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    12 Grammy Nominees You Need to Hear

    Some of the best competitions are the under-the-radar ones. Listen to nominated songs by Bettye LaVette, Molly Tuttle, Tainy and more.The soul survivor Bettye LaVette, who’s up for best contemporary blues album.Gioncarlo Valentine for The New York TimesDear listeners,I’m Jon Pareles, sitting in for Lindsay this week because while she’s on vacation, we couldn’t let the Grammy Awards nominations go by without a playlist.Like a lot of critics, in and out of music, I’m pretty skeptical about awards shows. That’s not just because they rarely agree with my own taste. Awards shows have conflicted agendas and contradictory incentives. They trumpet artistic integrity but crave star power. They claim accountant-verified objectivity but often appear cliquish and stuck in industry bubbles.The one thing that makes me indulge the Grammys is an aspect that infuriates some other Grammy observers: the chronic sprawl of awards categories. There are 94 this year. That’s a lot, but fine: Let a hundred flowers bloom. The Recording Academy is forever trying to trim and adjust those categories, consolidating or renaming or expanding the list. But music keeps eluding them, changing styles and constituencies, while little Grammy voter pools — hopefully specialists, realistically partisans — battle to boost their candidates.It’s complicated, fluid, arbitrary, far from perfect. What, exactly, is “alternative jazz,” one of this year’s new categories? But down in the trenches of concert bookings, “Grammy-winning” can make a bigger difference for someone on a club or college tour than for an act with radio hits and arena gigs. The Grammys can be good for something.I regularly watch the pre-Grammy, non-network, un-prime-time “Grammy Premiere” livestream — just go to live.grammy.com or YouTube — where the unsung majority of Grammy Awards are given out before the prime-time show. They’re dorky and unpolished; some winners read their thank-yous from their cellphones, and they don’t always have designer outfits. But the pre-Grammys also book niche-category performers who tear the roof off, because that’s what happens beyond the controlled sphere of pop. Music can upend everything we expect.Here are a dozen down-category Grammy nominees, who are unlikely to show up in prime time. They’re not necessarily popular — though some were huge hits — or fashionable. They just made recordings worth noticing.Listen along on Spotify as you read.1. Kylie Minogue: “Padam Padam” (pop dance recording)Kylie Minogue conquered dance floors, yet again, in 2023 with “Padam Padam,” her breezily confident assertion that “I know you wanna take me home.” The title is a heartbeat rhythm, the production uses reverb to play with space, and Minogue sounds quite amenable to a tryst. (Listen on YouTube)2. Killer Mike featuring André 3000, Future and Eryn Allen Kane: “Scientists & Engineers” (rap performance)Multifaceted ideas about creativity — as a calling, a compulsion and a career — unite Killer Mike and his guests in this ambitious, changeable track. Enfolded in restlessly blipping synthesizers and Eryn Allen Kane’s ethereal vocal harmonies, André 3000 and Future muse over past and present before Killer Mike arrives with a closing barrage. (Listen on YouTube)3. Allison Russell: “Eve Was Black” (American roots performance)Racism and misogyny are Allison Russell’s direct targets in “Eve Was Black,” which transforms itself from Appalachian toe-tapper to eerie rocker to jazz excursion to gospel incantation and asks the unflinching question, “Do you hate or do you lust?” (Listen on YouTube)4. Jason Isbell: “Cast Iron Skillet” (American roots song)A tangle of bleak, likely interconnected narratives — murder, death in prison, a family shattered by interracial romance — mingles with homey advice in “Cast Iron Skillet,” a modest-sounding but far-reaching ballad. (Listen on YouTube)5. Molly Tuttle & Golden Highway: “El Dorado” (bluegrass album)The songwriter and flatpicking guitar virtuoso Molly Tuttle spins a brisk, minor-key chronicle of the Gold Rush. She sings about desperate characters and wonders, “Was it worth the blood and dirt to dig our lives away?” (Listen on YouTube)6. Bettye LaVette: “Hard to Be a Human” (contemporary blues album)The gritty-voiced, 77-year-old soul survivor Bettye LaVette embraces 1970s-style Nigerian Afrobeat, with its chattering saxophone and curlicued guitars, in “Hard to Be a Human,” as she wonders about humanity’s irredeemable flaws. (Listen on YouTube)7. Blind Boys of Alabama: “Work Until My Days Are Done” (roots gospel album)The Blind Boys of Alabama, a gospel institution since the 1940s, bring their vintage-style harmonies to a traditional song that’s more about diligence than worship. The arrangement is a two-parter, an easygoing shuffle that revs up midway through to something like sanctified honky-tonk. (Listen on YouTube)8. Tainy featuring Bad Bunny and Julieta Venegas: “Lo Siento BB:/” (música urbana)Tainy, the Puerto Rican producer who’s an architect of reggaeton, racked up a billion streams across various platforms with “Lo Siento BB:/” (“Sorry Baby”). Julieta Venegas and Bad Bunny sing about her infatuation and his refusal to commit, juxtaposing cushy electronics and a blunt beat. (Listen on YouTube)9. Natalia Lafourcade: “De Todas las Flores” (Latin rock or alternative album)The Mexican songwriter Natalia Lafourcade’s album “De Todas las Flores’ isn’t remotely rock. It’s richly retro pop that harks back decades, with acoustic instruments and some orchestral arrangements. The title track is a rueful, elegantly nostalgic lament for lost love. (Listen on YouTube)10. Davido featuring Musa Keys: “Unavailable” (African music performance)Davido is from Nigeria, but he has international aims. In “Unavailable,” he infuses Nigerian Afrobeats with a South African style, amapiano, and he’s joined by the South African singer Musa Keys. They’re both playing hard to get. (Listen on YouTube)11. Darcy James Argue’s Secret Society: ‘Dymaxion’ (large jazz ensemble album)The composer Darcy James Argue’s Secret Society is an 18-piece big band that stokes suspense with dissonance, pinpoint timing and an arrangement that gets denser and denser throughout most of “Dymaxion.” Even when it eases back, the piece stays ominous. (Listen on YouTube)12. Ólafur Arnalds: “Woven Song (Hania Rani Piano Rework)” (new age, ambient or chant album)“Woven Song” originally appeared on Ólafur Arnalds’s 2020 album, “Some Kind of Peace,” with an eerie, sliding, untempered vocal. The Polish pianist and singer Hania Rani makes it cozier and more consonant in her “rework,” but the ghost-waltz spirit of the original persists. (Listen on YouTube)And I’d like to thank the Academy …JonThe Amplifier PlaylistListen on Spotify. We update this playlist with each new newsletter.“12 Grammy Nominees You Need to Hear” track listTrack 1: Kylie Minogue, “Padam Padam”Track 2: Killer Mike featuring André 3000, Future and Eryn Allen Kane, “Scientists & Engineers”Track 3: Allison Russell, “Eve Was Black”Track 4: Jason Isbell, “Cast Iron Skillet”Track 5: Molly Tuttle & Golden Highway, “El Dorado”Track 6: Bettye LaVette, “Hard to Be a Human”Track 7: Blind Boys of Alabama, “Work Until My Days Are Done”Track 8: Tainy featuring Bad Bunny and Julieta Venegas, “Lo Siento BB:/”Track 9: Natalia Lafourcade, “De Todas la Flores”Track 10: Davido featuring Musa Keys, “Unavailable”Track 11: Darcy James Argue’s Secret Society, “Dymaxion”Track 12: Ólafur Arnalds, “Woven Song (Hania Rani Piano Rework)”Bonus TracksCaryn the editor here flagging the rest of our Grammy coverage that’s gone live so far today:Ben Sisario’s big look at the field, with a spotlight on the top competitions.Our always-entertaining snubs and surprises, examining which genres were conspicuously absent from the biggest categories, and a delightful showdown between Olivia Rodrigo and the Rolling Stones.The full list of nominees: yes, all 94 categories. Yes, I formatted this myself.An interview with Victoria Monét, who has seven nominations (the second-most), and one for her toddler.And an interview with the indie-rock trio boygenius, who picked up six nods. More

