weren’t there to work: Rihanna and ASAP Rocky, along with Taylor Swift and Travis Kelce, came as spectators, even if neither couple could exactly blend in with the crowd.At Coachella — an orgy of brand activations, parties and musical performances — celebrities are but one reliable component. Another is fashion, which typically tends toward the ostentatious. That was mostly the case last weekend, during which these 15 looks stood out — some for being opulent, others for being over-the-top and a couple for being surprisingly simple.Doja Cat: Most Harebrained!Hair with boots to match.Valerie Macon/Agence France-Presse — Getty ImagesOf the many outfits worn by the singer and rapper during her set, this get-up involving few clothes and strategically arranged extensions might have stolen the show — if only by a hair.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      9 Musicians Who Play a Role in This Year’s Oscars

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      Hear songs by Dua Lipa, Jarvis Cocker and yes, Bradley Cooper.Dua Lipa striking a “Barbie” pose.Justin Tallis/Agence France-Presse — Getty ImagesDear listeners,Only two days until the Academy Awards! In Tuesday’s newsletter, we looked back at Oscar history and heard some tracks that won best original song. Today, we’re focusing on this year’s contenders — and the many musicians who make appearances in Oscar-nominated movies.I first had the idea for this playlist months ago, when I noticed how many musicians have roles in Martin Scorsese’s epic American tragedy “Killers of the Flower Moon.” The Americana icon Jason Isbell has a surprisingly major part, holding his own in scenes with Leonardo DiCaprio and Robert DeNiro; the country crooner Sturgill Simpson also makes a memorable cameo.But then, as I caught up on the year’s most acclaimed films, I kept seeing — and hearing — musicians everywhere. That bowl-cutted court monitor who comes to assess a young boy’s safety in “Anatomy of a Fall”? That’s Jehnny Beth, a brooding solo artist and leader of the spiky rock band Savages. Is that guy sitting at the hotel desk for a fleeting moment in Wes Anderson’s whimsical “The Wonderful Story of Henry Sugar” actually … Jarvis Cocker? (Yep, it was.)Consider today’s playlist a who’s who of musicians with connections to this year’s Oscar nominees. Some show off their acting chops; others, like Mica Levi and Jon Batiste, contributed indelible music to the recognized films. This marks the first time, though perhaps not the last, I have bemoaned the fact that Paul Giamatti (my personal best actor choice) was never in a band.You can’t make an entrance if you keep missing your cue,LindsayListen along while you read.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Taylor Swift, SZA, Billie Eilish: Who Will Have a Big Grammys?

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      Taylor Swift and SZA could make history at the 66th annual awards on Sunday night, where young women dominate the nominations, and revered older artists will take the stage.The 66th annual Grammy Awards on Sunday are poised to be a celebration of a dominant year for women in pop music, with female stars like SZA, Taylor Swift, Olivia Rodrigo and Billie Eilish facing off in the major categories.SZA, whose “SOS” was a critical and chart smash, leads with nine nominations; the pop and R&B singer and songwriter Victoria Monét has seven; and Swift, Rodrigo, Eilish, Miley Cyrus and the indie-rock trio boygenius have six apiece. Swift and SZA each have the potential for landmark wins.For an award show that in the past has been criticized for its treatment of female stars, its lineup alone is being interpreted as a sign of progress. But the show this year is taking place in the shadow of lawsuits against two former Grammy leaders, accusing each of sexual assault. Neil Portnow, a former Recording Academy president, has denied the allegations against him; Michael Greene, his predecessor, has not commented.Never bet on the Grammys’ being too predictable. Industry politics, vote-splitting and a shifting membership have the potential, as always, to scramble outcomes, despite expectations about who may win or lose.Whoever wins, the night will have a roster of performers that mixes young and old, fresh faces and classics, including SZA, Eilish, Rodrigo, Joni Mitchell, Luke Combs, Dua Lipa, Travis Scott, Burna Boy, Billy Joel and U2. The host, for a fourth straight year, is the comedian Trevor Noah.Here is a look at some of the night’s major story lines.Will Taylor Swift Make History?Swift was a gale-force power in pop culture last year, and she has the potential to make a major mark at the Grammys.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber?  More

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      ‘American Symphony’ Review: Intimate Harmony

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      This portrait of the musician Jon Batiste and the author Suleika Jaouad follows an artistic couple through ambition and adversity.Partway through “American Symphony,” the musician Jon Batiste pokes gentle fun at the coverage he received in advance of the 2022 Grammys. The breadth of his 11 nominations, which bridged pop, jazz and classical categories, made him tough to label. He ultimately fended off Taylor Swift and Billie Eilish to win album of the year.This documentary, directed by Matthew Heineman, is likewise deceptively tricky to peg. In the broad strokes, it is a process film, following Batiste, who grew up in the New Orleans area and trained at Juilliard, as he prepares a wildly original symphony that shares a title with the movie. “My ambition for composing this symphony is massive,” he says. “I’m trying to expand the canon of symphonic music, break through long-gatekept spaces.”(Ben Sisario, writing in The New York Times, described the piece, which premiered at Carnegie Hall in 2022, as a “Whitmanesque canvas of funk, Dixieland jazz, operatic vocals and Native American drums.”)But this is also a movie about two artists, their love, their creative attitudes and how, as a couple, they approach living a “life of contrasts.” That description comes from the writer Suleika Jaouad, Batiste’s partner (they marry during the film), whose best-selling memoir, “Between Two Kingdoms,” was published in 2021 and who, before college, studied at Juilliard herself, with a specialization in double bass.As Batiste gets ready for his Grammy and Carnegie Hall coups, Jaouad undergoes a bone marrow transplant after a recurrence of cancer. (She received her first leukemia diagnosis at 22, and from 2012 to 2015 wrote in The Times about her experiences.)While some of the backstage material has an official feel (Batiste and Jaouad are listed among the many executive producers, along with Barack and Michelle Obama), the documentary does not shy from showing private moments. It captures Batiste hiding his head under a pillow as he talks on the phone with his therapist and sits in with the couple as a doctor discusses the open-ended course of chemotherapy he is recommending. When it comes to the music, too, the film is unafraid to dwell on a drawn-out silence or phrase.American SymphonyRated PG-13 Potentially upsetting medical scenes. Running time: 1 hour 44 minutes. Watch on Netflix. More

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      Suleika Jaouad Revisits Bone Marrow Transplant in “American Symphony”

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      This month, writer Suleika Jaouad revisits her second bone marrow transplant in the documentary “American Symphony.”In the months following her second bone marrow transplant, Suleika Jaouad’s TikTok algorithm started serving her videos of bearded dragons shedding their skin. For a writer whose work deals in ambiguities, that metaphor was tidier than she’d have preferred.Ms. Jaouad quotes Joan Didion and Emily Dickinson in casual conversation. She is the author of “Between Two Kingdoms: A Memoir of Life Interrupted,” a best seller which documents her first bone marrow transplant and its aftermath. Diagnosed with acute myeloid leukemia in 2011, Ms. Jaouad recorded the experience in real time for a column in this paper.“Why am I drawn to these?” Ms. Jaouad, now 35, wondered of the reptilian videos. She posed the question while settling into the crook of her couch at her home in Brooklyn, with a lunch spread laid out over a low table in front of her. Her dog River ogled some baba ganoush from his perch near her feet.More than time-tested sonnets and snippets of Buddhist wisdom, it was molting bearded dragons that seemed to tell the truth about what Ms. Jaouad called, “the experience of forced renewal.” She too had molted — twice now. And like the lizards, she had no choice but to be vulnerable. “I was so stripped bare, I felt larval,” said Ms. Jaouad.Diagnosed with acute myeloid leukemia in 2011, Ms. Jaouad recorded the experience in real time for a column in The New York Times.via Penguin Random HouseThis month, Ms. Jaouad will revisit the raw period of her cancer recurrence and second transplant when the feature documentary “American Symphony” premieres on Netflix in collaboration with Barack and Michelle Obama’s production company, Higher Ground. The work follows Ms. Jaouad and her husband, the musician Jon Batiste, as the couple faces what Ms. Jaouad has called their “life of contrasts.” Both Ms. Jaouad and Mr. Batiste serve as executive producers.Just how stark are the contrasts? In November 2021, Ms. Jaouad learned her cancer had returned. That same week, Mr. Batiste earned 11 Grammy nominations — the most of any artist. The night before Ms. Jaouad checked into the hospital for her transplant, the two — who met as middle schoolers at band camp and later reconnected — married at home and swapped twist-tie rings.Meanwhile, Mr. Batiste continued both to serve as bandleader on “The Late Show with Stephen Colbert” and to compose a one-time performance at Carnegie Hall in New York (also called “American Symphony”) that would distill the whole of American history into sound. In her sterile room, Ms. Jaouad started to paint and papered her walls in vibrant, sometimes gruesome watercolor.None of this was supposed to happen.As in the lead-up to her initial diagnosis, Ms. Jaouad had been negotiating persistent fatigue for months when she went to see her doctors for tests.It had been over a decade since Ms. Jaouad’s first bone marrow transplant. Her own medical team was so convinced of her durable health that the biopsy she insisted on was deemed a kind of indulgence. Minutes before the procedure, a nurse told her she didn’t have to do it. “I felt embarrassed,” Ms. Jaouad said. “I felt like I was being a hysterical, melodramatic hypochondriac.” She almost backed out, but the writer Elizabeth Gilbert — a friend and mentor — had driven her to the appointment. She didn’t want Ms. Gilbert to feel she had wasted her time.