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Symposium's Keynote Focuses on Effects of Stress on Mental Health
Research shows trauma, racism can have generational effects on at-risk populations.
Kent State University's 10th Annual Neuroscience Symposium began Thursday with a keynote address by Tracy L. Bale, Ph.D., titled "The biology of trauma: Understanding risk and resilience."
Bale, of the University of Colorado, is a leading national researcher in the study of how stress on a person and in-utero stress on an unborn child can lead to changes in brain development that can result in an increased risk for mental illness and a variety of other disorders, which can be passed on from generation to generation.
Her research includes the examination of vulnerable populations, including the long-term effects of racism, violence, adverse childhood experiences and similar stressors, and their implications on brain development and mental health for current and future generations.
Bale's speech was co-sponsored by Kent State's Anti-Racism and Equity Institute, which seeks to advance racial justice through scholarship and research.
Michael Lehman, Ph.D., director of the Brain Health Research Institute, which is hosting the symposium, introduced Bale, who is the Anschutz Foundation Endowed Chair in Women's Integrated Mental and Physical Health Research at the Ludeman Center and professor and director for InterGenerational Stress and Health and the Director for Sex Differences Research in the Department of Psychiatry in the School of Medicine at the University of Colorado's Anschutz Medical Campus.
Read Bale's full biography.
Lehman said he was pleased to bring in a keynote speaker of Bale's caliber to Kent State.
Bale provided two specific examples from her research of how racial stressors play a role in creating increased health risks.
First, Bale provided statistics to show that pregnant Black women, regardless of educational background, had three to four times higher rates of maternal morbidity and mortality than white women.
"A Black woman with a Ph.D. has a higher rate than a white woman with an eighth-grade education," Bale said.
She also shared research from the city of Baltimore, where she developed the Center for Epigenetics Research in Child Health and Brain Development while on staff at the University of Maryland. The research showed how 61% of pregnant Black women in Baltimore had four or more adverse childhood experiences or ACES – stressors such as violence, poverty or neglect – which are known to lead to health issues in later life, including heart disease, diabetes and substance abuse.
Bale spoke about her life's research studying stress and how it affects human brain development and mental illness. She began by noting how levels of chronic stress have risen dramatically in recent years, both in the United States and globally, brought about by divisive politics, social media pressures, worries of climate change and the COVID-19 pandemic.
Persistent social stressors over the past six to eight years have resulted in an increase in depression, anxiety and suicide, she said, with more than 44 million Americans experiencing some type of mental health disorder this year.
Bale encouraged the audience to vote in the upcoming election and ended her talk by encouraging the group, as scientists, to become engaged in their communities so that science is perceived as fact, and not opinions that can be denied or discounted.
"It's so important that we get out in the community," she said.
Due to the pandemic, this is the first time in more than three years that Kent State's neuroscience symposium is being held entirely in person, and Lehman noted how pleased he was for the opportunity for students to meet with experts in their respective fields.
Bale was excited to see, through a show of hands, how the audience for her talk was made up largely of students, including some who had come from other area universities to attend.
Julie Reichert, a first-year graduate student in Behavioral Neuroscience from Lancaster, Pennsylvania, said she had a particular interest in the type of stress research that Bale's lab conducts and was excited for the chance to attend her first neuroscience symposium and the networking opportunities the in-person event provided.
Jasmin Beaver, of Granville, Ohio, a graduate research assistant and fourth-year doctoral student in Behavioral Neuroscience, said she was looking forward to hearing Bale talk about her work because she also works in an animal research lab.
Beaver said she also was happy for the opportunity to hear such a large variety of neuroscience research topics during one symposium.
Provost Melody Tankersley, Ph.D., and Doug Delahanty, Ph.D., interim vice president for Research and Sponsored Programs, opened the symposium by offering welcoming remarks to the crowd of about 150 students, faculty and guests who had gathered at the Kent State Kiva for the keynote address.
Tankersley noted how the Brain Health Research Institute has grown since its inception to more than 450 members and has brought in more than $6 million in new funding for university research.
She specifically praised its collaborations within departments on campus, and with external partners, including Cleveland Clinic, Akron Children's Hospital and Northeast Ohio Medical University.
"These partnerships create a true regional network to support research and improve the health and well-being of all in Northeast Ohio and beyond," Tankersley said.
Delahanty noted how Kent State, earlier this year, was awarded the esteemed R1 status for research by the Carnegie Classification of Institutions of Higher Education, the highest recognition that doctoral universities can receive.
The idea to create research institutions across the university, he said, was an effort to break down the departmental silos that were keeping researchers in one area from knowing about the work of their colleagues, and to increase the overall amount of research being conducted at the university.
The R1 designation is proof of how successful the institutions have been at bringing researchers together and expanding Kent State's portfolio of ground-breaking research, he said.
This year's symposium celebrates Kent State's contributions to the field of neuroscience and brain health, with nearly all featured speakers being either Kent State graduates or current faculty and researchers.
The symposium continues Friday at the Kent Student Center with a full slate of speakers. The event is free and open to all. Click here for a complete list of speakers and activities.
Learn more about Kent State's Brain Health Research Institute.
POSTED: Thursday, October 27, 2022 04:16 PM
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Bridges to Pathways is a program to reconnect youth ages 14–17 to high school. The Bridges program provides intensive case management services, individualized action plans, and supportive services to increase attendance and assist each youth in completing high school.
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Keeping Up With The Kardashians - Season 14 Part 1
DVD | Reality/Lifestyle | 28 Mar 2018
2 For $40 TV The Kardashians All 2 For $40
Keeping Up with the Kardashians Season 14 Part 1 on DVD
After a heavy and eventful year, Keeping Up with the Kardashians returns for a fun and flirty fourteenth season.
From backyard camping and wine tasting in Santa Barbara to jet-setting to Mexico for birthday shenanigans, the family is determined to get back to basics, but not without some challenges along the way.
Kim debates removing herself from the spotlight to focus on her family after the traumatic experience in Paris. Meanwhile, as Khloe's relationship with Tristan heats up, Khloe stresses over how to blend her two lives.
As Kourtney is burdened over how to unapologetically embrace her single life while co-parenting with Scott, Kendall finds herself under an immense amount of pressure as she struggles with being in the public eye and the rest of the family is along for the unpredictable ride.
Title: Keeping Up With The Kardashians - Season 14 Part 1
Release Date: 28 Mar 2018
Actor(s): Kim: Kris Jenner Kardashian
Category: Reality/Lifestyle

redpajama_set_name: RedPajamaCommonCrawl


I pottered out into my garden just now to undertake today's assignment, Natural World & Leading Lines, with my Canon SLR. My garden isn't big, but it is lush with a wilderness of tropical leaves and where ants, bugs and a large mottled garden lizard live. While looking for shapes and lines, I thought it would be fun to explore how they would appear to my little menagerie of wild creatures. I put the camera really low on the ground to try to catch a small creature's perspective, and snapped randomly.
The main boulevard from the back garden to the front. Watch out for people. It's their main route too.
Mental note to self — a good place to shelter from the rain.
Dainty angel hair fern & rock garden near the deck – a nice and romantic spot.
Good place to forage for random seeds and snacks.
The best spot for lazing, shaded from the scorching afternoon heat.
Loved all of your photos, the dainty angel hair fern was my absolute favorite!
Your lizard eye view caught some beautiful lines in addition to a green treat to a winter starved eye!
Thank you for your kind words, and glad to help your winter-starved peeepers.


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Caloncho
Photo: Jeremy Cohen
Caloncho On Giving Back & Cleaning Río Querétaro mexican-singersongwriter-caloncho-mission-give-back%E2%80%94-music-and-beyond
Mexican Singer/Songwriter Caloncho Is On A Mission To Give Back—In Music And Beyond
How the Guadalajara-based, Latin GRAMMY-nominated performer is determined to make a positive difference in his home country
Mar 6, 2020 - 12:47 pm
Caloncho loves life. The tattoo on his left arm—a mom-heart-style illustration with "Vida" written in the center—is just one way he makes that known. The 33-year-old Mexican singer/songwriter, born Oscar Castro, has very much built a reputation around his optimism and zeal for living. Even when he forgoes his love-soaked lyrics with words of disillusion, his guitar-heavy reggae, rock steady pop sound keeps the mood warm and light, making it easy to forget you're hearing about heartbreak; it transports you to a tropical island and makes you want to get up and dance.
The curly-haired singer exudes a calm warmth in person too. His vibe is as sunny as the city he finds himself in on the last days of February: Santiago de Queretaro, a small colonial town in North-Central Mexico.
Caloncho is in Queretaro to perform for an intimate group of fans on the last stop of the Live At Aloft Hotels Homecoming Tour, a partnership between the new Marriott hotel in the city and Universal Music Group, which features artist performances in their home countries.
https://www.instagram.com/p/B9N9wEqDERW/?utm_source=ig_web_copy_link
A post shared by Caloncho (@elcaloncho)
The popular singer doesn't mind the positive associations with his music. "If I die tomorrow, I'm glad, I'm happy," he says hours before his performance, sitting in the hotel lobby wearing yellow high socks with a smiley face printed on them. "I think I've done something for people through my music because they've told me they like it and that it actually helps [them], so that's useful."
Being helpful is equally important to Caloncho. It's "a mission" for him. More than making people feel happy, Caloncho, who studied international relations in college, wants to make a genuine difference in the world. Optimism gives people faith, he believes.
The day before, he swapped his guitar for a pair of gloves, rubber boots and a face mask to do something beneficial outside of music.
The tour stop has enabled him to build a partnership with a local nonprofit in Queretaro raising awareness on the pollution called Habitantes del Rio. The singer brought together locals, Aloft employees and media to clean a section of Queretaro's polluted river. The historic river, which at one point provided water for many to use, has become extremely contaminated over several years. You'll find soccer cleats, television parts, glass and even human waste flowing in or around the river.
The river's state reflects a greater problem the country faces; six out of every 10 rivers are polluted in Mexico.
Queretaro's river, flowing across most of the state like a belt, has caused local townspeople health problems and has overall become bothersome, not just because the water is a sewage green color but because it emits an extremely toxic smell.
Local authorities have initiated plans and programs to clean the river, but to no prevail. Habitantes also set up cleaning dates throughout the year to help solve the issue. So far, they have taken 15 tons of trash from the river.
Caloncho learned of the organization while at a music festival. He thinks it's important for people to know what's going on in the country and feels a responsibility to do good not just through music, but everywhere else, too. "Music is a great vehicle for sharing issues," he says as he gets ready to pick up trash with the nonprofit.
Cameras and photographers follow the singer around as he gravitates towards one part of the river, a muddy corner that looks like a small landfill in the making. The green water flows by behind him.
Back in his hotel lobby a day later, Caloncho reflects on his river experience.
"I love to travel. I love to do what I do. It was just a great opportunity to visit Querétaro with Habitantes del Rio," he says. "I admire the job they do, what they think. I was really excited to clean the river, to be part of it and to let the people know that they have something vital that's actually a treasure."
The singer hopes the cleanup, now documented on his social media, can inspire local fans to help out as well. "They have a river, their place, and this is an example for [what can be done for] the rest of the rivers throughout Mexico and the planet," he says.
Humans have been the cause of the river's unhealthy condition since the mid 17th century. In college, Caloncho faced one of the most debated questions related to the actions of human beings: "Are human beings good or bad?"
Caloncho still isn't sure how to answer that question. For him, though, there is power in choice.
"We have to protect [rivers] and we have so much power as individuals to do that. Every choice of consumption that we get to get every day, everything we choose, is going to have an impact and environmental weight," he says.
The singer will begin working on his forthcoming album in a few days and feels strongly about including songs that will make people think. Caloncho wants to include more of his thoughts on society and human emotional intelligence, even incorporating discourse, something he says is not easy to do.
"Ideology is not an easy thing to get into a song," he says. "But I'm trying."
The love songs he'll include, though, will be Classic Caloncho. He'll include a special message to his daughters, who he didn't have when he began making music.
"I want them to be independent and intelligent," he shares. "[The album will have] a letter to them. I think it's kind of personal in that way."
