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    Grammy Nominees 2022: The Full List

    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. 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    Prince Paul Dives Deep Into Music History

    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’

    “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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    Earl Sweatshirt Exhibits His Evolution, and 14 More New Songs

    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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    ‘Patria y Vida’: How a Cuban Rap Song Became a Protest Anthem

    MEXICO CITY — As thousands marched across Cuba last July in an astonishing protest against the Communist regime, many shouted and sang a common refrain: “Patria y vida!” or “Homeland and life!”The phrase comes from a rap song of the same name, which has become an anthem for a burgeoning movement of young people taking to the internet and to the streets, demanding an end to political oppression and economic misery.The song, written by Yotuel Romero, Descemer Bueno, Maykel Osorbo, Eliecer “el Funky” Márquez Duany and the reggaeton pair Gente de Zona, is nominated for two Latin Grammys, including song of the year, and will be performed on the show Thursday night.“These are the first Grammy Awards for the people of Cuba, the first Grammys for freedom,” Romero said in a phone interview from Miami. “These are the first Grammys where it’s not Yotuel nor Gente Zona that are nominated, it’s patria y vida, it’s Cuba.”The song is a rare instance of Cuban artists directly taking on the regime: The title is a twist on one of the most iconic slogans of the Cuban revolution, patria o muerte, (homeland or death), a phrase that Fidel Castro often used to end his speeches.“It was the antithesis of homeland or death — homeland and life,” Romero said. “I knew that phrase was going to bring a lot of controversy.”And generate controversy it did.After it was released in February, the song was heavily criticized by government figures like President Miguel Díaz-Canel and former culture minister Abel Prieto, who called the track a “musical pamphlet.” and wrote, “There’s nothing more sad than a chorus of annexationists attacking their homeland” on Twitter.But the official criticism did little to stem the song’s popularity. After decades of isolation, internet use became widespread in Cuba in 2018 — many young Cubans are now highly active on social media, where the anthem spread like wildfire. The accompanying video has been viewed more than 9 million times on YouTube.The song’s release came just a few months after hundreds of artists, intellectuals and others demonstrated outside the Ministry of Culture in Havana to protest a slew of recent arrests, including that of the rapper Denis Solís.“That protest transformed the narrative of the opposition in Cuba,” said Rafael Escalona, the director of the Cuban music magazine AM:PM. “There was fertile ground for someone to reap the fruits and create a protest anthem.”On July 11, “Patria y Vida” was transformed into a rallying cry, when Cuba witnessed its largest protests in decades, with Cubans protesting over power outages, food shortages and a lack of medicines.“This is my way of telling you, my people are crying out and I feel their voice,” the song says. “No more lies, my people ask for freedom. No more doctrines, let’s not sing of homeland or death but homeland and life.”Hundreds of people were jailed after the July demonstrations, and at least 40 more were detained on Monday as the regime moved to stifle another planned march.The risks extended to the songwriters too.While most of the artists who collaborated on the song were well known internationally before the track’s release and were also living outside of Cuba, Maykel Osorbo and El Funky still lived on the island: Both were arrested earlier this year, and Osorbo remains in jail. Romero, who lives in Miami, said that he cannot return to the island for fear of arrest.But despite the crackdown, Romero said he is confident that the emerging movement fomented by Cuba’s youth and given a soundtrack by “Patria y Vida” is only just getting started.“This is no longer a movement, it’s generation. It’s the generation patria y vida,” he said. “The generation patria y vida has come to bury the generation patria o muerte.”Carlos Melián Moreno contributed reporting from Santiago, Cuba. More

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    Before the Astroworld Tragedy, Travis Scott’s ‘Raging’ Made Him a Star