“I was right to push for the biopsy,” said Ms. Jaouad. “I wish I hadn’t been.”Netflix“She’s able to transform darkness, alchemize darkness, and transmutate darkness into light,” Mr. Batiste said of his wife.NetflixDoctors ground into Ms. Jaouad’s spine to extract a sample of her marrow. Ms. Gilbert stood watch, calling the ordeal “grisly as hell.” The relapse “simply wasn’t supposed to happen,” she wrote in an email. “There was no template for it, which was why nobody was looking for it.”“I was right to push for the biopsy,” said Ms. Jaouad. “I wish I hadn’t been.”The filmmaker Matthew Heineman had already started production on what would become “American Symphony” when Ms. Jaouad’s results came in. Mr. Heineman, who directed “Cartel Land” and “A Private War,” had been interested in shadowing Mr. Batiste as he devised the Carnegie Hall piece. Ms. Jaouad’s recurrence necessitated — as Mr. Heineman put it — a “pivot.”Ms. Jaouad was not sure she wanted to function as a plot twist.“I never want to be flattened into ‘the sick girl,’” Ms. Jaouad said of her deliberations. “I said to Matt outright, ‘I don’t want to be the dramatic counterpoint to Jon’s meteoric success.’” Mr. Heineman insisted he too was uninterested in the tropes of the illness plot. In “American Symphony” no one feels an errant lump. Ms. Jaouad doesn’t have a dramatic phone call with her oncologist. Viewers discover she has cancer in the middle of a fierce snowball fight in which Ms. Jaouad — struck and faux-outraged — protests: No hitting the girl with leukemia.Ms. Jaouad came around on the project as she did on “Between Two Kingdoms.” Then too, she had been hesitant. Ms. Jaouad recalled an encounter with the writer Cheryl Strayed not long after her first transplant. She told Ms. Strayed she wanted to write a book, but not one about illness. Ms. Strayed told her she had once been determined to avoid writing about the death of her mother. Then she turned in the manuscript for “Wild: Lost and Found on the Pacific Crest Trail.”“It’s about the hike, but it’s all about her dead mother,” Ms. Jaouad said with a smile.Ms. Jaouad’s book, and to some extent, “The Isolation Journals,” a popular newsletter she launched at the outset of the pandemic, explores how to re-enter the world after devastation. “American Symphony” follows up: How to keep going when there’s no straightforward “after.”So when it came time to watch an initial cut of the film (drawn from 1,500 hours of footage), Ms. Jaouad queued it up alone. “I feel a bit desensitized to it now,” she said. “That specific time is not representative of how I live or who I am.” But she has “no qualms” about her depiction or the decision to let Mr. Heineman film the crucial appointment three months post-transplant in which she would learn if her transplant worked. Mr. Heineman thus found out at the same time she and Mr. Batiste did that the procedure had been a success — and that Ms. Jaouad would have to be in treatment to outwit her cancer for the rest of her life.Lately, Ms. Jaouad is forcing herself to make plans. She sees it as an act of, “necessary optimism,” that she has committed to write two more books. Dana Golan for The New York Times“To describe it as a roller coaster would be an insult to roller coasters,” Ms. Jaouad said of her emotional whiplash. “The idea of indefinite treatment thrust me into a whole different kind of in-between place, and it’s one that I’m still learning to swim in.”“She’s able to transform darkness, alchemize darkness, and transmutate darkness into light,” Mr. Batiste said in a phone interview. (He called hours after still more Grammy nominations. This year, he earned six, including one for “Butterfly” — the song that plays in the “American Symphony” trailer and which he wrote for Ms. Jaouad.) “She’s able to look into what she’s facing and see not only how she can find God and find healing through it, but also provide that insight to hundreds of thousands and millions of other people out there whom she’s never met.”Necessary OptimismAfter the film premiered at the Telluride Film Festival, Ms. Jaouad recalled that someone in the crowd approached her and said how relieved she was: “You’re still here.”“When it comes to illness stories, we tell them from the vantage point of having survived,” Ms. Jaouad said. In that sense, “American Symphony,” which stops short of a white-text-black-screen epilogue and offers no update on Ms. Jaouad’s health, is a corrective. “It wasn’t clear that I was going to survive the shooting period of this,” she said. The credits roll, but there is no neat ending for Ms. Jaouad and Mr. Batiste.“None of us know if we’re going to exist in the future, but I have a heightened fear of not existing in the future,” Ms. Jaouad said.In “Between Two Kingdoms” Ms. Jaouad writes about her exchanges with a man named Quintin Jones. Mr. Jones, who introduces himself to her as “Lil GQ,” read her columns while on death row. He’d written from a place of recognition — one trapped person to another. After her transplant, she visited him in prison. But the week her book was released, he was given an execution date. Ms. Jaouad was devastated. She threw herself into the movement to get his death sentence converted into a life sentence. It didn’t work.On the morning of his execution, Mr. Jones was granted four hours of phone calls. He spent them with Mr. Batiste and Ms. Jaouad. “It was unbelievable because we were talking in the future tense, knowing that the future wasn’t going to come to pass,” Ms. Jaouad said. “He talked about coming to visit us, hanging out in our garden. We were all just choosing to live in that space.” She tried to explain the suspension. Their conscious decision to be outside of time.Lately, Ms. Jaouad is forcing herself to make plans. She sees it as an act of, “necessary optimism,” that she has committed to write two more books. One will be a work of painting and prose that Ms. Jaouad has titled “Drowning Practice.” The second will be a book about journaling, incorporating writing prompts. She will show her work at the art center ArtYard next summer.A few weeks ago, Ms. Jaouad traveled to Seattle and was walking outside, suddenly under a torrential rain. Someone rushed to offer her an umbrella. “I was like, ‘No, I’m good,’” Ms. Jaouad remembered. She wanted to feel the rain on her face. Back in New York, she let herself fantasize. Not about prizes or red carpets, but about some unspecial rainstorm a decade from now. How incredible it would be not to feel new, she said. “If I’m around, I’ll want the umbrella.” More

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      2024 Grammy Nominations: Full List

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      Artists, albums and songs competing for trophies at the 66th annual ceremony are being announced on Friday. The show will take place on Feb. 4 at Crypto.com Arena in Los Angeles.SZA is the top nominee for the 66th annual Grammy Awards with nine nods, all for her album “SOS,” which topped the Billboard 200 for 10 weeks.She leads a group of contenders that also includes Victoria Monét (with seven), as well as Jon Batiste, boygenius, Brandy Clark, Miley Cyrus, Billie Eilish, Olivia Rodrigo and Taylor Swift (all with six apiece). Songs from the movie “Barbie” received 11 nods in seven categories. The producer Jack Antonoff and the engineer Serban Ghenea are also top nominees.The ceremony, which will take place on Feb. 4, 2024 at the Crypto.com Arena in Los Angeles, will recognize recordings released from Oct. 1, 2022, to Sept. 15, 2023.Here is a complete list of the nominations, which were announced on Friday by the Recording Academy.Record of the Year“Worship,” Jon Batiste“Not Strong Enough,” boygenius“Flowers,” Miley Cyrus“What Was I Made For?” from “Barbie,” Billie Eilish“On My Mama,” Victoria Monét“Vampire,” Olivia Rodrigo“Anti-Hero,” Taylor Swift“Kill Bill,” SZAAlbum of the Year“World Music Radio,” Jon Batiste“The Record,” boygenius“Endless Summer Vacation,” Miley Cyrus“Did You Know That There’s a Tunnel Under Ocean Blvd,” Lana Del Rey“The Age of Pleasure,” Janelle Monáe“Guts,” Olivia Rodrigo“Midnights,” Taylor Swift“SOS,” SZASong of the Year“A&W,” Jack Antonoff, Lana Del Rey and Sam Dew, songwriters (Lana Del Rey)“Anti-Hero,” Jack Antonoff and Taylor Swift, songwriters (Taylor Swift)“Butterfly,” Jon Batiste and Dan Wilson, songwriters (Jon Batiste)“Dance the Night” (From “Barbie: The Album”) Caroline Ailin, Dua Lipa, Mark Ronson and Andrew Wyatt, songwriters (Dua Lipa)“Flowers,” Miley Cyrus, Gregory Aldae Hein and Michael Pollack, songwriters (Miley Cyrus)“Kill Bill,” Rob Bisel, Carter Lang and Solána Rowe, songwriters (SZA)“Vampire,” Daniel Nigro and Olivia Rodrigo, songwriters (Olivia Rodrigo)“What Was I Made For?” from “Barbie,” Billie Eilish O’Connell and Finneas O’Connell, songwriters (Billie Eilish)Best New ArtistGracie AbramsFred again..Ice SpiceJelly RollCoco JonesNoah KahanVictoria MonétThe War and TreatyProducer of the Year, Non-ClassicalJack AntonoffDernst “D’Mile” Emile IIHit-BoyMetro BoominDaniel NigroSongwriter of the Year, Non-ClassicalEdgar BarreraJessie Jo DillonShane McAnallyTheron ThomasJustin TranterBest Pop Solo Performance“Flowers,” Miley Cyrus“Paint the Town Red,” Doja Cat“What Was I Made For?” from “Barbie,” Billie Eilish“Vampire,” Olivia Rodrigo“Anti-Hero,” Taylor SwiftBest Pop Duo/Group Performance“Thousand Miles,” Miley Cyrus featuring Brandi Carlile“Candy Necklace,” Lana Del Rey featuring Jon Batiste“Never Felt So Alone,” Labrinth featuring Billie Eilish“Karma,” Taylor Swift featuring Ice Spice“Ghost in the Machine,” SZA featuring Phoebe BridgersBest Pop Vocal Album“Chemistry,” Kelly Clarkson“Endless Summer Vacation,” Miley Cyrus“Guts,” Olivia Rodrigo“-” (Subtract), Ed Sheeran“Midnights,” Taylor SwiftBest Dance/Electronic Recording“Blackbox Life Recorder 21F,” Aphex Twin“Loading,” James Blake“Higher Than Ever Before,” Disclosure“Strong,” Romy & Fred again..“Rumble,” Skrillex, Fred again.. and FlowdanBest Pop Dance Recording“Baby Don’t Hurt Me,” David Guetta, Anne-Marie and Coi Leray“Miracle,” Calvin Harris featuring Ellie Goulding“Padam Padam,” Kylie Minogue“One in a Million,” Bebe Rexha & David Guetta“Rush,” Troye SivanBest Dance/Electronic Music Album“Playing Robots Into Heaven,” James Blake“For That Beautiful Feeling,” the Chemical Brothers“Actual Life 3 (January 1 – September 9 2022),” Fred again..