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    2024 Grammy Nominations: Full List

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

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    Grammy Surprises: boygenius Thrives, Country and Rap Wither

    A look at the Grammys’ most unexpected and interesting story lines, including Olivia Rodrigo’s intergenerational rock battle with the Rolling Stones.Young women from across genres — along with the Recording Academy’s favorite polymath spoiler Jon Batiste — reigned atop the nominations on Friday for the 66th annual Grammy Awards, to be held Feb. 4 in Los Angeles.But beyond familiar names like Taylor Swift, Olivia Rodrigo and Billie Eilish, this year’s class of nominees reveals a strong surge for R&B (SZA, Victoria Monét, Coco Jones, Janelle Monáe); a tough showing for country, rap and Latin music, especially in the top categories; and the enduring love for soundtracks historically felt in Grammyland.But who got left out, who represents a welcome surprise and what, as ever, are the Grammys thinking? The New York Times’s pop music team — editor Caryn Ganz, reporter Joe Coscarelli, chief pop music critic Jon Pareles and pop music critic Jon Caramanica — pored over the complete list, including some deeper, oft-ignored categories, to break down the most interesting story lines, snubs and surprises.Boygenius makes the big leagues.The indie-rock supergroup made up of the singers and songwriters Julien Baker, Phoebe Bridgers and Lucy Dacus was once a side project, an inside joke, a fun way to promote a tour of solo acts. Not anymore. Having released its debut album, “The Record,” earlier this year on the major label Interscope — and having sold 67,000 albums in its first week, landing in the Billboard Top 5 — boygenius may very well be the biggest new rock band working, with all the arena shows, promotional savvy and celebrity worship that entails. Recognized in best rock performance, best rock song, best alternative performance, best alternative album, best engineered album and — most notably — album of the year, boygenius is among the most nominated acts with six overall, the same number as Taylor Swift. Not bad company in 2023. JOE COSCARELLIWhere’s country music?By any measure, it has been a banner 12 months for country music on the pop charts — Morgan Wallen’s “One Thing at a Time” has spent 16 nonconsecutive weeks atop the Billboard 200, and in August, for the first time in the history of the Billboard Hot 100, the top three positions were occupied by country songs. And yet none of the artists behind those songs — Wallen, Luke Combs and Jason Aldean — were nominated in any of the Grammys’ big three all-genre categories. Neither was Zach Bryan, the genre’s leading dissident, nor Oliver Anthony, who had the year’s most unlikely No. 1 hit.The shutout of the men of country may be indicative of the political shift, explicit and implicit, shaping the genre’s most prominent figures. Wallen, who remains under the long shadow of the 2021 revelation that he was captured on tape using a racial epithet, is still the most popular performer in the genre; he received no nominations this year (though his song “Last Night” is up for best country song, a prize for songwriters). With Aldean, the politics are more literal. His vigilante-justice hit, “Try That in a Small Town,” made overt a partisan perspective that often resides just beneath the surface in Nashville. As for Anthony’s “Rich Men North of Richmond,” a workingman lament that baffled both the left and the right, its direct engagement with class politics perhaps made it too hot to the touch for Grammy voters (if, indeed, Anthony even submitted it for consideration).If there were one song with the best chance of bridging contemporary country to the Grammys, it would be Combs’s cover of Tracy Chapman’s “Fast Car,” which went to No. 2 on the Hot 100 and earlier this week won song of the year at the CMA Awards, making Chapman the first Black winner in that category. But in part because of Grammy rules — it isn’t eligible for song of the year because Chapman was nominated for her original in 1989 — Combs’s version has been relegated to just a single nomination, in best country solo performance, a snub that feels unexpectedly pointed. JON CARAMANICA‘Barbie’ at the Grammys? Yes, she Ken.If it felt this year that pop music was more slippery than ever, subject to the whims of streaming algorithms and TikTok trends, it’s perhaps unsurprising that the Grammys chose to reward songs that came via a particularly old-fashioned delivery mechanism: the film soundtrack.Songs from the Greta Gerwig film “Barbie” — a canny collection of contemporary pop hitmakers finding creative ways to wrestle with the film’s themes — are everywhere in this year’s nominations. Billie Eilish’s familiarly melancholy “What Was I Made For?” is up for record and song of the year, and Dua Lipa’s “Dance the Night” is also nominated for song of the year. “Barbie World” by Nicki Minaj and Ice Spice will compete for best rap song. Tracks from the soundtrack also hog up four of the five available slots in best song written for visual media. CARAMANICAEmerging Latin stars get left behind.After a year in which Latin music continued to explode on streaming services and forge all sorts of cross-cultural hybrids, this year’s Grammy nominations are, well, puzzling. Edgar Barrera, the Mexican American songwriter who has collaborated on hit after hit for singers across the Americas, is rightfully a nominee for