Fatherhood has only added to the singer's love for life. While he loves to make music and going on tour, he admits leaving his children at home is tough.
"I feel so full when I'm home playing with them and just existing, watching them grow. I think that everything is primitive and easy and as simple as that," he says. "There's nothing else to do other than enjoying our existence … I could be doing nothing at all, just sitting, watching, and that's beautiful … I'm in love. I love existing, I love my daughters."
Caloncho released an EP titled Pa with his youngest baby girl on the cover last year. Evidently, his determination to make a difference in and out of music is also tied to fatherhood.
"Everything is okay in terms of creating music. I could just relax and do love songs and chill but I want to be useful. Maybe it's related to being a father now, I don't know," he says.
Caloncho released his first EP, Homeotermo, in 2011. A series of EPs titled Fruta and Fruta Vol. II followed before he released his latest album Bálsamo in 2017.
Fruta earned him a Latin GRAMMY nom for Best Alternative Album in 2014. That year he was also nominated for Best New Artist.
His journey into music began thanks to his late grandfather, who also gave him his nickname, "Caloncho."
"My grandfather, my father's father, he used to play norteña. He used to play mostly with an accordion. And he gave me my first guitar too," he says. "He had a Yamaha Electone his living room, which I now have, so it was like going to my grandparents' house was just discovering music through this Electone and another synthesizer he had."
The Beatles were another early influence; their CD is the first he ever purchased.
"I love them. They created pop music and it's always a reference when recording. I love their sound. We actually studied the process of how do they get to that voice and guitar and drum sound," he says.
When he's not creating music on his own, he's collaborating with Latin GRAMMY-nominated singer El David Aguilar in a band called Vacación. The band is influenced by a variety of Mexican and Latin American musical styles and genres including boleros. Together, they combine some of the most praised songwriting in the Spanish language. After his intimate performance in Queretaro, Caloncho will continue a spring tour with the side project.
The singer/songwriters share an album, Tiempo Compartido, and Caloncho has learned a lot from Aguilar.
"He's an amazing musician, an extraordinary human being," he says. "I've learned to not be afraid of having a discourse, even though it doesn't rhyme, even though it's not sexy."
Of making an English album, Caloncho says he'd love to someday, but the language hasn't come as naturally to him.
Whatever happens, Caloncho is content with taking it slow. "I'm just finding myself. I'm getting to know myself as composer, and as a human—like everybody else."
Soccer Mommy On 'color theory,' Impulse Depop Shopping & The Demon Living In Her House
Johnny Ventura, Lido Pimienta & Jean Dawson
In The BLM Movement, Latinx Artists Look Inward amid-black-lives-matter-conversations-black-latinx-artists-urge-non-black-latinx-do
Amid Black Lives Matter Conversations, Black Latinx Artists Urge Non-Black Latinx To Do Better
Jean Dawson, Lido Pimienta, Johnny Ventura and more talk anti-Blackness in the Latinx community and how music can be one of the greatest catalysts for change
"I am not free as long as one person of color remains chained. Nor is anyone of you," writer and poet Audre Lorde cautioned during her keynote speech addressing racism at a Connecticut women's conference in 1981. Her message was clear: Racism cannot be dismantled until every person fights to eliminate it—that included women who, in world ruled by white males, faced oppression because of their gender, but benefited from whiteness.
Almost 40 years later, the late writer's words are even more far-reaching.
As the U.S. faces trials brought forth by systemic, societal and cultural racism ignited by George Floyd's killing at the hands of police, the Latinx community, multi-faceted and multi-dimensional, as described by Pew Research Center, are now turning inward to evaluate their own role in a conversation about race, privilege and anti-Blackness.
The Latinx community is extremely diverse, comprising indigenous, Black and white people (among others). Though it is often unified by the Spanish language, many members are now saying that the community must reckon with its own history of anti-Blackness. Being Black, no matter your cultural background, can more than likely mean experiencing heightened racism such as police brutality—a privilege light-skinned and white-passing Latinx don't have to worry about.
As the music industry goes through its own discussion on systemic racism, music leaders are calling for change, in and out of the industry. But how? Latinx have to acknowledge a history of anti-Blackness, rooted by colonialism, to understand why this is a question in the first place, they say.
A history of anti-Blackness
Half Black and half Mexican, Jean Dawson grew up an anomaly to many. He was born in San Diego to a Black father and a Mexican mother, but raised in Tijuana after he and his mother moved there.
"I was in Mexico and people didn't know what I was," the singer/songwriter says over Zoom. "There was a whole lot of stuff."
Some Mexicans would call him "Kalimba," he recalls. Kalimba, an Afro-Mexican singer, was a part of an influentially successful pop group called OV7 in the '90s. He and his sister, M'balia Maricha, were two Afro-Mexicans in a predominately light-skinned Mexican group, and as scarce as hen's teeth in the overall industry.
Dawson commuted to San Diego every day for school, something not so uncommon in a border town. He now lives in Los Angeles, though he says that life in the U.S. isn't much better than it was back home. "Police in the United States don't see me as a Mexican man. Even if they do, they see me as a threat," he says. "They see me as all these things rather than being a 24-year-old college-educated musician."
And he isn't the only music artist with accounts of discrimination. In and out of the U.S., the latest Black Lives Movement protests have Black and Afro-Latinx artists sharing their own personal stories of racism.
In a livestreamed conversation with the newly formed Conciencia Collective, a Latinx group of music professionals addressing race issues, ChocQuibTown's Goyo shared she's been taken off a bus in Colombia because she was Black.
In an Instagram post, Legendary merengue and salsa musician Johnny Ventura recounted a trip to the U.S. that quickly became uncomfortable when an airport immigration officer wouldn't believe he was staying at an upscale hotel in New York. The officer stopped asking where he was really staying only until after a Puerto Rican co-worker let him know who Ventura was.
Dawson and Goyo's accounts solidify two facts: No matter who you are, if you're Black, you're a target. Also, there are undeniable microaggressions and discrimination towards Black Latinx in the culture.
Across Latin countries, whether in North, South America or the Caribbean, microaggressions show up in casual expressions. For example, there's the phrase "Hay que mejorar la raza" or "We have to better the race," while family members issue constant reminders to not get too much sun in order to keep skin as light as possible. Such microaggressions perpetuate anti-Black and anti-indigenous ideologies that go unquestioned.
"There [were] people in my family that when they met my father through my mother immediately were like, 'No, you can't be with him because he's Black,'" Dawson says.
Light skin, light eyes, light hair—the closer a Latinx person comes to whiteness can often equate to a higher perceived desirability within the culture.
Roughly 130 million people of African descent live in Latin America, according to a 2016 report by Princeton University's Project on Ethnicity and Race in Latin America. Slavery by the Spanish and Portuguese plays a role in that number. Despite Black Latinx making up an estimated quarter of the population now, their Black identity continues to be belittled and erased through language and racial identifiers.
Dominican-American journalist Jennifer Mota noted that calling someone "Spanish" who may not be, as is sometimes done in Latin countries, is erasing their indigenous or Black identity, even if they speak Spanish.
"I am Spanish-speaking.... I was not born in Spain, nor were my parents," she wrote on her Instagram. "Spanish is both a language and a nationality, when you label someone Spanish & they are not, you are erasing their specific culture, nationality, and experience."
Colombian-Canadian singer/songwriter Lido Pimienta adds that doing so is erasing the fact that colonization ever happened.
"People call me Spanish, I'm not Spanish, I'm Colombian. I speak Spanish, because I was colonized by Spain," she says."[Being called] Spanish is this negation, that there was ever colonization."
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A post shared by Jennifer Mota 🇩🇴 (@jennifermotaval)
Beyond language, eurocentric beauty standards dominate media in many Latin countries. Travel to Mexico, Colombia or almost any other Spanish-speaking country and you'll see street ads, television soap operas and other programming featuring light-skinned people.
"Whatever is closest or with more proximity to whiteness in sound, in look, in aesthetic. That's the person that we want, and that's the person that's going to get the platform." Pimienta says of the media and entertainment mindset in Colombia, where roughly 10 percent of the population is Black, and traces of the country's only Black president, Juan José Nieto Gil, have been erased from history, including in books and portraits.
The cover of her recently released album Miss Colombia dismantles these notions of white supremacy, targeting beauty pageants (which are highly regarded in the country), where only two Black women from the country have won a Miss Universe title. Pimienta protests that reality when she, a Black, indigenous Colombian, stands front and center wearing a crown.
The Black erasure and whitewashing that happens in Latin countries is blatant and is a result of colonization, University of Florida assistant professor Jillian Hernandez says.
"The Spanish basically [formed] a whole cast of different races, the exploitation of indigenous people and then of the enslaved Africans that were brought to Latin America," she says. "Because so many Latinx have light skin privilege, there has been the sort of ideology of white aspiration."
Even when it comes to music consumption, music with Black roots, like reggaeton, is minimized among some Latinx.
"Black Latinx music [is] often looked down upon as a lesser form of Latinx music, even though it's clearly super popular and clearly super lucrative," Hernandez continues. "Those are again the same hierarchies that we get from the same racist colonialism."
Hernandez adds those hierarchies can also show up at award shows and "urbano" artists can become pigeonholed. "What cultural forms [of music] are ... taken the most seriously or given the most awards?" she asks. Both the GRAMMYs and Latin GRAMMYs have been critiqued for their urban categories. The GRAMMYs have renamed their urban contemporary category and the Latin GRAMMYs have added a reggaeton category.
Unlearning Anti-Blackness
Hernandez says these ideologies start at home: "In many ways, we're trained in our families to be anti-Black and anti-indigenous." Johnny Ventura, a 80-year-old singer/musician from the Dominican Republic, has for decades represented Afro-Latinos through salsa and merengue music, both of which derive from Black music.
Off and on the stage, he's made a point to celebrate Blackness. If Latinos, he believes, discriminate amongst themselves, they are enabling white Americans and Europeans that engage in racism.
For him, combating anti-Blackness meant teaching his children to love who they are. "In my home, the moment my kids were born, we called them 'Negrito lindo, negrito bello, negrito bello,'" he says. ("Negrito" is an endearing word deriving from "negro," or "Black" in Spanish.) Ventura took care to pair the word with "beautiful" when using it to refer to his kids.
He brought that same mentality to the stage: In Ventura's music, you'll proudly hear him call himself negro often. "[I do it] justifiably to combat that," he says, referring to anti-Blackness.
In the U.S., where one-quarter of all U.S. Latinos self-identify as Afro-Latino, Afro-Caribbean or of African descent with roots in Latin America (according to a 2016 Pew Research study), Latinx are outlining ways to bring these conversations to light at home.
But in order to truly dismantle white supremacy in Latin culture, Latinx should not be seen as just one thing, Pimienta says.
"Every [Latin American] country has their thing that they can do, because it's not a monolith," she explains. "And there's not one way of being Black."
University of California San Diego Ethnic Studies assistant professorJosé Fusté agrees that people need to be careful about seeing all Latinos as the same. "I'm Puerto Rican. We don't deal with ICE. We don't have that situation. We need to be very real about our privilege when it comes to that, even though we're colonial subjects," he says.
While he says someone from Central America may not necessarily relate in every aspect to someone from Cuba, many non-white Latinx share being made the "other" in the U.S.
"We have common ground whether we like it or not. But we also have differences," he says. "I'll never know what it's like to be an Afro-Latino. It's my job to try to find out and understand it for myself and try to convey it to others. It's my responsibility."
Beyond holding conversations at home, educational programs like Ethnic Studies at colleges and universities can help dismantle racism, some argue. An option for those with educational resources or interest in education as Ethnic studies teaches the histories and stories of Black and people of color.
Black and Latinx artists are using music as a way to educate for without access to Ethnic Studies. ChocQuibTown's "Somos los Prietos" and Myke Towers' recently released "MICHAEL X" highlight their experience and share their support for struggles faced by Black people in and out of the U.S.
Dawson released a song called "Policia" or "Police," which he wrote before Floyd's death but decided to release after to raise funds for inner-city children, the wrongfully incarcerated and trans people.