    The multiplatinum rapper earned a reputation for concerts that teetered on the edge of mayhem. Then eight people died during his performance in Houston on Friday.Travis Scott has always been a showman first and foremost.A master of marketing who is equally skilled at curating big-name collaborators and exclusive experiences, Mr. Scott is a figure of few words and little eye contact who isn’t known as a technically adept rapper or a dynamic offstage celebrity. Instead, he has built his multiplatinum, widely licensed name as an avatar of excess and a conductor of energy — an electric live performer who prioritizes how his music makes you feel (and act).Since 2015, when he established himself as a reliable concert headliner, Mr. Scott (born Jacques B. Webster) has gained an international reputation as a star attraction and an evangelist for good-natured physical expression — what he calls “raging” — whipping up mosh pits, crowd-surfers and stage-divers as his shows teeter on the edge of mayhem. In a rare trajectory, the smash hits came only later.“The way he interacts with his crowd, he’s one of the only artists that when he comes on, he can vibe with every single person,” one fan explained in the Netflix documentary “Travis Scott: Look Mom I Can Fly,” from 2019. Amid montages of blood, sweat and colliding bodies, another added: “You can fall and everyone will pick you up. It’s weird how one person’s music can turn everyone into such a family.”Such expressive, loosely choreographed rowdiness — a common and longtime feature of live performances across musical milieus, including metal, punk and ska — does not necessarily equate with mass danger.But Mr. Scott’s attempts to balance a kind of community-based catharsis with the powder keg of a rambunctious young crowd — which has led to accusations that he has incited fans and encouraged unsafe behavior — tipped decisively toward tragedy on Friday night in Houston, where eight people were killed and hundreds more injured as the rapper performed the final set of the night at the third iteration of his Astroworld festival.Several people died and dozens of others were injured at a Travis Scott concert in Houston, after a large crowd began pushing toward the front of the stage. Video showed crowds amassing earlier in the day, as about 50,000 people attended the festival.Amy Harris/Invision, via Associated PressAuthorities are still investigating what caused the surges in the audience of 50,000, and how that contributed to the “mass casualty event,” which lasted for an estimated 40 minutes, according to law enforcement. The Houston police chief, Troy Finner, said officials worried that ending the show sooner could have caused a riot.Mr. Scott said in a video statement on Instagram that despite acknowledging an ambulance in the crowd, he did not realize the extent of the emergency. He noted that he typically halts his concerts to make sure injured fans can make it to safety, adding: “I could just never imagine the severity of the situation.”Representatives for Mr. Scott said on Monday that he would cover all funeral costs for those who died at Astroworld, while also providing refunds to all attendees who bought tickets. The rapper has also canceled his upcoming headlining appearance on Saturday at the Day N Vegas festival, they said.While crowd-control disasters have occurred at rock concerts, religious celebrations and soccer matches, the incident in Houston has quickly turned Mr. Scott’s biggest selling point and foundational philosophy as an artist into a flash point about his culpability after years of encouraging — and participating in — extreme behavior by his fans.Twice before, Mr. Scott has been arrested and accused of inciting riots at his concerts, pleading guilty to minor charges. In an ongoing civil case, one concertgoer said he was partially paralyzed in 2017 after Mr. Scott encouraged people to jump from a third-floor balcony and then had him hoisted onstage.Yet those incidents only served to bolster the legend of the rapper’s live shows, with footage of stretchers, wheelchairs and the daredevil stunts that may have necessitated them — like leaping from lighting structures — used to illustrate Mr. Scott’s roving carnival of a career.By Sunday, however, an official commercial for this year’s Astroworld festival that emphasized such imagery had been removed from YouTube.Mr. Scott atop an Austin crowd in 2013, during the early days of his career.Rick Kern/WireImage, via Getty ImagesFinding an identity onstageMr. Scott, a Houston native who dropped out of the University of Texas to pursue music, became a protégé to Kanye West in 2012. Using Mr. West’s inclination toward cultural pastiche, along with the genre-hopping, fashion-forward templates of artists like Kid Cudi and ASAP Rocky, Mr. Scott quickly emerged near the forefront of a micro-generation of rappers — Playboi Carti, Trippie Redd, Lil Uzi Vert — who brought a punk-rock sensibility to the mass scale of modern rap, especially in concert.After a few high-profile guest appearances and two mixtapes released in 2013 and 2014, Mr. Scott’s first studio album, “Rodeo,” was released by Epic Records and the rapper T.I.’s Grand Hustle label in 2015. Just a year earlier, Mr. Scott was playing for tiny audiences. But following his proper debut, the musician began realizing his dreams of ambitious stage design and adrenaline to match.In a 2015 GQ segment called “How to Rage With Travis Scott,” the rapper linked his childhood fantasy of becoming a professional wrestler to his later desire to make his concerts “feel like it was the WWF.”