nameraka Posted December 5, 2017 Share Posted December 5, 2017 yeah. me either. so who wasn't nominated who should have been if the grammys were an award for quality rather than popularity? https://www.billboard.com/articles/news/grammys/8047027/grammys-2018-complete-nominees-list Link to comment Share on other sites More sharing options...
nameraka Posted December 5, 2017 Author Share Posted December 5, 2017 Link to comment Share on other sites More sharing options...
Bouvre Posted December 5, 2017 Share Posted December 5, 2017 I see some quality albums but I'm still upset Josh Ritter hasn't found his way into the heart of whoever the fuck picks this stuff. 1 Link to comment Share on other sites More sharing options...
Bouvre Posted December 5, 2017 Share Posted December 5, 2017 29 minutes ago, Bouvre said: I see some quality albums but I'm still upset Josh Ritter hasn't found his way into the heart of whoever the fuck picks this stuff. Update: apparently my professor went to college with him, is happy to see people are excited about his stuff Link to comment Share on other sites More sharing options...
StarPanda Posted December 6, 2017 Share Posted December 6, 2017 Childish Gambino better win record and album of the year Link to comment Share on other sites More sharing options...
nameraka Posted December 6, 2017 Author Share Posted December 6, 2017 47 minutes ago, StarPanda said: Childish Gambino better win record and album of the year but i said i didn't want to talk about the grammys... Link to comment Share on other sites More sharing options...
Mewn Posted December 7, 2017 Share Posted December 7, 2017 They're usually meh. I shall support Miss Gaga tho with a yaaas kween. Getting nominated on probz my least favorite CD of hers. Link to comment Share on other sites More sharing options...
Ginguy Posted December 7, 2017 Share Posted December 7, 2017 When will BER be recognized for their outstanding contribution to pop culture.... Otherwise it will be Jay Z cursing like a racist drunk sailor. Meh. Link to comment Share on other sites More sharing options...
Greeny Posted December 7, 2017 Share Posted December 7, 2017 My farts sound better than most music these days. 2 Link to comment Share on other sites More sharing options...
stilgar Posted December 7, 2017 Share Posted December 7, 2017 Nope. Link to comment Share on other sites More sharing options...
katt_goddess Posted December 7, 2017 Share Posted December 7, 2017 No Weird Al this year so nope. Link to comment Share on other sites More sharing options...
Ginguy Posted December 7, 2017 Share Posted December 7, 2017 General Field Category 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.) • Redbone Childish Gambino Ludwig Goransson, producer; Donald Glover, Ludwig Goransson, Riley Mackin & Ruben Rivera, engineers/mixers; Bernie Grundman, mastering engineer • Despacito Luis Fonsi & Daddy Yankee Featuring Justin Bieber Josh Gudwin, Mauricio Rengifo & Andrés Torres, producers; Josh Gudwin & Jaycen Joshua, engineers/mixers; Dave Kutch, mastering engineer • The Story Of O.J. JAY-Z JAY-Z & No I.D., producers; Jimmy Douglas & Gimel "Young Guru" Keaton, engineers/mixers; Dave Kutch, mastering engineer • HUMBLE. Kendrick Lamar Mike Will Made It, producer; Derek "MixedByAli" Ali, James Hunt & Matt Schaeffer, engineers/mixers; Mike Bozzi, mastering engineer • 24K Magic Bruno Mars Shampoo Press & Curl, producers; Serban Ghenea, John Hanes & Charles Moniz, engineers/mixers; Tom Coyne, mastering engineer General Field Category 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.) • "Awaken, My Love!" Childish Gambino Ludwig Goransson, producer; Bryan Carrigan, Donald Glover, Ludwig Goransson, Riley Mackin & Ruben Rivera, engineers/mixers; Donald Glover & Ludwig Goransson, songwriters; Bernie Grundman, mastering engineer • 4:44 JAY-Z JAY-Z & No I.D., producers; Jimmy Douglas & Gimel "Young Guru" Keaton, engineers/mixers; Shawn Carter & Dion Wilson, songwriters; Dave Kutch, mastering engineer • DAMN. Kendrick Lamar DJ Dahi, Sounwave & Anthony Tiffith, producers; Derek "MixedByAli" Ali, James Hunt & Matt Schaeffer, engineers/mixers; K. Duckworth, D. Natche, M. Spears & A. Tiffith, songwriters; Mike Bozzi, mastering engineer • Melodrama Lorde Jack Antonoff & Lorde, producers; Serban Ghenea, John Hanes & Laura Sisk, engineers/mixers; Jack Antonoff & Ella Yelich-O'Connor, songwriters; Randy Merrill, mastering engineer • 24K Magic Bruno Mars Shampoo Press & Curl, producers; Serban Ghenea, John Hanes & Charles Moniz, engineers/mixers; Christopher Brody Brown, James Fauntleroy, Philip Lawrence & Bruno Mars, songwriters; Tom Coyne, mastering engineer General Field Category 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.) • Despacito Ramón Ayala, Justin Bieber, Jason "Poo Bear" Boyd, Erika Ender, Luis Fonsi & Marty James Garton, songwriters (Luis Fonsi & Daddy Yankee Featuring Justin Bieber) • 4:44 Shawn Carter & Dion Wilson, songwriters (JAY-Z) • Issues Benny Blanco, Mikkel Storleer Eriksen, Tor Erik Hermansen, Julia Michaels & Justin Drew Tranter, songwriters (Julia Michaels) • 1-800-273-8255 Alessia Caracciolo, Sir Robert Bryson Hall II, Arjun Ivatury & Khalid Robinson, songwriters (Logic Featuring Alessia Cara & Khalid) • That's What I Like Christopher Brody Brown, James Fauntleroy, Philip Lawrence, Bruno Mars, Ray Charles McCullough II, Jeremy Reeves, Ray Romulus & Jonathan Yip, songwriters (Bruno Mars) General Field Category 4 - Best New Artist (An artist will be considered for Best New Artist if their eligibility year release/s achieved a breakthrough into the public consciousness and notably impacted the musical landscape.) • Alessia Cara • Khalid • Lil Uzi Vert • Julia Michaels • SZA Field 1 - Pop Category 5 - Best Pop Solo Performance (For new vocal or instrumental pop recordings. Singles or Tracks only.) • Love So Soft Kelly Clarkson • Praying Kesha • Million Reasons Lady Gaga • What About Us P!nk • Shape Of You Ed Sheeran Field 1 - Pop Category 6 - Best Pop Duo/Group Performance (For new vocal or instrumental duo/group or collaborative pop recordings. Singles or Tracks only.) • Something Just Like This The Chainsmokers & Coldplay • Despacito Luis Fonsi & Daddy Yankee Featuring Justin Bieber • Thunder Imagine Dragons • Feel It Still Portugal. The Man • Stay Zedd & Alessia Cara Field 1 - Pop Category 7 - Best Traditional Pop Vocal Album (For albums containing at least 51% playing time of new traditional pop recordings.) • Nobody But Me (Deluxe Version) Michael Bublé • Triplicate Bob Dylan • In Full Swing Seth MacFarlane • Wonderland Sarah McLachlan • Tony Bennett Celebrates 90 (Various Artists) Dae Bennett, Producer Field 1 - Pop Category 8 - Best Pop Vocal Album (For albums containing at least 51% playing time of new vocal pop recordings.) • Kaleidoscope EP Coldplay • Lust For Life Lana Del Rey • Evolve Imagine Dragons • Rainbow Kesha • Joanne Lady Gaga • ÷ (Divide) Ed Sheeran Field 2 - Dance/Electronic Music Category 9 - Best Dance Recording (For solo, duo, group or collaborative performances. Vocal or Instrumental. Singles or tracks only.) • Bambro Koyo Ganda Bonobo Featuring Innov Gnawa Bonobo, producer; Bonobo, mixer • Cola Camelphat & Elderbrook Mike Di Scala, Elderbrook & David Whelan, producers; Mike Di Scala, Elderbrook & David Whelan, mixers • Andromeda Gorillaz Featuring DRAM Damon Albarn, Jamie Hewlett, Remi Kabaka & Anthony Khan, producers; Stephen Sedgwick, mixer • Tonite LCD Soundsystem James Murphy, producer; James Murphy, mixer • Line Of Sight Odesza Featuring WYNNE & Mansionair Clayton Knight & Harrison Mills, producers; Eric J Dubowsky, mixer Field 2 - Dance/Electronic Music Category 10 - Best Dance/Electronic Album (For vocal or instrumental albums. Albums only.) • Migration Bonobo • 3-D The Catalogue Kraftwerk • Mura Masa Mura Masa • A Moment Apart Odesza • What