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      Margo Guryan, Whose Album Drew Belated Acclaim, Dies at 84

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      She recorded “Take a Picture” in 1968, but it died when she declined to tour. Three decades later, adventurous listeners discovered it and gave it a new life.In the late 1990s Margo Guryan’s husband, David Rosner, opened an envelope that had come in the mail from Japan, and the two of them were surprised by what it contained: a royalty check generated by sales of Ms. Guryan’s album “Take a Picture.”The surprise was that the record — her only album at that point — had been released some three decades earlier, in 1968. Ms. Guryan was still carrying the memory of seeing it, not long after its release, languishing in the discount bin at a New York record store.The album, full of Ms. Guryan’s rhythmically complex yet beguilingly melodic songs about love, had died a quick death because Ms. Guryan, an enthusiastic songwriter but a reluctant performer, had declined her record company’s request to promote it by touring and making television appearances.Yet somehow decades later, with the digital age facilitating both word of mouth and the sharing of music, adventurous listeners discovered it — first in Japan, then in Europe, and finally in the United States, where in 2000 Franklin Castle Recordings rereleased it, followed the next year by “25 Demos,” a collection of other recordings of hers. Ms. Guryan, who by then was in her 60s and had settled into an anonymous career teaching music, had an unexpected burst of something resembling fame.“It’s still amazing to me to have something resurface after 30 years,” she told The Los Angeles Times in 2002. “People say I’ve been rediscovered. It’s not true — I’ve been discovered.”Ms. Guryan died on Nov. 8 at her home in Los Angeles. She was 84.Jonathan Rosner, her stepson, confirmed the death.As a songwriter, Ms. Guryan was best known for “Sunday Morning,” which became a Top 40 hit (with the “g” dropped from “Morning”) for Spanky and Our Gang in 1968 and was also recorded by the singer Oliver and others. Another of her songs, “Think of Rain,” has also been recorded by a number of singers, including Claudine Longet, Jackie DeShannon and Malcolm McNeill.But the reissue of “Take a Picture” and the follow-up album of demos brought a new appreciation of Ms. Guryan as someone who, her own insecurities aside, performed her own songs better than almost anyone else could. The records, J.R. Jones wrote in The Chicago Reader in 2002, “reveal one of the most overlooked talents of that explosively creative time, a reluctant vocalist whose songs, perversely, were indivisible from her voice.”Margo Guryan was born on Sept. 20, 1937, in Hempstead, N.Y., on Long Island, and grew up in the Far Rockaway section of Queens. Both of her parents played piano, though not professionally, and she began taking lessons when she was 6.She developed an interest in jazz early, and once she enrolled at Boston University she made a point of taking a course on jazz history taught by the Newport Jazz Festival impresario George Wein, who also owned a Boston nightclub, Storyville. He befriended her and would let her slip into the club through a side door, since she was underage. Once, when the pianist scheduled to play at intermission during an engagement by the Miles Davis Quintet didn’t show up, the club manager persuaded her to fill in; Mr. Davis, she said, gave her a congratulatory “Yeah, baby!”But, as would be the case later with her pop work, performing was not her priority. She often said that she switched her field of study at Boston University to composition from piano just to avoid having to give a senior recital.“To be a good jazz musician on any instrument, one has to be a really quick thinker, or internalize the chord progression,” she told the music magazine It’s Psychedelic Baby in 2018. “I’m a slow thinker — need time to think about where I’m going.”She began having success as a songwriter. While she was still in college one of her compositions, “Moon Ride,” was recorded by the jazz singer Chris Connor.In 1959 and 1960 she was among the students at the Lenox School of Jazz, a summer jazz education program in Massachusetts. The saxophonist and free-jazz pioneer Ornette Coleman was also a student there. After she had graduated from college, Ms. Guryan went to work for MJQ Music, a jazz publisher, which assigned her to put lyrics to the Coleman composition “Lonely Woman.” That version was recorded by Ms. Connor in 1962, among other singers.Ms. Guryan began having success as a songwriter when she was still in college.via Jonathan RosnerThat same year Harry Belafonte included her song “I’m on My Way to Saturday” on his album “The Many Moods of Belafonte.” That, she told It’s Psychedelic Baby, brought her a $1,500 paycheck, her largest to date.“I remember that I took some of the money and bought a red winter coat,” she said. “And I would tell people the coat was a gift from Harry Belafonte.”In 1966 her friend Dave Frishberg, the pianist and songwriter (who died on Nov. 17), changed her musical direction when he dropped by her apartment in Greenwich Village to play her an exciting new record: the Beach Boys’ ambitious “Pet Sounds.” The track “God Only Knows” especially caught her attention.“Margo was blown away and thought it was better and more interesting than anything going on in jazz at that moment,” Jonathan Rosner, a music publisher, said by email. “This inspired her to write ‘Think of Rain,’ which then led to all the other pop songs.”In 1967 David Rosner, whom she would marry in 1970, signed her to the music publisher April-Blackwood Music. He took demos she had made of her songs to record companies, trying to interest their artists in them.“One record company exec asked, ‘Why don’t we just record her?’” Ms. Guryan recalled in a 2015 interview with the music publication L.A. Record.Ms. Guryan had a flaw in her singing voice. (“I have a range break, right around G above middle C,” she told The Chicago Reader. “Above that I can sing, but it’s almost falsetto. Below it I can sing in full voice.”) As they set about recording the songs that would become “Take a Picture,” Mr. Rosner suggested doubling her voice, a recording technique in which the singer sings a track twice; that trick not only overcame the flaw but also gave her voice an ethereal quality that, three decades after the fact, would suit the record nicely for an era that favored whispy-voiced singer-songwriters.That was all in the future. First came a fateful meeting with Larry Uttal, the president of the label that issued the album, Bell Records. He outlined his plans for her to promote the record with lip-synced TV appearances and live shows.“I just sat there and shook my head from side to side,” she said years later. “After a frustrating half an hour or so — I’m sure for him as well as me — we left, and the promotion on the record immediately took a nosedive.”An early marriage to the trombonist and composer Bob Brookmeyer ended in divorce. David Rosner died in 2017. In addition to her stepson, Ms. Guryan is survived by two grandchildren.After her album died in the late 1960s, Ms. Guryan continued to write the occasional song, including some political ditties inspired by Watergate and by a speech by President George W. Bush. Another project, an extension of her work as a music teacher, was “The Chopsticks Variations,” a group of fanciful elaborations on the familiar piano exercise known to countless children — she wrote a ragtime variation, a boogie-woogie one, and 12 others. The works were so popular as sheet music that in 2009 she issued them on CD. More

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      Grammys Snubs and Surprises: Kacey Musgraves, Jon Batiste and Abba