“Kx5,” Kx5“Quest for Fire,” SkrillexBest Rock Performance“Sculptures of Anything Goes,” Arctic Monkeys”More Than a Love Song,” Black Pumas“Not Strong Enough,” boygenius“Rescued,” Foo Fighters“Lux Æterna,” MetallicaBest Metal Performance“Bad Man,” Disturbed“Phantom of the Opera,” Ghost“72 Seasons,” Metallica”Hive Mind,” Slipknot“Jaded,” SpiritboxBest Rock Song“Angry,” Mick Jagger, Keith Richards and Andrew Watt, songwriters (the Rolling Stones)“Ballad of a Homeschooled Girl,” Daniel Nigro and Olivia Rodrigo, songwriters (Olivia Rodrigo)“Emotion Sickness,” Dean Fertita, Joshua Homme, Michael Shuman, Jon Theodore and Troy Van Leeuwen, songwriters (Queens of the Stone Age)“Not Strong Enough,” Julien Baker, Phoebe Bridgers and Lucy Dacus, songwriters (boygenius)“Rescued,” Dave Grohl, Rami Jaffee, Nate Mendel, Chris Shiflett and Pat Smear, songwriters (Foo Fighters)Best Rock Album“But Here We Are,” Foo Fighters“Starcatcher,” Greta Van Fleet“72 Seasons,” Metallica“This Is Why,” Paramore“In Times New Roman…,” Queens of the Stone AgeBest Alternative Music Performance“Belinda Says,” Alvvays“Body Paint,” Arctic Monkeys“Cool About It,” boygenius“A&W,” Lana Del Rey“This Is Why,” ParamoreBest Alternative Music Album“The Car,” Arctic Monkeys“The Record,” boygenius“Did You Know That There’s a Tunnel Under Ocean Blvd,” Lana Del Rey“Cracker Island,” Gorillaz“I Inside the Old Year Dying,” PJ HarveyBest R&B Performance“Summer Too Hot,” Chris Brown“Back to Love,” Robert Glasper featuring SiR and Alex Isley“ICU,” Coco Jones“How Does It Make You Feel,” Victoria Monét“Kill Bill,” SZABest Traditional R&B Performance“Simple,” Babyface featuring Coco Jones“Lucky,” Kenyon Dixon“Hollywood,” Victoria Monét featuring Earth, Wind & Fire and Hazel Monét“Good Morning,” PJ Morton featuring Susan Carol“Love Language,” SZABest R&B Song“Angel,” Halle Bailey, Theron Feemster and Coleridge Tillman, songwriters (Halle)“Back to Love,” Darryl Andrew Farris, Robert Glasper and Alexandra Isley, songwriters (Robert Glasper Featuring SiR and Alex Isley)“ICU,” Darhyl Camper Jr., Courtney Jones, Raymond Komba and Roy Keisha Rockette, songwriters (Coco Jones)”On My Mama,” Dernst Emile II, Jeff Gitelman, Victoria Monét, Kyla Moscovich, Jamil Pierre and Charles Williams, songwriters (Victoria Monét)“Snooze,” Kenny B. Edmonds, Blair Ferguson, Khris Riddick-Tynes, Solána Rowe and Leon Thomas, songwriters (SZA)Best Progressive R&B Album“Since I Have a Lover,” 6lack“The Love Album: Off the Grid,” Diddy“Nova,” Terrace Martin and James Fauntleroy“The Age of Pleasure,” Janelle Monáe“SOS,” SZABest R&B Album“Girls Night Out,” Babyface“What I Didn’t Tell You (Deluxe),” Coco Jones“Special Occasion,” Emily King”Jaguar II,” Victoria Monét“Clear 2: Soft Life EP,” Summer WalkerBest Rap Performance“The Hillbillies,” Baby Keem featuring Kendrick Lamar“Love Letter,” Black Thought“Rich Flex,” Drake & 21 Savage“Scientists & Engineers,” Killer Mike featuring André 3000, Future and Eryn Allen Kane“Players,” Coi LerayBest Melodic Rap Performance“Sittin’ on Top of the World,” Burna Boy featuring 21 Savage“Attention,” Doja Cat“Spin Bout U,” Drake & 21 Savage“All My Life,” Lil Durk featuring J. Cole“Low,” SZABest Rap Song“Attention,” Rogét Chahayed, Amala Zandile Dlamini and Ari Starace, songwriters (Doja Cat)“Barbie World” from “Barbie: The Album,” Isis Naija Gaston, Ephrem Louis Lopez Jr. and Onika Maraj, songwriters (Nicki Minaj and Ice Spice featuring Aqua)“Just Wanna Rock,” Mohamad Camara, Symere Woods and Javier Mercado, songwriters (Lil Uzi Vert)“Rich Flex,” Brytavious Chambers, Isaac “Zac” De Boni, Aubrey Graham, J. Gwin, Anderson Hernandez, Michael “Finatik” Mule and Shéyaa Bin Abraham-Joseph, songwriters (Drake & 21 Savage)“Scientists & Engineers,” Andre Benjamin, Paul Beauregard, James Blake, Michael Render, Tim Moore and Dion Wilson, songwriters (Killer Mike featuring André 3000, Future and Eryn Allen Kane)Best Rap Album“Her Loss,” Drake & 21 Savage“Michael,” Killer Mike“Heroes & Villains,” Metro Boomin“King’s Disease III,” Nas“Utopia,” Travis ScottBest Spoken Word Poetry Album“A-You’re Not Wrong B-They’re Not Either: The Fukc-It Pill Revisited,” Queen Sheba“For Your Consideration’24 – The Album,” Prentice Powell and Shawn William“Grocery Shopping With My Mother,” Kevin Powell“The Light Inside,” J. Ivy“When the Poems Do What They Do,” Aja MonetBest Jazz Performance“Movement 18’ (Heroes),” Jon Batiste“Basquiat,” Lakecia Benjamin“Vulnerable (Live),” Adam Blackstone featuring the Baylor Project and Russell Ferranté“But Not for Me,” Fred Hersch and Esperanza Spalding“Tight,” Samara JoyBest Jazz Vocal Album“For Ella 2,” Patti Austin featuring Gordon Goodwin’s Big Phat Band“Alive at the Village Vanguard,” Fred Hersch and Esperanza Spalding“Lean In,” Gretchen Parlato and Lionel Loueke“Mélusine,” Cécile McLorin Salvant“How Love Begins,” Nicole ZuraitisBest Jazz Instrumental Album“The Source,” Kenny Barron”Phoenix,” Lakecia Benjamin“Legacy: The Instrumental Jawn,” Adam Blackstone“The Winds of Change,” Billy Childs“Dream Box,” Pat MethenyBest Large Jazz Ensemble Album“The Chick Corea Symphony Tribute – Ritmo,” ADDA Simfònica, Josep Vicent, Emilio Solla“Dynamic Maximum Tension,” Darcy James Argue’s Secret Society“Basie Swings the Blues,” The Count Basie Orchestra directed by Scotty Barnhart“Olympians,” Vince Mendoza and Metropole Orkest“The Charles Mingus Centennial Sessions,” Mingus Big BandBest Latin Jazz Album“Quietude,” Eliane Elias“My Heart Speaks,” Ivan Lins with the Tblisi Symphony Orchestra“Vox Humana,” Bobby Sanabria Multiverse Big Band“Cometa,” Luciana Souza and Trio Corrente“El Arte Del Bolero Vol. 2,” Miguel Zenón and Luis PerdomoBest Alternative Jazz Album“Love in Exile,” Arooj Aftab, Vijay Iyer, Shahzad Ismaily“Quality Over Opinion,” Louis Cole“SuperBlue: The Iridescent Spree,” Kurt Elling, Charlie Hunter, SuperBlue“Live at the Piano,” Cory Henry“The Omnichord Real Book,” Meshell NdegeocelloBest Traditional Pop Vocal Album“To Steve With Love: Liz Callaway Celebrates Sondheim,” Liz Callaway“Pieces of Treasure,” Rickie Lee Jones“Bewitched,” Laufey“Holidays Around the World,” Pentatonix“Only the Strong Survive,” Bruce Springsteen“Sondheim Unplugged (The NYC Sessions), Vol. 3,” (Various Artists)Best Contemporary Instrumental Album“As We Speak,” Béla Fleck, Zakir Hussain, Edgar Meyer, featuring Rakesh Chaurasia“On Becoming,” House of Waters“Jazz Hands,” Bob James“The Layers,” Julian Lage“All One,” Ben WendelBest Musical Theater Album“Kimberly Akimbo,” John Clancy, David Stone and Jeanine Tesori, producers; Jeanine Tesori, composer; David Lindsay-Abaire, lyricist (Original Broadway Cast)“Parade,” Micaela Diamond, Alex Joseph Grayson, Jake Pedersen and Ben Platt, principal vocalists; Jason Robert Brown & Jeffrey Lesser, producers; Jason Robert Brown, composer and lyricist (2023 Broadway Cast)“Shucked,” Brandy Clark, Jason Howland, Shane McAnally and Billy Jay Stein, producers; Brandy Clark and Shane McAnally, composers/lyricists (Original Broadway Cast)“Some Like It Hot,” Christian Borle, J. Harrison Ghee, Adrianna Hicks and NaTasha Yvette Williams, principal vocalists; Mary-Mitchell Campbell, Bryan Carter, Scott M. Riesett, Charlie Rosen and Marc Shaiman, producers; Scott Wittman, lyricist; Marc Shaiman, composer and lyricist (Original Broadway Cast)“Sweeney Todd: The Demon Barber of Fleet Street,” Annaleigh Ashford and Josh Groban, principal vocalists; Thomas Kail and Alex Lacamoire, producers (Stephen Sondheim, composer and lyricist) (2023 Broadway Cast)Best Country Solo Performance“In Your Love,” Tyler Childers“Buried,” Brandy Clark“Fast Car,” Luke Combs“The Last Thing on My Mind,” Dolly Parton“White Horse,” Chris StapletonBest Country Duo/Group Performance“High Note,” Dierks Bentley featuring Billy Strings“Nobody’s Nobody,” Brothers Osborne“I Remember Everything,” Zach Bryan featuring Kacey Musgraves“Kissing Your Picture (Is So Cold),” Vince Gill and Paul Franklin“Save Me,” Jelly Roll with Lainey Wilson“We Don’t Fight Anymore,” Carly Pearce featuring Chris StapletonBest Country Song“Buried,” Brandy Clark and Jessie Jo Dillon, songwriters (Brandy Clark)“I Remember Everything,” Zach Bryan and Kacey Musgraves, songwriters (Zach Bryan featuring Kacey Musgraves)“In Your Love,” Tyler Childers and Geno Seale, songwriters (Tyler Childers)“Last Night.” John Byron, Ashley Gorley, Jacob Kasher Hindlin and Ryan Vojtesak, songwriters (Morgan Wallen)“White Horse,” Chris Stapleton and Dan Wilson, songwriters (Chris Stapleton)Best Country Album“Rolling Up the Welcome Mat,” Kelsea Ballerini“Brothers Osborne,” Brothers Osborne“Zach Bryan,” Zach Bryan“Rustin’ in the Rain,” Tyler Childers“Bell Bottom Country,” Lainey WilsonBest American Roots Performance“Butterfly,” Jon Batiste“Heaven Help Us All,” Blind Boys of Alabama“Inventing the Wheel,” Madison Cunningham“You Louisiana Man,” Rhiannon Giddens“Eve Was Black,” Allison RussellBest Americana Performance“Friendship,” Blind Boys of Alabama“Help Me Make It Through the Night,” Tyler Childers“Dear Insecurity,” Brandy Clark featuring Brandi Carlile“King of Oklahoma,” Jason Isbell and the 400 Unit“The Returner,” Allison RussellBest American Roots Song“Blank Page,” Michael Trotter Jr. and Tanya Trotter, songwriters (The War and Treaty)“California Sober,” Aaron Allen, William Apostol and Jon Weisberger, songwriters (Billy Strings featuring Willie Nelson)“Cast Iron Skillet,” Jason Isbell, songwriter (Jason Isbell and the 400 Unit)“Dear Insecurity,” Brandy Clark and Michael Pollack, songwriters (Brandy Clark featuring Brandi Carlile)“The Returner,” Drew Lindsay, JT Nero and Allison Russell, songwriters (Allison Russell)Best Americana Album“Brandy Clark,” Brandy Clark“The Chicago Sessions,” Rodney Crowell“You’re the One,” Rhiannon Giddens“Weathervanes,” Jason Isbell and the 400 Unit“The Returner,” Allison RussellBest Bluegrass Album“Radio John: Songs of John Hartford,” Sam Bush“Lovin’ of the Game,” Michael Cleveland“Mighty Poplar,” Mighty Poplar“Bluegrass,” Willie Nelson“Me/And/Dad,” Billy Strings“City of Gold,” Molly Tuttle & Golden HighwayBest Traditional Blues Album“Ridin’,” Eric Bibb“The Soul Side of Sipp,” Mr. Sipp“Life Don’t Miss Nobody,” Tracy Nelson“Teardrops for Magic Slim Live at Rosa’s Lounge,” John Primer“All My Love for You,” Bobby RushBest Contemporary Blues Album“Death Wish Blues,” Samantha Fish and Jesse Dayton“Healing Time,” Ruthie Foster“Live in London,” Christone “Kingfish” Ingram“Blood Harmony,” Larkin Poe“LaVette!,” Bettye LaVetteBest Folk Album“Traveling Wildfire,” Dom Flemons”I Only See the Moon,” the Milk Carton Kids“Joni Mitchell at Newport (Live),” Joni Mitchell”Celebrants,” Nickel Creek“Jubilee,” Old Crow Medicine Show“Seven Psalms,” Paul Simon“Folkocracy,” Rufus WainwrightBest Regional Roots Music Album“New Beginnings,” Buckwheat Zydeco Jr. and the Legendary Ils Sont Partis Band“Live at the 2023 New Orleans Jazz & Heritage Festival,” Dwayne Dopsie and the Zydeco Hellraisers“Live: Orpheum Theater Nola,” Lost Bayou Ramblers and Louisiana Philharmonic Orchestra“Made in New Orleans,” New Breed Brass Band“Too Much to Hold,” New Orleans Nightcrawlers“Live at the Maple Leaf,” the Rumble featuring Chief Joseph Boudreaux Jr.Best Gospel Performance/Song“God Is Good,” Stanley Brown featuring Hezekiah Walker, Kierra Sheard and Karen Clark Sheard; Stanley Brown, Karen V Clark Sheard, Kaylah Jiavanni Harvey, Rodney Jerkins, Elyse Victoria Johnson, J Drew Sheard II, Kierra Valencia Sheard and Hezekiah Walker, songwriters“Feel Alright (Blessed),” Erica Campbell; Erica Campbell, Warryn Campbell, William Weatherspoon, Juan Winans and Marvin L. Winans, songwriters“Lord Do It for Me (Live),” Zacardi Cortez; Marcus Calyen, Zacardi Cortez and Kerry Douglas, songwriters“God Is,” Melvin Crispell III“All Things,” Kirk Franklin; Kirk Franklin, songwriterBest Contemporary Christian Music Performance/Song“Believe,” Blessing Offor; Hank Bentley and Blessing Offor, songwriters“Firm Foundation (He Won’t) (Live),” Cody Carnes“Thank God I Do,” Lauren Daigle; Lauren Daigle and Jason Ingram, songwriters“Love Me Like I Am,” For King & Country featuring Jordin Sparks“Your Power,” Lecrae and Tasha Cobbs Leonard“God Problems,” Maverick City Music, Chandler Moore and Naomi Raine; Daniel Bashta, Chris Davenport, Ryan Ellis and Naomi Raine, songwritersBest Gospel Album“I Love You,” Erica Campbell“Hymns (Live),” Tasha Cobbs Leonard“The Maverick Way,” Maverick City Music“My Truth,” Jonathan McReynolds“All Things New: Live in Orlando,” Tye TribbettBest Contemporary Christian Music Album“My Tribe,” Blessing Offor“Emanuel,” Da’ T.R.U.T.H.