Ventura decided not to celebrate his 64th music anniversary this year after Floyd's killing, which he took personally. "I usually celebrate, but this time I didn't," he says. "Things that I thought stayed in the past haven't and Floyd represents all Black people."
A Debt Is Due
The latest Black Lives Matter protests have sparked a wave of accountability that began with the police system and has swept through several corners of society, causing the music industry to experience its own wave of trials. Historically, the music industry has been complicit in systemic racism and erasure of Blackness. White gatekeepers, as Wesley Morris explains for The New York Times Magazine, have too many times determined a song to be "Too Black for certain white people." Or claimed genres for their own without acknowledging its Black roots.
The relationship between Black artists and the music industry is fueled by a historic dehumanization of Blackness that happens in the U.S. and Latin America.
There is a kind of obsession with Black culture, Fusté says. "There is a kind of love-hate relationship. There is an infatuation with it. There's an obsession with it at the same time that there's a dehumanization of it."
Blackface Minstrelsy happened in the U.S. but also other places like Puerto Rico, Cuba and Mexico, he notes.
Online movements #BlackOutTuesday and coalitions like the Black Music Action Coalition have called for the acknowledgment of the industry's exploitation and called for support for Black artists and music professionals. A similar coalition was created in the U.K.
Companies like Swedish music electronics company Teenage Engineering, which makes products used by dance music producers, plan to begin sharing its revenue with some Black musicians in the U.S. as a way to acknowledge their part in making their products popular.
Sony Music Group, Warner Music Group and Universal Music Group have announced donations aiming to support social justice organizations. Sony and Universal also announced inside initiatives to support their Black employees.
Republic Records, under Universal, has vowed to drop the industry term "urban" in its genres and every other facet of the label. (The "urban" genre has been used as an umbrella term that boxes in Black artists and music industry professionals.)
Leading Latin music publication Remezcla, meanwhile, is taking the same pledge to stop using the Spanish equivalent of urban, or "musica urbana."
"There's so much power in the media, how they frame this," Hernandez says. "If Remezcla says we're not going to see 'musica urbana,' that is changing the discourse."
She continues: "It's not going to save anyone's life, but it will change how histories of popular music and culture are written because it is a moment. When inspired by a social movement, a group of people decide, 'You know what? We're going to change the discourse about this particular genre of music.'"
Beyond language, several aspects of the music industry need to rethink who it champions and promotes. In 2018, Amara La Negra explained to a bewildered Breakfast Club how colorism exists in the Latin music industry.
"They'll always pick the lighter [skin tone]. The ones that look like... [the] J.Los and Shakiras and stuff before they look at us," she said.
There could be less stereotyping and a lot more support for Black artists, especially women and LGBTQ musicians who continue to face sexism and homophobia.
Closing The Gap: How Latina Artists Are Combating Gender Inequality In Urban Music
"The music industry is based a lot on stereotypes that at a marketing level that maybe are not opening doors for artists or for telling Black stories," Goyo said in a talk with Conciencia Collective. "We don't see ourselves represented on T.V."
Prominent artists in Latin music genres are being asked to set an example, too. An Op-Ed by Katelina Eccleston published in Remezcla called "Why Urbano Artists' Scarce Comments On The #BLM Movement Are a Problem" called out the lack of response from some reggaetón and Latin trap artists who make music with Black and Afro-Caribbean roots. Eccleston referenced Bad Bunny in particular, an artist who is widely known for voicing his opinion on politics but was slow to speak up on #BlackLivesMatter. Bunny, who had been unplugging while Floyd's death happened, eventually released a statement to TIME that called for educating friends and family on racism.
"Urbano artists—especially those who aren't Black—have a duty to speak up on behalf of racial injustice outside of when it's trendy. It's not only a crucial means of compensating for the exploitation of Black aesthetics, but an element of solidarity of the advancement towards racial equality in the U.S., Latin America and as far as their influence reaches," Eccleston writes.
Pimienta says non-Latinx artists creating Black Latinx music should recognize their privilege if they perform Black music. "When you see it in culture, in music, in the music industry, and it's not questioned, we are, as an industry, perpetuating white supremacy."
Pimienta also argues that the industry needs to rethink branding Europeans as Latin. "When you have artists from Europe that break into the music scene, and they're branded as Latin, it is problematic."
RELATED: Ivan Barias On Silence As Complicity, Holding Major Labels Accountable & How To Be A Non-Black Latinx Ally
How popular culture can be a vehicle for change
Already, Latinx in the music industry have started conversations on privilege and solidarity, with Conciencia Collective and journalists—including Mota and La Gata—holding livestream talks.
Fusté believes music and pop culture can lead the way on the necessary conversations that need to happen.
"We need to be honest about those things, and the music needs to reflect that. I think we're going there, honestly. I'm optimistic about it. Because I think, if anything, music is going to teach us that," he says. "There are people that will consume these videos, these talks. I think the artist can reach people directly in a way that's never happened before."
Goyo uses her platform to bring Ethnic Studies (she refers to it as Ethno-studies) to the world.
"Ethno-education is a powerful tool that goes from the university to other places to explain history," she said in her conversation with Conciencia Collective.
Meanwhile, the Latinx music industry is taking on race issues but also holding space for women and the LGBTQ community to talk about the intersections of race and other identities.
Goya and Pimienta have used their music to talk about their experiences being Black women. Pabllo Vittar, Lauren Jauregui, Tatiana Hazel and Urias joined the collective in a conversation about how gender and sexuality affect Black and Latinx of color.
Vittar says racism and homophobia affects Brazil; it's something the government doesn't seek to improve and the media hardly shows.
"I always try to use my platform to show what's happening in my country, what's happening in cities with the Black Lives Matter movement," he says in the conversation. "I want the media in Brazil to also show that there is also a lot of suffering from racism, homophobia and some many other things in Brazil."
While there is work that needs to be done in the industry, Pimienta says space for indigenous folk music and other music made by Black and indigenous artists—what she calls outsider music—that challenge identity norms is growing.
"I feel like we are now at this point where people are hungry for that. I feel like we've gone through the shiny and the perfectly packaged and the perfect ideals of womanhood…" she says. "I feel really good. I feel like finally I don't have to explain myself. That's where I'm trying to go."
How Black Trans Artists Are Fighting To Achieve Racial Justice & Amplify Queer Voices
Donna Missal at SXSW 2019
Photo: Lorne Thomson/Redferns/Getty Images
Report: How To Increase Music's Value In Your City report-how-music-creates-jobs-drives-tourism-improves-wellness-more
Report: How Music Creates Jobs, Drives Tourism, Improves Wellness & More
Recording Academy partner Sound Diplomacy unleashes "a set of tools, case studies and lessons to increase the value of music in your city"
Nate Hertweck
Mar 14, 2019 - 10:43 am
For anyone working in the music world, Austin, Texas is the place to be in mid-March each year. South By Southwest brings together the industry's brightest minds, biggest players and sharpest talents to explore the business and craft of music. Attendees network, listen and soak up wisdom to bring home and implement in their own music communities, wherever they may be. For over three decades, this ritual has helped music professionals tackle the challenges of building and sustaining music in their city.
Who does your music policy impact? Who is responsible for music policy in a city? Find out answers to these burning questions & more in The Music Cities Manual, available now at https://t.co/xNc2Feje4r pic.twitter.com/yLeU32Bf3I
— Sound Diplomacy (@SoundDiplomacy) March 14, 2019
In the spirit of this connectivity of resources, and to coincide with this year's SXSW, international strategic consultants Sound Diplomacy released a special report titled "The Music Cities Manual: How Music Increases Economic, Social And Cultural Growth In Your City." The extensive report details the what, why and how of supporting music locally through everything from city policy to education and communication and beyond, providing a fresh and tangible idea bank for music people in cities and towns of all sizes to spur and sustain growth.
As partners of the Recording Academy, Sound Diplomacy shares the mission of supporting music by thinking big but starting small and understanding the power of local music markets have to lift up the industry at large. The Academy's 12 Chapters serve music communities nationwide based on the core philosophy that when local music economies innovate and thrive, the entire community benefits. Many of the principles in Sound Diplomacy's report speak directly to the work the Academy does each day to keep music strong across a diverse array of local marketplaces.
Inside The Music Cities Manual
"The Music Cities Manual" describes itself as "a set of tools, case studies and lessons to increase the value of music in your city," i.e., a report for everyone involved in the music process from musicians to developers, city government to bar owners and festivals to hoteliers. The report also showcases music's uncanny ability to create jobs, drive tourism, enhance social inclusion and even improve wellness. However, as the report points out, "few cities understand how to plan, manage and develop music for economic, social and cultural gain."
In other words, how can cities best optimize the power of music to benefit their local economy?
"Music pumps from speakers in shopping malls and metro stations, hospitals and car parks. From choirs in churches to the call to prayer, from the boardrooms of our multinational record labels to the basement of a pub, music fosters creativity, dialogue, creates commerce and incubates talent."
Music As Infrastructure
In order to solve a problem, we must first understand it. Sound Diplomacy's method outlines 13 key indicators of a thriving music policy, centering around the idea that music is infrastructure. This means city governance declaring, through official communication, music's importance to its community. Let's look to the Midwest: The report cites Chicago's 2007 Chicago Music Policy as one of the first to send this message to not only its own local community, but to people everywhere about the importance of music's role in Chicago.
The report's 13 key indicators are chock-full of resources for action items such as creating a coalition, asset mapping, sparking tourism, supporting venues, encouraging entrepreneurs, expanding music education, and prioritizing affordability. All of these measures speak to a connectivity between creatives, policymakers and business owners that can grow a city's music community in a healthy and lasting way.
Cities As Agents Of Change
Sound Diplomacy also presents several case studies, taking a closer look at Melbourne, Australia's "Agent Of Change" principle, which set new obligations on property developers to adequately soundproof buildings within 50 feet of an existing venue, London's Music Venue Trust task force, which provided an outline for the city's grassroots venues to thrive, and New York City's repeal of its outdated Cabaret Law, making the Big Apple much for more friendlier for live music and entertainment. These real-world cases provide easily relatable change examples, and considering the sheer size of the cities referenced, the notion of making an impact in smaller music communities seems far less daunting.
Our #NewYork Chapter celebrated the 61st #GRAMMYs nominees, including producers, songwriters, and engineers earlier this week.
Find out who takes home GRAMMY gold on Feb. 10! pic.twitter.com/3XnYTnFYLn
— Recording Academy / GRAMMYs (@RecordingAcad) January 31, 2019
Creating Inter-City Music Networks
In fact, the report goes another step to show how connection between music cities can benefit local markets on a global scale, examining Music Cities Network, a resource for improving communication and cooperation between music communities around the world. This is just one tool the report offers toward its encouragement to "be international," by starting, "With your sister cities and existing partnerships in other municipal departments, from tourism to economic development."
This top-down and bottom-up approach provides everyone who touches or is affected by music with steps to take toward a stronger community. And the best news is the benefits of a healthy music city go beyond cultural, social and even economic areas. Music's ability to improve health and wellbeing means, as the report states, "Better, happier, more efficient people, from birth to death."
As thousands descend upon Austin and SXSW 2019 kicks off its Music Conference, the Sound Diplomacy report provides the framework to implement new ideas across the musical landscape in any town, making the adage of "think globally, act locally" more than a bumper sticker.
Likewise, the Recording Academy continues its work on behalf of music creators across many tiers of the industry, from local events to educate and connect members to game-changing Advocacy work on Capitol Hill. Through these tireless efforts, and projects such as working with Sound Diplomacy in its Chapter cities, the Academy continues to support and foster a better tomorrow for music.
Recording Academy Task Force On Diversity And Inclusion Announces Initiative To Expand Opportunities For Female Producers And Engineers
Zoe On Their GRAMMY-Winning Album Aztlan & More mexican-rock-band-zo%C3%A9-want-be-heard-all-over-world
Mexican Rock Band Zoé Want To Be Heard All Over The World
Fresh of their 2019 GRAMMY win for Best Latin Rock, Urban or Alternative Album, we talked to the longtime band about their latest album, Aztlán, their current tour with Metric, diversifying their audience, and more
Mar 1, 2019 - 10:23 am
For two decades, Zoé has carried a piece of Mexico's modern rock sound across many parts of the world. Their psychedelic, rock en Español, pop, synth sounds have captured fans in areas of the U.S., Latin America and European countries like Spain.