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      A jazz musician snagged the most nominations, and the Weeknd, an artist who said he’s boycotting the awards, found his name on the ballot.Doja Cat, Justin Bieber, Billie Eilish and Olivia Rodrigo — sure, of course.H.E.R., Brandi Carlile, Tony Bennett and Lady Gaga — OK, fine, that makes some sense. These are the Grammys, after all.But Jon Batiste — the most-nominated artist overall? And … Abba? Who knew.The contenders for the 64th annual Grammy Awards in January were announced on Tuesday. The New York Times music team — reporter Joe Coscarelli, chief pop music critic Jon Pareles and pop music critic Jon Caramanica — are here to break them down.JOE COSCARELLI Let’s just start with the real shocker: A jazz pianist leads the field with 11 total nominations.Yes, Batiste is a genre-crossing multihyphenate who works as the bandleader and musical director for CBS’s “The Late Show With Stephen Colbert.” He’s already won a Golden Globe and an Oscar (best original score for Pixar’s “Soul,” alongside Trent Reznor and Atticus Ross) and is liable to pop up anywhere music is played — even alongside Madonna, as she promoted her “Madame X” concert movie in Harlem.Yet seeing him not only in the R&B, jazz, classical and American roots categories but also in the general field — record and album of the year — alongside those I considered shoo-ins (Rodrigo, Eilish, Taylor Swift, Doja Cat) was the sort of surprise that only the Grammys can consistently provide.Which is to say, was this actually a twist or was this the most Grammys thing that could have possibly happened? I’m torn, because on one hand, it felt like we were moving away from this. On the other, Jacob Collier got an album of the year nod last time around.JON CARAMANICA Last year, when talking about the ubiquity of the retro rock-soul band Black Pumas, we underscored a now-familiar Grammy sleight of hand: Rather than nominate older musicians well past their prime popularity, the show instead nominates younger musicians who make music in an old-fashioned way. That can mean Black Pumas, and it can mean Billie Eilish.This year, it means Jon Batiste, who is 35, but pointedly carries on the long tradition of New Orleans music, and who in recent years has become an institutionalist, a slightly less progressive version of his bandleader competitor, Questlove of “The Tonight Show Starring Jimmy Fallon.”The Grammys are, naturally, the ultimate institution — I would not be surprised if, a decade or two from now, Batiste becomes the show’s musical director. That he is also the bandleader on the marquee late-night show on CBS, the network that also broadcasts the Grammys, isn’t evidence of a fix, but it’s a reminder that the presumed and actual audiences for the awards show and the network both skew old — and that in this echo chamber, and perhaps only in this echo chamber, Batiste qualifies as a pop star..css-1xzcza9{list-style-type:disc;padding-inline-start:1em;}.css-3btd0c{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-3btd0c{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-3btd0c strong{font-weight:600;}.css-3btd0c em{font-style:italic;}.css-1kpebx{margin:0 auto;font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:1.125rem;line-height:1.3125rem;color:#121212;}#NYT_BELOW_MAIN_CONTENT_REGION .css-1kpebx{font-family:nyt-cheltenham,georgia,’times new roman’,times,serif;font-weight:700;font-size:1.375rem;line-height:1.625rem;}@media (min-width:740px){#NYT_BELOW_MAIN_CONTENT_REGION .css-1kpebx{font-size:1.6875rem;line-height:1.875rem;}}@media (min-width:740px){.css-1kpebx{font-size:1.25rem;line-height:1.4375rem;}}.css-1gtxqqv{margin-bottom:0;}.css-1g3vlj0{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-1g3vlj0{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-1g3vlj0 strong{font-weight:600;}.css-1g3vlj0 em{font-style:italic;}.css-1g3vlj0{margin-bottom:0;margin-top:0.25rem;}.css-19zsuqr{display:block;margin-bottom:0.9375rem;}.css-12vbvwq{background-color:white;border:1px solid #e2e2e2;width:calc(100% – 40px);max-width:600px;margin:1.5rem auto 1.9rem;padding:15px;box-sizing:border-box;}@media (min-width:740px){.css-12vbvwq{padding:20px;width:100%;}}.css-12vbvwq:focus{outline:1px solid #e2e2e2;}#NYT_BELOW_MAIN_CONTENT_REGION .css-12vbvwq{border:none;padding:10px 0 0;border-top:2px solid #121212;}.css-12vbvwq[data-truncated] .css-rdoyk0{-webkit-transform:rotate(0deg);-ms-transform:rotate(0deg);transform:rotate(0deg);}.css-12vbvwq[data-truncated] .css-eb027h{max-height:300px;overflow:hidden;-webkit-transition:none;transition:none;}.css-12vbvwq[data-truncated] .css-5gimkt:after{content:’See more’;}.css-12vbvwq[data-truncated] .css-6mllg9{opacity:1;}.css-qjk116{margin:0 auto;overflow:hidden;}.css-qjk116 strong{font-weight:700;}.css-qjk116 em{font-style:italic;}.css-qjk116 a{color:#326891;-webkit-text-decoration:underline;text-decoration:underline;text-underline-offset:1px;-webkit-text-decoration-thickness:1px;text-decoration-thickness:1px;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:visited{color:#326891;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:hover{-webkit-text-decoration:none;text-decoration:none;}JON PARELES Batiste is an impressive musician and performer — pianist, singer, dancer — and his album, “We Are,” is a trove of good intentions and good playing, including New Orleans connections with appearances by Trombone Shorty and the Hot 8 Brass Band. Like Black Pumas (also nominated this year!), Batiste’s album harks back to vintage soul and R&B, clearly a sweet spot for Grammy voters, although it also ventures toward hip-hop. The album is a serious, thoughtful statement, celebrating New Orleans roots — Batiste is a member of a longstanding musical family — and his own memories of growing up. It also has positive-thinking message songs like “Freedom” and “We Are.” But Batiste’s nightly broadcast exposure clearly has a lot to do with all his nominations; someone’s still watching network TV.You get a lot of Grammy nominations by qualifying for multiple categories — and a lot of nominations does not guarantee a lot of wins. Batiste is in R&B, jazz, American roots, soundtrack (for “Soul”), music video and even contemporary classical for one of the album tracks, “Movement 11” — which is a stretch, since it shares far more similarity to a two-minute jazz improvisation with added strings than it does to its fellow nominees, like the Dutch composer Louis Andriessen’s knotty orchestral song cycle, “The Only One.”COSCARELLI Rounding out album of the year, in addition to Batiste’s “We Are,” you have “Love for Sale” by Tony Bennett and Lady Gaga, “Justice (Triple Chucks Deluxe)” by Justin Bieber, “Planet Her (Deluxe)” by Doja Cat, “Back of My Mind” by H.E.R., “Happier Than Ever” by Billie Eilish, “Montero” by Lil Nas X, “Sour” by Olivia Rodrigo, “Evermore” by Taylor Swift and “Donda” by Kanye West.Many of those artists are also represented in song and record of the year, where you also get a mix of Brandi Carlile, Ed Sheeran, Silk Sonic and Abba’s “I Still Have Faith in You,” which is apparently a record that moved people? That means no Halsey, Ariana Grande, BTS, Megan Thee Stallion, Chris Stapleton or Tyler, the Creator in the major categories, which plenty will see as galling.The 2019 best album winner, Kacey Musgraves, was also eligible again, for her latest LP, “Star-Crossed,” which wasn’t nominated as a body of work. Instead, she landed only two nods overall: best country song and best country solo performance for “Camera Roll,” despite the album being reportedly removed from the country categories by the Recording Academy’s genre police.PARELES One thing that struck me, as a writer for a sometime print publication, was the sheer typographical burden of this year’s Grammy nominations. The list simply has not looked like this before. The album of the year category goes on for three full pages to name all the songwriters, producers and engineers credited on albums by Batiste, Bieber, Doja Cat, H.E.R., Lil Nas X, Swift and West.It’s a reflection of how albums are made now. It’s not a band and a producer sequestered in the studio. It’s about beat-shopping, samples, songwriting camps, remote collaborations, multiple tweaks and iterations — and all the participants want those credits and publishing points. The nominees alone are going to be a sizable voting bloc for each album, especially in a category split 10 ways.COSCARELLI But then there’s Gaga and Bennett, Eilish and Rodrigo, whose credits are minuscule by comparison. That could potentially give them an edge with more conservative voters who remain concerned with the bespoke quality of the music.Along with expanding the Big Four categories to 10 nominees each — and lowering the bar for how much any one collaborator has to contribute to be among those recognized in the best album field (hello, Zadie Smith!) — this year also marked the end of the so-called Nominations Review Committees. (These were the source of the Weeknd’s frustration last year, after he was snubbed and eventually decided to boycott.)Rather than some shadowy cabal taking the members’ top vote-getters, considering them and then making their own final decision on the nominees anyway, the Recording Academy says these picks are pure: Whoever got the most votes from their music industry peers is who is appearing on the final ballot.Do you see that reflected here? My sense is that it benefits those with wide name recognition and enduring industry connections and respect — Bieber, Abba, maybe even Carlile, who has a record of the year nomination and two for song, including an Alicia Keys duet. At the same time, you could imagine the secret committees keeping out something like Lady Gaga and Bennett’s “Love for Sale,” because it’s so stereotypically Old and Stuffy Grammys — the kind of thing it felt like they were distancing themselves from in recent history.CARAMANICA I will not lie: my heart palpitated a little erratically (and worryingly) when I read the first name in the first category, record of the year: Abba. Now look, I exult at weddings just like the next sap, and I honor anyone whose albums were in my parents’ vinyl collection. But this new Abba music is thin, thin, thin. It exists primarily as an advertisement for the old Abba music, and the group’s avatar-led stage show that’s debuting next year.PARELES That’s obviously one of the Grammys’ better-late-than-never nominations. Abba never got a Grammy in its prime; this nomination is the apology.Meanwhile, count me surprised that Arooj Aftab turns up in the best new artist category. She is a Pakistani musician who studied at the Berklee School of Music and is based in Brooklyn, mingling South Asian music, jazz and chamber music; some of the songs on her (third) album, “Vulture Prince,” presumably the one that caught the Grammys’ attention, have lyrics by the 13th-century Persian mystical poet Rumi. It’s a lovely album, but I hardly expected to see her name alongside Rodrigo and Saweetie. Persian aside, there’s also still a language barrier for Grammy voters in this category; where are streaming blockbusters like Rauw Alejandro, whose debut album came out last November?COSCARELLI Best new artist is confusing, especially with the removal of the nomination committees taken into account. Enough people knew Aftab, Baby Keem and Japanese Breakfast to put them ahead of, say, Polo G, Tems, Jack Harlow and Maneskin (shudder)?I do miss the secret committees when it comes to rock. Last year, they seemed to make a point to shake up typically staid categories like best rock song, album and performance, the latter of which was all women for the first time, including Fiona Apple, Phoebe Bridgers and Haim. This year it’s back to basics: AC/DC, Black Pumas (for a live release), Chris Cornell, Deftones and Foo Fighters. Kings of Leon, Weezer and Paul McCartney also turn up in the rock field.That can’t help but feel like regression, even if it’s what the voters wanted.Kanye West’s “Donda” is up for album of the year.Randall Hill/ReutersCARAMANICA Joe, you see that shift also in the best rap album nominations. Last year, they consisted of purist-oriented artisanal albums at the intersection of process and aesthetic that the Grammys has long valorized in other genres. This year, the nominees are … reasonably popular and generally respected rap albums.That includes “Donda,” which is also nominated for album of the year. West received five total nominations this year, representing something of a coming in from the cold for someone who, in Grammy terms, now qualifies as a legacy artist. He has been nominated over 70 times in his career, but apart from last year’s win for best contemporary Christian music album, hasn’t taken home a trophy since 2013. He also hasn’t been nominated for album of the year for an album of his own since his 2007 album “Graduation.” (He has been nominated as a producer on others’ albums.)The nominations of “Donda” and “Hurricane” (best melodic rap performance) also means nominations for the Weeknd, even after his boycott. (He is also nominated for his contributions to Doja Cat’s album.)COSCARELLI The inclusion of “Donda” in album of the year can’t help but highlight the lack of Drake’s “Certified Lover Boy,” which earned a rap album and a rap performance nod (for “Way 2 Sexy”) but nothing in the top categories. Both are among the year’s biggest albums commercially.Also on that best-seller list? Morgan Wallen, who has outperformed both rappers but came away with absolutely no nominations amid his soft industry banishment for drunkenly shouting a racial slur in a video captured by a neighbor. Does that count as a snub, or just a cultural land mine avoided?CARAMANICA It’s also worth mentioning Taylor Swift here — a lonely nomination for album of the year, for “Evermore,” perhaps the least commercially impactful album of her career, and also another nomination in the same category by dint of her writing “contributions” to Olivia Rodrigo’s “Sour.”PARELES In a way, Swift’s album nomination is the appropriate one: “Evermore” is an old-fashioned full-length album, made to be heard as a whole. Also on the absentee list: Lana Del Rey and Lorde, even though their (and Swift’s) producer Jack Antonoff is nominated as producer of the year, in part for his work with them.COSCARELLI I see neither of you want to touch the subject of Wallen right now — just like the Grammys.CARAMANICA On the other hand, there are a handful of TikTok hits that have now led to Grammy nominations: Giveon’s slow and aching “Heartbreak Anniversary” is nominated for best R&B song, and the British rock band Glass Animals had a huge TikTok hit this year with “Heat Waves,” and now the band, which has been releasing music for several years, is nominated for best new artist. Walker Hayes’s goofy country stomper “Fancy Like” started its ascent on TikTok and now is nominated in best country song.PARELES Well, at least they’re trying. You have to sympathize, a little, with how difficult it is for the Grammys to try to sum up all of music when there are so many niche audiences that barely intersect. But we’re lucky that hardly anyone who cares about music takes the Grammys as the ultimate judgment. More

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      Grammy Nominees 2022: The Full List