“Lauren Daigle,” Lauren Daigle“Church Clothes 4,” Lecrae“I Believe,” Phil WickhamBest Roots Gospel Album“Tribute to the King,” the Blackwood Brothers Quartet“Echoes of the South,” Blind Boys of Alabama“Songs That Pulled Me Through the Tough Times,” Becky Isaacs Bowman“Meet Me at the Cross,” Brian Free & Assurance“Shine: The Darker the Night the Brighter the Light,” Gaither Vocal BandBest Latin Pop Album“La Cuarta Hoja,” Pablo Alborán“Beautiful Humans, Vol. 1,” AleMor“A Ciegas,” Paula Arenas“La Neta,” Pedro Capó“Don Juan,” Maluma“X Mí (Vol. 1),” Gaby MorenoBest Música Urbana Album“Saturno,” Rauw Alejandro”Mañana Será Bonito,” Karol G“Data,” TainyBest Latin Rock or Alternative Album“Martínez,” Cabra“Leche De Tigre,” Diamante Eléctrico“Vida Cotidiana,” Juanes“De Todas Las Flores,” Natalia Lafourcade“EADDA9223,” Fito PaezBest Música Mexicana Album (Including Tejano)“Bordado a Mano,” Ana Bárbara“La Sánchez,” Lila Downs“Motherflower,” Flor de Toloache“Amor Como en Las Películas De Antes,” Lupita Infante“Génesis,” Peso PlumaBest Tropical Latin Album“Siembra: 45° Aniversario (En Vivo en el Coliseo de Puerto Rico, 14 de Mayo 2022),” Rubén Blades con Roberto Delgado and Orquesta“Voy a Ti,” Luis Figueroa“Niche Sinfónico,” Grupo Niche y Orquesta Sinfónica Nacional de Colombia“Vida,” Omara Portuondo“Mimy & Tony,” Tony Succar, Mimy Succar“Escalona Nunca se Había Grabado Así,” Carlos VivesBest Global Music Performance“Shadow Forces,” Arooj Aftab, Vijay Iyer and Shahzad Ismaily“Alone,” Burna Boy“Feel,” Davido“Milagro y Disastre,” Silvana Estrada“Abundance in Millets,” Falu and Gaurav Shah (featuring PM Narendra Modi)“Pashto,” Béla Fleck, Edgar Meyer and Zakir Hussain featuring Rakesh Chaurasia“Todo Colores,” Ibrahim Maalouf featuring Cimafunk and Tank and the BangasBest African Music Performance“Amapiano,” Asake and Olamide“City Boys,” Burna Boy“Unavailable,” Davido featuring Musa Keys“Rush,” Ayra Starr“Water,” TylaBest Global Music Album“Epifanías,” Susana Baca“History,” Bokanté“I Told Them…,” Burna Boy“Timeless,” Davido“This Moment,” ShaktiBest Reggae Album“Born for Greatness,” Buju Banton“Simma,” Beenie Man“Cali Roots Riddim 2023,” Collie Buddz“No Destroyer,” Burning Spear“Colors of Royal,” Julian Marley & AntaeusBest New Age, Ambient or Chant Album“Aquamarine,” Kirsten Agresta-Copely“Moments of Beauty,” Omar Akram“Some Kind of Peace (Piano Reworks),” Ólafur Arnalds“Ocean Dreaming Ocean,” David Darling and Hans Christian“So She Howls,” Carla Patullo featuring Tonality and the Scorchio QuartetBest Children’s Music Album“Ahhhhh!,” Andrew & Polly“Ancestars,” Pierce Freelon and Nnenna Freelon“Hip Hope for Kids!,” DJ Willy Wow!“Taste the Sky,” Uncle Jumbo“We Grow Together Preschool Songs,” 123 AndrésBest Comedy Album“I Wish You Would,” Trevor Noah“I’m an Entertainer,” Wanda Sykes“Selective Outrage,” Chris Rock”Someone You Love,” Sarah Silverman“What’s in a Name?,” Dave ChappelleBest Audiobook, Narration and Storytelling Recording“Big Tree,” Meryl Streep“Boldly Go: Reflections on a Life of Awe and Wonder,” William Shatner“The Creative Act: A Way of Being,” Rick Rubin“It’s Ok to Be Angry About Capitalism,” Senator Bernie Sanders“The Light We Carry: Overcoming in Uncertain Times,” Michelle ObamaBest Compilation Soundtrack for Visual Media“Aurora,” (Daisy Jones & the Six)“Barbie: The Album” (Various Artists)“Black Panther: Wakanda Forever – Music From and Inspired By” (Various Artists)“Guardians of the Galaxy, Vol. 3: Awesome Mix, Vol. 3” (Various Artists)“Weird: The Al Yankovic Story,” Weird Al YankovicBest Score Soundtrack for Visual Media (Includes Film and Television)“Barbie,” Mark Ronson and Andrew Wyatt, composers“Black Panther: Wakanda Forever,” Ludwig Göransson, composer“The Fabelmans,” John Williams, composer“Indiana Jones and the Dial of Destiny,” John Williams, composer“Oppenheimer,” Ludwig Göransson, composerBest Score Soundtrack for Video Games and Other Interactive Media“Call of Duty: Modern Warfare II,” Sarah Schachner, composer“God of War Ragnarök,” Bear McCreary, composer“Hogwarts Legacy,” Peter Murray, J Scott Rakozy and Chuck E. Myers “Sea,” composers“Star Wars Jedi: Survivor,” Stephen Barton and Gordy Haab, composers“Stray Gods: The Roleplaying Musical,” Jess Serro, Tripod and Austin Wintory, composersBest Song Written for Visual Media“Barbie World” from “Barbie: The Album,” Naija Gaston, Ephrem Louis Lopez Jr. and Onika Maraj, songwriters (Nicki Minaj and Ice Spice featuring Aqua)“Dance the Night” from “Barbie: The Album,” Caroline Ailin, Dua Lipa, Mark Ronson and Andrew Wyatt, songwriters (Dua Lipa)“I’m Just Ken” from “Barbie: The Album,” Mark Ronson and Andrew Wyatt, songwriters (Ryan Gosling)“Lift Me Up” from “Black Panther: Wakanda Forever — Music From and Inspired By,” Ryan Coogler, Ludwig Göransson, Robyn Fenty and Temilade Openiyi, songwriters (Rihanna)“What Was I Made For?” from “Barbie: The Album,” Billie Eilish O’Connell and Finneas O’Connell, songwriters (Billie Eilish)Best Music Video“I’m Only Sleeping” (The Beatles), Em Cooper, video director; Jonathan Clyde, Sophie Hilton, Sue Loughlin and Laura Thomas, video producers“In Your Love” (Tyler Childers), Bryan Schlam, video director; Kacie Barton, Silas House, Nicholas Robespierre, Ian Thornton and Whitney Wolanin, video producers“What Was I Made For?” (Billie Eilish), Billie Eilish, video director; Michelle An, Chelsea Dodson and David Moore, video producers“Count Me Out” (Kendrick Lamar), Dave Free and Kendrick Lamar, video directors; Jason Baum and Jamie Rabineau, video producers“Rush” (Troye Sivan), Gordon Von Steiner, video director; Kelly McGee, video producerBest Music Film“Moonage Daydream” (David Bowie), Brett Morgen, video director; Brett Morgen, video producer“How I’m Feeling Now” (Lewis Capaldi), Joe Pearlman, video director; Sam Bridger, Isabel Davis and Alice Rhodes, video producers“Live From Paris, the Big Steppers Tour” (Kendrick Lamar), Mike Carson, Dave Free and Mark Ritchie, video directors; Cornell Brown, Debra Davis, Jared Heinke and Jamie Rabineau, video producers“I Am Everything” (Little Richard), Lisa Cortés, video director; Caryn Capotosto, Lisa Cortés, Robert Friedman and Liz Yale Marsh, video producers“Dear Mama” (Tupac Shakur), Allen Hughes, video director; Joshua Garcia, Loren Gomez, James Jenkins and Stef Smith, video producersBest Recording Package“The Art of Forgetting,” Caroline Rose, art director (Caroline Rose)“Cadenza 21’,” Hsing-Hui Cheng, art director (Ensemble Cadenza 21’)“Electrophonic Chronic,” Perry Shall, art director (The Arcs)“Gravity Falls,” Iam8bit, art director (Brad Breeck)“Migration,” Yu Wei, art director (Leaf Yeh)“Stumpwork,” Luke Brooks and James Theseus Buck, art directors (Dry Cleaning)Best Boxed or Special Limited Edition Package“The Collected Works of Neutral Milk Hotel,” Jeff Mangum, Daniel Murphy and Mark Ohe, art directors (Neutral Milk Hotel)“For the Birds: The Birdsong Project,” Jeri Heiden and John Heiden, art directors (Various Artists)”Gieo,” Duy Dao, art director (Ngot)“Inside: Deluxe Box Set,” Bo Burnham and Daniel Calderwood, art directors (Bo Burnham)“Words & Music, May 1965 – Deluxe Edition,” Masaki Koike, art director (Lou Reed)Best Album Notes“Evenings at the Village Gate: John Coltrane With Eric Dolphy (Live),” Ashley Kahn, album notes writer (John Coltrane & Eric Dolphy)“I Can Almost See Houston: The Complete Howdy Glenn,” Scott B. Bomar, album notes writer (Howdy Glenn)“Mogadishu’s Finest: The Al Uruba Sessions,” Vik Sohonie, album notes writer (Iftin Band)“Playing for the Man at the Door: Field Recordings From the Collection of Mack McCormick, 1958–1971,” Jeff Place and John Troutman, album notes writers (Various Artists)“Written in Their Soul: The Stax Songwriter Demos,” Robert Gordon and Deanie Parker, album notes writers (Various Artists)Best Historical Album“Fragments – Time Out of Mind Sessions (1996-1997): The Bootleg Series, Vol. 17,” Steve Berkowitz and Jeff Rosen, compilation producers; Steve Addabbo, Greg Calbi, Steve Fallone, Chris Shaw and Mark Wilder, mastering engineers (Bob Dylan)“The Moaninest Moan of Them All: The Jazz Saxophone of Loren McMurray, 1920-1922,” Colin Hancock, Meagan Hennessey and Richard Martin, compilation producers; Richard Martin, mastering engineer; Richard Martin, restoration engineer (Various Artists)“Playing for the Man at the Door: Field Recordings From the Collection of Mack McCormick, 1958–1971,” Jeff Place and John Troutman, compilation producers; Randy LeRoy and Charlie Pilzer, mastering engineers; Mike Petillo and Charlie Pilzer, restoration engineers (Various Artists)“Words & Music, May 1965 – Deluxe Edition,” Laurie Anderson, Don Fleming, Jason Stern, Matt Sulllivan and Hal Willner, compilation producers; John Baldwin, mastering engineer; John Baldwin, restoration engineer (Lou Reed)“Written in Their Soul: The Stax Songwriter Demos,” Robert Gordon, Deanie Parker, Cheryl Pawelski, Michele Smith and Mason Williams, compilation producers; Michael Graves, mastering engineer; Michael Graves, restoration engineer (Various Artists)Best Engineered Album, Non-Classical“Desire, I Want to Turn Into You,” Macks Faulkron, Daniel Harle, Caroline Polachek and Geoff Swan, engineers; Mike Bozzi and Chris Gehringer, mastering engineers (Caroline Polachek)“History,” Nic Hard, engineer; Dave McNair, mastering engineer (Bokanté)“Jaguar II,” John Kercy, Kyle Mann, Victoria Monét, Patrizio “Teezio” Pigliapoco, Neal H Pogue and Todd Robinson, engineers; Colin Leonard, mastering engineer (Victoria Monét)“Multitudes,” Michael Harris, Robbie Lackritz, Joseph Lorge and Blake Mills, engineers (Feist)“The Record,” Owen Lantz, Will Maclellan, Catherine Marks, Mike