Swift, Taylor

Subterms

    More stories

    • 100 Shares119 Views

      in Music

      Beyoncé Makes History at a Star-Powered Grammy Ceremony

      by

      LOS ANGELES — Beyoncé made Grammy history on Sunday night, setting a record at the awards’ 65th annual ceremony for the most career wins by any artist, after picking up a string of trophies for “Renaissance,” her hit album that mined decades of dance music.But she was once again shut out of the major categories, winning all four of her prizes for the night in down-ballot genre categories. Harry Styles took album of the year for “Harry’s House,” Lizzo won record of the year for her retro dance anthem “About Damn Time,” and song of the year went to Bonnie Raitt for “Just Like That.” It was Beyoncé’s fourth career loss for album of the year.Styles seemed at a loss for words as he accepted his Grammy, opening his remarks with a stunned profanity.Still, Beyoncé’s accomplishment resonated throughout the evening. Accepting her 32nd career award, Beyoncé thanked God and her family, and honored her “Uncle Jonny,” a gay relative whom she has described in the past as her “godmother” and as the person who exposed her to L.G.B.T.Q. culture.“I’d like thank the queer community for your love, and for inventing the genre,” she said to roars of applause from the crowd at the Crypto.com Arena as she won best dance/electronic music album for “Renaissance,” which was widely seen as a love letter to gay culture. (Even so, Beyoncé faced a backlash recently when she performed a private concert in Dubai, in United Arab Emirates, where homosexuality is illegal.)With her latest wins, Beyoncé surpassed Georg Solti, the Hungarian-born classical conductor who died in 1997 and had long held the title of the most career wins by any artist.Even Beyoncé’s competitors cheered her on. Accepting record of the year, Lizzo told a story of being inspired by seeing Beyoncé in concert (while skipping school).“You clearly are the artist of our lives!” she shouted. (In 2017, when Adele beat Beyoncé for album of the year, she said almost the same thing.)Beyoncé also won best dance/electronic recording (“Break My Soul”), traditional R&B performance (“Plastic Off the Sofa”) and best R&B song (“Cuff It”). She had been the most nominated artist of the evening, with nine nods.Gender freedom was a theme running through the night. Not long before Beyoncé’s win, Sam Smith, a nonbinary singer, and Kim Petras, a trans woman, won the award for pop/duo group performance for “Unholy,” and Petras drew cheers when she said she was “the first transgender woman to win this award.”“I hope that there’s a future where gender and identity and all these labels don’t matter that much,” Petras told reporters backstage. “Where people can just be themselves, and not get judged so hard and not be labeled so hard.”Gender freedom was a theme running through this year’s Grammys, as Kim Petras, a trans woman, and Sam Smith, a nonbinary singer, were among the night’s winners. Emma McIntyre/Getty Images for The Recording AcademyAfter two years of shows that were disrupted and delayed by the Covid-19 pandemic, the annual Grammy ceremony returned in full swing to its home court in Los Angeles (Crypto.com is the renamed Staples Center), bringing the music world together for glitz, competition and, behind the scenes, plenty of business schmoozing.“We made it!” exclaimed its host, Trevor Noah. “We’re back!”The power of stardom was another of the night’s major underlying themes. The show opened with a blast of brass and the hip-swaying rhythms of Bad Bunny, the Puerto Rican superstar who represents the music industry’s hopes — he is a young celebrity with global appeal and massive numbers, both on streaming services and on the road.Bad Bunny, the Puerto Rican superstar who opened the show on Sunday night, represents the music industry’s hopes: a young celebrity with global appeal and the numbers to match.Chris Pizzello/Invision, via Associated PressWalking through the aisles of the arena flanked by dancers in festive dress, he played two songs from his blockbuster album “Un Verano Sin Ti,” bringing both social commentary and party vibes, and getting stars like Taylor Swift dancing amid the bistro-style seating in front of the stage.Accepting the award for best música urbana album for “Un Verano,” Bad Bunny gave his speech in Spanish and English.“I just made this album with love and passion,” he said. “When you do things with love and passion, everything is easier.”Old-fashioned song craft remains a key touchstone for Grammy voters. Raitt, 73, was the surprise winner of song of the year — beating Adele, Beyoncé, Swift, Lizzo and Styles, whose songs were huge hits — for “Just Like That,” a tender meditation about an organ donation that had only modest commercial success. She accepted it as a recognition of the job of songwriting itself, and thanked other writers for providing her with material throughout her career.