Now Sylvan Esso Field 3 - Contemporary Instrumental Music Category 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.) • What If The Jerry Douglas Band The Jerry Douglas Band • Spirit Alex Han Alex Han • Mount Royal Julian Lage & Chris Eldridge Julian Lage & Chris Eldridge • Prototype Jeff Lorber Fusion Jeff Lorber Fusion • Bad Hombre Antonio Sanchez Antonio Sanchez Field 4 - Rock Category 12 - Best Rock Performance (For new vocal or instrumental solo, duo/group or collaborative rock recordings.) • You Want It Darker Leonard Cohen • The Promise Chris Cornell • Run Foo Fighters • No Good Kaleo • Go To War Nothing More Field 4 - Rock Category 13 - Best Metal Performance (For new vocal or instrumental solo, duo/group or collaborative metal recordings.) • Invisible Enemy August Burns Red • Black Hoodie Body Count • Forever Code Orange • Sultan’s Curse Mastodon • Clockworks Meshuggah Field 4 - Rock Category 14 - Best Rock Song (A Songwriter(s) Award. Includes Rock, Hard Rock and Metal songs. For Song Eligibility Guidelines see Category #3. (Artist names appear in parentheses.) Singles or Tracks only.) • Atlas, Rise! James Hetfield & Lars Ulrich, songwriters (Metallica) • Blood In The Cut JT Daly & Kristine Flaherty, songwriters (K.Flay) • Go To War Ben Anderson, Jonny Hawkins, Will Hoffman, Daniel Oliver, David Pramik & Mark Vollelunga, songwriters (Nothing More) • Run Foo Fighters, songwriters (Foo Fighters) • The Stage Zachary Baker, Brian Haner, Matthew Sanders, Jonathan Seward & Brooks Wackerman, songwriters (Avenged Sevenfold) Field 4 - Rock Category 15 - Best Rock Album (For albums containing at least 51% playing time of new rock, hard rock or metal recordings.) • Emperor Of Sand Mastodon • Hardwired...To Self-Destruct Metallica • The Stories We Tell Ourselves Nothing More • Villains Queens Of The Stone Age • A Deeper Understanding The War On Drugs Field 5 - Alternative Category 16 - Best Alternative Music Album (Vocal or Instrumental.) • Everything Now Arcade Fire • Humanz Gorillaz • American Dream LCD Soundsystem • Pure Comedy Father John Misty • Sleep Well Beast The National Field 6 - R&B Category 17 - Best R&B Performance (For new vocal or instrumental R&B recordings.) • Get You Daniel Caesar Featuring Kali Uchis • Distraction Kehlani • High Ledisi • That's What I Like Bruno Mars • The Weekend SZA Field 6 - R&B Category 18 - Best Traditional R&B Performance (For new vocal or instrumental traditional R&B recordings.) • Laugh And Move On The Baylor Project • Redbone Childish Gambino • What I'm Feelin' Anthony Hamilton Featuring The Hamiltones • All The Way Ledisi • Still Mali Music Field 6 - R&B Category 19 - Best R&B Song (A Songwriter(s) Award. For Song Eligibility Guidelines see Category #3. (Artist names appear in parentheses.) Singles or Tracks only.) • First Began PJ Morton, songwriter (PJ Morton) • Location Alfredo Gonzalez, Olatunji Ige, Samuel David Jiminez, Christopher McClenney, Khalid Robinson & Joshua Scruggs, songwriters (Khalid) • Redbone Donald Glover & Ludwig Goransson, songwriters (Childish Gambino) • Supermodel Tyran Donaldson, Terrence Henderson, Greg Landfair Jr., Solana Rowe & Pharrell Williams, songwriters (SZA) • That's What I Like Christopher Brody Brown, James Fauntleroy, Philip Lawrence, Bruno Mars, Ray Charles McCullough II, Jeremy Reeves, Ray Romulus & Jonathan Yip, songwriters (Bruno Mars) Field 6 - R&B Category 20 - Best Urban Contemporary Album (For albums containing at least 51% playing time of newly recorded contemporary vocal tracks derivative of R&B.) • Free 6LACK 6LACK • "Awaken, My Love!" Childish Gambino • American Teen Khalid • Ctrl SZA • Starboy The Weeknd Field 6 - R&B Category 21 - Best R&B Album (For albums containing at least 51% playing time of new R&B recordings.) • Freudian Daniel Caesar • Let Love Rule Ledisi • 24K Magic Bruno Mars • Gumbo PJ Morton • Feel The Real Musiq Soulchild Field 7 - Rap Category 22 - Best Rap Performance (For a Rap performance. Singles or Tracks only.) • Bounce Back Big Sean • Bodak Yellow Cardi B • 4:44 JAY-Z • HUMBLE. Kendrick Lamar • Bad And Boujee Migos Featuring Lil Uzi Vert Field 7 - Rap Category 23 - Best Rap/Sung Performance (For a solo or collaborative performance containing both elements of R&B melodies and Rap.) • PRBLMS 6LACK • Crew Goldlink Featuring Brent Faiyaz & Shy Glizzy • Family Feud JAY-Z Featuring Beyoncé • LOYALTY. Kendrick Lamar Featuring Rihanna • Love Galore SZA Featuring Travis Scott Field 7 - Rap Category 24 - Best Rap Song (A song must contain music and lyrics and must be either a new song or a song first achieving prominence during the eligibility year. (Artist names appear in parentheses.)) • Bodak Yellow Dieuson Octave, Klenord Raphael, Shaftizm, Jordan Thorpe, Washpoppin & J White, songwriters (Cardi B) • Chase Me Judah Bauer, Brian Burton, Hector Delgado, Jaime Meline, Antwan Patton, Michael Render, Russell Simins & Jon Spencer, songwriters (Danger Mouse Featuring Run The Jewels & Big Boi) • HUMBLE. K. Duckworth, Asheton Hogan & M. Williams II, songwriters (Kendrick Lamar) • Sassy E. Gabouer & M. Evans, songwriters (Rapsody) • The Story Of O.J. Shawn Carter & Dion Wilson, songwriters (JAY-Z) Field 7 - Rap Category 25 - Best Rap Album (For albums containing at least 51% playing time of new rap recordings.) • 4:44 JAY-Z • DAMN. Kendrick Lamar • Culture Migos • Laila's Wisdom Rapsody • Flower Boy Tyler, The Creator Field 8 - Country Category 26 - Best Country Solo Performance (For new vocal or instrumental solo country recordings.) • Body Like A Back Road Sam Hunt • Losing You Alison Krauss • Tin Man Miranda Lambert • I Could Use A Love Song Maren Morris • Either Way Chris Stapleton Field 8 - Country Category 27 - Best Country Duo/Group Performance (For new vocal or instrumental duo/group or collaborative country recordings.) • It Ain't My Fault Brothers Osborne • My Old Man Zac Brown Band • You Look Good Lady Antebellum • Better Man Little Big Town • Drinkin' Problem Midland Field 8 - Country Category 28 - Best Country Song (A Songwriter(s) Award. For Song Eligibility Guidelines see Category #3. (Artist names appear in parentheses.) Singles or Tracks only.) • Better Man Taylor Swift, songwriter (Little Big Town) • Body Like A Back Road Zach Crowell, Sam Hunt, Shane McAnally & Josh Osborne, songwriters (Sam Hunt) • Broken Halos Mike Henderson & Chris Stapleton, songwriters (Chris Stapleton) • Drinkin’ Problem Jess Carson, Cameron Duddy, Shane McAnally, Josh Osborne & Mark Wystrach, songwriters (Midland) • Tin Man Jack Ingram, Miranda Lambert & Jon Randall, songwriters (Miranda Lambert) Field 8 - Country Category 29 - Best Country Album (For albums containing at least 51% playing time of new country recordings.) • Cosmic Hallelujah Kenny Chesney • Heart Break Lady Antebellum • The Breaker Little Big Town • Life Changes Thomas Rhett • From A Room: Volume 1 Chris Stapleton Field 9 - New Age Category 30 - Best New Age Album (For albums containing at least 51% playing time of new vocal or instrumental new age recordings.) • Reflection Brian Eno • SongVersation: Medicine India.Arie • Dancing On Water Peter Kater • Sacred Journey Of Ku-Kai, Volume 5 Kitaro • Spiral Revelation Steve Roach Field 10 - Jazz Category 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.) • Can't Remember Why Sara Caswell, soloist • Dance Of Shiva Billy Childs, soloist • Whisper Not Fred Hersch, soloist • Miles Beyond John McLaughlin, soloist • Ilimba Chris Potter, soloist Field 10 - Jazz Category 32 - Best Jazz Vocal Album (For albums containing at least 51% playing time of new vocal jazz recordings.) • The Journey The Baylor Project • A Social Call Jazzmeia Horn • Bad Ass And Blind Raul Midón • Porter Plays Porter Randy Porter Trio With Nancy King • Dreams And Daggers Cécile McLorin Salvant Field 10 - Jazz Category 33 - Best Jazz Instrumental Album (For