Listening to Zoé is like going through a galactic trip into romantic relationships and self-reflection; the journey entering light and dark moods—just listen to "Love" and "Dead." And it works. The band has maintained and grown a strong fanbase, with over a billion visits on VEVO and two million streams per month worldwide on Spotify.
Formed in Mexico City in 1997, Zoé boasts some of the best modern songwriting in the Spanish language and a solid marriage of sounds. Even when they opt to go acoustic, they leave what is at the heart of their music: poetic verses, an innovative blend of instruments and frontman Leon Larregui's deep, enchanting voice.
Over the course of their career, which include six studio albums and collabs with Enrique Bunbury from Spanish iconic rock band Héroes del Silencio, the Mexico City band has garnered GRAMMY nominations and Latin GRAMMY wins, but it is their latest album, Aztlán, produced by Craig Silvey & Phill Vinall, which has won them a GRAMMY for Best Latin Rock Album (their last nomination was in the same category for 2006's Memo Rex Commander Y El Corazón Atómico De La Vía Láctea).
While the group continues to hold their signature sound close, Aztlán takes the band to a mythological place of the past: the birthplace of the Mexica people who would rule the Aztec Empire and would inspire the country's name. The album was intended to be an invitation into their culture and a statement among political and social events happening around the time of its conception.
"It is an invitation to discover the beauty and richness of our culture, and look inward so we can recover that Mexican dignity and pride," Larregui said in a statement. "This reflection to the past is with the hopes that as we reinvent ourselves in the near future we continue to maintain our 'Mexicanness' in a globalized world."
The quintet is pushing full-throttle into a globalized music industry where language is no barrier to mainstream success; they recently started a tour with some fellow North Americans: Canadian bands Metric and July Talk. The tour marks the first time the band has hit the road with English-language acts.
Bassist Ángel Mosqueda spoke to The Recording Academy on a stop in San Antonio, Texas about their tour, what the band's first GRAMMY win means for the band's growth, the socio-political inspiration behind Aztlán, what has kept the band going after so many years, and much more.
Where were you when you found out about your GRAMMY win?
I was in Mexico. At home. It was Sunday evening ... we have a chat in which we disclose many, many band things ... our manager and people from the office [are also on it]. That's where we, as a band, and all the team realized we won that precious award.
You're Latin GRAMMY winners and now you're also GRAMMY winners. How's that feel?
It's great ... we weren't expecting anything because sometimes you're just [doing] other things, and we have been nominated before and didn't win. So, we were like, we're taking it very seriously, of course, but not expecting anything and that feels good, when you're not expecting anything and you win and it's like, "Whoa. Things are happening."
Emocionados por este gran logro para #ZoéAztlán | "Best Latin Rock, Urban or Alternative Rock Album" en los @RecordingAcad #GRAMMYs pic.twitter.com/aFSFW97IRi
— ZOÉ (@zoetheband) February 10, 2019
Aztlán is this mythological place. What does it mean to you, and why name this album that?
Leon [Larregui], who is the singer and who does all the concept and the lyrics of the albums, decided to name it this way. He was considering all that was happening in Mexico [at the time and thought] it was a very good opportunity to name it like that and to think [of] our roots as a nation, etc. ... [At the time] there was an earthquake in Mexico, there was things happening also with migration with the new American president, and many, many [other] things happened. He could see a very good motif and a very good moment to name it like that and to return to our roots, to [reflect.] ... I'm really happy, not just in many aspects of the album, composition-wise, I think we have evolved and the production has evolved and the concept is great. I really love it.
As a band, you have so many great songs about love. There's "Camara Lenta," there's "Love" and now there's "Azul." How do you continue to create songs about love with a fresh perspective after so many years?
I think songs are not just coming from Leon's experiences, [even though he writes] almost all the lyrics. He also gets inspired [by] things that happen to the people that surround him ... he also captures stories and things that happen to friends, to family, us as a band ... For example, "Azul" is something that [didn't] exactly happen to him ... They're some other [songs like], "Hielo," which [are inspired by] things that happened to him. So every song has its own story, which makes it very interesting.
You've been a band for 20 years. What is the glue that keeps you together after so long?
Very good question. I think it's the music. As long as we continue doing good music. As long as we enjoy [being] in the studio, making good albums, which we put a lot of weight and a lot of emphasis and a lot of value to all the albums, into all the songs—as long as we continue doing good things, doing things that we consider are good for us, I think we're going to stay alive [as a] band.
I think we're still alive because of that. I think this last album really corroborates our strength as a band; that we continue doing good things and this album is great and we're very happy and thinking of doing another one in the future. So that's very good for us. We're very happy now and in the near future as a band.
Being a GRAMMY winner brings in new eyes and ears to music. I know that you have a lot of fans in the United States, but for people who may not know your music and are discovering it because they see you've won a GRAMMY, what do you want them to know about you as a band?
Good question. I think you are right, sometimes we are not thinking that this is the situation, but yeah, you're right. I think with the GRAMMY we are earning more fans, new people that are getting close to the band and they're getting to know the songs, and I think it's a big responsibility. I think, as soon as they hear our music they're gonna get it ... I think [we] have a very good spectrum of songs, of variety, of production, of instrumentation, of compositions, and I think they're gonna enjoy [all our music.] And I think it's very good that these things are happening now, because as you say, you're right, maybe we're earning more fans.
So how is the tour going? What can fans expect from this one?
The tour has been great, we're very happy. We're very happy to tour in the States. I mean, really for us it's a very good experience touring this huge amazing country with all these huge interesting cities. We take it like a very good opportunity to expand our market, to expand our career, of course, because this is a great country [with] great venues. And there is a lot of Latin people as well, now with this tour we have the opportunity to [tour] with Metric ... [We have] music that could be heard in not just in the common market of Latin people. It's music that could be heard anywhere in the world. We have friends all around the world that supports this idea.
I think we asked our office some time ago, that it would be great to [tour with Anglo bands] and they started to follow this idea and then suddenly it came to reality ... So in the show there's a very good mixture of Latin and Anglo people, which makes it very very interesting for us. I mean we're really really happy. The tour is going great. There's been great shows and it's a huge tour. I think we're gonna have 25 shows in 40 days or something, which is a very good effort. I think it's a very very good opportunity for us and for all the team.
For more information on Zoé's tour, go to the band's website.
2021 GRAMMYs: Complete Nominees List 2021-grammys-complete-nominees-list
2021 GRAMMYs: Complete Nominees List
The 63rd GRAMMY Awards are airing Sunday, March 14, 2021, on CBS! Find out who is nominated in each of the 83 categories in the full nominees list below
Nov 24, 2020 - 9:45 am
Updated Jan. 5, 2021.
The 63rd GRAMMY Awards are airing Sunday, March 14, 2021, on CBS! Find out who is nominated in each of the 83 categories in the full nominees list below. Use the links to jump to a desired field.
Dance/ Electronic Music
Contemporary Instrumental Music
Gospel/ Contemporary Christian Music
American Roots Music
Global Music
Music For Visual Media
Composing/ Arranging
Production, Non-Classical
Production, Immersive Audio
Production, Classical
Music Video/Film
1. Record Of The Year
Award to the Artist and to the Producer(s), Recording Engineer(s) and/or Mixer(s) and mastering engineer(s), if other than the artist.
BLACK PARADE
Beyoncé & Derek Dixie, producers; Stuart White, engineer/mixer; Colin Leonard, mastering engineer
Adrian Quesada, producer; Adrian Quesada, engineer/mixer; JJ Golden, mastering engineer
DaBaby Featuring Roddy Ricch
SethinTheKitchen, producer; Derek "MixedByAli" Ali, Chris Dennis, Liz Robson & Chris West, engineers/mixers; Glenn A Tabor III, mastering engineer
Tyson Trax, producer; Clint Gibbs, engineer/mixer; Mike Bozzi, mastering engineer
Finneas O'Connell, producer; Rob Kinelski & Finneas O'Connell, engineers/mixers; John Greenham, mastering engineer
Caroline Ailin & Ian Kirkpatrick, producers; Josh Gudwin, Drew Jurecka & Ian Kirkpatrick, engineers/mixers; Chris Gehringer, mastering engineer
Louis Bell, Frank Dukes & Post Malone, producers; Louis Bell & Manny Marroquin, engineers/mixers; Mike Bozzi, mastering engineer
Megan Thee Stallion Featuring Beyoncé
Beyoncé & J. White Did It, producers; Stuart White, engineer/mixer; Colin Leonard, mastering engineer
2. Album Of The Year
Award to Artist(s) and to Featured Artist(s), Songwriter(s) of new material, Producer(s), Recording Engineer(s), Mixer(s) and Mastering Engineer(s) credited with at least 33% playing time of the album, if other than Artist.
CHILOMBO
Fisticuffs & Julian-Quán Việt Lê, producers; Fisticuffs, Julian-Quán Việt Lê, Zeke Mishanec, Christian Plata & Gregg Rominiecki, engineers/mixers; Jhené Aiko Efuru Chilombo, Julian-Quán Việt Lê, Maclean Robinson & Brian Keith Warfield, songwriters; Dave Kutch, mastering engineer
BLACK PUMAS (DELUXE EDITION)
Adrian Quesada, producer; Adrian Quesada, engineer/mixer; Eric Burton & Adrian Quesada, songwriters; JJ Golden, mastering engineer
Daniel Green, Bill Rahko & Rik Simpson, producers; Mark "Spike" Stent, engineer/mixer; Guy Berryman, Jonny Buckland, Will Champion & Chris Martin, songwriters; Emily Lazar, mastering engineer
DJESSE VOL.3
Jacob Collier, producer; Ben Bloomberg & Jacob Collier, engineers/mixers; Jacob Collier, songwriter; Chris Allgood & Emily Lazar, mastering engineers
WOMEN IN MUSIC PT. III
Rostam Batmanglij, Danielle Haim & Ariel Rechtshaid, producers; Rostam Batmanglij, Jasmine Chen, John DeBold, Matt DiMona, Tom Elmhirst, Joey Messina-Doerning & Ariel Rechtshaid, engineers/mixers; Rostam Batmanglij, Alana Haim, Danielle Haim, Este Haim & Ariel Rechtshaid, songwriters; Emily Lazar, mastering engineer
Lorna Blackwood & Koz, producers; Josh Gudwin & Cameron Gower Poole, engineers/mixers; Clarence Coffee Jr. & Dua Lipa, songwriters; Chris Gehringer, mastering engineer
HOLLYWOOD'S BLEEDING
Louis Bell & Frank Dukes, producers; Louis Bell & Manny Marroquin, engineers/mixers; Louis Bell, Adam Feeney, Austin Post & Billy Walsh, songwriters; Mike Bozzi, mastering engineer
Jack Antonoff, Aaron Dessner & Taylor Swift, producers; Jack Antonoff, Aaron Dessner, Serban Ghenea, John Hanes, Jonathan Low & Laura Sisk, engineers/mixers; Aaron Dessner & Taylor Swift, songwriters; Randy Merrill, mastering engineer
3. Song Of The Year
A Songwriter(s) Award. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.
Denisia Andrews, Beyoncé, Stephen Bray, Shawn Carter, Brittany Coney, Derek James Dixie, Akil King, Kim "Kaydence" Krysiuk & Rickie "Caso" Tice, songwriters (Beyoncé)
Larrance Dopson, Samuel Gloade, Rodrick Moore, Adarius Moragne, Eric Sloan & Khirye Anthony Tyler, songwriters (Roddy Ricch)
Aaron Dessner & Taylor Swift, songwriters (Taylor Swift)
Louis Bell, Adam Feeney, Kaan Gunesberk, Austin Post & Billy Walsh, songwriters (Post Malone)
Caroline Ailin, Ian Kirkpatrick, Dua Lipa & Emily Warren, songwriters (Dua Lipa)
Billie Eilish O'Connell & Finneas O'Connell, songwriters (Billie Eilish)
I CAN'T BREATHE
Dernst Emile II, H.E.R. & Tiara Thomas, songwriters (H.E.R.)