“I would not be up here tonight,” Raitt said, “if it wasn’t for the great soul-digging, hard-working people that put these songs and ideas to music.”Samara Joy, a singer who brought fresh interpretations to jazz classics, and began her career posting them online, won best new artist.In classic Grammy fashion, the ceremony also included some loving nods to the past.Stevie Wonder led a Motown revue that included Smokey Robinson and the country songwriter Chris Stapleton. One of the highlights of the night was a 12-minute celebration of the 50th anniversary of hip-hop — the genre’s origin is tied to a birthday party in the Bronx in 1973 — that featured LL Cool J, Busta Rhymes, Salt-N-Pepa, Method Man, Chuck D and Flavor Flav of Public Enemy, Missy Elliott, Future, Grandmaster Flash and many others.A somber, multipart “In Memoriam” segment included the country singer Kacey Musgraves singing Loretta Lynn’s “Coal Miner’s Daughter” barefoot in a blood-red dress; a tribute to Takeoff of the Atlanta rap trio Migos led by his bandmate Quavo; and Raitt, Sheryl Crow and Mick Fleetwood singing “Songbird,” one of the signature compositions by Fleetwood Mac’s Christine McVie, with Fleetwood tapping a drum like it was a gently beating heart.Kacey Musgraves singing Loretta Lynn’s “Coal Miner’s Daughter” as part of a somber “In Memoriam” segment.Mario Anzuoni/ReutersStyles performed his bubbly, pensive hit “As It Was” in a silvery sequined suit with tassels that shook as he danced. “Harry’s House” also won Styles the award for pop vocal album.Kendrick Lamar won three rap prizes: best performance and best song, for “The Heart Part 5,” and best album, for “Mr. Morale & the Big Steppers.” Accepting the album award, he thanked his family “for giving me the courage and giving me the vulnerability to share my truth and share these stories.”Brandi Carlile, a Grammy darling in recent years, won best rock performance and best rock song for “Broken Horses,” as well as best Americana album for “In These Silent Days.”The 89-year-old Willie Nelson, who was not present, won for best country album for “A Beautiful Time,” and best country solo performance for the song “Live Forever.”Swift ended the night with one victory, best music video for “All Too Well: The Short Film,” but lost her three other nods — including her sixth career loss in song of the year for “All Too Well (10 Minute Version),” an extended remake of a song she first released in 2012.The first lady, Jill Biden, announced the winner of a new award, best song for social change, which went to the 25-year-old Iranian songwriter Shervin Hajipour, whose song “Baraye” became an anthem for the women’s rights protests there last year. The prize was chosen by what the academy described as a “blue-ribbon committee.”For an industry that has lately gotten worried about the difficulty minting stars amid the fire hose of content in the age of streaming and social media, this year’s list of nominations was about as good as it gets. It guaranteed plenty of star power and some drama over winners and losers. On Grammy night, drama is a good thing.As much as the Recording Academy, the nonprofit institution behind the Grammys, promotes its mission of celebrating artistic excellence and being a supportive home for creators year-round, the Grammys is also a television show that needs to attract a large audience.As they have for all major awards shows, ratings for the Grammys have been slipping for years. But the past two years have been brutal. In 2021, when the Grammys put on an outdoor show with no audience, its viewership fell to 8.8 million, the lowest ever; last year, when the show was delayed by the spread of the Omicron variant and held for the first time in Las Vegas, the number was only marginally better, at 8.9 million.This year’s awards recognized music released between Oct. 1, 2021, and Sept. 30, 2022, and were selected by the 11,000-member voting body of the Recording Academy, which includes artists, songwriters, producers and other music professionals.Of the 91 awards this year, all but a dozen were given out in a nontelevised ceremony on Sunday afternoon.Viola Davis’s Grammy win makes her the newest EGOT — the coveted acronym for the winner of an Emmy, a Grammy, an Oscar and a Tony.Kevork Djansezian/Getty Images for The Recording AcademyThe actress Viola Davis won best audiobook, narration and storytelling recording for her memoir “Finding Me,” making her the newest EGOT — the coveted acronym for the winner of an Emmy, a Grammy, an Oscar and a Tony.Among the new categories this year was songwriter of the year (non-classical), intended to recognize the writers who work behind the scenes. It was won by Tobias Jesso Jr., who has written songs for Adele, Styles and others. Stephanie Economou was the first winner for best score soundtrack for video games and other interactive media for her work on the game Assassin’s Creed Valhalla: Dawn of Ragnarok.Below the superstar level, the Grammys have the power to transform artists’ careers. The Tennessee State University Marching Band was the first college marching band ever nominated for best roots gospel album, and it won with “The Urban Hymnal.”Accepting that award, Sir the Baptist, one of the album’s producers, addressed the straitened finances of historically Black colleges and universities. “HBCUs are so grossly underfunded to where I had to put my last dime in order to get us across the line,” he said. “We’re here with our pockets empty but our hands aren’t.” More