Mogis, Bobby Mota, Kaushlesh “Garry” Purohit and Sarah Tudzin, engineers; Pat Sullivan, mastering engineer (boygenius)Best Engineered Album, Classical“The Blue Hour,” Patrick Dillett, Mitchell Graham, Jesse Lewis, Kyle Pyke, Andrew Scheps and John Weston, engineers; Helge Sten, mastering engineer (Shara Nova and A Far Cry)”Contemporary American Composers,” David Frost & Charlie Post, engineers; Silas Brown, mastering engineer (Riccardo Muti and Chicago Symphony Orchestra)“Fandango,” Alexander Lipay and Dmitriy Lipay, engineers; Alexander Lipay and Dmitriy Lipay, mastering engineers (Gustavo Dudamel, Anne Akiko Meyers, Gustavo Castillo and Los Angeles Philharmonic)”Sanlikol: A Gentleman of Istanbul – Symphony for Strings, Percussion, Piano, Oud, Ney & Tenor,” Christopher Moretti & John Weston, engineers; Shauna Barravecchio & Jesse Lewis, mastering engineers (Mehmet Ali Sanlikol, George Lernis & A Far Cry)“Tchaikovsky: Symphony No. 5 & Schulhoff: Five Pieces,” Mark Donahue, engineer; Mark Donahue, mastering engineer (Manfred Honeck and Pittsburgh Symphony Orchestra)Producer of the Year, ClassicalDavid FrostMorten LindbergDmitriy LipayElaine MartoneBrian PidgeonBest Remixed Recording“Alien Love Call,” Badbadnotgood, remixers (Turnstile and Badbadnotgood featuring Blood Orange)“New Gold (Dom Dolla Remix),” Dom Dolla, remixer (Gorillaz featuring Tame Impala and Bootie Brown)“Reviver (Totally Enormous Extinct Dinosaurs Remix),” Totally Enormous Extinct Dinosaurs, remixer (Lane 8)“Wagging Tongue (Wet Leg Remix),” Wet Leg, remixers (Depeche Mode)“Workin’ Hard (Terry Hunter Remix),” Terry Hunter, remixer (Mariah Carey)Best Immersive Audio Album“Act 3 (Immersive Edition),” Ryan Ulyate, immersive mix engineer; Michael Romanowski, immersive mastering engineer; Ryan Ulyate, immersive producer (Ryan Ulyate)“Blue Clear Sky,” Chuck Ainlay, immersive mix engineer; Michael Romanowski, immersive mastering engineer; Chuck Ainlay, immersive producer (George Strait)“The Diary of Alicia Keys,” George Massenburg and Eric Schilling, immersive mix engineers; Michael Romanowski, immersive mastering engineer; Alicia Keys and Ann Mincieli, immersive producers (Alicia Keys)“God of War Ragnarök (Original Soundtrack),” Eric Schilling, immersive mix engineer; Michael Romanowski, immersive mastering engineer; Kellogg Boynton, Peter Scaturro and Herbert Waltl, immersive producers (Bear McCreary)“Silence Between Songs,” Aaron Short, immersive mastering engineer (Madison Beer)Best Instrumental Composition“Amerikkan Skin,” Lakecia Benjamin, composer (Lakecia Benjamin featuring Angela Davis)“Can You Hear the Music,” Ludwig Göransson, composer (Ludwig Göransson)“Cutey and the Dragon,” Gordon Goodwin and Raymond Scott, composers (Quartet San Francisco featuring Gordon Goodwin’s Big Phat Band)“Helena’s Theme,” John Williams, composer (John Williams)“Motion,” Edgar Meyer, composer (Béla Fleck, Edgar Meyer and Zakir Hussain featuring Rakesh Chaurasia)Best Arrangement, Instrumental or A Cappella“Angels We Have Heard on High,” Nkosilathi Emmanuel Sibanda, arranger (Just 6)“Can You Hear the Music,” Ludwig Göransson, arranger (Ludwig Göransson)“Folsom Prison Blues,” John Carter Cash, Tommy Emmanuel, Markus Illko, Janet Robin and Roberto Luis Rodriguez, arrangers (The String Revolution featuring Tommy Emmanuel)“I Remember,” Mingus Hilario Duran, arranger (Hilario Duran and His Latin Jazz Big Band featuring Paquito D’Rivera)“Paint It Black,” Esin Aydingoz, Chris Bacon and Alana Da Fonseca, arrangers (Wednesday Addams)Best Arrangement, Instruments and Vocals“April in Paris,” Gordon Goodwin, arranger (Patti Austin featuring Gordon Goodwin’s Big Phat Band)“Com Que Voz (Live),” John Beasley and Maria Mendes, arrangers (Maria Mendes featuring John Beasley and Metropole Orkest)“Fenestra,” Godwin Louis, arranger (Cécile McLorin Salvant)“In the Wee Small Hours of the Morning,” Erin Bentlage, Jacob Collier, Sara Gazarek, Johnaye, Kendrick and Amanda Taylor, arrangers (säje Featuring Jacob Collier)“Lush Life,” Kendric McCallister, arranger (Samara Joy)Best Orchestral Performance“Adès: Dante,” Gustavo Dudamel, conductor (Los Angeles Philharmonic)“Bartók: Concerto for Orchestra; Four Pieces,” Karina Canellakis, conductor (Netherlands Radio Philharmonic Orchestra)“Price: Symphony No. 4; Dawson: Negro Folk Symphony,” Yannick Nézet-Séguin, conductor (The Philadelphia Orchestra)“Scriabin: Symphony No. 2; The Poem of Ecstasy,” JoAnn Falletta, conductor (Buffalo Philharmonic Orchestra)“Stravinsky: The Rite of Spring,” Esa-Pekka Salonen, conductor (San Francisco Symphony)Best Opera Recording“Blanchard: Champion,” Yannick Nézet-Séguin, conductor; Ryan Speedo Green, Latonia Moore and Eric Owens; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)“Corigliano: The Lord of Cries,” Gil Rose, conductor; Anthony Roth Costanzo, Kathryn Henry, Jarrett Ott and David Portillo; Gil Rose, producer (Boston Modern Orchestra Project and Odyssey Opera Chorus)“Little: Black Lodge,” Timur; Andrew McKenna Lee and David T. Little, producers (the Dime Museum; Isaura String Quartet)Best Choral Performance“Carols After a Plague,” Donald Nally, conductor (The Crossing)“The House of Belonging,” Craig Hella Johnson, conductor (Miró Quartet; Conspirare)“Ligeti: Lux Aeterna,” Esa-Pekka Salonen, conductor (San Francisco Symphony Chorus)“Rachmaninoff: All-Night Vigil,” Steven Fox, conductor (The Clarion Choir)“Saariaho: Reconnaissance,” Nils Schweckendiek, conductor (Uusinta Ensemble; Helsinki Chamber Choir)Best Chamber Music/Small Ensemble Performance“American Stories,” Anthony McGill and Pacifica Quartet“Beethoven for Three: Symphony No. 6, ‘Pastorale’ And Op. 1, No. 3,” Yo-Yo Ma, Emanuel Ax and Leonidas Kavakos“Between Breaths,” Third Coast Percussion“Rough Magic,” Roomful of Teeth“Uncovered, Vol. 3: Coleridge-Taylor Perkinson, William Grant Still & George Walker,” Catalyst QuartetBest Classical Instrumental Solo“Adams, John Luther: Darkness and Scattered Light,” Robert Black“Akiho: Cylinders,” Andy Akiho“The American Project,” Yuja Wang; Teddy Abrams, conductor (Louisville Orchestra)“Difficult Grace,” Seth Parker Woods“Of Love,” Curtis StewartBest Classical Solo Vocal Album“Because,” Reginald Mobley, soloist; Baptiste Trotignon, pianist“Broken Branches,” Karim Sulayman, soloist; Sean Shibe, accompanist“40@40,” Laura Strickling, soloist; Daniel Schlosberg, pianist“Rising,” Lawrence Brownlee, soloist; Kevin J. Miller, pianist“Walking in the Dark,” Julia Bullock, soloist; Christian Reif, conductor (Philharmonia Orchestra)Best Classical Compendium“Fandango,” Anne Akiko Meyers; Gustavo Dudamel, conductor; Dmitriy Lipay, producer“Julius Eastman, Vol. 3: If You’re So Smart, Why Aren’t You Rich?,” Christopher Rountree, conductor; Lewis Pesacov, producer“Mazzoli: Dark With Excessive Bright,” Peter Herresthal; Tim Weiss, conductor; Hans Kipfer, producer“Passion for Bach and Coltrane,” Alex Brown, Harlem Quartet, Imani Winds, Edward Perez, Neal Smith and A.B. Spellman; Silas Brown and Mark Dover, producers“Sardinia,” Chick Corea; Chick Corea and Bernie Kirsh, producers“Sculptures,” Andy Akiho; Andy Akiho and Sean Dixon, producers“Zodiac Suite,” Aaron Diehl Trio & the Knights; Eric Jacobsen, conductor; Aaron Diehl and Eric Jacobsen, producersBest Contemporary Classical Composition“Adès: Dante,” Thomas Adès, composer (Gustavo Dudamel and Los Angeles Philharmonic)“Akiho: In That Space, at That Time,” Andy Akiho, composer (Andy Akiho, Ankush Kumar Bahl and Omaha Symphony)“Brittelle: Psychedelics,” William Brittelle, composer (Roomful of Teeth)“Mazzoli: Dark With Excessive Bright,” Missy Mazzoli, composer (Peter Herresthal, James Gaffigan and Bergen Philharmonic)“Montgomery: Rounds,” Jessie Montgomery, composer (Awadagin Pratt, A Far Cry and Roomful of Teeth) More

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      Russell Batiste Jr., the Drumming Heartbeat of New Orleans, Dies at 57

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      A pyrotechnic funk and R&B mainstay, he was a vital figure in his home city as a member of one of its celebrated musical dynasties.Russell Batiste Jr., a pyrotechnic drummer and scion of one of New Orleans’s most celebrated musical dynasties, whose furious style and genre-busting approach provided the rhythmic pulse for bands like the Meters and Vida Blue and musical artists like Harry Connick Jr., died on Sept. 30 at his home in LaPlace, La., outside New Orleans. He was 57.The cause was a heart attack, said his brother Damon Batiste, a former percussionist with the Batiste Brothers Band and a former producer for the New Orleans Jazz & Heritage Festival.As a member of a family that has put its stamp on New Orleans music for generations, Russell Batiste was a mainstay of the city’s funk and R&B scene, performing with a long string of prominent local bands like George Porter Jr. & Runnin’ Pardners, the Wild Magnolias and Dumpstaphunk.A multi-instrumentalist and songwriter, he pushed boundaries with the trio Vida Blue, named after the Cy Young Award-winning pitcher of the 1970s and ’80s. He formed the group in the early 2000s with Page McConnell, the keyboardist for Phish, and Oteil Burbridge, a bassist with the Allman Brothers Band. With its atmospheric blend of jazz, funk and electronica, the trio recorded three albums, starting with its debut release in 2002, and toured extensively in that decade.Even so, New Orleans was where Mr. Batiste’s music seemed to belong. His bands Russell Batiste & Friends and Russell Batiste and the Orchestra (sometimes spelled Orkestra) From Da Hood packed local clubs like the Maple Leaf Bar and Le Bon Temps Roule for years, channeling the city’s rich, diverse musical heritage.“He captured the spirit of Congo Square,” Damon Batiste said in a phone interview, referring to the New Orleans site where enslaved people were allowed to gather for music and dance in the early 19th century. “Everything he played was funk, but he blended in marching band, second line, Haitian, Cuban and African rhythms. He was playing to the spirits of our ancestors.”Playing with a ferocity that would sometimes shatter his foot pedals, he added, Mr. Batiste “was like lightning and thunder, all at the same time.”Even as a sought-after sideman on albums like Mr. Connick’s “She” (1994), Mr. Batiste said he was more interested in finding musical transcendence through collaboration than in gaining individual glory.Mr. Batiste in July at the Essence Festival in New Orleans. He was a multi-instrumentalist and songwriter.Erika Goldring/Essence, via Getty Images“Anybody can solo,” he said in a 2005 interview with Modern Drummer magazine. “Anybody can sit behind the drums and go nuts. Anybody can play riffs on the bass, and anybody can play songs on the piano. But playing music is when two or more people get together from out of nowhere and turn it into something.”David Russell Batiste Jr. was born on Dec. 12, 1965, in New Orleans, the oldest of three children of David and Patricia (Cummings) Batiste. His parents divorced in the early 1970s.Born into a family of musicians, young Russell seemed to have his course mapped out for him from an early age. His father played with soul luminaries like Jackie Wilson and Isaac Hayes in the 1960s and ’70s and was a member of the Meters, the seminal New Orleans funk band, before starting his own influential funk band, David Batiste and the Gladiators. It later merged into the noted family ensemble the Batiste Brothers Band, led by his brother Paul.Russell’s younger cousin Jon Batiste is the Grammy Award-winning pianist, singer and songwriter and former bandleader for “The Late Show with Stephen Colbert.”