albums containing at least 51% playing time of new instrumental jazz recordings.) • Uptown, Downtown Bill Charlap Trio • Rebirth Billy Childs • Project Freedom Joey DeFrancesco & The People • Open Book Fred Hersch • The Dreamer Is The Dream Chris Potter Field 10 - Jazz Category 34 - Best Large Jazz Ensemble Album (For albums containing at least 51% playing time of new ensemble jazz recordings.) • MONK'estra Vol. 2 John Beasley • Jigsaw Alan Ferber Big Band • Bringin' It Christian McBride Big Band • Homecoming Vince Mendoza & WDR Big Band Cologne • Whispers On The Wind Chuck Owen And The Jazz Surge Field 10 - Jazz Category 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.) • Hybrido - From Rio To Wayne Shorter Antonio Adolfo • Oddara Jane Bunnett & Maqueque • Outra Coisa - The Music Of Moacir Santos Anat Cohen & Marcello Gonçalves • Típico Miguel Zenón • Jazz Tango Pablo Ziegler Trio Field 11 - Gospel/Contemporary Christian Music Category 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.) • Too Hard Not To Tina Campbell Tina Campbell; Tina Campbell & Warryn Campbell, songwriters • You Deserve It JJ Hairston & Youthful Praise Featuring Bishop Cortez Vaughn JJ Hairston & Youthful Praise Featuring Bishop Cortez Vaughn; David Bloom, JJ Hairston, Phontane Demond Reed & Cortez Vaughn, songwriters • Better Days Le'Andria Le'Andria • My Life The Walls Group The Walls Group; Warryn Campbell, Eric Dawkins, Damien Farmer, Damon Thomas, Ahjah Walls & Darrel Walls, songwriters • Never Have To Be Alone CeCe Winans CeCe Winans; Dwan Hill & Alvin Love III, songwriters Field 11 - Gospel/Contemporary Christian Music Category 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 pop, Christian rap/hip-hop, or Christian rock single or track.) • Oh My Soul Casting Crowns Casting Crowns; Mark Hall & Bernie Herms, songwriters • Clean Natalie Grant Natalie Grant; Natalie Grant, songwriter • What A Beautiful Name Hillsong Worship Hillsong Worship; Ben Fielding & Brooke Ligertwood, songwriters • Even If MercyMe MercyMe; David Garcia, Ben Glover, Crystal Lewis, MercyMe & Tim Timmons, songwriters • Hills And Valleys Tauren Wells Tauren Wells; Chuck Butler, Jonathan Smith & Tauren Wells, songwriters Field 11 - Gospel/Contemporary Christian Music Category 38 - Best Gospel Album (This award is given to the artist(s) and any producer(s) or engineer(s) responsible for at least 51% playing time of an album containing at least 51% playing time of newly recorded, vocal, traditional or contemporary/R&B gospel music recordings.) • Crossover: Live From Music City Travis Greene • Bigger Than Me Le'Andria • Close Marvin Sapp • Sunday Song Anita Wilson • Let Them Fall In Love CeCe Winans Field 11 - Gospel/Contemporary Christian Music Category 39 - Best Contemporary Christian Music Album (This award is given to the artist(s) and any producer(s) or engineer(s) responsible for at least 51% playing time of an album containing at least 51% playing time of newly recorded, vocal, contemporary Christian music, including pop, rap/hip-hop, or rock recordings. (Subject to eligibility criteria)) • Rise Danny Gokey • Echoes (Deluxe Edition) Matt Maher • Lifer MercyMe • Hills And Valleys Tauren Wells • Chain Breaker Zach Williams Field 11 - Gospel/Contemporary Christian Music Category 40 - Best Roots Gospel Album (This award is given to the artist(s) and any producer(s) or engineer(s) responsible for at least 51% playing time of an album containing at least 51% playing time of newly recorded, vocal, traditional/roots gospel music, including country, Southern gospel, bluegrass, and Americana recordings. (Subject to eligibility criteria)) • The Best Of The Collingsworth Family - Volume 1 The Collingsworth Family The Collingsworth Family • Give Me Jesus Larry Cordle Larry Cordle • Resurrection Joseph Habedank Joseph Habedank • Sing It Now: Songs Of Faith & Hope Reba McEntire Reba McEntire • Hope For All Nations Karen Peck & New River Karen Peck & New River Field 12 - Latin Category 41 - Best Latin Pop Album (For albums containing at least 51% playing time of new Latin pop recordings.) • Lo Único Constante Alex Cuba • Mis Planes Son Amarte Juanes • Amar Y Vivir En Vivo Desde La Ciudad De México, 2017 La Santa Cecilia • Musas (Un Homenaje Al Folclore Latinoamericano En Manos De Los Macorinos) Natalia Lafourcade • El Dorado Shakira Field 12 - Latin Category 42 - Best Latin Rock, Urban or Alternative Album (For albums containing at least 51% playing time of new Latin rock, urban or alternative recordings.) • Ayo Bomba Estéreo • Pa' Fuera C4 Trío & Desorden Público • Salvavidas De Hielo Jorge Drexler • El Paradise Los Amigos Invisibles • Residente Residente Field 12 - Latin Category 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.) • Ni Diablo Ni Santo Julión Álvarez Y Su Norteño Banda • Ayer Y Hoy Banda El Recodo De Cruz Lizárraga • Momentos Alex Campos • Arriero Somos Versiones Acústicas Aida Cuevas • Zapateando En El Norte Humberto Novoa, producer (Various Artists) Field 12 - Latin Category 44 - Best Tropical Latin Album (For albums containing at least 51% playing time of new tropical Latin recordings.) • Albita Albita • Art Of The Arrangement Doug Beavers • Salsa Big Band Rubén Blades Con Roberto Delgado & Orquesta • Gente Valiente Silvestre Dangond • Indestructible Diego El Cigala Field 13 - American Roots Music Category 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).) • Killer Diller Blues Alabama Shakes Alabama Shakes • Let My Mother Live Blind Boys Of Alabama Blind Boys Of Alabama • Arkansas Farmboy Glen Campbell Glen Campbell • Steer Your Way Leonard Cohen Leonard Cohen • I Never Cared For You Alison Krauss Alison Krauss Field 13 - American Roots Music Category 46 - Best American Roots Song (A Songwriter(s) Award. Includes Americana, bluegrass, traditional blues, contemporary blues, folk or regional roots songs. For Song Eligibility Guidelines see Category #3. (Artist names appear in parentheses.) Singles or Tracks only.) • Cumberland Gap David Rawlings David Rawlings & Gillian Welch, songwriters (David Rawlings) • I Wish You Well The Mavericks Raul Malo & Alan Miller, songwriters (The Mavericks) • If We Were Vampires Jason Isbell And The 400 Unit Jason Isbell, songwriter (Jason Isbell And The 400 Unit) • It Ain't Over Yet Rodney Crowell Featuring Rosanne Cash & John Paul White Rodney Crowell, songwriter (Rodney Crowell Featuring Rosanne Cash & John Paul White) • My Only True Friend Gregg Allman Gregg Allman & Scott Sharrard, songwriters (Gregg Allman) Field 13 - American Roots Music Category 47 - Best Americana Album (For albums containing at least 51% playing time of new vocal or instrumental Americana recordings.) • Southern Blood Gregg Allman • Shine On Rainy Day Brent Cobb • Beast Epic Iron & Wine • The Nashville Sound Jason Isbell And The 400 Unit • Brand New Day The Mavericks Field 13 - American Roots Music Category 48 - Best Bluegrass Album (For albums containing at least 51% playing time of new vocal or instrumental bluegrass recordings.) • Fiddler's Dream Michael Cleveland • Laws Of Gravity The Infamous Stringdusters • Original Bobby Osborne • Universal Favorite Noam Pikelny • All The Rage - In Concert Volume One [Live] Rhonda Vincent And The Rage Field 13 - American Roots Music Category 49 - Best Traditional Blues Album (For albums containing at least 51% playing time of new vocal or instrumental traditional blues recordings.) • Migration Blues Eric Bibb • Elvin Bishop's Big Fun Trio Elvin Bishop's Big Fun Trio • Roll And Tumble R.L. Boyce • Sonny & Brownie's Last Train Guy Davis & Fabrizio Poggi • Blue & Lonesome The Rolling Stones Field 13 - American Roots Music Category 50 - Best Contemporary Blues Album (For albums containing at least 51% playing time of new vocal or instrumental contemporary blues recordings.) • Robert Cray & Hi Rhythm Robert Cray & Hi