    • 138 Shares159 Views

      in Music

      Ticketmaster Called a ‘Monopoly’ at Senate Hearing Over Taylor Swift Debacle

      by

      The Judiciary Committee, responding to the bungled sale of Taylor Swift concert tickets, heard the company apologize and its critics trace the problem to the industry’s lack of competition.Live Nation Entertainment, the concert industry giant that owns Ticketmaster, came under withering attack during a Senate Judiciary hearing on Tuesday, with committee members from both parties criticizing it for the botched sale of tickets to Taylor Swift’s latest tour and calling the company a monopoly that hinders competition and harms consumers.Over nearly three hours, senators pilloried a top Live Nation executive, Joe Berchtold, over the handling of Ms. Swift’s tickets last November and over longstanding allegations that the company badgers its competitors to win new business. Such bullying would be a violation of a Justice Department agreement that set conditions on the merger of Live Nation and Ticketmaster in 2010.“This is all the definition of monopoly,” said Senator Amy Klobuchar, Democrat of Minnesota. “Live Nation is so powerful that it doesn’t even need to exert pressure. It doesn’t need to threaten. Because people just fall in line.”Some at the hearing went so far as to question whether the two companies, whose agreement with the Justice Department expires in 2025, should be broken up.Mr. Berchtold, Live Nation’s president and chief financial officer, acknowledged the problems with a presale for Ms. Swift’s tour, and apologized to the singer and her fans. When those tickets went on sale, millions of people were turned away. Technical problems also caused tickets to disappear from the online baskets of customers — whom Ticketmaster had approved through its Verified Fan system — as they were trying to buy them.At the hearing, both Republican and Democratic senators expressed concern about Live Nation’s dominance in the ticketing industry. Haiyun Jiang/The New York TimesMr. Berchtold largely attributed Ticketmaster’s failings to an assault from online bots: automated programs, run by scalpers, that seek to snatch up tickets before they ever make their way to consumers. That drew a largely skeptical response from the senators.“This is unbelievable,” Senator Marsha Blackburn, Republican of Tennessee, said, with more than a hint of anger in her voice. “Why is it,” she added, “that you have not developed an algorithm to sort out what is a bot and what is a consumer?”Senator John Kennedy, Republican of Louisiana, was even more blunt. “The way your company handled the ticket sales with Ms. Swift,” he said, “was a debacle.”The merger of Live Nation and Ticketmaster united the world’s most powerful concert promoter and the biggest ticketing platform, creating a colossus without equal in the multibillion-dollar live music business.In 2019, the last full year unaffected by the Covid-19 pandemic for which Live Nation has reported data, the company put on more than 40,000 events around the world and sold 485 million tickets. It owns or otherwise controls more than 300 venues around the world, far more than any other player in the business.In part because of its bulk and global reach, Live Nation has long been the target of complaints from competitors, who contend that the company’s size, and its control of Ticketmaster, give it an unfair advantage.Jerry Mickelson, a longtime independent concert promoter in Chicago, told the senators that a common frustration among the market’s smaller players is that Live Nation can profit from concerts put on by rival promoters because it still makes money through its control of Ticketmaster. “Pepsi doesn’t earn money from Coke,” he said. “But our competitor, Live Nation, makes money from selling tickets to our concerts.”Objections to Live Nation’s business have grown louder since 2019, when the Justice Department said that the company had “repeatedly violated” the terms of its regulatory agreement, called a consent decree.Justice Department investigators said that Live Nation had threatened venues that it would withhold tours under the company’s control if those venues did not sign deals with Ticketmaster, in violation of a key provision in the decree. Live Nation did not admit any wrongdoing, but in early 2020 the Justice Department extended the decree by five years.Senator Richard Blumenthal, Democrat of Connecticut, was among those at the hearing who raised the question of whether Live Nation’s merger with Ticketmaster should be undone.