songwriter of the year. But there’s no best new artist nomination for Peso Pluma, the cutting-voiced Mexican songwriter whose career skyrocketed in 2022 and 2023 — he’s touring arenas this year — and who bridges regional Mexican corridos and Latin trap. Peso Pluma’s 2023 album, “Génesis,” is just tucked among the nominees for música mexicana. Other emerging Mexican-rooted acts that had a blockbuster year — among them Eslabon Armado, Grupo Frontera, Grupo Firme, Christian Nodal and Natanael Cano — go unmentioned.Then there’s the oddity of the música urbana category. Its three — only three — nominees are deserving: the reggaeton producer Tainy, the electronics-loving pop experimenter Rauw Alejandro and the Colombian songwriter Karol G, whose 2023 album, “Mañana Será Bonito,” was the first Spanish-language album by a woman to reach No. 1 on the Billboard 200. But música urbana — encompassing reggaeton, Latin hip-hop, dembow, Latin trap and more — is a crowded, competitive, hugely popular format. The Grammys couldn’t find five nominees? All they had to do was turn on the radio. JON PARELESOlivia Rodrigo takes on … the Rolling Stones.The Grammys’ rock categories are reliable head-scratchers, but best rock song provides an unexpected delight this time: Olivia Rodrigo’s “Ballad of a Homeschooled Girl” goes up against the Rolling Stones’ “Angry,” pitting some of this year’s oldest nominees (average Stones age: 78) against one of the youngest (at 20, Rodrigo is still not old enough to order a celebratory champagne). Rodrigo is the only nominee in the category who isn’t part of a band, but her track has the fewest number of writers: just two, herself and the producer Daniel Nigro. (The other competitors include boygenius, Foo Fighters and Queens of the Stone Age.)“Ballad of a Homeschooled Girl,” with its gleeful pop-punk thrash, is an ode to social awkwardness that draws on ’90s rockers like Veruca Salt; “Angry” is built on a classic Stones riff with plenty of room to breathe — unlike the troubled relationship Mick Jagger describes in its lyrics. Both describe uncomfortable situations; both sound like a load of fun. And it’s nice to see Rodrigo’s latest album, “Guts,” recognized in the rock field, where it belongs. CARYN GANZA powerful Paul Simon LP goes unrewarded.If anyone should have been able to count on respect from the Grammys, it’s Paul Simon. His 2023 album, “Seven Psalms,” plays as a thoughtful, complex, tuneful farewell, anticipating his death. It’s a major statement couched in intimate acoustic arrangements, with the craftsmanship and artistic ambition that awards shows claim to recognize. Simon has won 16 Grammys, dating back to his days with Simon and Garfunkel. But “Seven Psalms” was shut out of high-profile categories like album of the year, and got just one obscure nomination, for best folk album, where Simon competes with the touching comeback (and beloved, familiar songs) of “Joni Mitchell at Newport.” The Grammys used to reward late-career albums by musicians like Steely Dan (“Two Against Nature”), Bob Dylan (“Time Out of Mind”) and Tony Bennett (“MTV Unplugged”). Now, Simon’s knotty confrontation with mortality seems to have gotten stranded between Grammy generations. PARELESRap’s Grammy struggle continues.For the 20th time in a row, a rap release will not win album of the year at the Grammys. That was a safe bet before — only two hip-hop albums have ever won in the biggest category: Lauryn Hill’s “The Miseducation of Lauryn Hill” in 1999 and Outkast’s “Speakerboxxx/The Love Below” in 2004 — but it’s assured now because none were even nominated. No rap appears among the nominees in record or song of the year, either. (Childish Gambino’s “This Is America” remains the only rap song to ever win in those categories.) But while past Grammys have brought recriminations about how hip-hop is recognized, this shutout up top comes amid a year of intra-genre soul-searching about a lack of chart impact and a dearth of new stars, especially those invested in the album format.The genre-specific nominations include a mix of familiar names (Drake — despite his history of boycotting submissions — with 21 Savage, plus Nicki Minaj and Nas) and a few artists with something to prove (Killer Mike, Doja Cat, Coi Leray). Yet this may be the first year in some time where a lack of major recognition is met with a resigned sigh. Outside of SZA’s rap-flavored singing, Ice Spice’s nomination for best new artist is the lone bright spot in the biggest categories, driving home another common talking point in rap industry circles of late: Women are the present, and likely the future. COSCARELLIGreetings from traditional pop.Oh, the categories! Who knew that Bruce Springsteen, a lifelong rocker, would someday find himself among the “traditional pop vocal” nominees? I think of it as the slot that was created for singers, like Tony Bennett, who kept reaching back to what was known as the Great American Songbook: pop standards written for vintage Broadway and Hollywood musicals, the sophisticated idiom that was overturned by the simplicity of rock ’n’ roll. But Springsteen’s nominated album, “Only the Strong Survive,” isn’t a standards album. It’s a collection of vintage 1960s soul songs, which somehow do not qualify in the Grammy category of “traditional R&B.” Are the Grammys expanding the Great American Songbook, or just consigning Springsteen to the past? PARELES More

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    SZA, ‘Barbie’ Songs and Young Women Lead 2024 Grammy Nominees