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      Artists, albums and songs competing for trophies at the 64th annual ceremony were announced on Tuesday. The show will take place Jan. 31 in Los Angeles.Nominees for the 64th annual Grammy Awards were announced on Tuesday. Jon Batiste leads all artists with 11 nominations; Justin Bieber, Doja Cat and H.E.R. follow with eight; Billie Eilish and Olivia Rodrigo have seven each.The ceremony will be the first since the awards made a major change to its nominating process: In late April, the board of the Recording Academy, the governing body of the Grammys, voted to eliminate the use of anonymous expert committees to whittle down the final ballot in dozens of categories, a practice that had been in place since 1989. The Grammys have been criticized in recent years by prominent artists including Jay-Z, Drake, Kanye West and Frank Ocean, who amplified concerns that Black artists have been routinely passed over in the top all-genre categories. In March, the Weeknd announced a boycott of the Grammys, citing the committees.The ceremony will be held on Jan. 31, 2022, at the Crypto.com Arena (formerly the Staples Center) in Los Angeles.Here is the full list of nominees.Record of the Year“I Still Have Faith in You,” Abba“Freedom,” Jon Batiste“I Get a Kick Out of You,” Tony Bennett and Lady Gaga“Peaches,” Justin Bieber featuring Daniel Caesar and Giveon“Right on Time,” Brandi Carlile“Kiss Me More,” Doja Cat featuring SZA“Happier Than Ever,” Billie Eilish“Montero (Call Me by Your Name),” Lil Nas X“Drivers License,” Olivia Rodrigo“Leave the Door Open,” Silk SonicAlbum of the Year“We Are,” Jon Batiste“Love for Sale,” Tony Bennett and Lady Gaga“Justice (Triple Chucks Deluxe),” Justin Bieber“Planet Her (Deluxe),” Doja Cat“Happier Than Ever,” Billie Eilish“Back of My Mind,” H.E.R.“Montero,” Lil Nas X“Sour,” Olivia Rodrigo“Evermore,” Taylor Swift“Donda,” Kanye WestSong of the Year“Bad Habits,” Fred Gibson, Johnny McDaid and Ed Sheeran, songwriters (Ed Sheeran)“A Beautiful Noise,” Ruby Amanfu, Brandi Carlile, Brandy Clark, Alicia Keys, Hillary Lindsey, Lori McKenna, Linda Perry and Hailey Whitters, songwriters (Alicia Keys and Brandi Carlile)“Drivers License,” Daniel Nigro and Olivia Rodrigo, songwriters (Olivia Rodrigo)“Fight for You,” Dernst Emile Ii, H.E.R. and Tiara Thomas, songwriters (H.E.R.)“Happier Than Ever,” Billie Eilish O’Connell and Finneas O’Connell, songwriters (Billie Eilish)“Kiss Me More,” Rogét Chahayed, Amala Zandile Dlamini, Lukasz Gottwald, Carter Lang, Gerard A. Powell Ii, Solána Rowe and David Sprecher, songwriters (Doja Cat featuring Sza)“Leave the Door Open,” Brandon Anderson, Christopher Brody Brown, Dernst Emile Ii and Bruno Mars, songwriters (Silk Sonic)“Montero (Call Me by Your Name),” Denzel Baptiste, David Biral, Omer Fedi, Montero Hill and Roy Lenzo, songwriters (Lil Nas X)“Peaches,” Louis Bell, Justin Bieber, Giveon Dezmann Evans, Bernard Harvey, Felisha “Fury” King, Matthew Sean Leon, Luis Manuel Martinez Jr., Aaron Simmonds, Ashton Simmonds, Andrew Wotman Aand Keavan Yazdani, songwriters (Justin Bieber featuring Daniel Caesar and Giveon)“Right on Time,” Brandi Carlile, Dave Cobb, Phil Hanseroth and Tim Hanseroth, songwriters (Brandi Carlile)Best New ArtistArooj AftabJimmie AllenBaby KeemFinneasGlass AnimalsJapanese BreakfastThe Kid LaroiArlo ParksOlivia RodrigoSaweetieBest Pop Solo Performance“Anyone,” Justin Bieber“Right on Time,” Brandi Carlile“Happier Than Ever,” Billie Eilish“Positions,” Ariana Grande“Drivers License,” Olivia RodrigoBest Pop Duo/Group Performance“I Get a Kick Out of You,” Tony Bennett and Lady Gaga“Lonely,” Justin Bieber and Benny Blanco“Butter,” BTS“Higher Power,” Coldplay“Kiss Me More,” Doja Cat featuring SZABest Traditional Pop Vocal Album“Love for Sale,” Tony Bennett and Lady Gaga“’Til We Meet Again (Live),” Norah Jones“A Tori Kelly Christmas,” Tori Kelly“Ledisi Sings Nina,” Ledisi“That’s Life,” Willie Nelson“A Holly Dolly Christmas,” Dolly PartonBest Pop Vocal Album“Justice (Triple Chucks Deluxe),” Justin Bieber“Planet Her (Deluxe),” Doja Cat“Happier Than Ever,” Billie Eilish“Positions,” Ariana Grande“Sour,” Olivia RodrigoBest Dance/Electronic Recording“Hero,” Afrojack and David Guetta“Loom,” Ólafur Arnalds featuring Bonobo“Before,” James Blake“Heartbreak,” Bonobo and Totally Enormous Extinct Dinosaurs“You Can Do It,” Caribou“Alive,” Rüfüs Du Sol“The Business,” TiëstoBest Dance/Electronic Music Album“Subconsciously,” Black Coffee“Fallen Embers,” Illenium“Music Is the Weapon (Reloaded),” Major Lazer“Shockwave,” Marshmello“Free Love,” Sylvan Esso“Judgement,” Ten CityBest Alternative Music Album“Shore,” Fleet Foxes“If I Can’t Have Love, I Want Power,” Halsey“Jubilee,” Japanese Breakfast“Collapsed in Sunbeams,” Arlo Parks“Daddy’s Home,” St. VincentBest Contemporary Instrumental Album“Double Dealin’,” Randy Brecker and Eric Marienthal“The Garden,” Rachel Eckroth“Tree Falls,” Taylor Eigsti“At Blue Note Tokyo,” Steve Gadd Band“Deep: The Baritone Sessions, Vol. 2,” Mark LettieriBest Rock Performance“Shot in the Dark,” AC/DC“Know You Better (Live From Capitol Studio A),” Black Pumas“Nothing Compares 2 U,” Chris Cornell“Ohms,” Deftones“Making a Fire,” Foo FightersBest Metal Performance“Genesis,” Deftones“The Alien,” Dream Theater“Amazonia,” Gojira“Pushing the Tides,” Mastodon“The Triumph of King Freak (A Crypt of Preservation and Superstition),” Rob ZombieBest Rock Song“All My Favorite Songs,” Rivers Cuomo, Ashley Gorley, Ben Johnson and Ilsey Juber, songwriters (Weezer)“The Bandit,” Caleb Followill, Jared Followill, Matthew Followill and Nathan Followill, songwriters (Kings of Leon)“Distance,” Wolfgang Van Halen, songwriter (Mammoth Wvh)“Find My Way,” Paul McCartney, songwriter (Paul McCartney)“Waiting on a War,” Dave Grohl, Taylor Hawkins, Rami Jaffee, Nate Mendel, Chris Shiflett and Pat Smear, songwriters (Foo Fighters)Best Rock Album“Power Up,” AC/DC“Capitol Cuts – Live From Studio A,” Black Pumas“No One Sings Like You Anymore Vol. 1,” Chris Cornell“Medicine at Midnight,” Foo Fighters“McCartney III,” Paul McCartneyBest R&B Performance“Lost You,” Snoh Aalegra“Peaches,” Justin Bieber featuring Daniel Caesar and Giveon“Damage,” H.E.R.“Leave the Door Open,” Silk Sonic“Pick Up Your Feelings,” Jazmine SullivanBest Traditional R&B Performance“I Need You,” Jon Batiste“Bring It on Home to Me,” BJ The Chicago Kid, PJ Morton and Kenyon Dixon featuring Charlie Bereal“Born Again,” Leon Bridges featuring Robert Glasper“Fight for You,” H.E.R.“How Much Can a Heart Take,” Lucky Daye featuring YebbaBest R&B Song“Damage,” Anthony Clemons Jr., Jeff Gitelman, H.E.R., Carl McCormick and Tiara Thomas, songwriters (H.E.R.)“Good Days,” Jacob Collier, Carter Lang, Carlos Munoz, Solána Rowe and Christopher Ruelas, songwriters (SZA)“Heartbreak Anniversary,” Giveon Evans, Maneesh, Sevn Thomas and Varren Wade, songwriters (Giveon)“Leave the Door Open,” Brandon Anderson, Christopher Brody Brown, Dernst Emile II and Bruno Mars, songwriters (Silk Sonic)“Pick Up Your Feelings,” Denisia “Blue June” Andrews, Audra Mae Butts, Kyle Coleman, Brittany “Chi” Coney, Michael Holmes and Jazmine Sullivan, songwriters (Jazmine Sullivan).css-1xzcza9{list-style-type:disc;padding-inline-start:1em;}.css-3btd0c{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-3btd0c{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-3btd0c 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a{color:#326891;-webkit-text-decoration:underline;text-decoration:underline;text-underline-offset:1px;-webkit-text-decoration-thickness:1px;text-decoration-thickness:1px;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:visited{color:#326891;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:hover{-webkit-text-decoration:none;text-decoration:none;}Best Progressive R&B Album“New Light,” Eric Bellinger“Something to Say,” Cory Henry“Mood Valiant,” Hiatus Kaiyote“Table for Two,” Lucky Daye“Dinner Party: Dessert,” Terrace Martin, Robert Glasper, 9th Wonder and Kamasi Washington“Studying Abroad: Extended Stay,” MasegoBest R&B Album“Temporary Highs in the Violet Skies,” Snoh Aalegra“We Are,” Jon Batiste“Gold-Diggers Sound,” Leon Bridges“Back of My Mind,” H.E.R.“Heaux Tales,” Jazmine SullivanBest Rap Performance“Family Ties” Baby Keem featuring Kendrick Lamar“Up,” Cardi B“My Life,” J. Cole featuring 21 Savage and Morray“Way 2 Sexy,” Drake featuring Future and Young Thug“Thot ___,” Megan Thee StallionBest Melodic Rap Performance“Pride Is the Devil,” J. Cole featuring Lil Baby“Need to Know,” Doja Cat“Industry Baby,” Lil Nas X featuring Jack Harlow“Wusyaname,” Tyler, The Creator featuring Youngboy Never Broke Again and Ty Dolla Sign“Hurricane,” Kanye West featuring the Weeknd and Lil BabyBest Rap Song“Bath Salts,” Shawn Carter, Kasseem Dean, Michael Forno, Nasir Jones and Earl Simmons, songwriters (DMX featuring Jay-Z and Nas)“Best Friend,” Amala Zandile Dlamini, Lukasz Gottwald, Randall Avery Hammers, Diamonté Harper, Asia Smith, Theron Thomas and Rocco Valdes, songwriters (Saweetie featuring Doja Cat)“Family Ties,” Roshwita Larisha Bacha, Hykeem Carter, Tobias Dekker, Colin Franken, Jasper Harris, Kendrick Lamar, Ronald Latour and Dominik Patrzek, songwriters (Baby Keem featuring Kendrick Lamar)“Jail,” Dwayne Abernathy, Jr., Shawn Carter, Raul Cubina, Michael Dean, Charles M. Njapa, Sean Solymar, Brian Hugh Warner, Kanye West and Mark Williams, songwriters (Kanye West featuring Jay-Z)“My Life,” Shéyaa Bin Abraham-Joseph & Jermaine Cole, songwriters (J. Cole featuring 21 Savage and Morray)Best Rap Album“The Off-Season,” J. Cole“Certified Lover Boy,” Drake“King’s Disease II,” Nas“Call Me If You Get Lost,” Tyler, the Creator“Donda,” Kanye WestBest Country Solo Performance“Forever After All,” Luke Combs“Remember Her Name,” Mickey Guyton“All I Do Is Drive,” Jason Isbell“Camera Roll,” Kacey Musgraves“You Should Probably Leave,” Chris StapletonBest Country Duo/Group Performance“If I Didn’t Love You,” Jason Aldean and Carrie Underwood“Younger Me,” Brothers Osborne“Glad You Exist,” Dan + Shay“Chasing After You,” Ryan Hurd and Maren Morris“Drunk (And I Don’t Wanna Go Home),” Elle King and Miranda LambertBest Country Song“Better Than We Found It,” Jessie Jo Dillon, Maren Morris, Jimmy Robbins and Laura Veltz, songwriters (Maren Morris)“Camera Roll,” Ian Fitchuk, Kacey Musgraves and Daniel Tashian, songwriters (Kacey Musgraves)“Cold,” Dave Cobb, J.T. Cure, Derek Mixon and Chris Stapleton, songwriters (Chris Stapleton)“Country Again,” Zach Crowell, Ashley Gorley and Thomas Rhett, songwriters (Thomas Rhett)“Fancy Like,” Cameron Bartolini, Walker Hayes, Josh Jenkins and Shane Stevens, songwriters (Walker Hayes)“Remember Her Name,” Mickey Guyton, Blake Hubbard, Jarrod Ingram and Parker Welling, songwriters (Mickey Guyton)Best Country Album“Skeletons,” Brothers Osborne“Remember Her Name,” Mickey Guyton“The Marfa Tapes,” Miranda Lambert, Jon Randall and Jack Ingram“The Ballad of Dood & Juanita,” Sturgill Simpson“Starting Over,” Chris StapletonBest New Age Album“Brothers,” Will Ackerman, Jeff Oster and Tom Eaton“Divine Tides,” Stewart Copeland and Ricky Kej“Pangaea,” Wouter Kellerman and David Arkenstone“Night + Day,” Opium Moon“Pieces of Forever,” Laura SullivanBest Improvised Jazz Solo“Sackodougou,” Christian Scott aTunde Adjuah, soloist“Kick Those Feet,” Kenny Barron, soloist“Bigger Than Us,” Jon Batiste, soloist“Absence,” Terence Blanchard, soloist“Humpty Dumpty (Set 2),” Chick Corea, soloistBest Jazz Vocal Album“Generations,” The Baylor Project“Superblue,” Kurt Elling and Charlie Hunter“Time Traveler,” Nnenna Freelon“Flor,” Gretchen Parlato“Songwrights Apothecary Lab,” Esperanza SpaldingBest Jazz Instrumental Album“Jazz Selections: Music From and Inspired by Soul,” Jon Batiste“Absence,” Terence Blanchard featuring the E Collective and the Turtle Island Quartet“Skyline,” Ron Carter, Jack DeJohnette and Gonzalo Rubalcaba“Akoustic Band Live,” Chick Corea, John Patitucci and Dave Weckl“Side-Eye NYC (V1.IV),” Pat MethenyBest Large Jazz Ensemble Album“Live at Birdland!,” The Count Basie Orchestra directed by Scotty Barnhart“Dear Love,” Jazzmeia Horn and her Noble Force“For Jimmy, Wes and Oliver,” Christian McBride Big Band“Swirling,” Sun Ra Arkestra“Jackets XL,” Yellowjackets + WDR Big BandBest Latin Jazz Album“Mirror Mirror,” Eliane Elias With Chick Corea and Chucho Valdés“The South Bronx Story,” Carlos Henriquez“Virtual Birdland,” Arturo O’Farrill & the Afro Latin Jazz Orchestra“Transparency,” Dafnis Prieto Sextet“El Arte Del Bolero,” Miguel Zenón and Luis PerdomoBest Gospel Performance/Song“Voice of God,” Dante Bowe featuring Steffany Gretzinger and Chandler Moore; Dante Bowe, Tywan Mack, Jeff Schneeweis and Mitch Wong, songwriters“Joyful,” Dante Bowe; Dante Bowe and Ben Schofield, songwriters“Help,” Anthony Brown & Group Therapy; Anthony Brown and Darryl Woodson, songwriters“Never Lost,” CeCe Winans“Wait on You,” Elevation Worship and Maverick City Music; Dante Bowe, Chris Brown, Steven Furtick, Tiffany Hudson, Brandon Lake and Chandler Moore, songwritersBest Contemporary Christian Music Performance/Song“We Win,” Kirk Franklin and Lil Baby; Kirk Franklin, Dominique Jones, Cynthia Nunn and Justin Smith, songwriters“Hold Us Together (Hope Mix),” H.E.R. and Tauren Wells; Josiah Bassey, Dernst Emile and H.E.R., songwriters“Man of Your Word,” Chandler Moore and KJ Scriven; Jonathan Jay, Nathan Jess and Chandler Moore, songwriters“Believe for It,” CeCe Winans; Dwan Hill, Kyle Lee, CeCe Winans and Mitch Wong, songwriters“Jireh,” Elevation Worship and Maverick City Music featuring Chandler Moore and Naomi Raine; Chris Brown, Steven Furtick, Chandler Moore and Naomi Raine, songwritersBest Gospel Album“Changing Your Story,” Jekalyn Carr“Royalty: Live at the Ryman,” Tasha Cobbs Leonard“Jubilee: Juneteenth Edition,” Maverick City Music“Jonny X Mali: Live in LA,” Jonathan McReynolds and Mali Music“Believe for It,” CeCe WinansBest Contemporary Christian Music Album“No Stranger,” Natalie Grant“Feels Like Home Vol. 2,” Israel and New Breed“The Blessing (Live),” Kari Jobe“Citizen of Heaven (Live),” Tauren Wells“Old Church Basement,” Elevation Worship and Maverick City MusicBest Roots Gospel Album“Alone With My Faith,” Harry Connick, Jr.“That’s Gospel, Brother,” Gaither Vocal Band“Keeping On,” Ernie Haase and Signature Sound“Songs For the Times,” The Isaacs“My Savior,” Carrie UnderwoodBest Latin Pop Album“Vértigo,” Pablo Alborán“Mis Amores,” Paula Arenas“Hecho a la Antigua,” Ricardo Arjona“Mis Manos,” Camilo“Mendó,” Alex Cuba“Revelación,” Selena GomezBest Música Urbana Album“Afrodisíaco,” Rauw Alejandro“El Último Tour Del Mundo,” Bad Bunny“Jose,” J Balvin“KG0516,” KAROL G“Sin Miedo (Del Amor y Otros Demonios),” Kali UchisBest Latin Rock or Alternative Album“Deja,” Bomba Estéreo“Mira Lo Que Me Hiciste Hacer (Deluxe Edition),” Diamante Eléctrico“Origen,” Juanes“Calambre,” Nathy Peluso“El Madrileño,” C. Tangana“Sonidos de Karmática Resonancia,” ZoéBest Regional Mexican Music Album (Including Tejano)“Antología de la Musica Ranchera, Vol. 2,” Aida Cuevas“A Mis 80’s,” Vicente Fernández“Seis,” Mon Laferte“Un Canto por México, Vol. II,” Natalia Lafourcade“Ayayay! (Súper Deluxe),” Christian NodalBest Tropical Latin Album“Salswing!,” Rubén Blades y Roberto Delgado & Orquesta“En Cuarentena,” El Gran Combo De Puerto Rico“Sin Salsa No Hay Paraíso,” Aymée Nuviola“Colegas,” Gilberto Santa Rosa“Live in Peru,” Tony SuccarBest American Roots Performance“Cry,” Jon Batiste“Love and Regret,” Billy Strings“I Wish I Knew How It Would Feel to Be Free,” The Blind Boys of Alabama and Béla Fleck“Same Devil,” Brandy Clark featuring Brandi Carlile“Nightflyer,” Allison RussellBest American Roots Song“Avalon,” Rhiannon Giddens, Justin Robinson and Francesco Turrisi, songwriters (Rhiannon Giddens with Francesco Turrisi)“Call Me a Fool,” Valerie June, songwriter (Valerie June featuring Carla Thomas)“Cry,” Jon Batiste and Steve McEwan, songwriters (Jon Batiste)“Diamond Studded Shoes,” Dan Auerbach, Natalie Hemby, Aaron Lee Tasjan and Yola, songwriters (Yola)“Nightflyer,” Jeremy Lindsay and Allison Russell, songwriters (Allison Russell)Best Americana Album“Downhill From Everywhere,” Jackson Browne“Leftover Feelings,” John Hiatt with the Jerry Douglas Band“Native Sons,” Los Lobos“Outside Child,” Allison Russell“Stand for Myself,” YolaBest Bluegrass Album“Renewal,” Billy Strings“My Bluegrass Heart,” Béla Fleck“A Tribute To Bill Monroe,” The Infamous Stringdusters“Cuttin’ Grass – Vol. 1 (Butcher Shoppe Sessions),” Sturgill Simpson“Music Is What I See,” Rhonda VincentBest Traditional Blues Album“100 Years of Blues,” Elvin Bishop and Charlie Musselwhite“Traveler’s Blues,” Blues Traveler“I Be Trying,” Cedric Burnside“Be Ready When I Call You,” Guy Davis“Take Me Back,” Kim WilsonBest Contemporary Blues Album“Delta Kream,” The Black Keys featuring Eric Deaton and Kenny Brown“Royal Tea,” Joe Bonamassa“Uncivil War,” Shemekia Copeland“Fire It Up,” Steve Cropper“662,” Christone “Kingfish” IngramBest Folk Album“One Night Lonely [Live],” Mary Chapin Carpenter“Long Violent History,” Tyler Childers“Wednesday (Extended Edition),” Madison Cunningham“They’re Calling Me Home,” Rhiannon Giddens with Francesco Turrisi“Blue Heron Suite,” Sarah JaroszBest Regional Roots Music Album“Live in New Orleans!,” Sean Ardoin and Kreole Rock and Soul“Bloodstains & Teardrops,” Big Chief Monk Boudreaux“My People,” Cha Wa“Corey Ledet Zydeco,” Corey Ledet Zydeco“Kau Ka Pe’a,” Kalani Pe’aBest Reggae Album“Pamoja,” Etana“Positive Vibration,” Gramps Morgan“Live N Livin,” Sean Paul“Royal,” Jesse Royal“Beauty in the Silence,” Soja“10,” SpiceBest Engineered Album, Non-Classical“Cinema,” Josh Conway, Marvin Figueroa, Josh Gudwin, Neal H Pogue and Ethan Shumaker, engineers; Joe LaPorta, mastering engineer (The Marías)“Dawn,” Thomas Brenneck, Zach Brown, Elton “L10MixedIt” Chueng, Riccardo Damian, Tom Elmhirst, Jens Jungkurth, Todd Monfalcone, John Rooney and Smino, engineers; Randy Merrill, mastering engineer (Yebba)“Hey What,” BJ Burton, engineer; BJ Burton, mastering engineer (Low)“Love for Sale,” Dae Bennett, Josh Coleman and Billy Cumella, engineers; Greg Calbi and Steve Fallone, mastering engineers (Tony Bennett and Lady Gaga)Producer of the Year, Non-ClassicalJack AntonoffRogét ChahayedMike ElizondoHit-BoyRicky ReedBest Remixed Recording“Back to Life” (Booker T Kings of Soul Satta Dub); Booker T, remixer (Soul II Soul)“Born for Greatness” (Cymek Remix); Spencer Bastin, remixer (Papa Roach); track from: “Greatest Hits Vol. 2 The Better Noise Years”“Constant Craving” (Fashionably Late Remix); Tracy Young, remixer (K.D. Lang)“Inside Out” (3scape DRM Remix); 3scape DRM, remixer (Zedd and Griff)“Met Him Last Night (Dave Audé Remix); Dave Audé, remixer (Demi Lovato and Ariana Grande)“Passenger” (Mike Shinoda Remix); Mike Shinoda, remixer (Deftones); track from: “White Pony” (20th Anniversary Deluxe Edition)“Talks” (Mura Masa Remix); Alexander Crossan, remixer (PVA)Best Global Music Performance“Mohabbat,” Arooj Aftab“Do Yourself,” Angelique Kidjo and Burna Boy“Pà Pá Pà,” Femi Kuti“Blewu,” Yo-Yo Ma and Angelique Kidjo“Essence,” Wizkid featuring TemsBest Global Music Album“Voice of Bunbon, Vol. 1,” Rocky Dawuni“East West Players Presents: Daniel Ho and Friends Live in Concert,” Daniel Ho and Friends“Mother Nature,” Angelique Kidjo“Legacy +,” Femi Kuti and Made Kuti“Made In Lagos: Deluxe Edition,” WizkidBest Children’s Music Album“Actívate,” 123 Andrés“All One Tribe,” 1 Tribe Collective“Black to the Future,” Pierce Freelon“A Colorful World,” Falu“Crayon Kids,” Lucky Diaz and the Family Jam BandBest Spoken Word Album“Aftermath,” Levar Burton“Carry On: Reflections for a New Generation From John Lewis,” Don Cheadle“Catching Dreams: Live at Fort Knox Chicago,” J. Ivy“8:46,” Dave Chappelle and Amir Sulaiman“A Promised Land,” Barack ObamaBest Comedy Album“The Comedy Vaccine,” Lavell Crawford“Evolution,” Chelsea Handler“Sincerely Louis C.K.,” Louis C.K.“Thanks for Risking Your Life,” Lewis Black“The Greatest Average American,” Nate Bargatze“Zero ___ Given,” Kevin HartBest Musical Theater Album“Andrew Lloyd Webber’s Cinderella,” Andrew Lloyd Webber, Nick Lloyd Webber and Greg Wells, producers; Andrew Lloyd Webber and David Zippel, composers/lyricists (Original Album Cast)“Burt Bacharach and Steven Sater’s Some Lovers,” Burt Bacharach, Michael Croiter, Ben Hartman and Steven Sater, Producers; Burt Bacharach, composer; Steven Sater, lyricist (World Premiere Cast)“Girl From the North Country,” Simon Hale, Conor Mcpherson and Dean Sharenow, Producers (Bob Dylan, composer and lyricist) (Original Broadway Cast)“Les Misérables: The Staged Concert (The Sensational 2020 Live Recording),” Cameron Mackintosh, Lee Mccutcheon and Stephenmetcalfe, producers (Claude-Michel Schönberg, composer; Alain Boublil, John Caird, Herbert Kretzmer, Jean-Marc Natel and Trevor Nunn, lyricists) (The 2020 Les Misérables Staged Concert Company)“Stephen Schwartz’s Snapshots,” Daniel C. Levine, Michael J Moritz Jr, Bryan Perri and Stephen Schwartz, producers (Stephen Schwartz, composer and lyricist) (World Premiere Cast)“The Unofficial Bridgerton Musical,” Emily Bear, producer; Abigail Barlow and Emily Bear, composers/lyricists (Barlow & Bear)Best Compilation Soundtrack for Visual Media“Cruella,” (Various Artists)“Dear Evan Hansen,” (Various Artists)“In The Heights,” (Various Artists)“One Night In Miami…,” (Various Artists)“Respect,” Jennifer Hudson“Schmigadoon! Episode 1,” (Various Artists)“The United States vs. Billie Holiday,” Andra DayBest Score Soundtrack for Visual Media“Bridgerton,” Kris Bowers, composer“Dune,” Hans Zimmer, composer“The Mandalorian: Season 2 – Vol. 2 (Chapters 13-16),” Ludwig Göransson, composer“The Queen’s Gambit,” Carlos Rafael Rivera, composer“Soul,” Jon Batiste, Trent Reznor and Atticus Ross, composersBest Song Written For Visual Media“Agatha All Along [From Wandavision: Episode 7],” Kristen Anderson-Lopez and Robert Lopez, songwriters (Kristen Anderson-Lopez and Robert Lopez featuring Kathryn Hahn, Eric Bradley, Greg Whipple, Jasper Randall and Gerald White)“All Eyes On Me [From Inside],” Bo Burnham, songwriter (Bo Burnham)“All I Know So Far [From Pink: All I Know So Far],” Alecia Moore, Benj Pasek and Justin Paul, songwriters (Pink)“Fight for You [From Judas and the Black Messiah],” Dernst Emile Ii, H.E.R. and Tiara Thomas, songwriters (H.E.R.)