IF THE WORLD WAS ENDING
Julia Michaels & JP Saxe, songwriters (JP Saxe Featuring Julia Michaels)
4. Best New Artist
This category recognizes an artist whose eligibility-year release(s) achieved a breakthrough into the public consciousness and notably impacted the musical landscape.
INGRID ANDRESS
D SMOKE
5. Best Pop Solo Performance
For new vocal or instrumental pop recordings. Singles or Tracks only.
WATERMELON SUGAR
6. Best Pop Duo/Group Performance
For new vocal or instrumental duo/group or collaborative pop recordings. Singles or Tracks only.
J Balvin, Dua Lipa, Bad Bunny & Tainy
Justin Bieber Featuring Quavo
Lady Gaga with Ariana Grande
Taylor Swift Featuring Bon Iver
7. Best Traditional Pop Vocal Album
For albums containing at least 51% playing time of new traditional pop recordings.
BLUE UMBRELLA
(Burt Bacharach &) Daniel Tashian
TRUE LOVE: A CELEBRATION OF COLE PORTER
Harry Connick, Jr.
UNFOLLOW THE RULES
8. Best Pop Vocal Album
For albums containing at least 51% playing time of new pop vocal recordings.
Dance/Electronic Music
9. Best Dance Recording
For solo, duo, group or collaborative performances. Vocal or Instrumental. Singles or tracks only.
Diplo & SIDEPIECE
Diplo & SIDEPIECE, producers; Luca Pretolesi, mixer
MY HIGH
Disclosure Featuring Aminé & Slowthai
Guy Lawrence & Howard Lawrence, producers; Guy Lawrence, mixer
Flume Featuring Toro y Moi
Flume, producer; Eric J Dubowsky, mixer
BOTH OF US
Jayda G
Fred Again.. & Jayda G, producers; Fred Again.. & Jayda G, mixers
Kaytranada Featuring Kali Uchis
Kaytranada, producer; Neal H. Pogue, mixer
10. Best Dance/Electronic Album
For vocal or instrumental albums. Albums only.
KICK I
PLANET'S MAD
11. Best Contemporary Instrumental Album
For albums containing approximately 51% or more playing time of instrumental material. For albums containing at least 51% playing time of new recordings.
Christian Scott aTunde Adjuah
CHRONOLOGY OF A DREAM: LIVE AT THE VILLAGE VANGUARD
Jon Batiste
TAKE THE STAIRS
Black Violin
Grégoire Maret, Romain Collin & Bill Frisell
LIVE AT THE ROYAL ALBERT HALL
12. Best Rock Performance
For new vocal or instrumental solo, duo/group or collaborative rock recordings.
SHAMEIKA
STAY HIGH
13. Best Metal Performance
For new vocal or instrumental solo, duo/group or collaborative metal recordings.
BUM-RUSH
BLOODMONEY
EXECUTIONER'S TAX (SWING OF THE AXE) – LIVE
14. Best Rock Song
A Songwriter(s) Award. Includes Rock, Hard Rock and Metal songs. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.
Phoebe Bridgers, Morgan Nagler & Marshall Vore, songwriters (Phoebe Bridgers)
LOST IN YESTERDAY
Kevin Parker, songwriter (Tame Impala)
Adrianne Lenker, songwriter (Big Thief)
Fiona Apple, songwriter (Fiona Apple)
Brittany Howard, songwriter (Brittany Howard)
15. Best Rock Album
For albums containing at least 51% playing time of new rock, hard rock or metal recordings.
A HERO'S DEATH
SOUND & FURY
THE NEW ABNORMAL
16. Best Alternative Music Album
Vocal or Instrumental.
FETCH THE BOLT CUTTERS
THE SLOW RUSH
17. Best R&B Performance
For new vocal or instrumental R&B recordings.
LIGHTNING & THUNDER
Jhené Aiko Featuring John Legend
Jacob Collier Featuring Mahalia & Ty Dolla $ign
GOAT HEAD
18. Best Traditional R&B Performance
For new vocal or instrumental traditional R&B recordings.
SIT ON DOWN
The Baylor Project Featuring Jean Baylor & Marcus Baylor
WONDER WHAT SHE THINKS OF ME
Yebba
19. Best R&B Song
BETTER THAN I IMAGINED
Robert Glasper, Meshell Ndegeocello & Gabriella Wilson, songwriters (Robert Glasper Featuring H.E.R. & Meshell Ndegeocello)
Sam Barsh, Stacey Barthe, Sonyae Elise, Olu Fann, Akil King, Josh Lopez, Kaveh Rastegar & Benedetto Rotondi, songwriters (Tiana Major9 & EARTHGANG)
Chloe Bailey, Halle Bailey, Anton Kuhl, Victoria Monét, Scott Storch & Vincent Van Den Ende, songwriters (Chloe X Halle)
Nasri Atweh, Badriia Bourelly, Skip Marley, Ryan Williamson & Gabriella Wilson, songwriters (Skip Marley & H.E.R.)
20. Best Progressive R&B Album
For albums containing at least 51% playing time of newly recorded progressive vocal tracks derivative of R&B.
F*** YO FEELINGS
21. Best R&B Album
For albums containing at least 51% playing time of new R&B recordings.
HAPPY 2 BE HERE
Ant Clemons
TO FEEL LOVE/D
Luke James
22. Best Rap Performance
For a Rap performance. Singles or Tracks only.
DEEP REVERENCE
Big Sean Featuring Nipsey Hussle
23. Best Melodic Rap Performance
For a solo or collaborative performance containing both elements of R&B melodies and Rap.
Drake Featuring Lil Durk
HIGHEST IN THE ROOM
24. Best Rap Song
A Songwriter(s) Award. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only..
Dominique Jones, Noah Pettigrew & Rai'shaun Williams, songwriters (Lil Baby)
Durk Banks, Rogét Chahayed, Aubrey Graham, Daveon Jackson, Ron LaTour & Ryan Martinez, songwriters (Drake Featuring Lil Durk)
Jonathan Lyndale Kirk, Ross Joseph Portaro IV & Rodrick Moore, songwriters (DaBaby Featuring Roddy Ricch)
Beyoncé, Shawn Carter, Brittany Hazzard, Derrick Milano, Terius Nash, Megan Pete, Bobby Session Jr., Jordan Kyle Lanier Thorpe & Anthony White, songwriters (Megan Thee Stallion Featuring Beyoncé)
25. Best Rap Album
For albums containing at least 51% playing time of new rap recordings.
BLACK HABITS
Freddie Gibbs & The Alchemist
A WRITTEN TESTIMONY
KING'S DISEASE
THE ALLEGORY
Royce 5'9"
26. Best Country Solo Performance
For new vocal or instrumental solo country recordings.
Stick That In Your Country Song
WHO YOU THOUGHT I WAS
Brandy Clark
WHEN MY AMY PRAYS
Mickey Guyton
27. Best Country Duo/Group Performance
For new vocal or instrumental duo/group or collaborative country recordings.
Dan + Shay & Justin Bieber
SUGAR COAT
SOME PEOPLE DO
28. Best Country Song
Luke Dick, Natalie Hemby & Miranda Lambert, songwriters (Miranda Lambert)
THE BONES
Maren Morris, Jimmy Robbins & Laura Veltz, songwriters (Maren Morris)
Brandi Carlile, Natalie Hemby & Lori McKenna, songwriters (The Highwomen)
MORE HEARTS THAN MINE
Ingrid Andress, Sam Ellis & Derrick Southerland, songwriters (Ingrid Andress)
Jesse Frasure, Shane McAnally, Matthew Ramsey & Thomas Rhett, songwriters (Old Dominion)
29. Best Country Album
For albums containing at least 51% playing time of new country recordings.
YOUR LIFE IS A RECORD
NEVER WILL
30. Best New Age Album
For albums containing at least 51% playing time of new vocal or instrumental new age recordings.
SONGS FROM THE BARDO
Laurie Anderson, Tenzin Choegyal & Jesse Paris Smith
Priya Darshini
FORM//LESS
MORE GUITAR STORIES
Jim "Kimo" West
Cory Wong & Jon Batiste
31. Best Improvised Jazz Solo
For an instrumental jazz solo performance. Two equal performers on one recording may be eligible as one entry. If the soloist listed appears on a recording billed to another artist, the latter's name is in parenthesis for identification. Singles or Tracks only.
GUINNEVERE
Christian Scott aTunde Adjuah, soloist
Track from: Axiom
Regina Carter, soloist
Track from: Ona (Thana Alexa)
Gerald Clayton, soloist
Chick Corea, soloist
Track from: Trilogy 2 (Chick Corea, Christian McBride & Brian Blade)
MOE HONK
Joshua Redman, soloist
Track from: RoundAgain (Redman Mehldau McBride Blade)
32. Best Jazz Vocal Album
For albums containing at least 51% playing time of new vocal jazz recordings.
Thana Alexa
SECRETS ARE THE BEST STORIES
Kurt Elling Featuring Danilo Pérez
MODERN ANCESTORS
Carmen Lundy
HOLY ROOM: LIVE AT ALTE OPER
Somi With Frankfurt Radio Big Band Conducted By John Beasley
Kenny Washington
33. Best Jazz Instrumental Album
For albums containing at least 51% playing time of new instrumental jazz recordings.
ON THE TENDER SPOT OF EVERY CALLOUSED MOMENT
Ambrose Akinmusire
Terri Lyne Carrington And Social Science
HAPPENING: LIVE AT THE VILLAGE VANGUARD
Gerald Clayton
TRILOGY 2
Chick Corea, Christian McBride & Brian Blade
ROUNDAGAIN
Redman Mehldau McBride Blade
34. Best Large Jazz Ensemble Album
For albums containing at least 51% playing time of new ensemble jazz recordings.
DIALOGUES ON RACE
Gregg August
MONK'ESTRA PLAYS JOHN BEASLEY
John Beasley's MONK'estra
THE INTANGIBLE BETWEEN
Orrin Evans And The Captain Black Big Band
SONGS YOU LIKE A LOT
John Hollenbeck With Theo Bleckmann, Kate McGarry, Gary Versace And The Frankfurt Radio Big Band
DATA LORDS
Maria Schneider Orchestra
35. Best Latin Jazz Album
For vocal or instrumental albums containing at least 51% playing time of newly recorded material. The intent of this category is to recognize recordings that represent the blending of jazz with Latin, Iberian-American, Brazilian, and Argentinian tango music.
Afro-Peruvian Jazz Orchestra
Arturo O'Farrill & The Afro Latin Jazz Orchestra
VIENTO Y TIEMPO - LIVE AT BLUE NOTE TOKYO
Gonzalo Rubalcaba & Aymée Nuviola
TRANE'S DELIGHT
Poncho Sanchez
Gospel/Contemporary Christian Music
36. Best Gospel Performance/Song
This award is given to the artist(s) and songwriter(s) (for new compositions) for the best traditional Christian, roots gospel or contemporary gospel single or track.
WONDERFUL IS YOUR NAME
Melvin Crispell III
RELEASE (LIVE)
Ricky Dillard Featuring Tiff Joy; David Frazier, songwriter
Rodney "Darkchild" Jerkins Present: The Good News; Rodney "Darkchild" Jerkins & Jazz Nixon, producers; Lashawn Daniels, Rodney Jerkins, Lecrae Moore & Jazz Nixon, songwriters
WON'T LET GO
Travis Greene; Travis Greene, songwriter
MOVIN' ON
Jonathan McReynolds & Mali Music; Darryl L. Howell, Jonathan Caleb McReynolds, Kortney Jamaal Pollard & Terrell Demetrius Wilson, songwriters
37. Best Contemporary Christian Music Performance/Song
This award is given to the artist(s) and songwriter(s) (for new compositions) for the best contemporary Christian music single or track, (including pop, rap/hip-hop, Latin, or rock.