Rhythm • Recorded Live In Lafayette Sonny Landreth • TajMo Taj Mahal & Keb' Mo' • Got Soul Robert Randolph & The Family Band • Live From The Fox Oakland Tedeschi Trucks Band Field 13 - American Roots Music Category 51 - Best Folk Album (For albums containing at least 51% playing time of new vocal or instrumental folk recordings.) • Mental Illness Aimee Mann • Semper Femina Laura Marling • The Queen Of Hearts Offa Rex • You Don't Own Me Anymore The Secret Sisters • The Laughing Apple Yusuf / Cat Stevens Field 13 - American Roots Music Category 52 - Best Regional Roots Music Album (For albums containing at least 51% playing time of new vocal or instrumental regional roots music recordings.) • Top Of The Mountain Dwayne Dopsie And The Zydeco Hellraisers • Ho'okena 3.0 Ho'okena • Kalenda Lost Bayou Ramblers • Miyo Kekisepa, Make A Stand [Live] Northern Cree • Pua Kiele Josh Tatofi Field 14 - Reggae Category 53 - Best Reggae Album (For albums containing at least 51% playing time of new reggae recordings.) • Chronology Chronixx • Lost In Paradise Common Kings • Wash House Ting J Boog • Stony Hill Damian "Jr. Gong" Marley • Avrakedabra Morgan Heritage Field 15 - World Music Category 54 - Best World Music Album (For albums containing at least 51% playing time of new vocal or instrumental world music recordings.) • Memoria De Los Sentidos Vicente Amigo • Para Mi Buika • Rosa Dos Ventos Anat Cohen & Trio Brasileiro • Shaka Zulu Revisited: 30th Anniversary Celebration Ladysmith Black Mambazo • Elwan Tinariwen Field 16 - Children's Category 55 - Best Children's Album (For albums containing at least 51% playing time of new musical or spoken word recordings that are created and intended specifically for children.) • Brighter Side Gustafer Yellowgold • Feel What U Feel Lisa Loeb • Lemonade Justin Roberts • Rise Shine #Woke Alphabet Rockers • Songs Of Peace & Love For Kids & Parents Around The World Ladysmith Black Mambazo Field 17 - Spoken Word Category 56 - Best Spoken Word Album (Includes Poetry, Audio Books & Storytelling) • Astrophysics For People In A Hurry Neil Degrasse Tyson • Born To Run Bruce Springsteen • Confessions Of A Serial Songwriter Shelly Peiken • Our Revolution: A Future to Believe In (Bernie Sanders) Bernie Sanders And Mark Ruffal • The Princess Diarist Carrie Fisher Field 18 - Comedy Category 57 - Best Comedy Album (For albums containing at least 51% playing time of new recordings.) • The Age Of Spin & Deep In The Heart Of Texas Dave Chappelle • Cinco Jim Gaffigan • Jerry Before Seinfeld Jerry Seinfeld • A Speck Of Dust Sarah Silverman • What Now? Kevin Hart Field 19 - Musical Theater Category 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.) • Come From Away Ian Eisendrath, August Eriksmoen, David Hein, David Lai & Irene Sankoff, producers; David Hein & Irene Sankoff, composers/lyricists (Original Broadway Cast Recording) • Dear Evan Hansen Ben Platt, principal soloist; Alex Lacamoire, Stacey Mindich, Benj Pasek & Justin Paul, producers; Benj Pasek & Justin Paul, composers/lyricists (Original Broadway Cast Recording) • Hello, Dolly! Bette Midler, principal soloist; Steven Epstein, producer (Jerry Herman, composer & lyricist) (New Broadway Cast Recording) Field 20 - Music for Visual Media Category 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).) • Baby Driver (Various Artists) • Guardians Of The Galaxy Vol. 2: Awesome Mix Vol. 2 (Various Artists) • Hidden Figures: The Album (Various Artists) • La La Land (Various Artists) • Moana: The Songs (Various Artists) Field 20 - Music for Visual Media Category 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.) • Arrival Jóhann Jóhannsson, composer • Dunkirk Hans Zimmer, composer • Game Of Thrones: Season 7 Ramin Djawadi, composer • Hidden Figures Benjamin Wallfisch, Pharrell Williams & Hans Zimmer, composers • La La Land Justin Hurwitz, composer Field 20 - Music for Visual Media Category 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.) • City Of Stars Justin Hurwitz, Benj Pasek & Justin Paul, songwriters (Ryan Gosling & Emma Stone) • How Far I'll Go Lin-Manuel Miranda, songwriter (Auli'i Cravalho) • I Don't Wanna Live Forever (Fifty Shades Darker) Jack Antonoff, Sam Dew & Taylor Swift, songwriters (ZAYN & Taylor Swift) • Never Give Up Sia Furler & Greg Kurstin, songwriters (Sia) • Stand Up For Something Common & Diane Warren, songwriters (Andra Day Featuring Common) Field 21 - Composing/Arranging Category 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.) • Alkaline Pascal Le Boeuf, composer (Le Boeuf Brothers & JACK Quartet) • Choros #3 Vince Mendoza, composer (Vince Mendoza & WDR Big Band Cologne) • Home Free (For Peter Joe) Nate Smith, composer (Nate Smith) • Three Revolutions Arturo O'Farrill, composer (Arturo O'Farrill & Chucho Valdés) • Warped Cowboy Chuck Owen, composer (Chuck Owen And The Jazz Surge) Field 21 - Composing/Arranging Category 63 - Best Arrangement, Instrumental or A Cappella (An Arranger's Award. (Artist names appear in parentheses.) Singles or Tracks only.) • All Hat, No Saddle Chuck Owen, arranger (Chuck Owen And The Jazz Surge) • Escapades For Alto Saxophone And Orchestra From Catch Me If You Can John Williams, arranger (John Williams) • Home Free (For Peter Joe) Nate Smith, arranger (Nate Smith) • Ugly Beauty/Pannonica John Beasley, arranger (John Beasley) • White Christmas Chris Walden, arranger (Herb Alpert) Field 21 - Composing/Arranging Category 64 - Best Arrangement, Instruments and Vocals (An Arranger's Award. (Artist names appear in parentheses.) Singles or Tracks only.) • Another Day Of Sun Justin Hurwitz, arranger (La La Land Cast) • Every Time We Say Goodbye Jorge Calandrelli, arranger (Clint Holmes Featuring Jane Monheit) • I Like Myself Joel McNeely, arranger (Seth MacFarlane) • I Loves You Porgy/There's A Boat That's Leavin' Soon For New York Shelly Berg, Gregg Field, Gordon Goodwin & Clint Holmes, arrangers (Clint Holmes Featuring Dee Dee Bridgewater And The Count Basie Orchestra) • Putin Randy Newman, arranger (Randy Newman) Field 22 - Package Category 65 - Best Recording Package • El Orisha De La Rosa Claudio Roncoli & Cactus Taller, art directors (Magín Díaz) • Mura Masa Alex Crossan & Matt De Jong, art directors (Mura Masa) • Pure Comedy (Deluxe Edition) Sasha Barr, Ed Steed & Josh Tillman, art directors (Father John Misty) • Sleep Well Beast Elyanna Blaser-Gould, Luke Hayman & Andrea Trabucco-Campos, art directors (The National) • Solid State Gail Marowitz, art director (Jonathan Coulton) Field 22 - Package Category 66 - Best Boxed Or Special Limited Edition Package • Bobo Yeye: Belle Epoque In Upper Volta Tim Breen, art director (Various Artists) • Lovely Creatures: The Best Of Nick Cave And The Bad Seeds (1984 - 2014) Tom Hingston, art director (Nick Cave And The Bad Seeds) • May 1977: Get Shown The Light Masaki Koike, art director (Grateful Dead) • The Voyager Golden Record: 40th Anniversary Edition Lawrence Azerrad, Timothy Daly & David Pescovitz, art directors (Various Artists) • Warfaring Strangers: Acid Nightmares Tim Breen, Benjamin Marra & Ken Shipley, art directors (Various Artists) Field 23 - Notes Category 67 - Best Album Notes • Arthur Q. Smith: The Trouble With The Truth Wayne Bledsoe & Bradley Reeves, album notes writers (Various Artists) • Big Bend Killing: The Appalachian Ballad Tradition Ted Olson, album notes writer (Various Artists) • The Complete Piano Works Of Scott Joplin Bryan S. Wright, album notes writer (Richard Dowling) • Edouard-Léon Scott De Martinville, Inventor Of Sound Recording: A Bicentennial Tribute David Giovannoni, album notes writer (Various Artists) • Live At The Whisky A Go Go: The Complete Recordings Lynell George, album notes writer (Otis Redding) • Washington Phillips And His Manzarene Dreams Michael Corcoran, album notes writer (Washington Phillips) Field 24 - Historical