“When I was growing up, I’d see Russell at the Maple Leaf and his band the Orchestra From Da Hood,” Jon Batiste said in a recent television news interview. “He was our kind of blueprint.”Mr. Batiste earlier this year performing with his cousin Jon Batiste at the Maple Leaf, one of several New Orleans clubs that his bands packed over the years.Josh Brasted/WireImage, via Getty ImagesRussell did not take long to establish his identity within the family. He started gigging with the Batiste Brothers Band at local clubs when he was 6. “When I was 8 years old, I opened up for the O’Jays and the Drells and the Chi-Lites at City Park Stadium,” he said in a recent interview on the podcast “The Jake Feinberg Show.”At St. Augustine High School, Mr. Batiste played drums in the school’s nationally famous Marching 100 band.After graduating in 1983, he enrolled at Southern University at New Orleans, where he studied under the jazz saxophonist Kidd Jordan (who died in April). But he left college after two years to become the drummer for the singer Charmaine Neville (who comes from another New Orleans music family). He joined the Meters, which evolved into the Funky Meters, in 1989.By that time, however, Mr. Batiste was battling substance abuse, which impeded his career for a time, Damon Batiste recalled. “Imagine being a rock ’n’ roll star, and people loved to be around you and you’re naïve,” his brother said. “He didn’t have his family around him.” Russell found sobriety in the 1990s.In addition to his brother Damon, Mr. Batiste’s immediate survivors include his father; his mother, Patricia Johnson; his stepfather, Newman Johnson; his sisters, Tasha Batiste, Lakisha Johnson, Monique Santiago, Merinda Bell, Tish Allen, Eboni Batiste and Chanell Batiste; four other brothers, David Guys, Aaron Duncan, Jamal Batiste and Ryan Batiste; his sons, Christopher and Darryl; and a daughter, Nareal.Considering the family he came from, Mr. Batiste could never have imagined another career, he said late in life. “I was born with a pair of sticks in my hand,” he told Mr. Feinberg.Recalling an old family 8-millimeter home movie, he added: “I’m not even 1 yet, and I’m sitting on a lady’s lap behind a set of drums with a pair of sticks hitting the drums. That’s the way I was born, man. It was just in me.” More

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      Jon Batiste Has Got the Whole Wide Music World in His Hands

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      Nothing is simple when it comes to Jon Batiste, the pianist, television personality, New Orleans musical scion and jazz-R&B-classical savant.He spent seven years as the smiling, melodica-toting TV bandleader on “The Late Show With Stephen Colbert,” yet found some of his widest acclaim for solemn protest performances in Brooklyn after the murder of George Floyd.He beat Olivia Rodrigo, Taylor Swift and Billie Eilish for album of the year at the Grammys in 2022, despite his “We Are” having just a fraction of their sales — and then presented “American Symphony,” a Whitmanesque canvas of funk, Dixieland jazz, operatic vocals and Native American drums at Carnegie Hall.Now comes Batiste’s most commercial project yet: “World Music Radio,” an album with guest appearances by Lana Del Rey, Lil Wayne and the K-pop girl group NewJeans, made with a team of producers behind hits for artists like Justin Bieber and Drake, with tightly woven hooks that were engineered to fit on any Top 40-style streaming playlist.But of course “World Music Radio,” which comes out Aug. 18, is no standard pop release. It’s also a fantastical concept album that challenges music’s provincial genre borders, with a message of open-armed inclusivity for a fractured political era. The album’s central character, a timeless interstellar being named Billy Bob Bo Bob, curates a potpourri of the far-flung musical languages of Earth and transmits it to the cosmos with chuckling, Daddy-O commentary, like Doctor Who crossed with Wolfman Jack.“He’s a D.J., he’s a griot, he’s a storyteller, he’s a unifier, he’s a rebel,” Batiste told me, describing the character of Billy Bob Bo Bob. “He’s a disrupter.”That’s also as good an encapsulation as any of the 36-year-old Batiste himself, who can’t easily be pinned down to any single role, or genre, or corner of the music market.Batiste wrote most of the album in Rick Rubin’s beachside studio in Malibu, Calif., generating kernels of upward of 125 songs.Andre D. Wagner for The New York TimesIn his own eccentric way, “World Music Radio” is Batiste’s interpretation of what mainstream pop is or should be, in which high-energy electronic dance beats coexist with reggae, Afropop and old-fashioned piano torch ballads. “Be Who You Are,” the first single, has lyrics in English, Spanish and Korean, and its high-tech, partially animated music video, produced through a brand deal with Coke, features Batiste, the Latin pop star Camilo, the rapper JID and the members of NewJeans all vibing alongside each other.Yet in discussing the album, Batiste was almost totally cerebral, speaking in long, eloquent, practically unsummarizable paragraphs about his mental and creative processes. The album’s origin, he said, was partly philosophical, as he mused on the connections and divergences between “the horrendous idea of what we call ‘world music’” — local traditions viewed through a condescending Western lens — “and the narrow diameter of what’s considered popular music.”“So then, world music,” Batiste added, shifting professorially on the living room sofa of his airy and immaculate Brooklyn brownstone. “What if we could reimagine that term? What if we could reinvent? What if we could use it as a prompt to expand the diameter of popular music?”In conversation, he mentioned influences that included some of the most popular cultural productions of modern times, like Pink Floyd’s “The Dark Side of the Moon” and the “Godfather” films. Jamie Krents, the president of his label, Verve, said that Batiste had cited Michael Jackson’s “Thriller” as another reference point.“He wanted to make music that was approachable to the largest possible audience without compromising,” Krents said.Still, it is hard to imagine Jackson summarizing his goals for “Billie Jean” or “Beat It” in quite the same way that Batiste does for “World Music Radio”: “By listening to it and experiencing it,” he explained, “you have a realization about self, about community, about humanism, that leaves you in a state of bliss and a hyper-consciousness.”AS BATISTE SEES IT, “World Music Radio” is the culmination of a career that has long snaked through supposedly disparate traditions and audiences.Batiste grew up in Kenner, La., part of a family with deep musical roots in New Orleans, and he spent his teenage years playing late-night gigs in the French Quarter with his friend Trombone Shorty, then rushing to high school classes in the morning. He earned bachelor’s and master’s degrees from Juilliard and became a fixture around New York with his band Stay Human, especially for what he called “love riots”: spontaneous, Pied Piper-like performances of “You Are My Sunshine” or Lady Gaga songs that took place on the street or in the subway, interrupting the daily grind with flashes of joy.At the same time, with his 2013 album “Social Music,” he began to develop a brand of activism that emphasized music’s power to find common ground amid ever-widening political polarization.“Inclusive is not even the right word,” Batiste said of his approach. “It’s more, OK, we’re coexisting as human beings on Earth. We’re not a monolith. But underneath it all, we’re the same. That’s not something that can be interpreted in the binary climate that we’re in now.”In 2015, Batiste and Stay Human became the house band on Colbert’s new CBS show, where Batiste performed comedic musical skits but had little outlet to express his broader political or social views. And, with over 200 shows a year, he also couldn’t tour — something that, incredibly, Batiste has never done as a headlining act.“We Are,” which was begun in late 2019 and completed the following year at the height of the Covid-19 pandemic, became Batiste’s vehicle for protest and for communicating the wider social ambitions of his music. Although the album had barely registered in the marketplace, Batiste became the surprise top nominee for the 64th annual Grammy Awards, getting eight nods for “We Are” and three more for the movie soundtrack “Soul.” (The score for “Soul” also won Batiste, Trent Reznor and Atticus Ross an Oscar.)At the same time, Batiste’s longtime partner, Suleika Jaouad, had spent years struggling with cancer and writing about it in The New York Times. The day the Grammy nominations were announced, Jaouad began a round of chemotherapy. “At certain points of her treatment,” Batiste said, “her immune system was so compromised that we couldn’t be in the same room.”Batiste onstage at the Newport Folk Festival in July. Because of other obligations, he has not yet toured as a headlining act.Douglas Mason/Getty ImagesThey married last year, and after a bone-marrow transplant, Jaouad’s health has improved enough that they recently took a vacation in Europe. “A major, major milestone,” Batiste said.When “We Are” took album of the year, Batiste became the latest piñata for critics of the entire Grammy system, who pointed to his victory as a sign of an insider-controlled process out of touch with music’s dominant trends. Yet it also represented a necessary tension between artistic excellence, as judged by fellow musicians, and the pressure to reward commercial success. For another example, just look at the last Black man before Batiste to take the top prize: Herbie Hancock, back in 2008.After his Grammy and Oscar wins, Batiste decided to leave Colbert’s show. Freed of that work, he now describes “World Music Radio” as his return to the concepts he explored a decade ago on “Social Music” — and imagined himself as Odysseus from Homer’s “Odyssey.”