THE BLESSING (LIVE)
Kari Jobe, Cody Carnes & Elevation Worship; Chris Brown, Cody Carnes, Kari Jobe Carnes & Steven Furtick, songwriters
Lecrae Featuring Kirk Franklin; Denisia Andrews, Jones Terrence Antonio, Saint Bodhi, Rafael X. Brown, Brittany Coney, Kirk Franklin, Lasanna Harris, Shama Joseph, Stuart Lowery, Lecrae Moore & Nathanael Saint-Fleur, Songwriters
We The Kingdom; Andrew Bergthold, Ed Cash, Franni Cash, Martin Cash & Scott Cash, songwriters
FAMOUS FOR (I BELIEVE)
Tauren Wells Featuring Jenn Johnson; Chuck Butler, Krissy Nordhoff, Jordan Sapp, Alexis Slifer & Tauren Wells, songwriters
THERE WAS JESUS
Zach Williams & Dolly Parton; Casey Beathard, Jonathan Smith & Zach Williams, songwriters
38. Best Gospel Album
For albums containing at least 51% playing time of newly recorded, vocal, traditional or contemporary/R&B gospel music recordings.
2ECOND WIND: READY
Anthony Brown & group therAPy
MY TRIBUTE
Myron Butler
CHOIRMASTER
GOSPEL ACCORDING TO PJ
39. Best Contemporary Christian Music Album
For albums containing at least 51% playing time of newly recorded, vocal, contemporary Christian music, including pop, rap/hip hop, Latin, or rock recordings.
RUN TO THE FATHER
Cody Carnes
ALL OF MY BEST FRIENDS
We The Kingdom
CITIZEN OF HEAVEN
40. Best Roots Gospel Album
For albums containing at least 51% playing time of newly recorded, vocal, traditional/roots gospel music, including country, Southern gospel, bluegrass, and Americana recordings.
Mark Bishop
The Crabb Family
WHAT CHRISTMAS REALLY MEANS
The Erwins
CELEBRATING FISK! (THE 150TH ANNIVERSARY ALBUM)
Fisk Jubilee Singers
SOMETHING BEAUTIFUL
Ernie Haase & Signature Sound
41. Best Latin Pop or Urban Album
For albums containing at least 51% playing time of new Latin pop or urban recordings.
YHLQMDLG
MESA PARA DOS
Debi Nova
42. Best Latin Rock or Alternative Album
For albums containing at least 51% playing time of new Latin rock or alternative recordings.
Bajofondo
SOBREVOLANDO
LA CONQUISTA DEL ESPACIO
Fito Paez
MISS COLOMBIA
43. Best Regional Mexican Music Album (Including Tejano)
For albums containing at least 51% playing time of new regional Mexican (banda, norteño, corridos, gruperos, mariachi, ranchera and Tejano) recordings.
HECHO EN MÉXICO
LA SERENATA
Lupita Infante
UN CANTO POR MÉXICO, VOL. 1
BAILANDO SONES Y HUAPANGOS CON MARIACHI SOL DE MEXICO DE JOSE HERNANDEZ
Mariachi Sol De Mexico De Jose Hernandez
AYAYAY!
44. Best Tropical Latin Album
For albums containing at least 51% playing time of new tropical Latin recordings.
MI TUMBAO
José Alberto "El Ruiseñor"
Edwin Bonilla
SIGO CANTANDO AL AMOR (DELUXE)
Jorge Celedon & Sergio Luis
Grupo Niche
MEMORIAS DE NAVIDAD
Víctor Manuelle
45. Best American Roots Performance
For new vocal or instrumental American Roots recordings. This is for performances in the style of any of the subgenres encompassed in the American Roots Music field including Americana, bluegrass, blues, folk or regional roots. Award to the artist(s).
DEEP IN LOVE
Bonny Light Horseman
I'LL BE GONE
Norah Jones & Mavis Staples
I REMEMBER EVERYTHING
46. Best American Roots Song
A Songwriter(s) Award. Includes Americana, bluegrass, traditional blues, contemporary blues, folk or regional roots songs. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.
Laura Rogers & Lydia Rogers, songwriters (The Secret Sisters)
CEILING TO THE FLOOR
Sierra Hull & Kai Welch, songwriters (Sierra Hull)
Sarah Jarosz, songwriter (Sarah Jarosz)
Pat McLaughlin & John Prine, songwriters (John Prine)
MAN WITHOUT A SOUL
Tom Overby & Lucinda Williams, songwriters (Lucinda Williams)
47. Best Americana Album
For albums containing at least 51% playing time of new vocal or instrumental Americana recordings.
OLD FLOWERS
Courtney Marie Andrews
TERMS OF SURRENDER
WORLD ON THE GROUND
GOOD SOULS BETTER ANGELS
48. Best Bluegrass Album
For albums containing at least 51% playing time of new vocal or instrumental bluegrass recordings.
Danny Barnes
TO LIVE IN TWO WORLDS, VOL. 1
Thomm Jutz
NORTH CAROLINA SONGBOOK
Steep Canyon Rangers
THE JOHN HARTFORD FIDDLE TUNE PROJECT, VOL. 1
(Various Artists)
Matt Combs & Katie Harford Hogue, producers
49. Best Traditional Blues Album
For albums containing at least 51% playing time of new vocal or instrumental traditional blues recordings.
ALL MY DUES ARE PAID
Frank Bey
Don Bryant
THAT'S WHAT I HEARD
Jimmy "Duck" Holmes
RAWER THAN RAW
50. Best Contemporary Blues Album
For albums containing at least 51% playing time of new vocal or instrumental contemporary blues recordings.
HAVE YOU LOST YOUR MIND YET?
LIVE AT THE PARAMOUNT
Ruthie Foster Big Band
G. Love
UP AND ROLLING
51. Best Folk Album
For albums containing at least 51% playing time of new vocal or instrumental folk recordings.
THANKS FOR THE DANCE
SONG FOR OUR DAUGHTER
SATURN RETURN
The Secret Sisters
ALL THE GOOD TIMES
Gillian Welch & David Rawlings
52. Best Regional Roots Music Album
For albums containing at least 51% playing time of new vocal or instrumental regional roots music recordings.
MY RELATIVES "NIKSO KOWAIKS"
Black Lodge Singers
CAMERON DUPUY AND THE CAJUN TROUBADOURS
LOVELY SUNRISE
Nā Wai ʽEhā
New Orleans Nightcrawlers
A TRIBUTE TO AL BERARD
Sweet Cecilia
53. Best Reggae Album
For albums containing at least 51% playing time of new reggae recordings.
UPSIDE DOWN 2020
HIGHER PLACE
Skip Marley
IT ALL COMES BACK TO LOVE
GOT TO BE TOUGH
54. Best Global Music Album
For albums containing at least 51% playing time of new vocal or instrumental Global Music recordings.
FU CHRONICLES
Antibalas
TWICE AS TALL
AMADJAR
55. Best Children's Music Album
For albums containing at least 51% playing time of new musical or spoken word recordings that are created and intended specifically for children.
ALL THE LADIES
Joanie Leeds
56. Best Spoken Word Album (Includes Poetry, Audio Books & Storytelling)
ACID FOR THE CHILDREN: A MEMOIR
ALEX TREBEK - THE ANSWER IS...
CATCH AND KILL
CHARLOTTE'S WEB (E.B. WHITE)
Meryl Streep (& Full cast)
57. Best Comedy Album
For albums containing at least 51% playing time of new recordings.
BLACK MITZVAH
I LOVE EVERYTHING
THE PALE TOURIST
23 HOURS TO KILL
58. Best Musical Theater Album
For albums containing at least 51% playing time of new recordings. Award to the principle vocalist(s) and the album producer(s) of 51% or more playing time of the album. The lyricist(s) and composer(s) of a new score are eligible for an Award if they have written and/or composed a new score which comprises 51% or more playing time of the album.
Audrey Brisson, Chris Jared, Caolan McCarthy & Jez Unwin, principal soloists; Michael Fentiman, Sean Patrick Flahaven, Barnaby Race & Nathan Tysen, producers; Nathan Tysen, lyricist; Daniel Messe, composer & lyricist (Original London Cast)
AMERICAN UTOPIA ON BROADWAY
David Byrne, producer (David Byrne, composer & lyricist) (Original Cast)
Kathryn Gallagher, Celia Rose Gooding, Lauren Patten & Elizabeth Stanley, principal soloists; Neal Avron, Pete Ganbarg, Tom Kitt, Michael Parker, Craig Rosen & Vivek J. Tiwary, producers (Glen Ballard, composer; Alanis Morissette, composer & lyricist) (Original Broadway Cast)
Tammy Blanchard, Jonathan Groff & Tom Alan Robbins, principal soloists; Will Van Dyke, Michael Mayer, Alan Menken & Frank Wolf, producers (Alan Menken, composer; Howard Ashman, lyricist) (The New Off-Broadway Cast)
Christine Allado, Luke Brady, Alexia Khadime & Liam Tamne, principal soloists; Dominick Amendum & Stephen Schwartz, producers; Stephen Schwartz, composer & lyricist (Original Cast)
Francis Jue, Austin Ku, Alyse Alan Louis & Conrad Ricamora, principal soloists; Matt Stine, producer; David Henry Hwang, lyricist; Jeanine Tesori, composer & lyricist (Original Cast)
59. Best Compilation Soundtrack For Visual Media
Award to the artist(s) and/or 'in studio' producer(s) of a majority of the tracks on the album. In the absence of both, award to the one or two individuals proactively responsible for the concept and musical direction of the album and for the selection of artists, songs and producers, as applicable. Award also goes to appropriately credited music supervisor(s).
Nate Heller, compilation producer; Howard Paar, Music Supervisor
Jonathan Leahy, compilation producer
Savan Kotecha, compilation producer; Becky Bentham, music supervisor
Kristen Anderson-Lopez, Robert Lopez, Tom MacDougall & Dave Metzger, compilation producers
Taika Waititi, compilation producer
60. Best Score Soundtrack For Visual Media
Award to Composer(s) for an original score created specifically for, or as a companion to, a current legitimate motion picture, television show or series, video games or other visual media.
Max Richter, composer
Kamasi Washington, composer
Hildur Guðnadóttir, composer
Thomas Newman, composer
John Williams, composer
61. Best Song Written For Visual Media
A Songwriter(s) award. For a song (melody & lyrics) written specifically for a motion picture, television, video games or other visual media, and released for the first time during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.
BEAUTIFUL GHOSTS [FROM CATS]
Andrew Lloyd Webber & Taylor Swift, songwriters (Taylor Swift)
CARRIED ME WITH YOU [FROM ONWARD]
Brandi Carlile, Phil Hanseroth & Tim Hanseroth, songwriters (Brandi Carlile)
INTO THE UNKNOWN [FROM FROZEN 2]
Kristen Anderson-Lopez & Robert Lopez, songwriters (Idina Menzel & AURORA)
NO TIME TO DIE [FROM NO TIME TO DIE]
Billie Eilish O'Connell & Finneas Baird O'Connell, songwriters (Billie Eilish)
STAND UP [FROM HARRIET]
Joshuah Brian Campbell & Cynthia Erivo, songwriters (Cynthia Erivo)
Composing/Arranging
62. Best Instrumental Composition
A Composer's Award for an original composition (not an adaptation) first released during the Eligibility Year. Singles or Tracks only.
BABY JACK
Arturo O'Farrill, composer (Arturo O'Farrill & The Afro Latin Jazz Orchestra)
BE WATER II
Christian Sands, composer (Christian Sands)
PLUMFIELD
Alexandre Desplat, composer (Alexandre Desplat)
Maria Schneider, composer (Maria Schneider)
Remy Le Boeuf, composer (Remy Le Boeuf's Assembly Of Shadows Featuring Anna Webber & Eric Miller)
63. Best Arrangement, Instrumental or A Cappella
An Arranger's Award. (Artist names appear in parentheses.) Singles or Tracks only.