Category 68 - Best Historical Album • Bobo Yeye: Belle Epoque In Upper Volta Jon Kirby, Florent Mazzoleni, Rob Sevier & Ken Shipley, compilation producers; Jeff Lipton & Maria Rice, mastering engineers (Various Artists) • The Goldberg Variations - The Complete Unreleased Recording Sessions June 1955 Robert Russ, compilation producer; Matthias Erb, Martin Kistner & Andreas K. Meyer, mastering engineers (Glenn Gould) • Leonard Bernstein - The Composer Robert Russ, compilation producer; Martin Kistner & Andreas K. Meyer, mastering engineers (Leonard Bernstein) • Sweet As Broken Dates: Lost Somali Tapes From The Horn Of Africa Nicolas Sheikholeslami & Vik Sohonie, compilation producers; Michael Graves, mastering engineer (Various Artists) • Washington Phillips And His Manzarene Dreams Michael Corcoran, April G. Ledbetter & Steven Lance Ledbetter, compilation producers; Michael Graves, mastering engineer (Washington Phillips) Field 25 - Production, Non-Classical Category 69 - Best Engineered Album, Non-Classical (An Engineer's Award. (Artists names appear in parentheses.)) • Every Where Is Some Where Brent Arrowood, Miles Comaskey, JT Daly, Tommy English, Kristine Flaherty, Adam Hawkins, Chad Howat & Tony Maserati, engineers; Joe LaPorta, mastering engineer (K.Flay) • Is This The Life We Really Want? Nigel Godrich, Sam Petts-Davies & Darrell Thorp, engineers; Bob Ludwig, mastering engineer (Roger Waters) • Natural Conclusion Ryan Freeland, engineer; Joao Carvalho, mastering engineer (Rose Cousins) • No Shape Shawn Everett & Joseph Lorge, engineers; Patricia Sullivan, mastering engineer (Perfume Genius) • 24K Magic Serban Ghenea, John Hanes & Charles Moniz, engineers; Tom Coyne, mastering engineer (Bruno Mars) Field 25 - Production, Non-Classical Category 70 - Producer Of The Year, Non-Classical (A Producer's Award. (Artists names appear in parentheses.)) • Calvin Harris • Don’t Quit (DJ Khaled & Calvin Harris Featuring Travis Scott & Jeremih) • Funk Wav Bounces Vol. 1 (Calvin Harris Featuring Various Artists) • Greg Kurstin • Concrete And Gold (Foo Fighters) • Dear Life (Beck) • Dusk Till Dawn (ZAYN Featuring Sia) • LOVE. (Kendrick Lamar Featuring Zacari) • Strangers (Halsey Featuring Lauren Jauregui) • Wall Of Glass (Liam Gallagher) • Blake Mills • Darkness And Light (John Legend) • Eternally Even (Jim James) • God Only Knows (John Legend & Cynthia Erivo Featuring yMusic) • Memories Are Now (Jesca Hoop) • No Shape (Perfume Genius) • Semper Femina (Laura Marling) • No I.D. • America (Logic Featuring Black Thought, Chuck D & Big Lenbo & No ID) • The Autobiography (Vic Mensa) • 4:44 (JAY-Z) • The Stereotypes • Before I Do (Sevyn Streeter) • Better (Lil Yachty Featuring Stefflon Don) • Deliver (Fifth Harmony) • Finesse (Bruno Mars) • Mo Bounce (Iggy Azalea) • Sunshine (Kyle Featuring Miguel) • That's What I Like (Bruno Mars) Field 25 - Production, Non-Classical Category 71 - Best Remixed Recording (A Remixer's Award. (Artists names appear in parentheses for identification.) Singles or Tracks only.) • Can't Let You Go (Louie Vega Roots Mix) Louie Vega, remixer (Loleatta Holloway) • Funk O' De Funk (SMLE Remix) SMLE, remixers (Bobby Rush) • Undercover (Adventure Club Remix) Leighton James & Christian Srigley, remixers (Kehlani) • A Violent Noise (Four Tet Remix) Four Tet, remixer (The xx) • You Move (Latroit Remix) Dennis White, remixer (Depeche Mode) Field 26 - Surround Sound Category 72 - Best Surround Sound Album (For vocal or instrumental albums in any genre. Must be commercially released on DVD-Audio, DVD-Video, SACD, Blu-Ray, or burned download-only/streaming-only copies and must provide a new surround mix of four or more channels. Award to the surround mix engineer, surround producer (if any) and surround mastering engineer (if any).) • Early Americans Jim Anderson, surround mix engineer; Darcy Proper, surround mastering engineer; Jim Anderson & Jane Ira Bloom, surround producers (Jane Ira Bloom) • Kleiberg: Mass For Modern Man Morten Lindberg, surround mix engineer; Morten Lindberg, surround mastering engineer; Morten Lindberg, surround producer (Eivind Gullberg Jensen & Trondheim Symphony Orchestra And Choir) • So Is My Love Morten Lindberg, surround mix engineer; Morten Lindberg, surround mastering engineer; Morten Lindberg, surround producer (Nina T. Karlsen & Ensemble 96) • 3-D The Catalogue Fritz Hilpert, surround mix engineer; Tom Ammermann, surround mastering engineer; Fritz Hilpert, surround producer (Kraftwerk) • Tyberg: Masses Jesse Brayman, surround mix engineer; Jesse Brayman, surround mastering engineer; Blanton Alspaugh, surround producer (Brian A. Schmidt, Christopher Jacobson & South Dakota Chorale) Field 27 - Production, Classical Category 73 - Best Engineered Album, Classical (An Engineer's Award. (Artist names appear in parentheses.)) • Danielpour: Songs Of Solitude & War Songs Gary Call, engineer (Thomas Hampson, Giancarlo Guerrero & Nashville Symphony) • Kleiberg: Mass For Modern Man Morten Lindberg, engineer (Eivind Gullberg Jensen, Trondheim Vokalensemble & Trondheim Symphony Orchestra) • Schoenberg, Adam: American Symphony; Finding Rothko; Picture Studies Keith O. Johnson & Sean Royce Martin, engineers (Michael Stern & Kansas City Symphony) • Shostakovich: Symphony No. 5; Barber: Adagio Mark Donahue, engineer (Manfred Honeck & Pittsburgh Symphony Orchestra) • Tyberg: Masses John Newton, engineer; Jesse Brayman, mastering engineer (Brian A. Schmidt, Christopher Jacobson & South Dakota Chorale) Field 27 - Production, Classical Category 74 - Producer Of The Year, Classical (A Producer's Award. (Artist names appear in parentheses.)) • Blanton Alspaugh • Adamo: Becoming Santa Claus (Emmanuel Villaume, Kevin Burdette, Keith Jameson, Lucy Schaufer, Hila Plitmann, Matt Boehler, Jonathan Blalock, Jennifer Rivera & Dallas Opera Orchestra) • Aldridge: Sister Carrie (William Boggs, Keith Phares, Matt Morgan, Alisa Suzanne Jordheim, Stephen Cunningham, Adriana Zabala, Florentine Opera Chorus & Milwaukee Symphony Orchestra) • Copland: Symphony No. 3; Three Latin American Sketches (Leonard Slatkin & Detroit Symphony Orchestra) • Death & The Maiden (Patricia Kopatchinskaja & The Saint Paul Chamber Orchestra) • Handel: Messiah (Andrew Davis, Noel Edison, Toronto Mendelssohn Choir & Toronto Symphony Orchestra) • Haydn: Symphonies Nos. 53, 64 & 96 (Carlos Kalmar & Oregon Symphony) • Heggie: It's A Wonderful Life (Patrick Summers, William Burden, Talise Trevigne, Andrea Carroll, Rod Gilfry & Houston Grand Opera) • Tyberg: Masses (Brian A. Schmidt, Christopher Jacobson & South Dakota Chorale) • Manfred Eicher • Mansurian: Requiem (Alexander Liebreich, Florian Helgath, RIAS Kammerchor & Münchener Kammerorchester) • Monk, M.: On Behalf Of Nature (Meredith Monk & Vocal Ensemble) • Point & Line - Debussy And Hosokawa (Momo Kodama) • Rímur (Arve Henriksen & Trio Mediaeval) • Silvestrov: Hieroglyphen Der Nacht (Anja Lechner) • David Frost • Alma Española (Isabel Leonard) • Amplified Soul (Gabriela Martinez) • Beethoven: Piano Sonatas, Vol. 6 (Jonathan Biss) • Bruckner: Symphony No. 9 (Riccardo Muti & Chicago Symphony Orchestra) • Garden Of Joys And Sorrows (Hat Trick Trio) • Laks: Chamber Works (ARC Ensemble) • Schoenberg, Adam: American Symphony; Finding Rothko; Picture Studies (Michael Stern & Kansas City Symphony) • Troika (Matt Haimovitz & Christopher O'Riley) • Verdi: Otello (Yannick Nézet-Séguin, Günther Groissböck, Željko Lučić, Dimitri Pittas, Aleksandrs Antonenko, Sonya Yoncheva, The Metropolitan Opera Orchestra & Chorus) • Morten Lindberg • Furatus (Ole Edvard Antonsen & Wolfgang Plagge) • Interactions (Bård Monsen & Gunnar Flagstad) • Kleiberg: Mass For Modern Man (Eivind Gullberg Jensen, Trondheim Vokalensemble & Trondheim Symphony Orchestra) • Minor Major (Oslo String Quartet) • Northern Timbre (Ragnhild Hemsing & Tor Espen