    The indie-rock group boygenius, Olivia Rodrigo, Taylor Swift and Victoria Monét are among the most nominated artists for the 66th annual awards in February.SZA, Taylor Swift, Olivia Rodrigo, the indie supergroup boygenius and the eclectic bandleader Jon Batiste are among the top nominees for the 66th annual Grammy Awards, leading a class of contenders dominated by young women.SZA, the R&B singer and songwriter born Solána Rowe, has nine nods — more than any other artist this year — for her album “SOS,” which led the Billboard chart for 10 weeks and spawned an in-demand arena tour. “Kill Bill,” its standout hit, is up for both record and song of the year at the next ceremony, set for Feb. 4 in Los Angeles.Swift and Rodrigo will face off against SZA in all three top categories, with Swift’s “Midnights” — the studio LP she released last year, in between a slew of rerecordings — and Rodrigo’s “Guts” up for best album, and Swift’s “Anti-Hero” and Rodrigo’s “Vampire” each competing for both record and song.The awards were announced in an online stream Friday morning by the Recording Academy, the nonprofit organization behind the Grammys.Miley Cyrus and Batiste are also contenders in each of the most prestigious categories. Cyrus’s mellow, disco-inflected hit “Flowers” is up for record and song of the year, and “Endless Summer Vacation” for album. Batiste, the surprise album of the year victor in 2022 for “We Are” — a rootsy, uplifting collection that had barely made a dent on the charts — earned a string of nominations, including best album for “World Music Radio,” a high-concept amalgam of global pop that was also far from a hit. Its track “Worship” is up for record, and “Butterfly” for song. (Record of the year recognizes a single recording; song of the year is a songwriter’s award.)Boygenius, the project of three of indie-rock’s leading young women — Julien Baker, Phoebe Bridgers and Lucy Dacus, all in their late 20s — will compete for record of the year with “Not Strong Enough,” and best album with “The Record.”Swift, Rodrigo, Cyrus, boygenius, Batiste and the Americana singer-songwriter Brandy Clark have six nods apiece, as does Billie Eilish, another Grammy favorite; Victoria Monét, an R&B singer and songwriter, has seven. Bridgers, of boygenius, also nabbed a seventh, through a collaboration with SZA.The “Barbie” soundtrack, curated by the producer Mark Ronson and filled with female artists — Eilish, Dua Lipa and Nicki Minaj among them — has a total of 11 nominations in seven categories. In best song written for visual media, for example, “Barbie” tracks occupy four of the five slots.The contenders for best new artist include Monét; the banjo-playing pop-folkie Noah Kahan; Jelly Roll, who started as a rapper before finding fame in Nashville; the British dance producer known as Fred again..; the R&B singer and actress Coco Jones; the husband-and-wife soul duo the War and Treaty; and two artists who have gotten a boost from their associations with Swift — the singer Gracie Abrams and the drill-meets-pop Bronx rapper Ice Spice.In past years, the Grammys have been criticized for failing to adequately reward female artists, and this year’s woman-heavy nominations will likely be welcomed in the industry as a sign of progress. Still, the key will be who ultimately wins.As always, the nominations included some surprises in the top tier, particularly when it came to country artists.Luke Combs, who had a cross-generational smash with a reverently faithful version of Tracy Chapman’s 1988 song “Fast Car,” got a nod for country solo performance, but not record of the year, which many in the industry had expected. (“Fast Car” was not, however, eligible for song of the year, since it had already been nominated for that award in the ’80s.)Zach Bryan, an admired songwriter who found chart success this year with a self-titled album, was recognized only in country categories, for that LP and for “I Remember Everything,” a duet with Kacey Musgraves. And Morgan Wallen, a streaming titan whose album “One Thing at a Time” was a blockbuster this year, is absent completely — a sign, perhaps, that the coastal industry mainstream has not forgiven Wallen for his use of a racial slur two years ago, as establishment Nashville seemingly has. (Wallen’s hit “Last Night” is up for best country song, though Wallen was not among its four writers.)Harvey Mason Jr., the chief executive of the Recording Academy, said in an interview that the nominations simply reflect the musical judgment of the academy’s 11,000 or so voting members.“There’s really no other explanation or calculus here,” Mason said. “The voters come in, they listen to the music, and the stuff they like the best, and feel is the most excellent, they vote for.”The nominations arrive two days after Neil Portnow, a former academy chief, was sued in a New York court by an anonymous female musician who accused him of drugging and raping her five years ago. The suit also accused the academy of negligence.Portnow has denied the accusation, and the academy on Wednesday called the woman’s claims “without merit.” Mason declined to comment about the case.The major Grammy nominations this year largely hew to popular hits, and they notably over-index with female artists, though country and hip-hop are scarce in the top categories.In addition to LPs by SZA, Swift, Rodrigo, Cyrus, boygenius and Batiste, the album of the year slate includes Lana Del Rey’s “Did You Know That There’s a Tunnel Under Ocean Blvd” and Janelle Monáe’s “The Age of Pleasure.”Record of the year also includes Monét’s “On My Mama” and Eilish’s “What Was I Made For?,” from “Barbie.” Del Rey’s “A&W,” “What Was I Made For?” and another “Barbie” number, Lipa’s “Dance the Night,” round out song of the year.The number of slots on the ballot for the four top Grammy categories has been a moving target for years. This year, the academy set it to eight, after two years at 10. It was the third such change in five years.Among other rule changes this year, the academy moved the producer and songwriter of the year categories to the general field, which allows all voting members to vote on those awards.Nominees for producer of the year, nonclassical, include Jack Antonoff, known for his work with Swift and Del Rey; Daniel Nigro (Rodrigo); Hit-Boy (Nas, Don Toliver); Dernst Emile II, known as D’Mile (Monét); and Metro Boomin (Travis Scott; Drake & 21 Savage). Songwriter of the year, meant to recognize writers who largely work behind the scenes, has nods for Edgar Barrera, Jessie Jo Dillon, Shane McAnally, Theron Thomas and Justin Tranter.For best pop vocal album, Swift’s “Midnights,” Rodrigo’s “Guts” and Cyrus’s “Endless Summer Vacation” are up against Kelly Clarkson’s “Chemistry” and Ed Sheeran’s “-” (called “Subtract”).In the rap album category, Drake & 21 Savage’s collaboration “Her Loss” and Travis Scott’s “Utopia” will contend with Killer Mike’s “Michael,” Nas’s “King’s Disease III” and Metro Boomin’s “Heroes & Villains.”For country album, Bryan’s LP is up along with Kelsea Ballerini’s “Rolling Up the Welcome Mat,” Lainey Wilson’s “Bell Bottom Country,” Tyler Childers’s “Rustin’ in the Rain” and the self-titled album by Brothers Osborne.The contenders for best rock album are Foo Fighters’ “But Here We Are,” Greta Van Fleet’s “Starcatcher,” Metallica’s “72 Seasons,” Paramore’s “This Is Why” and “In Times New Roman …” by Queens of the Stone Age.For best African music performance, a new category, the nominees are Asake & Olamide’s “Amapiano,” Burna Boy’s “City Boys,” Ayra Starr’s “Rush,” Tyla’s “Water,” and Davido’s “Unavailable,” which features Musa Keys.In the audiobook category, Michelle Obama and Senator Bernie Sanders will compete with Meryl Streep, William Shatner and the music producer Rick Rubin.At the ceremony in February, the academy will give out prizes in 94 categories — the most in 13 years. The organization slashed many awards in 2011, but since then the number has gradually crept back upThe 66th Grammys will recognize recordings released from Oct. 1, 2022, to Sept. 15, 2023 — an unusual eligibility window of 11 and a half months. This year, nearly 16,000 entries were submitted for consideration, down slightly from last year. More