“It’s the hero’s journey we always talk about,” Batiste said. “It feels kind of like, wow, I came back to where I was 10 years before, but now everything’s different, even though I’m in the same place that I was. I’m home, so to speak. But everything’s different.”Colbert, in an interview, said that when Batiste approached him about leaving, “he didn’t have to tell me why.”“But I did say I can understand why you would want to take this opportunity at this moment and go full-bore,” Colbert added. “I know that feeling very well: Give me the ball and see how fast I can run.”THE MUSIC ON “World Music Radio” had its genesis, Batiste said, when he crossed paths with the producer Rick Rubin in Italy a few months after the Grammys. Rubin offered him use of Shangri-La, his beachside studio in Malibu, Calif., and Batiste headed there in August 2022 for a month of immersive work with a crew of producers and artists who came and went, generating what Batiste said were the kernels of upward of 125 songs.Among Batiste’s collaborators there was Del Rey, who worked with Batiste on “Candy Necklace,” from her latest album, “Did You Know That There’s a Tunnel Under Ocean Blvd,” and she joins him on “Life Lesson,” a melancholy duet on “World Music Radio.”The producer Rogét Chahayed, who has worked with Doja Cat, Drake and others, said he headed to Shangri-La after getting a surprise invitation from Batiste via Instagram. The sessions, he said, were spontaneous and fruitful, with Batiste sometimes kicking off hours of improvisatory jams after simply being inspired by a synthesizer tone.“It was just like magic in the room,” Chahayed recalled. “It was right around evening time, the sun was setting over the ocean. I was like, this doesn’t happen often, in the kind of sessions that we usually have in these freezing cold studios with no windows.”After those sessions, Jon Bellion, a pop performer and producer who has worked with Maroon 5 and the Jonas Brothers, collaborated with Batiste on a process he dubs “Batistifying” the material — combing through piles of half-finished material and whittling it down to a finished, coherent product.With a deadline from his label looming, Batiste said, he felt that the album was not coming together until he sat in his basement studio in Brooklyn and listened to a vocal track sent by a Spanish singer, Rita Payés. She contributes to “My Heart,” a sepia-toned Latin ballad in waltz time on which Batiste channels Ibrahim Ferrer of the Buena Vista Social Club. Hearing Payés’s voice transmitted over a speaker, Batiste said, instantly suggested the album’s concept.The album’s origin, Batiste said, was partly philosophical, as he mused on the connections and divergences between pop music and “the horrendous idea of what we call ‘world music’.” Andre D. Wagner for The New York Times“It sounds like it’s coming out of a radio that’s sitting on top of the bar at a cafe in Catalonia, Spain,” Batiste said. “The working title up until that point was ‘World Music.’ And it was like, ohhh, ‘World Music Radio.’” He worked through the night to put together a rough version of the album, dreaming up Billy Bob Bo Bob as a narrator who segues between tracks and sometimes chirps in with an approving voice-over.Another collaborator that Batiste pursued was the smooth-jazz saxman Kenny G. Batiste described him with a certain detached curiosity as a fellow artist who has one foot in jazz and another in pop, who has carved out a hugely successful niche but faced unending waves of critical vitriol.“Anybody who’s talked about with that kind of extreme disdain,” Batiste said, “I always want to study.”On the track “Clair de Lune,” which opens with an obscure sample from an old French folk album, Kenny G contributes a minute-long solo that is busier and more harmonically dense than his usual hooks, but with a singing tone that is instantly recognizable.In an interview, Kenny G said that Batiste had asked him about the polarized reactions to his work.“You’ve got to play what sounds good to you, and feels good to you,” Kenny G recalled telling him. “Lucky for you, there’s a big audience that seems to like what you do. Then you really don’t have to apologize for that.”WHEN ASKED ABOUT his commercial hopes for “World Music Radio,” Batiste was typically circuitous and nuanced, saying that on one hand, he wants to compete with stars like Taylor Swift for top chart positions, but he also recognizes that his take on popular culture is more conceptual and abstract. He was most straightforward in saying he couldn’t wait to head out on tour.He seems most prepared for any reaction to his social commentary on the album. “Love Black folks and white folks,” Batiste sings on “Be Who You Are.” “My Asians, my Africans, my Afro-Eurasian, Republican or Democrat.”Even that simple message of openness and acceptance is relatively rare in an era when many pop stars shrink away from any social commentary at all, out of fear of alienating part of their audience and sacrificing clicks. It’s a risk Batiste is determined to take.“To say I love everybody, including Republicans — as a Black guy, I don’t know how that could go,” he said. “That shouldn’t be something that’s frowned upon or looked at in a way that probably to some seems like, ‘Oh, he’s not really clear on what’s important.’”“It’s radical today to love everybody,” he added. “We are in a time that there’s more of a pressure to make people into the other, and to dehumanize them in the process. But the act of removing a certain baseline of humanity in how we approach living amongst each other, that should be radical. That should be the thing that is disruptive.” More

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      Best and Worst Moments From the 2022 Grammys

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      Young artists brought dramatic performances, Doja Cat had an emotional moment at the microphone and Volodymyr Zelensky recorded a serious plea from Ukraine.The 64th annual Grammy Awards promised a return to (relative) normalcy following a scaled-down 2021 ceremony that largely took place outdoors. In Las Vegas for the first time, and with the pop spectacle dialed back up, the show’s most impactful moments were often its least flashy: a sober plea for help from President Volodymyr Zelensky of Ukraine; Doja Cat’s teary moment at the microphone; performances on rooftops that put a spotlight on a different crop of artists. (High-octane live moments from Billie Eilish and H.E.R. made a big impact, too.) Here are the show’s highlights and lowlights as we saw them.Best First-Love Kiss-Offs: Olivia Rodrigo and Billie EilishOlivia Rodrigo sang her hit “Drivers License.”Valerie Macon/Agence France-Presse — Getty ImagesTwo spot on performances that were too raw to feel petty, Olivia Rodrigo’s “Drivers License” and Billie Eilish’s “Happier Than Ever” — a couple of last year’s most potent and dramatic breakup songs — injected some much-needed feeling into the first half of the show. (Condolences to the young men these songs were allegedly written about.) Although the ceremony, as usual, couldn’t quite decide on its target demographic, it was the youth — these young women, especially — who carried the mantle of relevance, but also of performance, with strong enough live vocals for any pop skeptics among the CBS faithful.Rodrigo failed to go full Eilish 2020, winning only one of her nominations in the Big Four categories, best new artist, plus best pop vocal album and best pop solo performance. But hopefully the long shots of her during Eilish’s onstage rock explosion were more about their songs’ emotional kinship than trying to force a fake rivalry. Rodrigo, 19, and Eilish, 20, should probably get used to this stage; the Grammys are beyond lucky to have them both. JOE COSCARELLIBest Reality Check: Transmission From UkraineIn a recorded segment, Ukraine’s president, Volodymyr Zelensky, gave an emotional plea for support in his country’s war against Russia.Valerie Macon/Agence France-Presse — Getty ImagesThe Oscars had a moment of silence for Ukraine; the Grammys had a videotaped speech from Volodymyr Zelensky, the country’s president, who did not mince his words. “The war. What is more opposite to music? The silence of ruined cities and killed people,” he began. It is impossible to balance the indulgence of an awards show with the horrors of war, but Zelensky was strategic, calling on pop for its ability to transmit information: “Fill the silence with your music. Fill it today to tell our story,” he urged. John Legend followed him with a hymnlike new song, “Free,” joined by a poet, Lyuba Yakimchuk, a singer, Mika Newton, and a bandura (zither) player, Siuzanna Iglidan, from Ukraine. It was a heartfelt, dignified gesture. JON PARELESMost Humanizing Bathroom Break: Doja CatSZA and Doja Cat shared a moment at the microphone accepting best pop duo/group performance.Rich Fury/Getty ImagesFor an evening otherwise light on genuine chaos, Doja Cat and SZA’s win for best pop duo/group performance was a welcome jolt of messiness. First, a lone SZA slowly hobbled up to the stage on crutches (“I fell out of bed before I came here,” she explained later) before spotting Doja hustling up to the stage and saying, “Girl, you went to the bathroom for like five minutes, are you serious?” Doja seemed rattled and winded enough that the story checked out, and as she ascended the stage to accept her first Grammy, she told the world, “I have never taken such a fast piss in my whole life,” with the comic timing of a seasoned stand-up. After collecting herself and smoothing out her dress, though, pop’s favorite troll suddenly got uncharacteristically emotional. “I like to downplay a lot of [expletive],” she said through tears, “but this is a big deal.” For an artist who often revels in fantasy, irony and otherworldly artifice, it was an endearingly down-to-earth moment. LINDSAY ZOLADZWorst Handling of the Most Popular Genre: Rap’s Spotty Presence (Again)Nas looked back at some of his classics in a Grammys performance.Chris Pizzello/Invision, via Associated PressNas, who is 48, nodded at his classics: “I Can,” “Made You Look,” “One Mic” — sure. Baby Keem, Kendrick Lamar’s cousin and protégé, won an award for a pretty weird song — cool. Jack Harlow rapped well and censored himself artfully during his “Industry Baby” verse with Lil Nas X — OK, nice. Still, rap couldn’t help but feel like an afterthought at the ceremony, despite having separated itself over and over as the lifeblood of the music industry in the streaming era. Few of the genre’s rising stars, or their heroes, were present, let alone featured, while rock was referenced repeatedly. The winner of two rap awards in the preshow, Kanye West’s absence, necessary as it may have been, was glaring. And even a gesture that could generously be seen as inclusionary — dubbing Virgil Abloh, the artistic director of Louis Vuitton men’s wear who died last year, a “Hip Hop Fashion Designer” — was widely received online as dismissive or