“Raging and, you know, having fun and expressing good feelings is something that I plan on doing and spreading across the globe,” Mr. Scott said. “We don’t like people that just stand — whether you’re Black, white, brown, green, purple, yellow, blue, we don’t want you standing around.”A concert review from Complex that year was titled, “I Tried Not to Die at Travi$ Scott and Young Thug’s Show Last Night,” calling the concert “the most dangerous safe haven” and “a turnt-up fight for survival.”But as Mr. Scott’s diverse audience expanded and his operation professionalized, he also ran up against the limits of his amiable anarchy. At the Lollapalooza festival that summer in Chicago, the rapper’s set was cut off five minutes in, after he told fans to rush the barricades, flip off security and chant, “We want rage,” resulting in a stampede that injured a 15-year-old girl. Mr. Scott later pleaded guilty to reckless conduct and was put under court supervision for a year.In 2017, Mr. Scott was arrested again following a performance in Arkansas, where he was charged with inciting a riot for encouraging fans to rush the stage and bypass security. He eventually pleaded guilty to a misdemeanor for disorderly conduct, and paid a $7,465.31 fine.The 2019 Netflix documentary “Travis Scott: Look Mom I Can Fly” traced the rapper’s evolution into a live performer with a specific aesthetic.NetflixA superstar expands his influenceMr. Scott’s celebrity soon skyrocketed. The same year as his arrest in Arkansas, he joined the extended Kardashian universe as the boyfriend of Kylie Jenner; the couple had a daughter, Stormi, in 2018 and are now expecting their second child.But it was the release of Mr. Scott’s third album, “Astroworld,” in the summer of 2018, that cemented him among the upper echelon of superstar performers — and salesmen. The album release was paired with an extensive merchandise collection that drove purchases, and it helped lead to collaborations with McDonald’s, Hot Wheels, Nike, Reese’s and more.“Astroworld” also featured the rapper’s first Billboard No. 1 single, “Sicko Mode,” with Drake, a feat Mr. Scott would repeat three more times from 2019 to 2020. He has collected eight Grammy nominations since 2013, released three chart-topping albums and is known as a streaming juggernaut.After recreating rodeos and flying atop an animatronic bird over his crowds, Mr. Scott staged an international tour for “Astroworld” — named for a defunct Six Flags theme park near where he grew up — that featured a functional roller coaster that shot out over the audience.Rolling Stone called it “the greatest show in the world,” comparing Mr. Scott’s “unhinged leaping” to Michael Jackson’s moonwalking, while The Washington Post crowned the rapper “one of the most electrifying performers of the moment,” a “maestro directing the chaos.”Amid his big-budget diversification, Mr. Scott used his blockbuster release to kick off the festival of the same name, building on the industry trend of big-tent, weekend-long concerts branded and curated by major artists. (Astroworld was canceled in 2020 because of the Covid-19 pandemic; still, 28 million viewers watched Mr. Scott perform within the video game Fortnite.)The Netflix documentary “Look Mom I Can Fly” chronicled the lead-up to the “Astroworld” album and the first edition of the festival. But even as it underlined Mr. Scott’s penchant for stoking hype — fast-forwarding through the empty crowds of his early career to the bedlam of Lollapalooza, Arkansas and his pyrotechnic-heavy arena shows in hectic, high-voltage footage — there were moments that gestured toward the need for caution, as well.Mr. Scott is seen chastising security and egging his crowd on, but he is also shown multiple times pausing onstage as seemingly unconscious bodies are lifted through the crowd to be treated. “I feel bad, though,” he says following his release from jail in Arkansas. “I heard about kids getting hurt.”Ahead of another show, a member of the rapper’s team is shown backstage, preparing the venue’s security staff.“Our kids, they push up against the front and spread all the way across that and fill in the whole front floor, so the pressure becomes very great up against the barricade,” the man, whose face is blurred in the footage, tells them. “You will see a lot of crowd-surfers in general, but also you see a lot of kids that are just trying to get out and get to safety because they can’t breathe, because it’s so compact.”“You won’t know how bad it can be with our crowd,” he adds, “until we turn on.” More