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    The Egyptian Rapper Wegz Wants to Take Arabic Hip-Hop Worldwide

    The 25-year-old has become a streaming star without releasing a full album. He just wrapped his first shows in the United States, and hopes to take his music even further.On the ninth stop of his first world tour, the Egyptian rapper Wegz finished soundcheck at the Howard Theater in Washington, D.C. and relaxed on a worn black leather couch wearing a gray Carhartt fleece jacket and cream New Balance 990 sneakers. In his unflashy attire, passers-by might not have recognized one of the biggest artists in the emerging Arabic music scene calmly awaiting his set time.“That’s what I’m trying to do,” Wegz, 25, said. “Just revert people back to minimalism.”His numbers, however, have been growing. Wegz has been the most-streamed artist on Spotify in Egypt since 2020. In 2022, he was named the most-streamed artist on the platform across the entire Middle East and North Africa, and became the first Egyptian artist to perform at the FIFA World Cup final. He sold out concerts in London and Berlin before arriving in the United States last month as the first Arab artist with a global tour backed by the concert giant Live Nation.“He has been one of the pioneers who have taken Egyptian rap to a different place,” Salam Kmeid, head of content marketing at the regional music platform Anghami, said in a video call from Dubai. (Wegz’s track “El Bakht” is now the most streamed song of all time on the service.) “As an Arabic hip-hop movement, he has taken it to a different scale.”In the middle of his current tour — after the European leg had wrapped up but before his first dates in North America — the war between Israel and Hamas began. Wegz, who has been outspoken in support of Palestinians, has made it clear that he has no intent of soft-pedaling his views as he works to reach a broader global audience. He recently posted a video on Instagram of a pro-Palestinian rally in New York City, and announced that a portion of the proceeds from his tour will go to relief efforts in Gaza.“I will raise awareness about the cause along the way and condemn the dehumanizing and killing of Palestinians,” Wegz said in an interview. “I’m hoping to try to heal from all the horrific images I’ve seen in order to start seeing a better life so we can sing and dance and get back to enjoying what we do.”His rise has coincided with a wave of attention and appreciation for Arabic music. The Palestinian-Algerian rapper Saint Levant’s “Very Few Friends” and the Palestinian-American Lana Lubany’s “The Snake” both went viral on TikTok. On television, shows like Hulu’s “Ramy,” Netflix’s “Mo” and Disney+’s “Moon Knight” heavily feature Arabic music in thoughtful ways.“I think there’s a lot of talented people around the globe,” Wegz said, speaking in English. “I might be very talented as well.”Wegz performing at the FIFA World Cup final in 2022. He was the first Egyptian artist to take the stage at the event.Fareed Kotb/Anadolu Agency, via Getty ImagesSince his debut single “Batalo Fake” (Arabic for “No Longer Fake”) arrived in 2017, with an appearance from his fellow Egyptian M.C. Hesham Raptor, Wegz has been praised for his lyrics, which exude self-confidence while exploring themes around identity and the socioeconomic reality for youth in Egypt’s urban neighborhoods. While hip-hop with trap beats remains his foundation, his tracks also dabble in dancier production and Afropop. His most successful song to date, the uncharacteristically vulnerable “El Bakht” (“The Luck”), features a melodic rap about a brokenhearted lover over a syncopated beat, strings and plucked acoustic guitar.Despite his strong streaming numbers, Wegz still hasn’t released a full album, though he insists he’s working on one that he plans to put out after his tour. He attributes his success as a singles artist to being a lifelong student of his craft — a voracious listener nerding out about global music cultures.“I see myself as someone who’s here to show people things they might not have known about because my passion is the research of things, basically,” he said. “I want to know how you guys started this. I just keep digging and digging.”Born Ahmed Ali and raised in the coastal Egyptian city Alexandria, Wegz grew up in a modest area with his father, a math teacher, and his mother, a nurse and head of a children’s foster home. He has six siblings — some from different marriages — and last year told the Emirati entrepreneur and interviewer Anas Bukhash that he moved frequently as a child but made new friends fast. He added that he had been eager to take risks when his family urged caution (though his mother encouraged him to explore, which expanded his worldview).He developed a love of books at an early age, and wrote short stories and poems. His first exposure to music came from being surrounded by religious anthems, but as a teenager he branched out on his own, seeking secular music.“I tried to go online and go to internet cafes and listen to YouTube,” he recalled in the basement of the Washington venue. Wegz has said he grew up listening to American rappers including Young Thug, Future and the duo Mobb Deep, as well as the Egyptian singers Ahmed Adaweyah, Dalida, and Mohamed Mounir, and the Algerian musician Cheb Mami.His taste is eclectic, he pointed out, noting that he has “had a phase of every type of music in my life at least once.” (His current passion? Yemeni music, which emphasizes narratives: Even if an artist is “just staring at the tree, there’s a song for it where you can actually tell us how you feel about this tree and how you feel about being outside today.”)After some attempts at writing music, Wegz recorded his first song at 17 to have something private he could “share on his phone” with a handful of his friends. Working in a studio for the first time “was amazing,” he said. “It was what I wanted.”Just a few years later, he was getting attention in Egypt with “T.N.T.”, a haunting track produced by fellow Alexandrian rapper L5VAV that blends heavy trap percussion with Egyptian mahraganat, a style that combines low-fi, minimalist synths and edgy, heavy bass. (“I’m a big boss shaking up this great hall/I go heavy on that beat like I’m Rick Ross,” Wegz boasts in the song.) In 2020, “Dorak Gai” (“Your Time Is Coming”) — an aggressive but subtle diss track produced by the powerhouse Egyptian musician Molotof — put Wegz on the map throughout the Middle East and North Africa.Wegz gave credit to L5VAV, a frequent collaborator who appears on their hit “Khod w Hat” (“Take and Give”), for helping him hone his lyrical skills and navigate his early rise. “He helped me take music seriously,” Wegz said, with affection. “It was very motivating being around such an inspiring character.”Now he’s set his sights on reaching listeners beyond the Arabic-speaking world while still emphasizing genuine Arabic sounds and rhythms in ways that push the culture forward. “If the global eye is on you right now,” he said, there’s an opportunity to spotlight “the old things that we always had.”Kmeid, of the streaming service Anghami, said Wegz plays a vital role in Arabic music, and beyond. “He is actually the voice of his generation,” she said. “We do see how the Egyptian scene specifically sees Wegz as that young artist who came out of whatever background or history he had, a very simple person who really believed in his dream.”Wegz has plans to expand his brand beyond music, looking toward designing merchandise and a career in acting. Arabs have a rich history as traders, he explained, and that’s something he’s always kept in mind.“For now, I’m making music because I really love it and I have fun doing it,” he said.“People have fun listening to it, and I’m making money out of it. This is amazing.”“Overall,” he added, “I hope to always use my voice for good as long as I live.” More