BATHROOM DANCE
Hildur Guðnadóttir, arranger (Hildur Guðnadóttir)
John Beasley, arranger (John Beasley)
Remy Le Boeuf, arranger (Remy Le Boeuf's Assembly Of Shadows)
LIFT EVERY VOICE AND SING
Alvin Chea & Jarrett Johnson, arrangers (Jarrett Johnson Featuring Alvin Chea)
URANUS: THE MAGICIAN
Jeremy Levy, arranger (Jeremy Levy Jazz Orchestra)
64. Best Arrangement, Instruments and Vocals
ASAS FECHADAS
John Beasley & Maria Mendes, arrangers (Maria Mendes Featuring John Beasley & Orkest Metropole)
Erin Bentlage, Sara Gazarek, Johnaye Kendrick & Amanda Taylor, arrangers (Säje)
Alan Broadbent & Pat Metheny, arrangers (Pat Metheny Featuring Meshell Ndegeocello)
HE WON'T HOLD YOU
Jacob Collier, arranger (Jacob Collier Featuring Rapsody)
Talia Billig, Nic Hard & Becca Stevens, arrangers (Becca Stevens Featuring Jacob Collier, Mark Lettieri, Justin Stanton, Jordan Perlson, Nic Hard, Keita Ogawa, Marcelo Woloski & Nate Werth)
65. Best Recording Package
Pilar Zeta, art director (Coldplay)
Kyle Goen & Alex Kalatschinow, art directors (Lil Wayne)
Julian Gross & Hannah Hooper, art directors (Grouplove)
ON CIRCLES
Jordan Butcher, art director (Caspian)
VOLS. 11 & 12
Doug Cunningham & Jason Noto, art directors (Desert Sessions)
66. Best Boxed Or Special Limited Edition Package
FLAMING PIE (COLLECTOR'S EDITION)
Linn Wie Andersen, Simon Earith, Paul McCartney & James Musgrave, art directors (Paul McCartney)
GIANTS STADIUM 1987, 1989, 1991
Lisa Glines & Doran Tyson, art directors (Grateful Dead)
Jeff Schulz & Paul A. Taylor, art directors (Depeche Mode)
Lawrence Azerrad & Jeff Tweedy, art directors (Wilco)
THE STORY OF GHOSTLY INTERNATIONAL
Michael Cina & Molly Smith, art directors (Various Artists)
67. Best Album Notes
AT THE MINSTREL SHOW: MINSTREL ROUTINES FROM THE STUDIO, 1894-1926
Tim Brooks, album notes writer (Various Artists)
THE BAKERSFIELD SOUND: COUNTRY MUSIC CAPITAL OF THE WEST, 1940-1974
Scott B. Bomar, album notes writer (Various Artists)
DEAD MAN'S POP
Bob Mehr, album notes writer (The Replacements)
THE MISSING LINK: HOW GUS HAENSCHEN GOT US FROM JOPLIN TO JAZZ AND SHAPED THE MUSIC BUSINESS
Colin Hancock, album notes writer (Various Artists)
OUT OF A CLEAR BLUE SKY
David Sager, album notes writer (Nat Brusiloff)
68. Best Historical Album
CELEBRATED, 1895-1896
Meagan Hennessey & Richard Martin, compilation producers; Richard Martin, mastering engineer (Unique Quartette)
HITTIN' THE RAMP: THE EARLY YEARS (1936 - 1943)
Zev Feldman, Will Friedwald & George Klabin, compilation producers; Matthew Lutthans, mastering engineer (Nat King Cole)
IT'S SUCH A GOOD FEELING: THE BEST OF MISTER ROGERS
Lee Lodyga & Cheryl Pawelski, compilation producers; Michael Graves, mastering engineer (Mister Rogers)
1999 SUPER DELUXE EDITION
Trevor Guy, Michael Howe & Kirk Johnson, compilation producers; Bernie Grundman, mastering engineer (Prince)
Carolyn Agger, compilation producer; Miles Showell, mastering engineer (Orchestral Manoeuvres In The Dark)
THROW DOWN YOUR HEART: THE COMPLETE AFRICA SESSIONS
Béla Fleck, compilation producer; Richard Dodd, mastering engineer (Béla Fleck)
69. Best Engineered Album, Non-Classical
An Engineer's Award. (Artists names appear in parentheses.)
BLACK HOLE RAINBOW
Shawn Everett & Ivan Wayman, engineers; Bob Ludwig, mastering engineer (Devon Gilfillian)
Gary Paczosa & Mike Robinson, engineers; Paul Blakemore, mastering engineer (Katie Pruitt)
Drew Brown, Julian Burg, Andrew Coleman, Paul Epworth, Shawn Everett, Serban Ghenea, David Greenbaum, John Hanes, Beck Hansen, Jaycen Joshua, Greg Kurstin, Mike Larson, Cole M.G.N., Alex Pasco & Matt Wiggins, engineers; Randy Merrill, mastering engineer (Beck)
Shawn Everett, engineer; Shawn Everett, mastering engineer (Brittany Howard)
25 TRIPS
Shani Gandhi & Gary Paczosa, engineers; Adam Grover, mastering engineer (Sierra Hull)
70. Producer Of The Year, Non-Classical
• August (Taylor Swift) (T)
• Gaslighter (The Chicks) (A)
• Holy Terrain (FKA Twigs Featuring Future) (T)
• Mirrorball (Taylor Swift) (T)
• This Is Me Trying (Taylor Swift) (T)
• Together (Sia) (S)
• Cypress Grove (Jimmy "Duck" Holmes) (A)
• El Dorado (Marcus King) (A)
• Is Thomas Callaway (CeeLo Green) (A)
• Singing For My Supper (Early James) (A)
• Solid Gold Sounds (Kendell Marvel) (A)
• Years (John Anderson) (A
• Backbone (Kaleo) (S)
• The Balladeer (Lori McKenna) (A)
• Boneshaker (Airbourne) (A)
• Down Home Christmas (Oak Ridge Boys) (A)
• The Highwomen (The Highwomen) (A)
• I Remember Everything (John Prine) (S)
• Reunions (Jason Isbell And The 400 Unit) (A)
• The Spark (William Prince) (S)
• You're Still The One (Teddy Swims) (S)
• It Is What It Is (Thundercat) (A)
• Break My Heart (Dua Lipa) (T)
• Me And My Guitar (A Boogie Wit Da Hoodie) (T)
• Midnight Sky (Miley Cyrus) (S)
• Old Me (5 Seconds Of Summer) (T)
• Ordinary Man (Ozzy Osbourne Featuring Elton John) (T)
• Take What You Want (Post Malone Featuring Ozzy Osbourne & Travis Scott) (T)
• Under The Graveyard (Ozzy Osbourne) (T)
71. Best Remixed Recording
A Remixer's Award. (Artists names appear in parentheses for identification.) Singles or Tracks only.
DO YOU EVER (RAC MIX)
RAC, remixer (Phil Good)
IMAGINARY FRIENDS (MORGAN PAGE REMIX)
Morgan Page, remixer (Deadmau5)
PRAYING FOR YOU (LOUIE VEGA MAIN REMIX)
Louie Vega, remixer (Jasper Street Co.)
Imanbek Zeikenov, remixer (SAINt JHN)
YOUNG & ALIVE (BAZZI VS. HAYWYRE REMIX)
Haywyre, remixer (Bazzi)
72. Best Immersive Audio Album
Due to the COVID-19 pandemic, the Best Immersive Audio Album Craft Committee was unable to meet. The judging of the entries in this category has been postponed until such time that we are able to meet in a way that is appropriate to judge the many formats and configurations of the entries and is safe for the committee members. The nominations for the 63rd GRAMMYs will be announced next year in addition to (and separately from) the 64th GRAMMY nominations in the category
73. Best Engineered Album, Classical
An Engineer's Award. (Artist names appear in parentheses.)
DANIELPOUR: THE PASSION OF YESHUA
Bernd Gottinger, engineer (JoAnn Falletta, James K. Bass, Adam Luebke, UCLA Chamber Singers, Buffalo Philharmonic Orchestra & Buffalo Philharmonic Chorus)
GERSHWIN: PORGY AND BESS
David Frost & John Kerswell, engineers; Silas Brown, mastering engineer (David Robertson, Frederick Ballentine, Angel Blue, Denyce Graves, Latonia Moore, Eric Owens, Metropolitan Opera Orchestra & Chorus)
HYNES: FIELDS
Kyle Pyke, engineer; Jesse Lewis & Kyle Pyke, mastering engineers (Devonté Hynes & Third Coast Percussion)
IVES: COMPLETE SYMPHONIES
Alexander Lipay & Dmitriy Lipay, engineers; Alexander Lipay & Dmitriy Lipay, mastering engineers (Gustavo Dudamel & Los Angeles Philharmonic)
SHOSTAKOVICH: SYMPHONY NO. 13, 'BABI YAR'
David Frost & Charlie Post, engineers; Silas Brown, mastering engineer (Riccardo Muti & Chicago Symphony Orchestra)
74. Producer Of The Year, Classical
A Producer's Award. (Artist names appear in parentheses.)
BLANTON ALSPAUGH
• Aspects Of America - Pulitzer Edition (Carlos Kalmar & Oregon Symphony)
• Blessed Art Thou Among Women (Peter Jermihov, Katya Lukianov & PaTRAM Institute Singers)
• Dvořák: Symphony No. 9; Copland: Billy The Kid (Gianandrea Noseda & National Symphony Orchestra)
• Glass: The Fall Of The House Of Usher (Joseph Li, Nicholas Nestorak, Madison Leonard, Jonas Hacker, Ben Edquist, Matthew Adam Fleisher & Wolf Trap Opera)
• Kahane: Emergency Shelter Intake Form (Alicia Hall Moran, Gabriel Kahane, Carlos Kalmar & Oregon Symphony)
• Kastalsky: Requiem (Leonard Slatkin, Steven Fox, Benedict Sheehan, Charles Bruffy, Cathedral Choral Society, The Clarion Choir, The Saint Tikhon Choir, Kansas City Chorale & Orchestra Of St. Luke's)
• Massenet: Thaïs (Andrew Davis, Joshua Hopkins, Andrew Staples, Erin Wall, Toronto Mendelssohn Choir & Toronto Symphony Orchestra)
• Smyth: The Prison (Sarah Brailey, Dashon Burton, James Blachly & Experiential Orchestra)
• Woolf, L.P.: Fire And Flood (Julian Wachner, Matt Haimovitz & Choir Of Trinity Wall Street)
• Beethoven: Piano Sonatas, Vol. 9 (Jonathan Biss)
• Gershwin: Porgy And Bess (David Robertson, Frederick Ballentine, Angel Blue, Denyce Graves, Latonia Moore, Eric Owens, Metropolitan Opera Orchestra & Chorus)
• Gluck: Orphée & Eurydice (Harry Bicket, Dmitry Korchak, Andriana Chuchman, Lauren Snouffer, Lyric Opera Of Chicago Orchestra & Chorus)
• Holst: The Planets; The Perfect Fool (Michael Stern & Kansas City Symphony)
• Muhly: Marnie (Robert Spano, Isabel Leonard, Christopher Maltman, Denyce Graves, Iestyn Davies, Janis Kelly, Metropolitan Opera Orchestra & Chorus)
• Schubert: Piano Sonatas, D. 845, D. 894, D. 958, D. 960 (Shai Wosner)
• Shostakovich: Symphony No. 13, 'Babi Yar' (Riccardo Muti, Alexey Tikhomirov, Chicago Symphony Orchestra & Chorus)
JESSE LEWIS
• Gunn: The Ascendant (Roomful Of Teeth)
• Harrison, M.: Just Constellations (Roomful Of Teeth)
• Her Own Wings (Willamette Valley Chamber Music Festival)
• Hynes: Fields (Devonté Hynes & Third Coast Percussion)
• Lang, D.: Love Fail (Beth Willer & Lorelei Ensemble)
• Mazzoli: Proving Up (Christopher Rountree, Opera Omaha & International Contemporary Ensemble)
• Sharlat: Spare The Rod! (NOW Ensemble)
• Soul House (Hub New Music)
• Wherein Lies The Good (The Westerlies)
DMITRIY LIPAY
• Adams, J.: Must The Devil Have All The Good Tunes? (Yuja Wang, Gustavo Dudamel & Los Angeles Philharmonic)
• Cipullo: The Parting (Alastair Willis, Laura Strickling, Catherine Cook, Michael Mayes & Music Of Remembrance)
• Ives: Complete Symphonies (Gustavo Dudamel & Los Angeles Philharmonic)
• LA Phil 100 - The Los Angeles Philharmonic Centennial Birthday Gala (Gustavo Dudamel & Los Angeles Philharmonic)
• Langgaard: Prelude To Antichrist; Strauss: An Alpine Symphony (Thomas Dausgaard & Seattle Symphony Orchestra)
• Nielsen: Symphony No. 1 & Symphony No. 2, 'The Four Temperaments' (Thomas Dausgaard & Seattle Symphony)
ELAINE MARTONE
• Bound For The Promised Land (Robert M. Franklin, Steven Darsey, Jessye Norman & Taylor Branch)
• Dawn (Shachar Israel)
• Gandolfi, Prior & Oliverio: Orchestral Works (Robert Spano & Atlanta Symphony Orchestra)
• Singing In The Dead Of Night (Eighth Blackbird)
• Whitacre: The Sacred Veil (Eric Whitacre, Grant Gershon & Los Angeles Master Chorale)
75. Best Orchestral Performance
Award to the Conductor and to the Orchestra.