Aspaas) • So Is My Love (Nina T. Karlsen & Ensemble 96) • Thoresen: Sea Of Names (Trond Schau) • Judith Sherman • American Nocturnes (Cecile Licad) • The Birthday Party (Aki Takahashi) • Discovering Bach (Michelle Ross) • Foss: Pieces Of Genius (New York New Music Ensemble) • Secret Alchemy - Chamber Works By Pierre Jalbert (Curtis Macomber & Michael Boriskin) • Sevenfive - The John Corigliano Effect (Gaudette Brass) • Sonic Migrations - Music Of Laurie Altman (Various Artists) • Tribute (Dover Quartet) • 26 (Melia Watras & Michael Jinsoo Lim) Field 28 - Classical Category 75 - Best Orchestral Performance (Award to the Conductor and to the Orchestra.) • Concertos For Orchestra Louis Langrée, conductor (Cincinnati Symphony Orchestra) • Copland: Symphony No. 3; Three Latin American Sketches Leonard Slatkin, conductor (Detroit Symphony Orchestra) • Debussy: Images; Jeux & La Plus Que Lente Michael Tilson Thomas, conductor (San Francisco Symphony) • Mahler: Symphony No. 5 Osmo Vänskä, conductor (Minnesota Orchestra) • Shostakovich: Symphony No. 5; Barber: Adagio Manfred Honeck, conductor (Pittsburgh Symphony Orchestra) Field 28 - Classical Category 76 - Best Opera Recording (Award to the Conductor, Album Producer(s) and Principal Soloists.) • Berg: Lulu Lothar Koenigs, conductor; Daniel Brenna, Marlis Petersen & Johan Reuter; Jay David Saks, producer (The Metropolitan Opera Orchestra) • Berg: Wozzeck Hans Graf, conductor; Anne Schwanewilms & Roman Trekel; Hans Graf, producer (Houston Symphony; Chorus Of Students And Alumni, Shepherd School Of Music, Rice University & Houston Grand Opera Children's Chorus) • Bizet: Les Pêcheurs De Perles Gianandrea Noseda, conductor; Diana Damrau, Mariusz Kwiecień, Matthew Polenzani & Nicolas Testé; Jay David Saks, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus) • Handel: Ottone George Petrou, conductor; Max Emanuel Cencic & Lauren Snouffer; Jacob Händel, producer (Il Pomo D'Oro) • Rimsky-Korsakov: The Golden Cockerel Valery Gergiev, conductor; Vladimir Feliauer, Aida Garifullina & Kira Loginova; Ilya Petrov, producer (Mariinsky Orchestra; Mariinsky Chorus) Field 28 - Classical Category 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.) • Bryars: The Fifth Century Donald Nally, conductor (PRISM Quartet; The Crossing) • Handel: Messiah Andrew Davis, conductor; Noel Edison, chorus master (Elizabeth DeShong, John Relyea, Andrew Staples & Erin Wall; Toronto Symphony Orchestra; Toronto Mendelssohn Choir) • Mansurian: Requiem Alexander Liebreich, conductor; Florian Helgath, chorus master (Anja Petersen & Andrew Redmond; Münchener Kammerorchester; RIAS Kammerchor) • Music Of The Spheres Nigel Short, conductor (Tenebrae) • Tyberg: Masses Brian A. Schmidt, conductor (Christopher Jacobson; South Dakota Chorale) Field 28 - Classical Category 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.) • Buxtehude: Trio Sonatas, Op. 1 Arcangelo • Death & The Maiden Patricia Kopatchinskaja & The Saint Paul Chamber Orchestra • Divine Theatre - Sacred Motets By Giaches De Wert Stile Antico • Franck, Kurtág, Previn & Schumann Joyce Yang & Augustin Hadelich • Martha Argerich & Friends - Live From Lugano 2016 Martha Argerich & Various Artists Field 28 - Classical Category 79 - Best Classical Instrumental Solo (Award to the Instrumental Soloist(s) and to the Conductor when applicable.) • Bach: The French Suites Murray Perahia • Haydn: Cello Concertos Steven Isserlis; Florian Donderer, conductor (The Deutsch Kammerphilharmonie Bremen) • Levina: The Piano Concertos Maria Lettberg; Ariane Matiakh, conductor (Rundfunk-Sinfonieorchester Berlin) • Shostakovich: Violin Concertos Nos. 1 & 2 Frank Peter Zimmermann; Alan Gilbert, conductor (NDR Elbphilharmonie Orchester) • Transcendental Daniil Trifonov Field 28 - Classical Category 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.) • Bach & Telemann: Sacred Cantatas Philippe Jaroussky; Petra Müllejans, conductor (Ann-Kathrin Brüggemann & Juan de la Rubia; Freiburger Barockorchester) • Crazy Girl Crazy - Music By Gershwin, Berg & Berio Barbara Hannigan (Orchestra Ludwig) • Gods & Monsters Nicholas Phan; Myra Huang, accompanist • In War & Peace - Harmony Through Music Joyce DiDonato; Maxim Emelyanychev, conductor (Il Pomo D’Oro) • Sviridov: Russia Cast Adrift Dmitri Hvorostovsky; Constantine Orbelian, conductor (St. Petersburg State Symphony Orchestra & Style Of Five Ensemble) Field 28 - Classical Category 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.) • Barbara Alexandre Tharaud; Cécile Lenoir, producer • Higdon: All Things Majestic, Viola Concerto & Oboe Concerto Giancarlo Guerrero, conductor; Tim Handley, producer • Kurtág: Complete Works For Ensemble & Choir Reinbert de Leeuw, conductor; Guido Tichelman, producer • Les Routes De L'Esclavage Jordi Savall, conductor; Benjamin Bleton, producer • Mademoiselle: Première Audience - Unknown Music Of Nadia Boulanger Lucy Mauro; Lucy Mauro, producer Field 28 - Classical Category 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.) • Danielpour: Songs Of Solitude Richard Danielpour, composer (Thomas Hampson, Giancarlo Guerrero & Nashville Symphony) • Higdon: Viola Concerto Jennifer Higdon, composer (Roberto Díaz, Giancarlo Guerrero & Nashville Symphony) • Mansurian: Requiem Tigran Mansurian, composer (Alexander Liebreich, Florian Helgath, RIAS Kammerchor & Münchener Kammerorchester) • Schoenberg, Adam: Picture Studies Adam Schoenberg, composer (Michael Stern & Kansas City Symphony) • Zhou Tian: Concerto For Orchestra Zhou Tian, composer (Louis Langrée & Cincinnati Symphony Orchestra) Field 29 - Music Video/Film Category 83 - Best Music Video (Award to the artist, video director, and video producer.) • Up All Night Beck Canada, video director; Laura Serra Estorch & Oscar Romagosa, video producers • Makeba Jain Lionel Hirle & Gregory Ohrel, video directors; Yodelice, video producer • The Story Of O.J. JAY-Z Shawn Carter & Mark Romanek, video directors; Daniel Midgley, video producer • Humble. Kendrick Lamar The Little Homies & Dave Meyers, video directors; Jason Baum, Dave Free, Jamie Rabineau, Nathan K. Scherrer & Anthony Tiffith, video producers • 1-800-273-8255 Logic Featuring Alessia Cara & Khalid Andy Hines, video director; Andrew Lerios, video producer Field 29 - Music Video/Film Category 84 - Best Music Film (For concert/performance films or music documentaries. Award to the artist, video director, and video producer.) • One More Time With Feeling Nick Cave & The Bad Seeds Andrew Dominik, video director; Dulcie Kellett & James Wilson, video producers • Long Strange Trip (The Grateful Dead) Amir Bar-Lev, video director; Alex Blavatnik, Ken Dornstein, Eric Eisner, Nick Koskoff & Justin Kreutzmann, video producers • The Defiant Ones (Various Artists) Allen Hughes, video director; Sarah Anthony, Fritzi Horstman, Broderick Johnson, Gene Kirkwood, Andrew Kosove, Laura Lancaster, Michael Lombardo, Jerry Longarzo, Doug Pray & Steven Williams, video producers • Soundbreaking (Various Artists) Maro Chermayeff & Jeff Dupre, video directors; Joshua Bennett, Julia Marchesi, Sam Pollard, Sally Rosenthal, Amy Schewel & Warren Zanes, video producers • Two Trains Runnin' (Various Artists) Sam Pollard, video director; Benjamin Hedin, video producer Crappy post format for crappy awards. There is the complete list. 99.9% fail. Link to comment Share on other sites More sharing options...
Rogue_Alphonse Posted December 7, 2017 Share Posted December 7, 2017 tl;dr 1 Link to comment Share on other sites More sharing options...
Guest The Hound Posted December 7, 2017 Share Posted December 7, 2017 Mastodon is the only good nomination on there. Link to comment Share on other sites More sharing options...
lupin_bebop Posted December 7, 2017 Share Posted December 7, 2017 Hmmm...couldn't tell ya. This year in music was pretty shit. Link to comment Share on other sites More sharing options...