minimizing. The distrust runs deep, and the healing has yet to begin. COSCARELLIRead More on the 2022 Grammy AwardsThe Irresistible Jon Batiste: The jazz pianist is an inheritor more than an innovator, but he puts the past to use in service of fun.A Controversial Award: Some people questioned the decision to bestow the Grammy for best comedy album to Louis C.K., who has admitted to sexual misconduct.Old, but New: Despite nods to Gen Z, this year’s show favored history-minded performers like Silk Sonic, H.E.R. and Lady Gaga.The Fashion: An exuberant anything-goes attitude was a reminder of why red carpets are fun in the first place.Zelensky’s Speech: Volodymyr Zelensky, the president of Ukraine, addressed the audience in a prerecorded video. Here’s what he said.Best Carnivalesque Spirit: Jon Batiste and Lil Nas XLil Nas X played with reactions to his music in a medley that also featured Jack Harlow.Rich Fury/Getty Images For The Recording AcademyNot every Grammy spectacle works out for the best. But two over-the-top song-and-dance numbers this year made their points both visually and musically. Instead of trying to mimic the CGI extravaganza of his video for “Montero (Call Me by Your Name),” Lil Nas X — a social media mastermind — flashed internet reactions to it, surrounded himself with menacing, black-clad drummers, then went bare-midriff to dance in front of a gleaming bust of his own head, big enough for a carnival float. He and the ensemble switched to glittery marching-band uniforms for his duet with Jack Harlow, “Industry Baby” — a high-kicking, cheerleading victory parade.Jon Batiste brought the candy-colored palette and long-limbed, high-stepping moves of his “Freedom” video to the Grammy stage, but in real time and even more delirious, surrounding himself with dancers of wildly assorted shapes, sizes and cultural signifiers. Batiste was by turns a piano virtuoso, a vaudevillian, a preacher and an instigator; he led his forces into the audience and danced his way onto Billie Eilish’s table, where she enthusiastically joined him in singing “Freedom!” PARELESWorst Overcorrection: Trevor Noah’s Anti-Oscar NicetiesThe host Trevor Noah worked hard to keep the tone of the banter light.Rich Fury/Getty Images For The Recording AcademyLast week’s Oscars left a bad taste in everyone’s mouths, and even before The Slap Heard Round the World, there was already some chatter that the show’s jokes at the expense of nominees had been a little too acidic. In light of all the controversy, it wasn’t surprising the Grammys wanted to present themselves as a kind of anti-Oscars, and the host Trevor Noah wasted no time, proclaiming in his opening monologue, “We’re going to be dancing, we’re going to be singing, we’re going to be keeping people’s names out of our mouths” — about as polite a reference to Will Smith’s Oscars outburst as a person could muster. But as the show went on, Noah’s bland, gee-whiz tone felt more and more like an unfortunate overcorrection, blunting the edges of his jokes such that they hardly had an impact at all. In introducing Jared Leto, Noah even breezed right by the lowest hanging fruit in the 2022 joke book: Making fun of the accents in “House of Gucci”! No one was asking him to take meanspirited swipes, but a well-placed zinger here or there would have given the show some needed spice. ZOLADZBest Moment for the Stans: BTS’s V Flirts With Olivia RodrigoOlivia Rodrigo with V of BTS.Emma Mcintyre/Getty Images For The Recording AcademySometimes the Grammys give us rare moments of wonder that could only be dreamed up in the universe of fan fiction. Consider the opening of BTS’s “Butter” performance: As the James Bond-themed presentation started, the camera panned to BTS’s V (Kim Taehyung) and Olivia Rodrigo, where the pair were seated next to each other in the audience, chatting. For a whole 18 seconds, V leaned over and whispered what we can only assume were sweet nothings into Rodrigo’s ear. Jaws dropped; eyelashes batted. It was perhaps the most flirty moment in BTS history. I ship it. ISABELIA HERRERAMost Refreshing Comeback: Big, Bold FashionMegan Thee Stallion on the red carpet.Maria Alejandra Cardona/ReutersMaybe it was the move to Las Vegas, maybe it was the pent-up desire to dress up after two years of distanced and/or postponed awards, but the Grammys red carpet was alight with over-the-top, exuberant fashion. Megan Thee Stallion seemed to be channeling an entire big cat enclosure in her one-shouldered, slit-to-the-waist Cavalli; Lil Nas X, a sci-fi warrior angel in pearl-encrusted Balmain; and St. Vincent, the most extravagant boudoir in organza ruffled Gucci. Even Lady Gaga, whose entrance look was awfully classic silver screen elegance, changed into a mint green satin strapless number to perform — with possibly the biggest bow in existence on her behind. Meanwhile, the best bling wasn’t just bling for bling’s sake: It was bling with meaning. Jon Batiste set the tone with a silver, gold and black harlequin sequin suit whose colors were an ode to his hometown New Orleans, and Brandi Carlile said her “40-pound” bejeweled Boss tux was a homage to Elton John. Though in the end, one of the most striking outfits of the whole night was the least fancy: Billie Eilish, performing in a shirt featuring Taylor Hawkins, the Foo Fighters drummer who died in late March. It was a fashion statement of the most effective kind. VANESSA FRIEDMANWorst Arrangement: Justin Bieber’s ‘Peaches’Justin Bieber began his performances of “Peaches” with an extended riff at the piano.Rich Fury/Getty ImagesI’m not even mad at the pants. But a staid and silly extended piano intro, a sloppy pseudo-jam session and shoddy bleeping undermined Justin Bieber’s “Peaches” performance — and his ongoing quest to be considered a serious R&B singer. On a night where Silk Sonic and Jon Batiste cleaned up with studied professionalism, the junior varsity-ness of Bieber and company’s showing didn’t feel subversive, it just fell flat. COSCARELLIBest Sidelined Performances: The Preshow and the RoofMon Laferte shone in a performance on the preshow ceremony.Matt Winkelmeyer/Getty ImagesDoubtless with an eye on the show’s weak ratings, the Grammys — which used to make time for performances of jazz, classical music and other not-so-commercial genres — have focused in recent times on hits, even as its 80-plus categories recognize niches galore. But there are still music lovers alongside the Grammy metrics team, and the internet is their safe space and consolation prize. The pre-prime-time awards, where nearly all the categories get handed out in a brisk web-only ceremony, regularly feature superb performances and this year was no exception: Alison Russell recasting her “Nightflyer” as passionate string-band chamber music, Ledisi presenting a regally tormented version — in French, then English — of “Ne Me Quitte Pas,” Jimmie Allen suffusing country with filial pride in “Down Home” and Mon Laferte working herself up to gale-force fury in “La Mujer.” The prime-time show also allowed itself glimmers of music from beyond the pop charts, sandwiching some ads with snippets of outdoor performances as exuberant as anything on the main stage: salsa from the Cuban singer Aymee Nuviola, worship music from Maverick City Music and labyrinthine progressive bluegrass from Billy Strings. Sooner or later, the show promised, they’ll be on the Grammy website. PARELESBest Theater Kid Energy: Lady GagaLady Gaga delivered big gestures and bigger notes in a performance of songs from her album with Tony Bennett.Mario Anzuoni/ReutersIt’s no secret that the Grammys have been having trouble booking A-listers these past few years, so when you can guarantee a household name like Lady Gaga, you better give her the best seat in the house and keep a camera on her all night. Gaga seemed eager as ever to hold court, posing for pics with BTS, rocking out to the Brothers Osborne, and even holding SZA’s train to help her get onstage without tripping over her crutches. But her most memorable moment had to be her gloriously theatrical and somehow-also-touching tribute to her ailing duet partner Tony Bennett. Vamping her way through jazzy renditions of “Love for Sale” and “Do I Love You,” Gaga once again proved she has the range and (with apologies to an impressive Rachel Zegler) somehow out-theater-kidded the show’s Sondheim tribute. ZOLADZBest Arm Choreography: J BalvinJ Balvin’s tightly choreographed number was a highlight.Rich Fury/Getty ImagesJ Balvin isn’t known for his vocal presence. So it was surprising that the Colombian star chose to open his Grammys performance with “Qué Más Pues?,” his lukewarm pop-reggaeton collaboration with the Argentine singer Maria Becerra. José always has something up his sleeve, though: After a minute and a half duet with Becerra, the lights came down and Balvin ascended a lighted staircase in an all-crimson ensemble, flanked by masked, seated dancers in neon bleachers. As he started up his Skrillex-produced EDM jaunt “In da Getto,” the dancers, illuminated by an electric blue glow, broke out coordinated arm choreography. The movements were tight, jagged and slick: think synchronized swimming, but edgier and with less water. Both well-conceived and executed, it was a refreshing reprieve from the cartoonish visuals and leopard-print buzz-cuts Balvin is known for. HERRERABest Young Awards Show Staple: H.E.R.H.E.R., Travis Barker and Lenny Kravitz teamed up for a performance of “Are You Gonna Go My Way.”Rich Fury/Getty Images For The Recording AcademyThe 24-year-old songwriter, singer and multi-instrumentalist H.E.R. (Gabriella Sarmiento Wilson) has found a regular place at awards shows. That’s good, because she always has something to say, with both a message in her lyrics and a musicianly presence. She flaunts her skills as a singer and player, her combination of historical knowledge and up-to-the-minute awareness. Her latest Grammys appearance was typically informed and flamboyant. Jimmy Jam and Terry Lewis — from the Time and from Janet Jackson albums — flanked her on keytar and bass as she sang “Damage,” a song about being taken for granted. Then H.E.R. moved on to a drum kit, slamming out cross-rhythms, before shifting to what used to be called a Grammy Moment: a younger musician joining in on an oldie. This year, she stepped up alongside Lenny Kravitz for his 1993 hit, “Are You Gonna Go My Way,” both singing and strapping on a guitar, presenting herself not as a disciple but an equal. PARELESWorst Argument That Cancel Culture Is Real: Louis C.K. Winning Best Comedy AlbumGrammy voters could choose among six nominees in the best comedy album category, including Chelsea Handler, Lewis Black and Nate Bargatze, but somehow enough of them voted for the guy who admitted to multiple allegations of sexual misconduct. I wish I had a joke for that, but it’s just depressing. ZOLADZ More