“If the Department of Justice establishes violations of the consent decree,” he said, “then unwinding the merger ought to be on the table.”Mr. Berchtold pushed back against many of the accusations, saying that Live Nation does not threaten venues; that those venues hold a great deal of leverage in negotiating ticketing contracts; and that new entrants like SeatGeek, a rival ticketing platform, have kept Ticketmaster on its toes. According to various estimates cited by the senators, Ticketmaster controls the ticketing at 70 to 80 percent of major concert venues in the United States. Mr. Berchtold said Live Nation’s estimate is 50 to 60 percent and he attributed its market share to the quality of its product.A small number of people demonstrated outside the Senate office building during the hearing, some holding signs referencing the Taylor Swift ticket debacle. Kenny Holston/The New York Times“We believe ticketing has never been more competitive,” he said.At the hearing, called “That’s the Ticket: Promoting Competition and Protecting Consumers in Live Entertainment,” witnesses included other players in the concert business who described great difficulties competing against Live Nation.Jack Groetzinger, the chief executive of SeatGeek, said that venues are afraid of losing Live Nation concert tours if they do not sign with Ticketmaster. He said that is an obstacle for smaller companies like his in winning new business — though SeatGeek has been one of the more successful upstarts in ticketing in recent years, signing major clients like the Dallas Cowboys and Jujamcyn Theaters, one of the major Broadway theater owners.The panel also included a musician, Clyde Lawrence, of a small New York band called Lawrence. Dressed in a black suit, and with a scruffy head of hair, he joked that he could only dream of the crushing ticket demand enjoyed by Ms. Swift. But he described frustrations in dealing with Live Nation, such as the backstage costs it charges musicians, and the opacity of ticket surcharges, for which his band gets nothing.He described a typical show, where the face value of the ticket was $30, plus $12 in fees. Yet out of that $42 paid by the consumer, $30 was eaten up by the venue, Live Nation and Ticketmaster, and another $6 went to the band’s touring expenses. “So that leaves us with $6 for an eight-piece band, pretax,” he said, “and we also have to pay our own health insurance.”In his questioning, Senator Josh Hawley, Republican of Missouri, honed in on a facet of Ticketmaster’s business, the resale marketplace that exists seamlessly within its online ticket sales platform, “where you’re forcing everyone in the resale market to come into your ecosystem.”“This is how monopolies work,” Mr. Hawley added. “You leverage market power in one market to get market power in another market — and it looks like you’re doing that in, frankly, multiple markets.”Ms. Klobuchar, who called the hearing, said in a summation that some of the problems in ticketing, such as fighting bot traffic, could be dealt with through legislation. But she said that the larger question, of whether to take action against Live Nation as a monopoly, was best handled by the Justice Department. The near-unanimous criticism from lawmakers on Tuesday may put pressure on the Justice Department to act.The most remarkable aspect of the hearing may have been the display of consensus by a panel often split along partisan lines. Mr. Blumenthal summed that up with a mocking salute to Mr. Berchtold.“I want to congratulate and thank you for an absolutely stunning achievement,” he said. “You have brought together Republicans and Democrats in an absolutely unified cause.” More