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    How the Mosh Pit and ‘Raging’ Came to Hip-Hop

    Subscribe to Popcast!Apple Podcasts | Spotify | StitcherIn the last decade, hip-hop has become increasingly familiar with the mosh pit, stage diving and crowds that take on lives of their own. No one’s career embodies that more than Travis Scott, whose fans are known as Ragers and who has built an empire on encouraging them toward abandon.The cause of death of the eight people who lost their lives at Scott’s Astroworld festival on Friday remains unknown. But video footage of the event shows issues with crowd control. Hip-hop festival performances are oriented toward the rowdy these days, and the tragedy at Astroworld feels like it could be a potential pivot point away from an era in hip-hop that’s become improbably wild.On this week’s Popcast, a conversation about the history of moshing in hip-hop, how the last decade has seen the energy typically associated with hardcore and punk shows become central to a huge swath of rap music, and the future of the rage.Guest:Roger Gengo, founder of Masked Gorilla and Masked RecordsConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More

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    Post Malone and the Weeknd’s Emo Synth-Pop, and 12 More New Songs

    Hear tracks by Jenny Lewis, TNGHT, Dawn Richard 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.Post Malone and the Weeknd, ‘One Right Now’Oh, the fragile male ego. “Don’t call me baby when you did me so wrong” is one of the milder jibes hurled at a straying girlfriend by Post Malone as he trades verses with the Weeknd. She may want to get together, but the guys have already moved on, with “one coming over and one right now.” A very 1980s track — springy synthesizer bass line and hook, programmed beat — carries pure, focused resentment about how much damage she’s done to “my feelings.” JON PARELESCharli XCX featuring Christine and the Queens and Caroline Polachek, ‘New Shapes’“What you want/I ain’t got it,” Charli XCX snarls over a blast of ’80s pop gloss. The British pop provocateur unleashes her ultrapop persona, brooding over cinematic new wave synths. “New Shapes” leverages the kind of vulnerability and insecurity that defines some of Charli’s best work, thanks to pointed verses from her guests (and previous collaborators), the sad girl supergroup of Christine and the Queens and Caroline Polachek. The whole thing doesn’t quite measure up to the irresistible drama of the beloved 2019 anthem “Gone,” but hey, the girls will take it. ISABELIA HERRERATerrace Martin featuring Kendrick Lamar, Snoop Dogg, Ty Dolla Sign and James Fauntleroy, ‘Drones’The polymathic musician and producer Terrace Martin is widely known for helping Kendrick Lamar sculpt his jazz-tinted masterpiece, “To Pimp a Butterfly,” but he’d been an asset in Los Angeles studios since the mid-2000s, when he first fell in with Snoop Dogg. The title track from Martin’s new solo album, “Drones,” is something like a reading of his résumé, with features from four resounding names in L.A. hip-hop. The dapper, G-funk beat is a braid of plunky guitar, pulsing electric piano and 808 percussion; the lyrics — sung partly by Lamar, in a sly shrug — describe a booty-call relationship that’s exactly as shallow as it looks to the outside world, and maybe not much more satisfying. GIOVANNI RUSSONELLODawn Richard, ‘Loose Your Mind’Following her eclectic album “The Second Line,” released earlier this year, Dawn Richard’s new track for the Adult Swim Singles series is all bass-heavy, aqueous funk. Her voice shape-shifts throughout “Loose Your Mind,” so at times it almost feels like she’s duetting with different sides of her prismatic personality. “Ain’t really nothing wrong when the feeling is golden,” she spits at the beginning, before a melodic chorus of Dawns responds in agreement: “Solid gold.” LINDSAY ZOLADZTNGHT, ‘Tums’Few songs defined the hypermaximalist sound of the 2010s as succinctly as the electronic duo TNGHT’s “Higher Ground,” that brassy, ever-escalating EDM anthem that was sampled by Kanye West on “Yeezus” and — I will die on this hill — has to be the inspiration behind the “Arby’s: We Have the Meats” jingle, right? After a long hiatus, the producers Hudson Mohawke and Lunice reunited as TNGHT in 2019, and have now released a new track called “Tums,” which Lunice says was created according to the duo’s guiding principles: “Keep it really fun. Dumb. Hard-hitting. Don’t overwork it.” Sampled giggles and slide whistles keep things fizzy on the surface, while the track’s booming low end guides it through a series of roller-coaster drops. “Tums” might not be as innovative as the pair’s earlier work, but maybe that’s because everything else has been sounding like them for years now. ZOLADZSimi, ‘Woman’With “Woman,” the Nigerian