“Here I Am (Singing My Way Home) [From Respect],” Jamie Hartman, Jennifer Hudson and Carole King, songwriters (Jennifer Hudson)“Speak Now [From One Night in Miami…],” Sam Ashworth and Leslie Odom, Jr., Songwriters (Leslie Odom, Jr.)Best Immersive Audio Album“Alicia,” George Massenburg and Eric Schilling, immersive mix engineers; Michael Romanowski, immersive mastering engineer; Ann Mincieli, immersive producer (Alicia Keys)“Clique,” Jim Anderson and Ulrike Schwarz, immersive mix engineers; Bob Ludwig, immersive mastering engineer; Jim Anderson, immersive producer (Patricia Barber)“Fine Line,” Greg Penny, immersive mix engineer; Greg Penny, immersive mastering engineer; Greg Penny, immersive producer (Harry Styles)“The Future Bites,” Jake Fields and Steven Wilson, immersive mix engineers; Bob Ludwig, immersive mastering engineer; Steven Wilson, immersive producer (Steven Wilson)“Stille Grender,” Morten Lindberg, immersive mix engineer; Morten Lindberg, immersive mastering engineer; Morten Lindberg, immersive producer (Anne Karin Sundal-Ask and Det Norske Jentekor)Best Immersive Audio Album (for 63rd Grammy Awards)“Bolstad: Tomba Sonora,” Morten Lindberg, immersive mix engineer; Morten Lindberg, immersive mastering engineer; Morten Lindberg, immersive producer (Stemmeklang)“Dear Future Self (Dolby Atmos Mixes),” Fritz Hilpert, immersive mix engineer; Jason Banks, Fritz Hilpert and David Ziegler, immersive mastering engineers; Tom Ammerman, Arno Kammermeier and Walter Merziger, immersive producers (Booka Shade)“Fryd,” Morten Lindberg, immersive mix engineer; Morten Lindberg, immersive mastering engineer; Morten Lindberg, immersive producer (Tove Ramlo-Ystad and Cantus)“Mutt Slang Ii – A Wake of Sorrows Engulfed in Rage,” Elliot Scheiner, immersive mix engineer; Darcy Proper, immersive mastering engineer; Alain Mallet and Elliot Scheiner, immersive producers (Alain Mallet)“Soundtrack of the American Soldier,” Leslie Ann Jones, immersive mix engineer; Michael Romanowski, immersive mastering engineer; Dan Merceruio, immersive producer (Jim R. Keene and the United States Army Field Band)Best Engineered Album, Classical“Archetypes,” Jonathan Lackey, Bill Maylone and Dan Nichols, engineers; Bill Maylone, mastering engineer (Sérgio Assad, Clarice Assad and Third Coast Percussion)“Beethoven: Cello Sonatas – Hope Amid Tears,” Richard King, engineer (Yo-Yo Ma and Emanuel Ax)“Beethoven: Symphony No. 9,” Mark Donahue, engineer; Mark Donahue, mastering engineer (Manfred Honeck, Mendelssohn Choir of Pittsburgh and Pittsburgh Symphony Orchestra)“Chanticleer Sings Christmas,” Leslie Ann Jones, engineer (Chanticleer)“Mahler: Symphony No. 8, ‘Symphony Of A Thousand,’” Alexander Lipay and Dmitriy Lipay, engineers; Alexander Lipay and Dmitriy Lipay, mastering engineers (Gustavo Dudamel, Fernando Malvar-Ruiz, Luke McEndarfer, Robert Istad, Grant Gershon, Los Angeles Children’s Chorus, Los Angeles Master Chorale, National Children’s Chorus, Pacific Chorale and Los Angeles Philharmonic)Producer of the Year, ClassicalBlanton AlspaughSteven EpsteinDavid FrostElaine MartoneJudith ShermanBest Orchestral Performance“Adams: My Father Knew Charles Ives; Harmonielehre,” Giancarlo Guerrero, conductor (Nashville Symphony Orchestra)“Beethoven: Symphony No. 9,” Manfred Honeck, conductor (Mendelssohn Choir of Pittsburgh and Pittsburgh Symphony Orchestra)“Muhly: Throughline,” Nico Muhly, conductor (San Francisco Symphony)“Price: Symphonies Nos. 1 & 3,” Yannick Nézet-Séguin, conductor (Philadelphia Orchestra)“Strauss: Also Sprach Zarathustra; Scriabin: The Poem of Ecstasy,” Thomas Dausgaard, conductor (Seattle Symphony Orchestra)Best Opera Recording“Bartók: Bluebeard’s Castle,” Susanna Mälkki, conductor; Mika Kares and Szilvia Giancarlo Guerrero, conductor (Nashville Symphony Orchestra)“Glass: Akhnaten,” Karen Kamensek, conductor; J’Nai Bridges, Anthony Roth Costanzo, Zachary James and Dísella Lárusdóttir; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)“Janáček: Cunning Little Vixen,”” Simon Rattle, conductor; Sophia Burgos, Lucy Crowe, Gerald Finley, Peter Hoare, Anna Lapkovskaja, Paulina Malefane, Jan Martinik and Hanno Müller-Brachmann; Andrew Cornall, producer (London Symphony Orchestra; London Symphony Chorus and LSO Discovery Voices)“Little: Soldier Songs,” Corrado Rovaris, conductor; Johnathan McCullough; James Darrah and John Toia, producers (The Opera Philadelphia Orchestra)“Poulenc: Dialogues Des Carmélites,” Yannick Nézet-Séguin, conductor; Karen Cargill, Isabel Leonard, Karita Mattila, Erin Morley and Adrianne Pieczonka; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)Best Choral Performance“It’s a Long Way,” Matthew Guard, conductor (Jonas Budris, Carrie Cheron, Fiona Gillespie, Nathan Hodgson, Helen Karloski, Enrico Lagasca, Megan Roth, Alissa Ruth Suver and Dana Whiteside; Skylark Vocal Ensemble)“Mahler: Symphony No. 8, ‘Symphony of a Thousand,’” Gustavo Dudamel, conductor; Grant Gershon, Robert Istad, Fernando Malvar-Ruiz and Luke McEndarfer, chorus masters (Leah Crocetto, Mihoko Fujimura, Ryan McKinny, Erin Morley, Tamara Mumford, Simon O’Neill, Morris Robinson and Tamara Wilson; Los Angeles Philharmonic; Los Angeles Children’s Chorus, Los Angeles Master Chorale, National Children’s Chorus and Pacific Chorale)“Rising w/ the Crossing,” Donald Nally, conductor (International Contemporary Ensemble and Quicksilver; The Crossing)“Schnittke: Choir Concerto; Three Sacred Hymns; Pärt: Seven Magnificat-Antiphons,” Kaspars Putnins, conductor; Heli Jürgenson, chorus master (Estonian Philharmonic Chamber Choir)“Sheehan: Liturgy of Saint John Chrysostom,” Benedict Sheehan, conductor (Michael Hawes, Timothy Parsons and Jason Thoms; The Saint Tikhon Choir)“The Singing Guitar,” Craig Hella Johnson, conductor (Estelí Gomez; Austin Guitar Quartet, Douglas Harvey, Los Angeles Guitar Quartet and Texas Guitar Quartet; Conspirare)Best Chamber Music/Small Ensemble Performance“Adams, John Luther: Lines Made By Walking,” JACK Quartet“Akiho: Seven Pillars,” Sandbox Percussion“Archetypes,” Sérgio Assad, Clarice Assad and Third Coast Percussion“Beethoven: Cello Sonatas – Hope Amid Tears,” Yo-Yo Ma and Emanuel Ax“Bruits,” Imani WindsBest Classical Instrumental Solo“Alone Together,” Jennifer Koh“An American Mosaic,” Simone Dinnerstein“Bach: Sonatas and Partitas,” Augustin Hadelich“Beethoven and Brahms: Violin Concertos,” Gil Shaham; Eric Jacobsen, conductor (The Knights)“Mak Bach,” Mak Grgić“Of Power,” Curtis StewartBest Classical Solo Vocal Album“Confessions,” Laura Strickling; Joy Schreier, pianist“Dreams of a New Day – Songs by Black Composers,” Will Liverman; Paul Sánchez, pianist“Mythologies,” Sangeeta Kaur and Hila Plitmann (Virginie D’Avezac De Castera, Lili Haydn, Wouter Kellerman, Nadeem Majdalany, Eru Matsumoto and Emilio D. Miler)“Schubert: Winterreise,” Joyce DiDonato; Yannick Nézet-Séguin, pianist“Unexpected Shadows,” Jamie Barton; Jake Heggie, pianist (Matt Haimovitz)Best Classical Compendium“American Originals – A New World, A New Canon,” Agave and Reginald L. Mobley. Geoffrey Silver, producer.“Berg: Violin Concerto; Seven Early Songs and Three Pieces for Orchestra,” Michael Tilson Thomas, conductor; Jack Vad, producer.“Cerrone: The Arching Path,” Timo Andres and Ian Rosenbaum. Mike Tierney, producer.“Plays,” Chick Corea. Chick Corea and Birnie Kirsh, producers.“Women Warriors – The Voices of Change,” Amy Andersson, conductor; Amy Andersson, Mark Mattson and Lolita Ritmanis, producers.Best Contemporary Classical Composition“Akiho: Seven Pillars,” Andy Akiho, composer. (Sandbox Percussion)“Andriessen: The Only One,” Louis Andriessen, composer. (Esa-Pekka Salonen, Nora Fischer & Los Angeles Philharmonic)“Assad, Clarice and Sérgio, Connors, Dillon, Martin and Skidmore: Archetypes,” Clarice Assad, Sérgio Assad, Sean Connors, Robert Dillon, Peter Martin and David Skidmore, composers. (Sérgio Assad, Clarice Assad and Third Coast Percussion)“Batiste: Movement 11,” Jon Batiste, composer (Jon Batiste)“Shaw: Narrow Sea,” Caroline Shaw, composer (Dawn Upshaw, Gilbert Kalish and Sō Percussion)Best Instrumental Composition“Beautiful is Black,” Brandee Younger, composer (Brandee Younger)“Cat and Mouse,” Tom Nazziola, composer (Tom Nazziola)“Concerto for Orchestra: Finale,” Vince Mendoza, composer (Vince Mendoza and Czech National Symphony Orchestra featuring Antonio Sánchez and Derrick Hodge)“Dreaming In Lions: Dreaming In Lions,” Arturo O’farrill, composer (Arturo O’farrill and the Afro Latin Jazz Ensemble)“Eberhard,” Lyle Mays, composer (Lyle Mays)Best Arrangement, Instrumental or A Cappella“Chopsticks,” Bill O’Connell, arranger (Richard Baratta)“For The Love Of A Princess (From ‘Braveheart’),” Robin Smith, Arranger (Hauser, London Symphony Orchestra and Robin Smith)“Infinite Love,” Emile Mosseri, Arranger (Emile Mosseri)“Meta Knight’s Revenge (From ‘Kirby Superstar’),” Charlie Rosen and Jake Silverman, arrangers (The 8-Bit Big Band featuring Button Masher)“The Struggle Within,” Gabriela Quintero and Rodrigo Sanchez, arrangers (Rodrigo Y Gabriela)Best Arrangement, Instruments and Vocals“The Bottom Line,” Ólafur Arnalds, Arranger (Ólafur Arnalds and Josin)“A Change is Gonna Come,” Tehillah Alphonso, Arranger (Tonality and Alexander Lloyd Blake)“The Christmas Song (Chestnuts Roasting on an Open Fire),” Jacob Collier, Arranger (Jacob Collier)“Eleanor Rigby,” Cody Fry, Arranger (Cody Fry)“To The Edge Of Longing (Edit Version),” Vince Mendoza, Arranger (Vince Mendoza, Czech National Symphony Orchestra and Julia Bullock)Best Recording Package“American Jackpot / American Girls,” Sarah Dodds and Shauna Dodds, Art Directors (Reckless Kelly)“Carnage,” Nick Cave and Tom Hingston, Art Directors (Nick Cave and Warren Ellis)“Pakelang,” Li Jheng Han and Yu, Wei, Art Directors (2nd Generation Falangao Singing Group and the Chairman Crossover Big Band)“Serpentine Prison,” Dayle Doyle, Art Director (Matt Berninger)“Zeta,” Xiao Qing Yang, Art Director (Soul Of Ears)Best Boxed or Special Limited Edition Package“All Things Must Pass: 50th Anniversary Edition,” Darren Evans, Dhani Harrison and Olivia Harrison, art directors (George Harrison)“Color Theory,” Lordess Foudre and Christopher Leckie, art directors (Soccer Mommy)“The Future Bites (Limited Edition Box Set),” Simon Moore, art director (Steven Wilson)“77-81,” Dan Calderwood and Jon King, art directors (Gang of Four)“Swimming in Circles,” Ramón Coronado and Marshall Rake, art directors (Mac Miller)Best Album Notes“Beethoven: The Last Three Sonatas,” Ann-Katrin Zimmermann, album notes writer (Sunwook Kim)“The Complete Louis Armstrong Columbia and RCA Victor Studio Sessions 1946-1966,” Ricky Riccardi, album notes writer (Louis Armstrong)“Creation Never Sleeps, Creation Never Dies: The Willie Dunn Anthology,” Kevin Howes, album notes writer (Willie Dunn)“Etching the Voice: Emile Berliner and the First Commercial Gramophone Discs, 1889-1895,” David Giovannoni, Richard Martin and Stephan Puille, album notes writers (Various Artists)“The King of Gospel Music: The Life and Music of Reverend James Cleveland,” Robert Marovich, album notes writer (Various Artists)Best Historical Album“Beyond the Music: Her Complete RCA Victor Recordings,” Robert Russ, compilation producer; Nancy Conforti, Andreas K. Meyer and Jennifer Nulsen, mastering engineers (Marian Anderson)“Etching the Voice: Emile Berliner and the First Commercial Gramophone Discs, 1889-1895,” Meagan Hennessey and Richard Martin, compilation producers; Richard Martin, mastering engineer (Various Artists)“Excavated Shellac: An Alternate History of the World’s Music,” April Ledbetter, Steven Lance Ledbetter and Jonathan Ward, compilation producers; Michael Graves, mastering engineer (Various Artists)“Joni Mitchell Archives, Vol. 1: The Early Years (1963-1967),” Patrick Milligan and Joni Mitchell, compilation producers; Bernie Grundman, mastering engineer (Joni Mitchell)“Sign O’ the Times (Super Deluxe Edition),” Trevor Guy, Michael Howe and Kirk Johnson, compilation producers; Bernie Grundman, mastering engineer (Prince)Best Music Video“Shot in the Dark,” (AC/DC); David Mallet, video director; Dione Orrom, video producer.“Freedom,” (Jon Batiste); Alan Ferguson, video director; Alex P. Willson, video producer.“I Get a Kick Out of You,” (Tony Bennett and Lady Gaga); Jennifer Lebeau, video director; Danny Bennett, Bobby Campbell and Jennifer Lebeau, video producers.“Peaches,” (Justin Bieber featuring Daniel Caesar and Giveon); Collin Tilley, video director.“Happier Than Ever,” (Billie Eilish); Billie Eilish, video director; Michelle An, Chelsea Dodson and David Moore, video producers.“Montero (Call Me By Your Name),” (Lil Nas X); Lil Nas X and Tanu Muino, video directors; Frank Borin, Ivanna Borin, Marco De Molina and Saul Levitz, video producers.“Good 4 U,” (Olivia Rodrigo); Petra Collins, video director; Christiana Divona, Marissa Ramirez and Tiffany Suh, video producers.Best Music Film“Inside,” (Bo Burnham); Bo Burnham, video director; Josh Senior, video producer.“David Byrne’s American Utopia,” (David Byrne); Spike Lee, video director; David Byrne and Spike Lee, video producers.“Happier Than Ever: A Love Letter to Los Angeles,” (Billie Eilish); Patrick Osborne and Robert Rodriguez, video directors.“Music, Money, Madness … Jimi Hendrix in Maui,” (Jimi Hendrix); John McDermott, video director; Janie Hendrix, John McDermott and George Scott, video producers.“Summer of Soul,” (Various Artists); Ahmir “Questlove” Thompson, video director; David Dinerstein, Robert Fyvolent and Joseph Patel, video producers. More