    • 100 Shares99 Views

      in Music

      Taylor Swift Fans Closely Watch Ticketmaster Senate Hearing

      by

      Ticketmaster expected to be grilled by senators during Tuesday’s Senate Judiciary Committee hearing on anticompetitive behavior in the ticketing industry. But also watching closely, and bringing their own heat, were Taylor Swift’s fans.“I think Swifties have figured something out,” Senator Mike Lee, Republican of Utah, noted in his opening comments for Tuesday’s hearing, which was prompted by the fiasco surrounding Ticketmaster’s sales for Swift’s upcoming Eras Tour. “They’re very good at getting their message across.”Plans for fans to protest Ticketmaster outside the hearing — at least one of which was made by Jennifer Kinder, a lawyer representing fans in a lawsuit against Ticketmaster’s parent company — resulted in a small turnout on Capitol Hill.One of the plaintiffs in that lawsuit, Jenn Landry, said she took at last-minute flight from her home in Houston, Texas, to Washington, D.C., to attend the hearing, and that it had taken her husband eight hours to successfully buy tickets for the Eras tour.“I didn’t think it was right. It felt like the game was rigged,” Ms. Landry said. Her sign modified a lyric from Swift’s song “All Too Well” to reference the ticket debacle: “We remember your incompetence all too well.”Plenty more fans appeared to be streaming the hearing online, and a link to the Senate Judiciary Committee’s livestream of the proceedings was widely shared by fan social media accounts on Tuesday morning.“I’m having the time of my life right now, watching this courtroom stream,” said Erin Knox, a 21-year-old fan from New York State who, like many others, tweeted live reactions to the proceedings. “I have waited my entire fangirl-hood to see Ticketmaster get called out.”The fervor wasn’t exclusive to music fans. “As a Swiftie and antitrust policy nerd, this hearing is my Olympics,” Shira Stein, a Washington correspondent for the San Francisco Chronicle, noted on Twitter.And several senators — or their staff members — appeared to have prepared Swift references for the fans they knew would be watching, including Senator Amy Klobuchar and the judiciary committee itself. It tweeted a Swift song title ahead of the hearing, asking: “…Ready for it?” More

    • 138 Shares149 Views

      in Music

      Live Nation President Says Bot Attack Led to Taylor Swift Fiasco

      by

      Joe Berchtold, the president and chief financial officer of Live Nation Entertainment, used his testimony to dispute many of the central complaints that are commonly made against his company: that Live Nation does not face meaningful competition; that it squeezes too much money from venues and concertgoers, and that its size and dominance insulate it from the need to make technological innovations.In his testimony to the committee, Mr. Berchtold acknowledged problems with the Taylor Swift ticket sale. “In hindsight there are several things we could have done better,” he said. Mr. Berchtold argued that the biggest problem it faced with the Taylor Swift tour was an onslaught of bots that crowded out real fans and attacked Ticketmaster’s servers, forcing the company to pause its sales. “This is what led to a terrible consumer experience, which we deeply regret,” he said.Jerry Mickelson, chief executive officer of Jam Productions, responded to Mr. Berchtold’s assertion. “For the leading ticket company not to be able to handle bots is, for me, an unbelievable statement. You can’t blame bots for what happened to Taylor Swift, there’s more to that story that you’re not hearing,” he testified later. As to the larger questions of competition in the ticketing marketplace, Mr. Berchtold argued that it was greater than ever, and said that Ticketmaster had to fight to retain its business. While Ticketmaster had an estimated 80 percent of major concert venues at the time of its 2010 merger with Live Nation, the company has lost market share since then, Mr. Berchtold said. In the past, Live Nation has been accused — including by the Justice Department — of using the leverage of its control of concert tours to coerce venues to sign with Ticketmaster.“We hear people say that the ticketing markets are less competitive today than they were at the time of the Live Nation-Ticketmaster merger,” Mr. Berchtold said. “That’s simply not true.”  He pointed to SeatGeek, Eventbrite and other players in the field, as well as to a robust resale market.In his testimony, Mr. Berchtold rebutted complaints that Ticketmaster had failed to upgrade its systems by saying that the company had invested over $1 billion to improve its technology.He also suggested that the biggest problems facing ticketing, like bots and scalping, were best tackled by Congress itself. “There are problems in the ticketing industry — problems that we believe can and should be addressed through legislation,” Mr. Berchtold said. More