singer and songwriter Simi offers a tribute, corrective and update to Fela Anikalupo Kuti, who invented Afrobeat in the 1970s in songs including “Lady,” which scoffed at European feminism. “Woman” mixes current electronic Afrobeats with the funk of Kuti’s 1970s Afrobeat, while quoting Kuti songs between her own assertions about women’s strengths: “She won’t pay attention to the intimidation.” The rhetoric is tricky; the beat is unstoppable. PARELESGregory Porter featuring Cherise, ‘Love Runs Deeper’The standard elements of Gregory Porter’s style run through “Love Runs Deeper”: lyrics that linger on the difficulties — and the bounties — of care and connection; twinkling orchestral strings; a gradual build that allows his burly, baritone voice to unfurl itself with just enough tension and release. But this is more of a direct-delivery power ballad than most of Porter’s tunes: The melody wouldn’t feel out of place on an Adele or Halsey record, and it’s liable to get lodged in your head quickly and stay there. With supporting vocals from the young British singer Cherise, “Love Runs Deeper” serves as the soundtrack to Disney’s annual holiday-season advertisement, which this year is a short film (full of self-referential touches, like a Buzz Lightyear cameo) titled “The Stepdad.” The song is also included on a new Porter compilation, “Still Rising,” which features a mix of his greatest hits, B-sides and new songs. RUSSONELLOJenny Lewis, ‘Puppy and a Truck’“My 40s are kicking my ass, and handing them to me in a margarita glass” — how’s that for an opening line? Something about the gentle country strum and laid-back croon of Jenny Lewis’s new stand-alone single recalls her old band Rilo Kiley’s great 2004 album “More Adventurous,” though her perspective has been updated with the unglamorous realities and hard-won wisdom of middle age. After chronicling the wreckage of a few recent relationships, the eternally witty Lewis arrives at a mantra of tough-talking self-reliance: “If you feel like giving up, shut up — get a puppy and a truck.” ZOLADZChastity Belt, ‘Fear’Lydia Lund spends much of the Washington indie-rock band Chastity Belt’s new song “Fear” hollering until she’s hoarse, “It’s just the fear, it’s just the fear.” Apparently she recorded the vocals while she was staying at her parents’ house, and her commitment to the song was so intense that her mother knocked on the door to make sure she was OK because she “thought I was doing some kind of primal scream therapy,” Lund said. “And I guess in a way I am.” Lund’s impassioned delivery and the song’s soaring guitars turn “Fear” into a cathartic response to overwhelming anxiety, and provide a powerful soundtrack for slaying that dreaded mind killer. ZOLADZRadiohead, ‘Follow Me Around’“Kid A Mnesia,” the new, expansive compilation of Radiohead songs from their paradigm-shifting sessions in 1999-2000, has unearthed studio versions of songs that the band performed but never committed to albums, notably “Follow Me Around,” a guitar-strumming crescendo of paranoia. The video, apparently made with a small but persistent camera drone, nicely multiplies the dread. PARELESLorde, ‘Hold No Grudge’Lorde whisper-sings through the first half of “Hold No Grudge,” a bonus track added to her album “Solar Power.” It’s a memory of an early love that ended without a resolution; later messages went unanswered. Midway through, she’s still bouncing syllables off guitar strums, but the sound of the song comes into focus and Lorde realizes, “We both might have done some growing up.” She’s ready to let the passage of time offer solace. PARELESOmar Apollo featuring Kali Uchis, ‘Bad Life’Omar Apollo is known for combining cool funk grooves, slick charisma and sensual falsettos. But on “Bad Life,” his new single featuring Kali Uchis, the young singer-songwriter peels back the layers and puts his armor aside for a bare-bones exercise in vulnerability. “Bad Life” revels in contempt, burning slow and low alongside a soft-focus electric guitar. Apollo opens the track with a heart-piercer: “You give me nothing/But I still change it to something.” Ouch. The singer’s voice curls into anguished melismas, and when the orchestral strings soar in halfway through, the resentment cuts crystal clear. HERRERAAlt-J, ‘Get Better’Alt-J created a serene and almost unbearably mournful song with “Get Better,” a fingerpicked chronicle about the profundity and mundanity of a loved one’s slow death like Paul Simon’s “Darling Lorraine” and Mount Eerie’s “Real Death.” It’s profoundly self-conscious, citing the similarly acoustic arrangement of Elliott Smith; it offers personal moments, stray events, reminiscences, belongings, thoughts of “front line workers,” admissions that “I still pretend you’re only out of sight in another room/smiling at your phone.” The loss is only personal, but shattering. PARELES More