NaBarney Posted December 7, 2017 Share Posted December 7, 2017 6 hours ago, Ginguy said: Otherwise it will be Jay Z cursing like a racist drunk sailor. Meh. So you think Jay Z says racist things but not Trump Some very complicated braining at work here 1 Link to comment Share on other sites More sharing options...
Codename: Jackass Posted December 7, 2017 Share Posted December 7, 2017 I knew a guy who had some industry connections from being a session musician for thirty years. According to him, the Grammys are all predetermined by a group of industry big-wigs sitting in a room, deciding who to award based on how well it will increase their sales. Wouldn't surprise me if that's exactly the case. Link to comment Share on other sites More sharing options...
Chapinator_X Posted December 7, 2017 Share Posted December 7, 2017 The odd thing is that even though this was an incredibly shitty year in music, this is the first time in a while that the Album of the Year nominees weren't all liquid feces. It's still a "whatever's on the radio and a couple old people for good measure" award show, but I was surprised they didn't flood the nominations with Ed Sheeran, Shawn Mendes, Imagine Dragons, or whatever bland shit they put on Kidz Bop. Link to comment Share on other sites More sharing options...
CAC Posted December 7, 2017 Share Posted December 7, 2017 15 hours ago, Rogue_Deku said: tl;dr We really need a character limit. 1 Link to comment Share on other sites More sharing options...
nameraka Posted December 8, 2017 Author Share Posted December 8, 2017 5 hours ago, CAC said: We really need a character limit. The Great Gatsby, by F. Scott Fitzgerald Chapter 1 In my younger and more vulnerable years my father gave me some advice that I’ve been turning over in my mind ever since. “Whenever you feel like criticizing any one,” he told me, “just remember that all the people in this world haven’t had the advantages that you’ve had.” He didn’t say any more, but we’ve always been unusually communicative in a reserved way, and I understood that he meant a great deal more than that. In consequence, I’m inclined to reserve all judgments, a habit that has opened up many curious natures to me and also made me the victim of not a few veteran bores. The abnormal mind is quick to detect and attach itself to this quality when it appears in a normal person, and so it came about that in college I was unjustly accused of being a politician, because I was privy to the secret griefs of wild, unknown men. Most of the confidences were unsought — frequently I have feigned sleep, preoccupation, or a hostile levity when I realized by some unmistakable sign that an intimate revelation was quivering on the horizon; for the intimate revelations of young men, or at least the terms in which they express them, are usually plagiaristic and marred by obvious suppressions. Reserving judgments is a matter of infinite hope. I am still a little afraid of missing something if I forget that, as my father snobbishly suggested, and I snobbishly repeat, a sense of the fundamental decencies is parcelled out unequally at birth. And, after boasting this way of my tolerance, I come to the admission that it has a limit. Conduct may be founded on the hard rock or the wet marshes, but after a certain point I don’t care what it’s founded on. When I came back from the East last autumn I felt that I wanted the world to be in uniform and at a sort of moral attention forever; I wanted no more riotous excursions with privileged glimpses into the human heart. Only Gatsby, the man who gives his name to this book, was exempt from my reaction — Gatsby, who represented everything for which I have an unaffected scorn. If personality is an unbroken series of successful gestures, then there was something gorgeous about him, some heightened sensitivity to the promises of life, as if he were related to one of those intricate machines that register earthquakes ten thousand miles away. This responsiveness had nothing to do with that flabby impressionability which is dignified under the name of the “creative temperament.”— it was an extraordinary gift for hope, a romantic readiness such as I have never found in any other person and which it is not likely I shall ever find again. No — Gatsby turned out all right at the end; it is what preyed on Gatsby, what foul dust floated in the wake of his dreams that temporarily closed out my interest in the abortive sorrows and short-winded elations of men. My family have been prominent, well-to-do people in this Middle Western city for three generations. The Carraways are something of a clan, and we have a tradition that we’re descended from the Dukes of Buccleuch, but the actual founder of my line was my grandfather’s brother, who came here in fifty-one, sent a substitute to the Civil War, and started the wholesale hardware business that my father carries on to-day. I never saw this great-uncle, but I’m supposed to look like him — with special reference to the rather hard-boiled painting that hangs in father’s office. I graduated from New Haven in 1915, just a quarter of a century after my father, and a little later I participated in that delayed Teutonic migration known as the Great War. I enjoyed the counter-raid so thoroughly that I came back restless. Instead of being the warm centre of the world, the Middle West now seemed like the ragged edge of the universe — so I decided to go East and learn the bond business. Everybody I knew was in the bond business, so I supposed it could support one more single man. All my aunts and uncles talked it over as if they were choosing a prep school for me, and finally said, “Why — ye — es,” with very grave, hesitant faces. Father agreed to finance me for a year, and after various delays I came East, permanently, I thought, in the spring of twenty-two. The practical thing was to find rooms in the city, but it was a warm season, and I had just left a country of wide lawns and friendly trees, so when a young man at the office suggested that we take a house together in a commuting town, it sounded like a great idea. He found the house, a weather-beaten cardboard bungalow at eighty a month, but at the last minute the firm ordered him to Washington, and I went out to the country alone. I had a dog — at least I had him for a few days until he ran away — and an old Dodge and a Finnish woman, who made my bed and cooked breakfast and muttered Finnish wisdom to herself over the electric stove. It was lonely for a day or so until one morning some man, more recently arrived than I, stopped me on the road. “How do you get to West Egg village?” he asked helplessly. I told him. And as I walked on I was lonely no longer. I was a guide, a pathfinder, an original settler. He had casually conferred on me the freedom of the neighborhood. And so with the sunshine and the great bursts of leaves growing on the trees, just as things grow in fast movies, I had that familiar conviction that life was beginning over again with the summer. There was so much to read, for one thing, and so much fine health to be pulled down out of the young breath-giving air. I bought a dozen volumes on banking and credit and investment securities, and they stood on my shelf in red and gold like new money from the mint, promising to unfold the shining secrets that only Midas and Morgan and Maecenas knew. And I had the high intention of reading many other books besides. I was rather literary in college — one year I wrote a series of very solemn and obvious editorials for the “Yale News.”