    • 63 Shares179 Views

      in Music

      Ticketmaster Under the Magnifying Glass

      by

      Subscribe to Popcast!Apple Podcasts | Spotify | Stitcher | Amazon MusicLast year, Ticketmaster was the object of a significant amount of consumer discontent. There was the confusing rollout of tickets for the upcoming Taylor Swift stadium tour. In Mexico City, countless people with valid tickets were denied entry to a Bad Bunny concert. And the rising roots-rock singer-songwriter Zach Bryan made Ticketmaster a focus of his public ire.If all of this sounds familiar, that’s because it is. Ticketmaster has long been the target of — or perhaps the cause of — widespread unhappiness. High prices and fees? Blame Ticketmaster. A resale/scalping market that’s even more financially taxing? Blame Ticketmaster. And so on, and so on. Artists as big as Pearl Jam and Bruce Springsteen have taken on the giant, and mostly been forced to stand down, owing to the company’s reach and power.On this week’s Popcast, a conversation about the recent spate of kerfuffles that have increased scrutiny of Ticketmaster, the artists who have pushed back against the ticketing giant and the seeming intractability of the issues plaguing the ticket marketplace.Guest:Ben Sisario, The New York Times’s music industry reporterConnect 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

    • 163 Shares119 Views

      in Music

      SZA’s ‘SOS’ Holds Off Taylor Swift for a Fourth Week at No. 1

      by

      Both artists introduced new digital versions of their albums, bringing a tight race to a typically sleepy week on the Billboard charts.The R&B singer and songwriter SZA has edged out Taylor Swift to hold at No. 1 on Billboard’s album chart for a fourth time, attaining a notable victory during what is usually the post-holiday sales doldrums.“SOS,” the long-awaited second LP by SZA, who was born Solána Rowe in St. Louis and raised in suburban New Jersey, had the equivalent of 125,000 sales in the United States last week. That total included 162 million streams and about 3,000 copies sold as a complete package, according to the tracking service Luminate.It is the first time an album by a woman has held at No. 1 four consecutive times since Adele’s “30,” which reigned for six weeks at the end of 2021, Billboard reported. (Swift’s “Midnights” notched five No. 1’s over a six-week stretch last fall.) “SOS” is also the first R&B title by a woman to rack up four weeks at the top since Alicia Keys’s “As I Am” (2007).“SOS,” a steady streaming hit that features guest spots by Travis Scott, Phoebe Bridgers and other artists, faced stiff competition last week from “Midnights.” Both SZA and Swift released special digital versions of their albums to lure fans. SZA sold two versions, containing extra tracks, while Swift’s website sold four editions, featuring variant artwork and bonus commentary cuts, for one day only.Swift’s promotion helped “Midnights” move the equivalent of 117,000 sales, up 10 percent from the week before, including 58,000 copies sold as a complete package. “Midnights” holds at No. 2 for a fifth week in a row.Also this week, a number of recent hits crawl back up the chart as holiday albums disappear like so many Christmas trees hauled to the curb. “Heroes & Villains” by the rap producer Metro Boomin rises one spot to No. 3, Drake and 21 Savage’s “Her Loss” is No. 4 and Bad Bunny’s “Un Verano Sin Ti” is in fifth place.Morgan Wallen’s “Dangerous: The Double Album,” which dipped below the Top 10 for two weeks at the end of the year, jumps back five spots to No. 6. Since its release two years ago, “Dangerous” has notched a total of 101 weeks in the Top 10, dropping out only three times during the holiday-albums crushes in 2021 and 2022. More

    • 100 Shares99 Views

      in Music

      Year-End Listener Mailbag: Your 2022 Questions, Part 1

      by

      Subscribe to Popcast!Apple Podcasts | Spotify | Stitcher | Amazon MusicEach year, oodles of questions pour in from the Popcast faithful, and each year, the pop music staff of The New York Times tackles them with gusto.On this week’s Popcast, heated conversation about Olivia Rodrigo and strategic disappearance, Taylor Swift and intoxicants, Dua Lipa and other female pop superstar aspirants, the state of indie rock and more.Guests:Joe Coscarelli, The New York Times’s pop music reporterCaryn Ganz, The New York Times’s pop music editorConnect 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