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    Young Thug Lyrics Will Be Allowed as Evidence in YSL RICO Trial

    A judge ruled on Thursday that at least 17 specific sets of lines from the Atlanta rapper and his collaborators could be used by prosecutors in their gang conspiracy case.A judge decided on Thursday that rap lyrics by the Atlanta artist Young Thug and his collaborators will be allowed as evidence in the racketeering trial of YSL, a chart-topping hip-hop label and collective that prosecutors say is also a criminal street gang responsible for violent crimes.Following months of dueling court filings and a day of arguments about the relevance and admissibility of the song lyrics, Fulton County Superior Court Judge Ural Glanville ruled that 17 specific sets of lines from the music of Young Thug and other YSL artists could be used by the state when the trial begins later this month to argue for the existence of the gang, the defendants’ membership in the alleged criminal conspiracy and their mind state regarding specific crimes they are accused of committing.“The lyrics are being used to prove the nature of YSL as a racketeering enterprise — the expectations of YSL as a criminal street gang,” Mike Carlson, a Fulton County executive district attorney, said in court.Defense lawyers in the case had argued that including the lyrics was a constitutional violation of the First Amendment protecting free speech and would unfairly prejudice the jury.Young Thug, born Jeffery Williams, was one of 28 people initially charged in May 2022 with conspiracy to violate Georgia’s Racketeer Influenced and Corrupt Organizations law, or RICO, with some accused of murder, attempted murder, armed robbery and other crimes. Prosecutors say Young Thug, who has denied all of the charges and pleaded not guilty, occupied a leadership position in the gang, known as Young Slime Life or Young Stoner Life, which they say is an offshoot of the national Bloods gang.Jury selection for the trial began in January with 14 defendants, following some plea deals and the severing of other defendants from the case. After more than 10 months, a jury was seated last week; six defendants — including Young Thug — are left, with the remainder of the trial expected to last from three months to a year. Opening statements are scheduled for Nov. 27.The use of rap lyrics in criminal prosecutions has long been a thorny topic, with critics and defense lawyers contending that negative attitudes toward crude and violent lyrics in hip-hop could bias a jury. Lawyers for Young Thug argued in this case that the use of lyrics, videos and social media posts was “racist and discrimination because the jury will be so poisoned and prejudiced by these lyrics/poetry/artistry/speech” that it amounted to “unlawful character assassination.”Brian Steel, a lawyer for Young Thug, said in court on Wednesday that lyrics needed to be specifically tied back to alleged crimes in order to be admissible. “They’re targeting the right to free speech,” Steel said.Doug Weinstein, a lawyer for Deamonte Kendrick, the YSL rapper known as Yak Gotti, said, “There is art here, and the art has got to be separated from real life.”“They’re going to look at these lyrics and instantly say these guys are guilty,” Weinstein said of the jury, adding that rappers were playing characters: “It’s what his audience is looking for and demands in gangster rap.”Prosecutors argued that because they were not charging the rappers for the content of their lyrics — as in a terroristic threat case — but merely using the lyrics as supporting evidence that other crimes had been committed, that they were not protected by the First Amendment and should be admitted.They added, “the Defense would seem to opine that if the Unabomber’s manifesto had been set to music, it could not be used against him.” And in court, Carlson, the prosecutor, raised the frequently cited Johnny Cash lyric, “I shot a man in Reno just to watch him die,” arguing that if Cash had actually been accused of killing a man in Washoe County, where Reno is located, “his lyrics would have in all likelihood have been used against him.”Carlson also noted that, in a racketeering and gang conspiracy case like the one facing YSL, “evidence of existence and the nature of the organization is not only relevant, it’s required.”Among the specific lyrics admitted as evidence by the judge — taken from songs like “Eww,” “Just How It Is” and “Mob Ties” — are lines that prosecutors argued would establish the existence of YSL (“this that mob life”); the expectations for its self-professed members (“for slimes you know I’ll kill”); and Young Thug’s role as a leader (“I’m the principal (slime!),” “I’m a boss, I call the shots,” “I was a capo in my hood way before a plaque”).The use of the lyrics at trial, Judge Glanville said, would be conditional, depending on prosecutors laying a foundation for their relevance, with any additional lyrics subject to further analysis before they could be admitted. More

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    Missy Elliott and Willie Nelson Join the Rock & Roll Hall of Fame