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      Prince Paul Dives Deep Into Music History

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      In “The 33 ⅓ Podcast,” the acclaimed producer finds himself in some unexpected pairings to explore classic albums from Steely Dan, Janet Jackson and more.When the music producer Prince Paul received a call inquiring if he’d be game to host a podcast for Spotify, his immediate reaction was shock. Why, he wondered, would the company want him to host “The 33 ⅓ Podcast,” its new show exploring individual works of classic albums, based on the Bloomsbury book series?Never mind that Prince Paul is considered a music nerd’s music nerd, best known for his influential studio wizardry with the hip-hop trio De La Soul. His eclectic, seemingly haphazard, career trajectory may not have made him an obvious choice for the show. Though he’s produced albums for Vernon Reid and MC Paul Barman, assembled the horrorcore group Gravediggaz and released albums of his own like “A Prince Among Thieves,” his music credits over the past decade and a half had slowed to a trickle. One of his more-prominent roles during this time: serving as the co-host of “Ego Trip’s The (White) Rapper Show,” a short-lived reality competition program on VH1.Prince Paul, born Paul Huston, didn’t bother asking the Spotify emissaries why they chose him. He said he didn’t want to ruin the moment with too much probing. But the first episode of the show, which debuted in September, illuminates the company’s thinking. Prince Paul welcomed Posdnuos from De La Soul to chat about “Aja,” the 1977 album by Steely Dan, known for its meticulous, jazz-inflected rock compositions. What might seem at first like an odd pairing of host, guest and album is actually an inspired one.On “3 Feet High and Rising,” De La Soul’s debut album that Prince Paul produced, the band sampled the duo’s song “Peg,” not a particularly common, or welcome, move in the rap world in 1989. As the two men banter and reminisce, listeners get a sense of Steely Dan’s influence on De La Soul and how sampling “Peg” made perfect sense for the album they were creating.“What made you pick that song in particular, especially for our first album?” Prince Paul asked.“Just as a single it was a song that we heard and we felt, and it felt good, and it felt happy,” Posdnuos said, remembering how “Peg” just clicked for him when he first heard it as an 8-year-old in the Bronx. “But it was also very rhythmic, like the bass driving. It felt like an R&B record, to be quite honest. You could easily connect to it.”“Did it feel dated or anything at the time?” Prince Paul asked in a follow-up question.“Not at all,” Posdnuos said. “It felt like a classic joint; it’s timeless. I look at that song as a timeless record to now be applied to what we were doing. I didn’t look at it as an older record to now breathe some life into it.”“33 ⅓” is the latest music-focused production from Spotify, joining the likes of ““Black Girl Songbook” and “No Skips with Jinx and Shea” and fitting snugly into Spotify’s larger podcast ambitions. Other episodes in the 12-episode season feature an eclectic mix of albums and guests including Janet Jackson’s “Velvet Rope” and the singer-songwriter Victoria Monét, David Bowie’s “Low” and the rapper Danny Brown, and Metallica’s “Metallica” (best known as the Black Album) and the Hole drummer Patty Schemel.Deciding which albums to feature — there are more than 150 books in the Bloomsbury series — was not “super calculated,” said Yasi Salek, the show’s producer. Instead, the focus is on “what would be really fun to bring to life.” Choosing the guests, however, involved a more thoughtful process. Salek said she looked for guests who knew the artist, were involved in the making of the project or have talked about the album’s influence on them. In the “Velvet Rope” episode, Monét tells Prince Paul how Jackson was a role model for her. “I needed to see that as a young girl just to be able to look at her and see myself,” she said.In keeping with his uncalculated approach to his career, Prince Paul is hands off when it comes to the decision-making process, saying he’s open to whatever is sent his way. Which helps explain the riotous, and expletive-filled, exploration of Guns N’ Roses’ “Use Your Illusion” I & II with Sebastian Bach of Skid Row and Riki Rachtman, co-owner of the Hollywood nightclub The Cathouse (a magnet for heavy metal bands till its closing in 1993). It’s a record that doesn’t quite fall in Prince Paul’s wheelhouse — he opens the episode by letting the audience know that his “knowledge of metal and rock are limited” — but the choice underscores his willingness to be a student.Hosting the show, Prince Paul said, is “forcing me to learn classic records and appreciate music all over again.”That willingness to try something new seems to be the fuel that has propelled him to each juncture in his career — whether that’s producing comedy albums for Chris Rock or a hip-hop children’s concept album about kid dinosaurs, serving as one half of the genre-bending duo Handsome Boy Modeling School or composing the score for last year’s six-part documentary “Who Killed Malcolm X?”“Everybody wants to do whatever’s cool,” Prince Paul said. That’s not his style. “This is what I feel like doing,” he said. “And as unpopular as it is, as nerdy as I am, I’ll just be that, but I’ll be me dictating me. And that’s, I think, the most important thing.”“There’s something to be said about going out there and not knowing where this path will take you,” he added. More