    • 150 Shares169 Views

      in Movies

      Songs from Rihanna, Taylor Swift and Lady Gaga Make the Oscar Shortlist

      by

      The academy also released shortlists for documentary, international feature and seven other categories.Will pop superstars like Rihanna, Taylor Swift and Lady Gaga take the stage at the Oscars next year? That possibility became more likely when the Academy of Motion Picture Arts and Sciences released its shortlist for best original song on Wednesday.The Rihanna song “Lift Me Up” (from “Black Panther: Wakanda Forever”) made the cut, as did Swift’s “Carolina” (“Where the Crawdads Sing”) and Lady Gaga’s anthem “Hold My Hand” (“Top Gun: Maverick”).Other songs on the short list include Selena Gomez’s “My Mind & Me” from the documentary about her; the Weeknd tune “Nothing Is Lost (You Give Me Strength)” from the new “Avatar” sequel; and “New Body Rhumba,” the tune that LCD Soundsystem’s James Murphy wrote for “White Noise.”Also on the list is the “Spirited” ditty “Good Afternoon” from the songwriting team of Benj Pasek and Justin Paul. They’re familiar names to Oscar voters: In 2017, they won best original song for “City of Stars” from “La La Land.” A nomination next month would be their fourth in this category.The shortlist for documentary feature included biographical studies like “All the Bloodshed and the Beauty” (about the photographer Nan Goldin) and “Moonage Daydream” (David Bowie), as well as historical examinations like “Descendant” (focused on the Clotilda, the last known ship to bring enslaved Africans to the United States) and “The Janes” (named after a collective that provided abortions in the years before Roe v. Wade).Meanwhile. the international feature shortlist is stacked with festival favorites from around the world, including “Decision to Leave,” the South Korean noir from Park Chan-wook; “Bardo” (Mexico), directed by Alejandro G. Iñárritu; and Alice Diop’s “Saint Omer” (France), based on a true story. Pakistan’s “Joyland” also made the cut: It features a relationship involving a transgender woman and was temporarily banned in that country.In all, the academy released shortlists for 10 categories — including visual effects, score, sound, and hair and makeup — in advance of the nominations on Jan. 24. Here are the shortlists for song, documentary feature and international feature. For the rest of the categories, go to oscars.org.Original Song“Time” from “Amsterdam”“Nothing Is Lost (You Give Me Strength)” from “Avatar: The Way of Water”“Lift Me Up” from “Black Panther: Wakanda Forever”“This Is a Life” from “Everything Everywhere All at Once”“Ciao Papa” from “Guillermo del Toro’s Pinocchio”“Til You’re Home” from “A Man Called Otto”“Naatu Naatu” from “RRR”“My Mind & Me” from “Selena Gomez: My Mind & Me”“Good Afternoon” from “Spirited”“Applause” from “Tell It like a Woman”“Stand Up” from “Till”“Hold My Hand” from “Top Gun: Maverick”“Dust & Ash” from “The Voice of Dust and Ash”“Carolina” from “Where the Crawdads Sing”“New Body Rhumba” from “White Noise”Documentary Feature“All That Breathes”“All the Beauty and the Bloodshed”“Bad Axe”“Children of the Mist”“Descendant”“Fire of Love”“Hallelujah: Leonard Cohen, a Journey, a Song”“Hidden Letters”“A House Made of Splinters”“The Janes”“Last Flight Home”“Moonage Daydream”“Navalny”“Retrograde”“The Territory”International FeatureArgentina, “Argentina, 1985”Austria, “Corsage”Belgium, “Close”Cambodia, “Return to Seoul”Denmark, “Holy Spider”France, “Saint Omer”Germany, “All Quiet on the Western Front”India, “Last Film Show”Ireland, “The Quiet Girl”Mexico, “Bardo, False Chronicle of a Handful of Truths”Morocco, “The Blue Caftan”Pakistan, “Joyland”Poland, “EO”South Korea, “Decision to Leave”Sweden, “Cairo Conspiracy” More