ASPECTS OF AMERICA - PULITZER EDITION
Carlos Kalmar, conductor (Oregon Symphony)
Daníel Bjarnason, conductor (Iceland Symphony Orchestra)
COPLAND: SYMPHONY NO. 3
Michael Tilson Thomas, conductor (San Francisco Symphony)
Gustavo Dudamel, conductor (Los Angeles Philharmonic)
LUTOSłAWSKI: SYMPHONIES NOS. 2 & 3
Hannu Lintu, conductor (Finnish Radio Symphony Orchestra)
76. Best Opera Recording
Award to the Conductor, Album Producer(s) and Principal Soloists.
DELLO JOIO: THE TRIAL AT ROUEN
Gil Rose, conductor; Heather Buck & Stephen Powell; Gil Rose, producer (Boston Modern Orchestra Project; Odyssey Opera Chorus)
FLOYD, C.: PRINCE OF PLAYERS
William Boggs, conductor; Alexander Dobson, Keith Phares & Kate Royal; Blanton Alspaugh, producer (Milwaukee Symphony Orchestra; Florentine Opera Chorus)
David Robertson, conductor; Frederick Ballentine, Angel Blue, Denyce Graves, Latonia Moore & Eric Owens; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)
HANDEL: AGRIPPINA
Maxim Emelyanychev, conductor; Elsa Benoit, Joyce DiDonato, Franco Fagioli, Jakub Józef Orliński & Luca Pisaroni; Daniel Zalay, producer (Il Pomo D'Oro)
ZEMLINSKY: DER ZWERG
Donald Runnicles, conductor; David Butt Philip & Elena Tsallagova; Peter Ghirardini & Erwin Stürzer, producers (Orchestra Of The Deutsche Oper Berlin; Chorus Of The Deutsche Oper Berlin)
77. Best Choral Performance
Award to the Conductor, and to the Choral Director and/or Chorus Master where applicable and to the Choral Organization/Ensemble.
Donald Nally, conductor (The Crossing)
DANIELPOUR: THE PASSION OF YESHUAH
JoAnn Falletta, conductor; James K. Bass & Adam Luebke, chorus masters (James K. Bass, J'Nai Bridges, Timothy Fallon, Kenneth Overton, Hila Plitmann & Matthew Worth; Buffalo Philharmonic Orchestra; Buffalo Philharmonic Chorus & UCLA Chamber Singers)
KASTALSKY: REQUIEM
Leonard Slatkin, conductor; Charles Bruffy, Steven Fox & Benedict Sheehan, chorus masters (Joseph Charles Beutel & Anna Dennis; Orchestra Of St. Luke's; Cathedral Choral Society, The Clarion Choir, Kansas City Chorale & The Saint Tikhon Choir)
MORAVEC: SANCTUARY ROAD
Kent Tritle, conductor (Joshua Blue, Raehann Bryce-Davis, Dashon Burton, Malcolm J. Merriweather & Laquita Mitchell; Oratorio Society Of New York Orchestra; Oratorio Society Of New York Chorus)
Matthew Guard, conductor (Sarah Walker; Skylark Vocal Ensemble)
78. Best Chamber Music/Small Ensemble Performance
For new recordings of works with chamber or small ensemble (twenty-four or fewer members, not including the conductor). One Award to the ensemble and one Award to the conductor, if applicable.
CONTEMPORARY VOICES
Pacifica Quartet
HEALING MODES
HEARNE, T.: PLACE
Ted Hearne, Steven Bradshaw, Sophia Byrd, Josephine Lee, Isaiah Robinson, Sol Ruiz, Ayanna Woods, Diana Wade & Place Orchestra
Devonté Hynes & Third Coast Percussion
THE SCHUMANN QUARTETS
Dover Quartet
79. Best Classical Instrumental Solo
Award to the Instrumental Soloist(s) and to the Conductor when applicable.
ADÈS: CONCERTO FOR PIANO AND ORCHESTRA
Kirill Gerstein; Thomas Adès, conductor (Boston Symphony Orchestra)
BOHEMIAN TALES
Augustin Hadelich; Jakub Hrůša, conductor (Charles Owen; Symphonieorchester Des Bayerischen Rundfunks)
DESTINATION RACHMANINOV - ARRIVAL
Daniil Trifonov; Yannick Nézet-Séguin, conductor (The Philadelphia Orchestra)
THEOFANIDIS: CONCERTO FOR VIOLA AND CHAMBER ORCHESTRA
Richard O'Neill; David Alan Miller, conductor (Albany Symphony)
80. Best Classical Solo Vocal Album
Award to: Vocalist(s), Collaborative Artist(s) (Ex: pianists, conductors, chamber groups) Producer(s), Recording Engineers/Mixers with 51% or more playing time of new material.
AMERICAN COMPOSERS AT PLAY - WILLIAM BOLCOM, RICKY IAN GORDON, LORI LAITMAN, JOHN MUSTO
Stephen Powell (Attacca Quartet, William Bolcom, Ricky Ian Gordon, Lori Laitman, John Musto, Charles Neidich & Jason Vieaux)
CLAIRIÈRES - SONGS BY LILI & NADIA BOULANGER
Nicholas Phan; Myra Huang, accompanist
FARINELLI
Cecilia Bartoli; Giovanni Antonini, conductor (Il Giardino Armonico)
A LAD'S LOVE
Brian Giebler; Steven McGhee, accompanist (Katie Hyun, Michael Katz, Jessica Meyer, Reginald Mobley & Ben Russell)
SMYTH: THE PRISON
Sarah Brailey & Dashon Burton; James Blachly, conductor (Experiential Chorus; Experiential Orchestra)
81. Best Classical Compendium
Award to the Artist(s) and to the Album Producer(s) and Engineer(s) of over 51% playing time of the album, if other than the artist.
ADÈS CONDUCTS ADÈS
Mark Stone & Christianne Stotijn; Thomas Adès, conductor; Nick Squire, producer
SAARIAHO: GRAAL THÉÂTRE; CIRCLE MAP; NEIGES; VERS TOI QUI ES SI LOIN
Clément Mao-Takacs, conductor; Hans Kipfer, producer
SEREBRIER: SYMPHONIC BACH VARIATIONS; LAMENTS AND HALLELUJAHS; FLUTE CONCERTO
José Serebrier, conductor; Jens Braun, producer
THOMAS, M.T.: FROM THE DIARY OF ANNE FRANK & MEDITATIONS ON RILKE
Isabel Leonard; Michael Tilson Thomas, conductor; Jack Vad, producer
WOOLF, L.P.: FIRE AND FLOOD
Matt Haimovitz; Julian Wachner, conductor; Blanton Alspaugh, producer
82. Best Contemporary Classical Composition
A Composer's Award. (For a contemporary classical composition composed within the last 25 years, and released for the first time during the Eligibility Year.) Award to the librettist, if applicable.
Thomas Adès, composer (Kirill Gerstein, Thomas Adès & Boston Symphony Orchestra)
Richard Danielpour, composer (JoAnn Falletta, James K. Bass, Adam Luebke, UCLA Chamber Singers, Buffalo Philharmonic Orchestra & Buffalo Philharmonic Chorus)
Carlisle Floyd, composer (William Boggs, Alexander Dobson, Kate Royal, Keith Phares, Florentine Opera Chorus & Milwaukee Symphony Orchestra)
Ted Hearne, composer (Ted Hearne, Steven Bradshaw, Sophia Byrd, Josephine Lee, Isaiah Robinson, Sol Ruiz, Ayanna Woods & Place Orchestra)
ROUSE: SYMPHONY NO. 5
Christopher Rouse, composer (Giancarlo Guerrero & Nashville Symphony)
83. Best Music Video
Award to the artist, video director, and video producer.
BROWN SKIN GIRL
Beyoncé Knowles-Carter & Jenn Nkiru, video directors; Astrid Edwards, Aya Kaido, Jean Mougin, Nathan Scherrer & Erinn Williams, video producers
Future Featuring Drake
Julien Christian Lutz, video director; Harv Glazer, video producer
Dave Meyers, video director; Nathan Scherrer, video producer
Yoann Lemoine, video director; Horace de Gunzbourg, video producer
84. Best Music Film
For concert/performance films or music documentaries. Award to the artist, video director, and video producer.
Spike Jonze, video director; Amanda Adelson, Jason Baum & Spike Jonze, video producers
Emmanuel Adjei, Blitz Bazawule, Beyonce Knowles Carter & Kwasi Fordjour, video directors; Lauren Baker, Akin Omotoso, Nathan Scherrer, Jeremy Sullivan & Erinn Williams, video producers
WE ARE FREESTYLE LOVE SUPREME
Freestyle Love Supreme
Andrew Fried, video director; Andrew Fried, Jill Furman, Thomas Kail, Lin-Manuel Miranda, Sarina Roma, Jenny Steingart & Jon Steingart, video producers
Rob Epstein & Jeffrey Friedman, video directors; Michele Farinola & James Keach, video producers
THAT LITTLE OL' BAND FROM TEXAS
Sam Dunn, video director; Scot McFadyen, video producer
The 63rd GRAMMY Awards: Looking Ahead To The 2021 GRAMMYs


In a world of unwanted crawling critters, ticks might be the most unwelcome of all in your Mundelein backyard.
Warm, wet weather – such as spring 2013 in Mundelein and Wisconsin – brings out ticks in large numbers. Spring and summer is their prime time. It's also when people are most active outdoors.
Ticks live in Mundelein's wooded areas and brushy fields. When a potential host – human, dog or other warm-blooded creature – passes, they climb aboard. From there, it's a short trip to dinner. They dig in and start feeding. A tick can multiply its size many times over as it fills with blood.
Lyme disease is the most well-known tickborne illness. Deer ticks, often as small as a pinhead, carry the bacteria that cause Lyme disease. Its incidence has grown rapidly in Mundelein and the Midwest. In Wisconsin alone, the average annual number of reported Lyme disease cases grew sixfold between 1997 and 2011.
Treating your Mundelein property is one way to keep people and pets safe. Another is creating distinct paths between lawn and wooded areas using wood chips or gravel. Clearing away tall grass helps.
Tick repellents are available in Mundelein, and they're strong stuff. Twenty percent DEET formula is recommended.
Don't forget to check Fido, either. Pets can carry infected ticks into your Mundelein home. If your dog or cat roams tick habitat, a veterinarian can apply or recommend a topical repellent to keep ticks away.
Prevention is the best way to avoid bites and sicknesses from ticks. Contact The Mosquito Guy for a Mundelein yard treatment to protect against these tiny blood suckers. The last thing you want to do is spend your summer ticked off.