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      Taylor Swift Earns Her Fourth No. 1 in 16 Months With New ‘Red’

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      “Red (Taylor’s Version)” had the equivalent of 605,000 sales in the United States. On next week’s album chart, Adele’s “30” may reach one million sales.At the start of 2020, Taylor Swift’s itinerary for the near future looked simple enough.She planned to tour that summer to support her latest No. 1 album, “Lover.” And although Swift had said she would be rerecording her old albums after the sale of her former record company, she gave no indication of when. So there was little reason to expect any imminent new music from Swift, who had long stuck to a regimen of one studio album every few years.But 2020 and 2021 have seen a remarkable flurry of recording activity from Swift, and record-breaking chart success. Last year came two quarantine albums, “Folklore” and “Evermore,” and this year she has been focused on her rerecordings — meticulous re-creations of her earlier work, casting the act as empowering business move, retribution against the investors that now control some of her original recordings, and an opportunity to revisit youthful themes with a more mature eye.“Fearless (Taylor’s Version)” came in April, and now “Red (Taylor’s Version)” has become Swift’s fourth No. 1 album in 16 months, which Billboard says is the fastest run in the 65-year history of its album chart. Since “Folklore” came out in July 2020, Swift has held the No. 1 spot on Billboard’s album chart a total of 15 times.“Red (Taylor’s Version)” had the equivalent of 605,000 sales in the United States in its first week, according to MRC Data, Billboard’s tracking arm. That total includes 303 million streams and 369,000 copies sold as a complete package. It sold 114,000 copies on vinyl LP — which Swift released as a $50 set of four discs at 45 r.p.m. — which is the most that any album has sold on vinyl since at least 1991, when SoundScan, MRC’s predecessor, began reporting reliable data on record sales.Among the highlights of the new “Red” is a 10-minute version of her song “All Too Well,” with added lyrics that give more depth to the story of a failed romance. Swift made a short film of this long version, performed it on “Saturday Night Live” and released two additional recordings of it last week.The new “All Too Well” also becomes Swift’s eighth No. 1 on Billboard’s Hot 100 singles chart, with multiple new recordings of the song — but not its 2012 original — counting toward its total of 54 million streams, in addition to downloads and radio plays.Swift now has 10 LPs that have gone to No. 1, tying her with Elvis Presley, Eminem, Drake and Kanye West. The Beatles still rule that list with 19 chart-topping titles, followed by Jay-Z with 14 and Bruce Springsteen and Barbra Streisand with 11 each.The 605,000 sales of Swift’s new “Red” is the second-biggest opening for any album this year, after 613,000 for Drake’s “Certified Lover Boy” in September. But both are expected to be dwarfed by the arrival of Adele’s “30” on next week’s chart, a ready-made blockbuster that may reach or even exceed one million sales in its opening week, something that no album has done since Swift’s “Reputation” four years ago.Little official data has been released about the initial success of “30,” which came out on Friday. But as a sign of Adele’s clout in the music industry, she announced over the weekend that, apparently at the singer’s request, Spotify had removed “shuffle” as the default playback mode for albums, making it easier for fans to hear an album from beginning to end, as the artist intended.“Thank you Spotify for listening,” Adele tweeted on Saturday, and the service responded: “Anything for you.”Also on this week’s chart, Silk Sonic, the retro-soul project of Bruno Mars and Anderson .Paak, opens at No. 2 with “An Evening With Silk Sonic,” which had the equivalent of 104,000 sales, and the K-pop girl group Twice is at No. 3 with its new “Formula of Love: O+T= More

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      Mick Rock, Sought-After Rock Photographer, Dies at 72

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      His images of David Bowie, Lou Reed, Queen and others helped define the 1970s. He was still shooting the stars decades later.Mick Rock, whose striking images of David Bowie, Lou Reed, Debbie Harry, as well as more recent stars like Theophilus London and Snoop Dogg, made him one of rock and pop’s most acclaimed photographers, died on Thursday at a hospital in Staten Island. He was 72.His family posted news of his death on his website. No cause was given.Mr. Rock was often called “the man who shot the ’70s” because of his photographs that captured the rock stars of that flamboyant decade, both in his native England and in New York. He lived the rock lifestyle as he was photographing it, becoming part of the scene inhabited by Mr. Bowie, Mr. Reed and the rest.“I was drawn to the good, the bad and the wicked,” he said in “Shot! The Psycho-Spiritual Mantra of Rock,” a 2016 documentary about him directed by Barney Clay.“I’ve lived a very wild life because I’ve been hanging out with a lot of very wild people,” he added. “And the camera just kind of led me by the nose.”Mr. Rock in 2016 at an exhibition of his photographs in Toulouse, France.Remy Gabalda/Agence France-Presse — Getty ImagesSome of his photographs adorned memorable album covers: the bleached-out shot of Mr. Reed on “Transformer” (1972); the eerily dark image of the members of Queen on “Queen II” (1974), later recreated in the much-viewed music video for “Bohemian Rhapsody.” Others captured stars in poses — Mr. Bowie looking androgynously enigmatic; Ms. Harry, of the group Blondie, looking like Marilyn Monroe. And still others caught performances or unguarded moments.“I am not in the business of documenting or revealing personalities,” Mr. Rock wrote in a diary early in his career. “I am in the business of freezing shadows and bottling auras.”Befriending the stars of the day, which included taking the same drugs they were often taking, gave him the sort of access that most photographers can only dream of. As Mr. Reed put it in the introduction to one of Mr. Rock’s books, “Mick Rock was so much a part of things that it was quite natural to have him snapping away and think of him as invisible.”But Mr. Rock wasn’t limited to one era. He continued photographing rockers, rappers and other music personalities for the next 40 years, even after a heart attack in 1996 led him to embrace a quieter lifestyle. (“All I am is a retired degenerate,” he joked in a 2011 interview with The New York Times.) In recent decades he had photographed Snoop Dogg, Lady Gaga, Rufus Wainwright and many others.Bob Marley, photographed in 1975.Mick Rock“It was barely over a year ago I sat with you by the window listening to Bowie stories,” Miley Cyrus wrote on Twitter after learning of his death. “It was my honor.”Mr. Rock often said he was fated to have the career he had because of his name: He was born Michael David Rock on Nov. 21, 1948, in London to David and Joan (Gibbs) Rock.He graduated from Caius College, Cambridge, where he studied modern languages. While a student there, as he put it in the documentary, “photography wandered idly into my life.” He was hanging out in a friend’s room with a companion, and the friend had left a 35-milimeter camera lying about (which turned out to have no film in it, though Mr. Rock didn’t realize that).“I was with a young lady in a state of — I think chemical inebriation is probably the best way of putting it,” he told The Daily Telegraph of Britain in 2010, “when I started snapping away. I was just playing, but there was something about it that I really liked.”So he got himself his own camera, with film, and began taking pictures of friends and friends’ friends. One friend, whom he had met early in his time at Cambridge, was Syd Barrett of the band Pink Floyd. Through Mr. Barrett he came to know other musicians, and a few not only asked him to photograph them but also paid him.“I suddenly realized you could make money from this,” Mr. Rock wrote in “Classic Queen,” his 2007 book about his work with that band. “That was terrific: much better than getting a ‘real’ job.”Snoop Dogg in 2009. Mr. Rock continued photographing rockers, rappers and other music personalities well into the 21st century. Mick RockHe started writing for various publications and illustrating his articles with his own photographs. One musician he came to know was Mr. Bowie, and one particular picture he took, in 1972, was career-making. Onstage at the Oxford Town Hall, Mr. Bowie pantomimed performing fellatio on the guitar of one of his musicians, Mick Ronson, as he played. Mr. Rock’s photograph of the moment turned up in Melody Maker magazine.“This was that shot that put my name on the map,” Mr. Rock wrote in the Queen book. “Suddenly I was in demand, and my camera was clearly speaking louder than my words.”Famed shots of Mr. Reed and Iggy Pop came along about the same time.“I took those when Lou and Iggy were relatively unknown, unless you were really, really hip,” he told The Telegraph, “but somehow those shots seemed to have defined them forever.”Madonna in 1980.Mick RockSoon his reputation was such that Queen came calling.“I didn’t really know their music, but, when they played me their album, I said, ‘Wow! Ziggy Stardust meets Led Zeppelin!’ and that seemed to seal the deal,” he said.Mr. Rock moved to New York in 1977 and became immersed in the turbulent scene there that included Blondie, the Ramones and other performers.“I needed a new edge, and I found it in New York in spades,” he told The Sunday Herald of Scotland in 1995.“Over the years Mick Rock has made history with all the musicians and rock stars that he has immortalized,” Ms. Harry wrote in the introduction to Mr. Rock’s book “Debbie Harry and Blondie: Picture This” (2019). “A good photo session is sometimes as good as sex. You leave feeling well massaged, satisfied and a little bit outside yourself.”Debbie Harry in 1978. “Mick Rock,” she wrote, “has made history with all the musicians and rock stars that he has immortalized.”Mick RockMr. Rock’s marriage to the photographer Sheila Rock ended in divorce. He is survived by his wife, Pati Rock, whom he married in 1997; a daughter, Nathalie Rock; and five siblings, Carol, Jacqueline, Don, Angela and Laura.Mr. Rock’s work was featured in various exhibitions. In the Blondie book, he lamented that he’d made such an impact as a rock photographer that it restricted him in some ways.“Like a hit record to a rock ’n’ roller, the downside is that a great image, besides defining the subject, can limit what others call on the photographer to do,” he wrote. “I wouldn’t mind shooting the occasional politician or actor (or even a gangster or two), but that’s not how art directors or magazines view me.” More

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      Earl Sweatshirt Exhibits His Evolution, and 14 More New Songs