    Innovators from genres that have long been underrepresented in the Rock & Roll Hall of Fame were celebrated at the event’s 38th annual induction ceremony in Brooklyn.The Rock & Roll Hall of Fame inducted its 38th annual class of musical heroes on Friday at Barclays Center in Brooklyn, in a night dominated by strong women and giants from genres the institution had long treated as adjacent to rock.The latest inductees in the flagship performer category included Willie Nelson, the 90-year-old country icon; Missy Elliott, the hall’s first female rapper; the singer-songwriter Sheryl Crow; George Michael, the larger-than-life pop singer of Wham! who became one of pop’s first openly gay heroes; the soul vocal act the Spinners; Kate Bush, the eclectic British performer, who did not attend; and the political firebrands Rage Against the Machine, who were represented solely by their guitarist, Tom Morello.In other categories, the hall inducted DJ Kool Herc, who presided over hip-hop’s founding party 50 years ago; the rockabilly guitarist Link Wray; the spitfire R&B singer Chaka Khan; Al Kooper, one of rock’s most well-traveled musicians, who played with Bob Dylan, the Rolling Stones and many others; Bernie Taupin, Elton John’s longtime songwriting partner; and Don Cornelius, the creator and host of the TV show “Soul Train.”The induction came less than two months after the Rock Hall ejected Jann Wenner, one of its founders, who made disparaging remarks about female and Black performers as part of a New York Times interview. This year’s class demonstrated the organization’s recent commitment to inclusion, but the night didn’t end without a barbed reference to the controversy.“I’m honored to be in the class of 2023, alongside such a group of profoundly ‘articulate’ women and outstanding, ‘articulate’ Black artists,” said Taupin, echoing Wenner’s comments in the interview.Here are some highlights from the show.Stars from beyond rock’s bordersWillie Nelson, the 90-year-old country star, was honored at the Rock & Roll Hall of Fame induction ceremony.Andy Kropa/Invision, via Associated PressSome of the most commanding presences were artists outside the traditional boundaries of rock ’n’ roll who claimed their places in music history proudly.In an arena-worthy spectacle that began with her own countdown clock, Elliott arrived onstage just after midnight outfitted in gold and surrounded by a phalanx of backup dancers. After an energetic spin through abbreviated versions of songs including “Get Ur Freak On,” “The Rain (Supa Dupa Fly)” and “Work It,” she got emotional at the podium, revealing that this was the first time her mother had seen her perform. (Elliott hadn’t wanted to rap risqué records in front of her mom because “she from the church” she said, to laugher.)She mentioned women innovators who “gave me their shoulders to stand on,” including Pepa, Queen Latifah (who inducted her) and Roxanne Shante, and noted that on hip-hop’s 50th anniversary, she felt the magnitude of the moment: “You just feel like it’s so far to reach when you in the hip-hop world, and to be standing here, it means so much to me.”Earlier, Nelson sat stone-faced, in his signature red bandanna and long braids, as Dave Matthews gave a rambling but affectionate induction speech, praising Nelson’s longevity and history of activism — and his well-known penchant for marijuana.Nelson, who has been a member of the Country Music Hall of Fame for 30 years, cut to the chase in a brief acceptance speech, saying, “I never paid much attention to categories, and I’m not sure fans did either.” At 90, Nelson’s love of performing was still palpable. Seated and playing a weathered acoustic guitar, he nimbly ran through riffs and solos, leading his band on classics like “Whiskey River,” “On the Road Again,” and, joined by Crow, “Crazy,” his song made famous by Patsy Cline.Women celebrated womenSheryl Crow, left, was joined by Olivia Rodrigo for a duet of “If It Makes You Happy.”Andy Kropa/Invision, via Associated PressAs recently as 2016, there were years when the hall welcomed no women. But on Friday, they were a strong presence, and honored one another onstage and in supportive statements.The night kicked off with Crow, who began her career as a backup singer for Michael Jackson before breaking out on her own in the 1990s with hits like “All I Wanna Do.” She was joined onstage by Olivia Rodrigo, the 20-year-old pop star, for a duet of “If It Makes You Happy,” a power ballad about vulnerability. And Stevie Nicks of Fleetwood Mac — in black lace and fingerless gloves — sang with Crow on “Strong Enough.”In a video segment, Nicks called Crow “everything that every girl should want to be.” In her acceptance speech, Crow thanked her parents “for all the years of unconditional love,” adding, “and piano lessons.”Khan sang her hits “Ain’t Nobody” and “Sweet Thing” with H.E.R. and “I’m Every Woman” with the pop singer and songwriter Sia, who entered the stage in a gigantic, rainbow-colored wig that obscured her face. In accepting her honor, Khan spent much of her time praising Jazmine Sullivan, the R&B singer who inducted her.Queen Latifah introduced Elliott by noting all the boundaries she’d broken: “Missy has never been afraid to speak out about the preconceptions, the stereotypes, the string of misogyny and the obstacles that have been placed in the way of women.”A night of notable absencesAfter a speech from Ice-T, left, Tom Morello spoke about his group Rage Against the Machine’s mission as a political band.Andy Kropa/Invision, via Associated PressThe ceremony was defined as much by who wasn’t there as who was.Bush, who shot up the charts last year when a decades-old song, “Running Up That Hill (A Deal With God),” was used in the TV show “Stranger Things,” did not attend. Neither did three of the four members of Rage Against the Machine. And some of the most uproarious applause in the arena was for Michael, who died in 2016.Bush, who has not performed in public in nine years, was celebrated for her singularly dark and theatrical vision. The singer St. Vincent, her wide eyes staring straight ahead, performed “Running Up That Hill” in a black puffy lace top. In a statement posted to her website on Friday, Bush thanked the Rock Hall for welcoming her to “the most extraordinary rostrum of overwhelming talent.”Michael was inducted by Andrew Ridgeley, his childhood friend and partner in Wham!, who appeared in a crisp purple three-piece suit. He spoke of Michael’s intense drive for fame as well as his talents in the studio as a writer and producer and added, “His beauty gave balm and succor to the listener.”Though Rage Against the Machine didn’t perform, Morello gave a fiery speech following Ice-T’s induction that endorsed music’s power to spark progress. “Can music change the world?” he said, peppering his remarks with profanities. “The entire [expletive] aim is to change the world,” he proclaimed.Smaller names who made a big impactElton John, left, embracing his longtime songwriting partner, Bernie Taupin, who was inducted into the Rock Hall on Friday.Eduardo Munoz/ReutersSome of the most poignant moments came in celebrations of people who were never household-name stars. These fulfilled one of the Rock Hall’s key missions of contextualizing pop music history and shining lights on figures whose influence was greater than their fame.The Spinners began as a doo-wop group in Michigan in the 1950s, then spent years without fame at Motown before signing to Atlantic Records and making a string of hits that defined Philadelphia soul. DJ Kool Herc, who took the stage with a cane, was honored as a father of hip-hop and gave a tearful speech thanking various people from throughout his life, including artists like James Brown and Harry Belafonte.In a video inducting Link Wray, the rockabilly guitarist whose snarling 1958 instrumental “Rumble” became a controversial hit — it was banned in some cities, out of fear it would incite violence — Jimmy Page of Led Zeppelin called Wray “my hero,” saying the song taught him “the drama you could set up with six strings.” He then appeared on the Barclays stage, leading a performance of “Rumble” with a three-piece rockabilly combo.John told of how his 56-year songwriting partnership with Taupin started randomly, when a record company paired them together, and spoke passionately about the underappreciated role of lyricists. Then, at the piano, John gave a stirring performance of “Tiny Dancer,” one of their most enduring collaborations.Taupin summed up his speech with an appeal to accept the all-inclusive borders of pop music.“It means no walls, no inherent snobbery,” he said. “It means we’re all in this together.”Caryn Ganz and Emmanuel Morgan contributed reporting. More

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    Olivia Rodrigo’s Haunting ‘Hunger Games’ Tune, and More New Songs

    Hear tracks by Megan Thee Stallion, Torres, Mount Kimbie and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new tracks. 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, and The Amplifier, a twice-weekly guide to new and old songs.Olivia Rodrigo, ‘Can’t Catch Me Now’A latticework of acoustic guitar and a building intensity drive “Can’t Catch Me Now,” Olivia Rodrigo’s brooding new song from soundtrack for (deep breath) “The Hunger Games: The Ballad of Songbirds & Snakes.” “You think that you got away,” Rodrigo sings through gritted teeth, adding an eerily pastoral feel to another of her signature tales of heartbreak and revenge. “But I’m in the trees, I’m in the breeze.” LINDSAY ZOLADZMegan Thee Stallion, ‘Cobra’Megan Thee Stallion’s raps have constructed a persona that’s carnal, competitive and invincible even on bad days. But on “Cobra” — her first self-released single after leaving her old label — she hits “rock bottom,” admitting, “Yes, I’m very depressed/How can someone so blessed wanna slit they wrist?” The video shows Megan shedding her skin, but the song itself doesn’t declare victory; instead, a rock-guitar outro summons the bitterness of grunge. JON PARELESTorres, ‘I Got the Fear’Torres — the stage name of the singer-songwriter Mackenzie Scott — sullies organic folk sounds with a mechanized, industrial crunch on “I Got the Fear,” the second single from her sixth album, “What an Enormous Room,” due in January. Images of panic attacks and climate catastrophe haunt the song, but love provides a sliver of hope: “The dread doesn’t pay any rent money,” Torres sings, “But as long as it doesn’t get ahold of my honey, think I’ll be all right.” ZOLADZMount Kimbie, ‘Dumb Guitar’The English group Mount Kimbie keeps figuring out different ways to fuse meditation, confession and snarl. Its latest single, “Dumb Guitar,” promising a new album, taps through three chords with ever-evolving loops and waves of synthesizers, keyboards and guitars. As it churns ahead, Dominic Maker and Kai Campos sing lines like “Find a suit to wear out/Take the selfish side out,” “Another day I’ll kill myself” and “Lose it all in silence/Dig a hole in my mind.” The estrangement keeps growing, even as the music ebbs into a calm coda. PARELESWillow, ‘Alone’A shuffle rhythm, usually the sound of jaunty confidence, gets pushed and pulled into nervous, angular permutations in Willow’s “Alone,” a seething and then explosive two-minute distillation of a relationship full of need, betrayal and confusion. “I’m so tired of being a liar, it’s true,” Willow sings, well before the final rupture. PARELESEl Búho & Nita, ‘Cenizas de Agua’Robin Perkins, who records as El Búho (the Owl), is an English electronic producer who has devoted himself to Latin American rhythms, natural sounds and environmental activism. He collaborated with the flamenco-influenced Spanish singer and songwriter Nita (Cristina Manjón), from the group Fuel Fandango, on “Cenizas de Agua” (“Ashes of Water”). The track smolders with suppressed agitation about the fate of the planet. Over a subdued cumbia beat, surrounded by glimmering, time-reversed sounds, Nita’s lyrics contrast cherished memories with dire expectations: “I open my chest,” she sings. “I break the silence.” PARELESMajid Jordan, ‘Slip’Majid Jordan — the Canadian duo of the singer Majid Al-Maskati and the producer Jordan Ullman — makes hypnotically self-effacing R&B: pondering, contemplating, doubting, never raising its voice. In “Slip,” from the new album “Good People,” the beat is muffled and the keyboards are like distant radar blips as Al-Maskati struggles to stave off a temptation, though it’s clear he longs to succumb. PARELESJames Elkington, ‘A Round, a Bout’James Elkington, an English guitarist based in Chicago who has worked with Jeff Tweedy and Eleventh Dream Day, made his new instrumental album, “Me Neither (LP 1)” — the first of two parts — on his own, mostly with folky acoustic guitars but not ruling out electronics. In “A Round, a Bout,” melodies slowly materialize above, and then below, a serene picking pattern, sounding reticent but somehow inevitable. PARELESPeter Evans, ‘The Cell’On “The Cell,” Nick Jozwiak’s bass and Michael Shekwoaga Ode’s drums buckle in together, creating a pulpy beat for the trumpeter Peter Evans to dive beneath and around. Joel Ross finds the open space that’s left and lets his vibraphone ring there, one or two notes at a time. Ross and Evans are both dexterous players who can blow your hair back: The vibraphonist is known for his prolix soloing, and Evans for his extended technique. On “Ars Memoria,” the second album from the quartet that Evans calls Being & Becoming, both simmer down and submit themselves to the group imperative. GIOVANNI RUSSONELLOAnthony Pirog featuring Wendy Eisenberg, ‘Night Winds’If you know Anthony Pirog, it’s probably as a fearless guitar slasher with a rack of effects pedals that let him encase himself in a turbulent cocoon. But on his newest album, “The Nepenthe Series, Vol. 1,” Pirog invites others to control the environment. During the pandemic, he asked peers and mentors to record one track each that they considered “ambient,” then he would play his way into the sound. The list of collaborators is impressive: Andy Summers, Nels Cline, John Frusciante. He made “Night Winds” with Wendy Eisenberg, another youngish guitar innovator; it is the album’s most cluttered and inclement-sounding track, and the most absorbing. Eisenberg’s growling, pseudo-industrial backdrop adds a high contrast to Pirog’s twinkly long tones, which pile up gradually until it all washes out into silence. RUSSONELLO More