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      Hear tracks by FKA twigs, Makaya McCraven, Hazel English and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new songs and videos. Just want the music? Listen to the Playlist on Spotify here (or find our profile: nytimes). Like what you hear? Let us know at theplaylist@nytimes.com and sign up for our Louder newsletter, a once-a-week blast of our pop music coverage.Earl Sweatshirt, ‘2010’In 2010, Earl Sweatshirt released his debut mixtape, “Earl,” and his new song titled for that moment in time shows how much he’s evolved while still retaining his sagely iconoclastic spirit. Earl’s more recent releases — “Some Rap Songs” from 2018; “Feet of Clay” from 2019 — have represented his music at its most avant-garde, moving through murky, collagelike atmospheres in a constant state of transformation. “2010,” though, is more straightforward and sustained, with an understated beat from the producer Black Noise that allows Earl to lock into a hypnotic flow. The succinctly poetic imagery (“crescent moon wink, when I blinked it was gone”) and strangely satisfying plain-spoken admissions (“walked outside, it was still gorgeous”) pour out of him as steadily as water from a tap. LINDSAY ZOLADZFKA twigs featuring Central Cee, ‘Measure of a Man’This song’s distinctive descending chord progression, dramatic swells and even its lyrics — “the measure of a hero is the measure of a man” — could make it a James Bond theme. That’s a sign of FKA twigs’s overarching ambitions, her willingness to engage carnality and idealism, and how carefully she gauges the gradations of her voice in every phrase. JON PARELESHazel English, ‘Nine Stories’Call it a meet twee: “You lent me ‘Nine Stories,’ while you starred in mine,” the Australian-born, California-based musician Hazel English sings at the beginning of her ode to every artsy teen’s favorite J.D. Salinger book. The track is a three-minute dream-pop reverie, obscuring lyrics wryly bookish enough for a Belle & Sebastian song beneath a swirl of jangly guitars and shyly murmured vocals. It’s also something of an act of nostalgia, finding the 30-year-old conjuring the sounds and memories of her high school days: “Now that I’m falling, I can’t ignore it,” she sings sweetly, sounding as blissfully crush-struck as a teenager. ZOLADZHorsegirl, ‘Billy’The young Chicago trio Horsegirl is proof that the shaggy-dog spirit of Gen X indie rock is alive and well within a certain subset of Gen Z. Nora Cheng and Penelope Lowenstein’s overlapping vocals are buried beneath a dissonant avalanche of “Daydream Nation”-esque guitars, but enough lyrical imagery comes to the surface to create a strangely poetic impression of their titular character on this stand-alone single, their first release since signing to Matador Records. “He washes off his robes in preparation to be crucified,” Cheng intones, while Lowenstein’s more melodic vocal line adds additional texture to the song’s enveloping, shoegaze-y atmosphere. ZOLADZBen LaMar Gay featuring Ayanna Woods, ‘Touch. Don’t Scroll’On “Touch. Don’t Scroll,” Ben LaMar Gay and Ayanna Woods, two musical polymaths from Chicago, sing about trying to stay connected to each other in an overcorrected world. “Now, baby, I will never leave you ’lone/Oh, can you hear me or are you on your phone?” they drone in unison, an octave apart, over a syncopated beat and lightly twinkling electronics. The track is nestled deep within “Open Arms to Open Us,” Gay’s latest album and probably his most broadly appealing, pulling together influences from country blues, Afro-Brazilian percussion, puckish Chicago free jazz and 2000s indie-rock. GIOVANNI RUSSONELLOCardi B, ‘Bet It’“Bet It,” from the soundtrack to Halle Berry’s directorial debut “Bruised,” is only the second solo single Cardi B has released this year. And while it’s nowhere near as fun or inspired than that previous hit, “Up,” “Bet It” is more like a braggadocios status update on Cardi’s recent past, taking in her Grammy wins and her memorable Met Gala appearance in a dress with a “tail so long it drag 30 minutes after.” ZOLADZMorray featuring Benny the Butcher, ‘Never Fail’An impressively feverish turn from Morray, whose 2020 breakout single “Quicksand” leaned toward the spiritual. Here, though, he’s ferocious, rapping with a scratchy yelp and a sense of defiance. He’s accompanied by Benny the Butcher, who is among the calmest-sounding boasters in hip-hop. An unexpected and unexpectedly effective pairing. JON CARAMANICAFrank Dukes, ‘Likkle Prince’The producer Frank Dukes — who’s made understated, hauntingly melodic work with Frank Ocean, the Weeknd, Rihanna and many others — is releasing “The Way of Ging,” his first project under his own name. It’s an album of beats — a beat tape, as they used to say — that’s available for a limited time online, and will eventually be removed from the internet and available only as a set of NFTs. “Likkle Prince” channels early ’80s electro along with some squelched disco majesty. It’s spooky and propulsive. CARAMANICAunderscores, ‘Everybody’s Dead!’A rousing and trippy burst of hyperpop mayhem, “Everybody’s Dead!” is a new single from underscores, who earlier this year released “Fishmonger,” an excellent, scrappy, and puckish debut album. CARAMANICAMicrohm, ‘Spooky Actions’The Mexico City sound artist Microhm, born Leslie Garcia, produced “Spooky Actions” and its accompanying EP using only modular synths. The result feels like hurtling through a Black Hole, where sound and time warp into quantum dislocation. Ambient textures swirl over the lurch of steady drum kicks, as the moments drip into oblivion. ISABELIA HERRERALeon Bridges featuring Jazmine Sullivan, ‘Summer Rain’Leon Bridges looks back to Sam Cooke’s soul; Jazmine Sullivan can go back to the scat-singing of bebop. They trade verses over a slow-motion beat and rhythm guitar in “Summer Rain” to evoke endless conjugal bliss, urging each other “don’t stop now,” for less under minutes of suspended time meant to play on repeat. PARELESIbeyi featuring Pa Salieu, ‘Made of Gold’Ibeyi’s music has always harnessed a sense of ancestral knowledge: The Afro-Cuban French twins grew up listening to Yoruba folk songs that channel the spirit of enslaved people brought to the Caribbean over the middle passage. But their new single, “Made of Gold,” featuring the Ghanian British rapper Pa Salieu, trades the simple but potent piano and cajón for a celestial, spectral otherworldliness. Culling references to the Yoruba deities Shango and Yemaya, as well as Frida Kahlo and the ancient Egyptian “Book of the Dead,” the duo summons power from intergenerational sources to shield them. “Oh you with a spine, who would work your mouth against this Magic of mine,” they intone. “It has been handed down in an unbroken line.” HERRERASting, ‘Loving You’Sting’s new album, “The Bridge,” often harks back to the jazz-folk-Celtic-pop hybrids he forged on his first solo albums in the 1980s; one song, “Harmony Road,” even features a saxophone solo from Branford Marsalis, who was central to “The Dream of the Blue Turtles” in 1985. Many of the new songs lean toward parable and metaphor, but not “Loving You,” a husband’s confrontation with the cheating wife he still loves: “We made vows inside the church to forgive each others’ sins,” he sings. “But there are things I have to endure like the smell of another man’s skin.” Written with the British electronic musician Maya Jane Coles, the track confines itself to two chords and a brittle beat, punctuated by faraway arpeggios and tones that emerge like unwanted memories; it’s memorably bleak. PARELESSingle Girl, Married Girl, ‘Scared to Move’With patient arpeggios and soothing bass notes, the harpist and composer Mary Lattimore builds a grandly meditative edifice behind Chelsey Coy, the songwriter and singer at the core of Single Girl, Married Girl, in “Scared to Move.” It’s from the new album “Three Generations of Leaving.” Cale’s multitracked harmonies promise, “In a strange new half-light, I will be your guide” as Lattimore’s harp patterns construct a glimmering path forward. PARELESMakaya McCraven, ‘Tranquillity’“Deciphering the Message,” Makaya McCraven’s first LP for Blue Note Records, could easily get you thinking of “Shades of Blue,” Madlib’s classic 2003 album remixing old tracks from that label’s jazz archive. On “Deciphering,” McCraven — a drummer, producer and beat dissector — digs through 13 tracks from the label’s catalog and attacks them through his personal method of remixing and pastiche. “Deciphering” crackles with McCraven’s sonic signatures: viscid ambience, restlessly energetic drumming, the recognizable sounds of his longtime collaborators (Marquis Hill on trumpet, Matt Gold on guitar, Joel Ross on vibraphone, et al). “Tranquillity” stems from a track by the vibraphonist Bobby Hutcherson, from his 1966 album “Components,” and McCraven’s intervention is two-pronged: He doubles down on the original’s curved-glass effect, adding whispery trumpet and fluttering flute atop the original track, but his own drums — kinetic, unrelenting — keep the energy at a rolling boil. RUSSONELLO More

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      Overlooked No More: Ruth Polsky, Who Shaped New York’s Music Scene

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      She booked concerts at influential nightclubs in the 1980s, bringing exposure to up-and-coming artists like the Smiths and New Order.This article is part of Overlooked, a series of obituaries about remarkable people whose deaths, beginning in 1851, went unreported in The Times.In the late 1970s and early ’80s, New York City’s nightclub scene was vibrant and daring, attracting an eclectic mix of creative types like artists, writers and musicians. It was also predominantly run by men.A notable exception was Ruth Polsky, who arranged concerts for cutting-edge rock artists, like the Smiths and New Order, at the influential Manhattan clubs Hurrah and Danceteria, whose regulars included Madonna and Jean-Michel Basquiat.Polsky had a knack for finding young talent, and helped both clubs earn a reputation for debuting new artists. Early in their careers, British bands like the Cure and the Specials played American shows at Hurrah, and Madonna performed one of her first-ever live shows at Danceteria, in 1982.Polsky’s choice of artists was diverse. She booked guitar-driven bands like Echo and the Bunnymen, influential minimalists like Young Marble Giants and challenging genre-busters like Einstürzende Neubauten and the Birthday Party, fronted by Nick Cave.There were potent, female-led groups, including Au Pairs, a politically-fuelled band from Birmingham, England, and kitschy Pulsallama from New York. She was an early supporter of Ru Paul, who performed with bands in the 1980s. (Ru Paul was occasionally referred to by a friend as Ru Polsky.)Polsky also arranged the United States premieres of alternative rock bands, many from the United Kingdom, including New Order, the Psychedelic Furs and Simple Minds, whose music eventually became mainstream soundtracks of the 1980s.“This is the place where anything goes,” Polsky said about Danceteria in a British television interview in the mid-1980s, “from oompah bands to Diamanda Galás to the funkiest thing happening on the street.”Her inclusive approach welcomed a clientele from all over the city, one that was racially diverse and of varying socioeconomic backgrounds. She turned her clubs into a hub for nonconformists, some of whom, like the actress Debi Mazar and the Beastie Boys, became famous.“It was kind of weirdos unite,” said Cynthia Sley, a member of Bush Tetras, whom Polsky booked several times. “Everybody who was an outcast from regular society would converge down there.”Her interactions with musicians went well beyond a professional obligation.“She was good at her job, and she had people power,” Bernard Sumner, a member of the band New Order, said in an interview. “She could handle people and charm them over.”And her dealings with performers didn’t end when the shows were over; she often invited them to her West Houston Street apartment to mingle with other musicians.Danceteria in 1980. The nightclub was a vibrant, daring scene that attracted creative types like artists, writers and musicians.Allan Tannenbaum“It was like a writers’ salon, but for punk rockers,” said Hugo Burnham, a founding member of Gang of Four, a taut British band who played several shows that Polsky booked. “She was the punk rock Dorothy Parker.”Her style was enhanced by the sort of devotion a loyal friend would show. It was a “mixture of strength and a kind of sisterly, kind of motherly instinct,” said Johnny Marr, a former member of the Smiths, whose first American show was at Danceteria.“You could stay up until 4 o’clock in the morning with her,” he added, “but then she would make sure that you went out and had a decent breakfast and a warm coat.”Part of her drive came from frequently being the only woman in the room, interacting with managers, booking agents and club owners who were mostly men.“She wanted to show that she could make a difference as a woman in a very male-dominated world,” said Howard Thompson, a former record company executive and a friend of Polsky’s.Ruth Rachel Polsky was born on Dec. 5, 1954, in Toms River, N.J., to Louis and Bertha (Rudnick) Polsky. Her father was an egg distributor, her mother a homemaker. From a young age, Ruthie, as she was called, was an excellent student. By the time she was a teenager, her love of books and writing was matched only by an obsession with music. Her taste, even then, was precocious: In high school, she saw the Doors and Led Zeppelin play live.Polsky attended Clark University in Massachusetts, where she wrote about music for the school paper. She earned a degree in English literature in 1976 and began writing for Aquarian Weekly, an alternative newspaper in New Jersey, covering up-and-coming music as a contributing editor. She also worked at a magazine publishing company.In her writing, she championed innovative sounds and encouraged fans to support them.“Right now, people need to dance,” she wrote in Aquarian Weekly in 1979, “not the well-oiled, machine-like dancing of a bland, conformist half-decade, but the individualistic style of a crazy new era.”That year, she started booking bands at Hurrah, a club near Lincoln Center, alongside another well-known promoter, Jim Fouratt. Three years later, she moved to Danceteria, a multilevel space in the Flatiron district.Polsky, left, at a party 1982. After the club shows she had booked, she’d often invite the performers over to her Houston Street apartment to mingle with other musicians. “It was like a writers’ salon, but for punk rockers,” one musician said.Howard ThompsonBefore long her impact began reaching well beyond New York City. In 1981, Polsky took a handful of American bands, including Bush Tetras, to London to perform for the first time in England. The show was called “Taking Liberties From New York.”In the United States, bands were able to use the money they earned from the concerts Polsky had arranged to go on national tours, furthering their exposure and success.“People in Columbus and Madison and Seattle and Minneapolis could see these bands that normally wouldn’t be able to tour America,” said Robert Vickers, a former member of the Go-Betweens, an Australian band that played several shows arranged by Polsky. “It made it possible for these cutting-edge bands, the post-punk bands, that Americans in these smaller cities would never have seen except for Ruth.”By the summer of 1986, Ms. Polsky had started her own company, S.U.S.S. — for Solid United States Support, a nod to a colloquial British term for astutely figuring something out — to help artists from abroad navigate their careers in America. She was managing bands, too, and writing a memoir about her nightlife adventures.Polsky died on Sept. 7, 1986, when she was hit by an out-of-control taxi outside the Limelight, a Manhattan club where she had arranged for one of her clients, Certain General, to play that evening. She was 31.“It just seemed like such an awful waste,” Mr. Sumner said, “because she was on an upward trajectory.”As alternative music was gaining in popularity, that path might well have included working directly with superstars, her ultimate goal.“She had the smarts, she had the passion, she had the good taste and she had the nurturing qualities,” said Mr. Marr of the Smiths. “She was tough and really ticked all the boxes to have been really successful with a band.” More