— and now I was going to bring back all such things into my life and become again that most limited of all specialists, the “well-rounded man.” This isn’t just an epigram — life is much more successfully looked at from a single window, after all. It was a matter of chance that I should have rented a house in one of the strangest communities in North America. It was on that slender riotous island which extends itself due east of New York — and where there are, among other natural curiosities, two unusual formations of land. Twenty miles from the city a pair of enormous eggs, identical in contour and separated only by a courtesy bay, jut out into the most domesticated body of salt water in the Western hemisphere, the great wet barnyard of Long Island Sound. They are not perfect ovals — like the egg in the Columbus story, they are both crushed flat at the contact end — but their physical resemblance must be a source of perpetual confusion to the gulls that fly overhead. To the wingless a more arresting phenomenon is their dissimilarity in every particular except shape and size. I lived at West Egg, the — well, the less fashionable of the two, though this is a most superficial tag to express the bizarre and not a little sinister contrast between them. My house was at the very tip of the egg, only fifty yards from the Sound, and squeezed between two huge places that rented for twelve or fifteen thousand a season. The one on my right was a colossal affair by any standard — it was a factual imitation of some Hotel de Ville in Normandy, with a tower on one side, spanking new under a thin beard of raw ivy, and a marble swimming pool, and more than forty acres of lawn and garden. It was Gatsby’s mansion. Or, rather, as I didn’t know Mr. Gatsby, it was a mansion inhabited by a gentleman of that name. My own house was an eyesore, but it was a small eyesore, and it had been overlooked, so I had a view of the water, a partial view of my neighbor’s lawn, and the consoling proximity of millionaires — all for eighty dollars a month. Across the courtesy bay the white palaces of fashionable East Egg glittered along the water, and the history of the summer really begins on the evening I drove over there to have dinner with the Tom Buchanans. Daisy was my second cousin once removed, and I’d known Tom in college. And just after the war I spent two days with them in Chicago. Her husband, among various physical accomplishments, had been one of the most powerful ends that ever played football at New Haven — a national figure in a way, one of those men who reach such an acute limited excellence at twenty-one that everything afterward savors of anti-climax. His family were enormously wealthy — even in college his freedom with money was a matter for reproach — but now he’d left Chicago and come East in a fashion that rather took your breath away: for instance, he’d brought down a string of polo ponies from Lake Forest. It was hard to realize that a man in my own generation was wealthy enough to do that. Why they came East I don’t know. They had spent a year in France for no particular reason, and then drifted here and there unrestfully wherever people played polo and were rich together. This was a permanent move, said Daisy over the telephone, but I didn’t believe it — I had no sight into Daisy’s heart, but I felt that Tom would drift on forever seeking, a little wistfully, for the dramatic turbulence of some irrecoverable football game. And so it happened that on a warm windy evening I drove over to East Egg to see two old friends whom I scarcely knew at all. Their house was even more elaborate than I expected, a cheerful red-and-white Georgian Colonial mansion, overlooking the bay. The lawn started at the beach and ran toward the front door for a quarter of a mile, jumping over sun-dials and brick walks and burning gardens — finally when it reached the house drifting up the side in bright vines as though from the momentum of its run. The front was broken by a line of French windows, glowing now with reflected gold and wide open to the warm windy afternoon, and Tom Buchanan in riding clothes was standing with his legs apart on the front porch. He had changed since his New Haven years. Now he was a sturdy straw-haired man of thirty with a rather hard mouth and a supercilious manner. Two shining arrogant eyes had established dominance over his face and gave him the appearance of always leaning aggressively forward. Not even the effeminate swank of his riding clothes could hide the enormous power of that body — he seemed to fill those glistening boots until he strained the top lacing, and you could see a great pack of muscle shifting when his shoulder moved under his thin coat. It was a body capable of enormous leverage — a cruel body. His speaking voice, a gruff husky tenor, added to the impression of fractiousness he conveyed. There was a touch of paternal contempt in it, even toward people he liked — and there were men at New Haven who had hated his guts. “Now, don’t think my opinion on these matters is final,” he seemed to say, “just because I’m stronger and more of a man than you are.” We were in the same senior society, and while we were never intimate I always had the impression that he approved of me and wanted me to like him with some harsh, defiant wistfulness of his own. We talked for a few minutes on the sunny porch. “I’ve got a nice place here,” he said, his eyes flashing about restlessly. Turning me around by one arm, he moved a broad flat hand along the front vista, including in its sweep a sunken Italian garden, a half acre of deep, pungent roses, and a snub-nosed motor-boat that bumped the tide offshore. “It belonged to Demaine, the oil man.” He turned me around again, politely and abruptly. “We’ll go inside.” We walked through a high hallway into a bright rosy-colored space, fragilely bound into the house by French windows at either end. The windows were ajar and gleaming white against the fresh grass outside that seemed to grow a little way into the house. A breeze blew through the room, blew curtains in at one end and out the other like pale flags, twisting them up toward the frosted wedding-cake of the ceiling, and then rippled over the wine-colored rug, making a shadow on it as wind does on the sea. The only completely stationary object in the room was an enormous couch on which two young women were buoyed up as though upon an anchored balloon. They were both in white, and their dresses were rippling and fluttering as if they had just been blown back in after a short flight around the house. I must have stood for a few moments listening to the whip and snap of the curtains and the groan of a picture on the wall. Then there was a boom as Tom Buchanan shut the rear windows and the caught wind died out about the room, and the curtains and the rugs and the two young women ballooned slowly to the floor. The younger of the two was a stranger to me. She was extended full length at her end of the divan, completely motionless, and with her chin raised a little, as if she were balancing something on it which was quite likely to fall. If she saw me out of the corner of her eyes she gave no hint of it — indeed, I was almost surprised into murmuring an apology for having disturbed her by coming in. The other girl, Daisy, made an attempt to rise — she leaned slightly forward with a conscientious expression — then she laughed, an absurd, charming little laugh, and I laughed too and came forward into the room. “I’m p-paralyzed with happiness.” She laughed again, as if she said something very witty, and held my hand for a moment, looking up into my face, promising that there was no one in the world she so much wanted to see. That was a way she had. She hinted in a murmur that the surname of the balancing girl was Baker. (I’ve heard it said that Daisy’s murmur was only to make people lean toward her; an irrelevant criticism that made it no less charming.) At any rate, Miss Baker’s lips fluttered, she nodded at me almost imperceptibly, and then quickly tipped her head back again — the object she was balancing had obviously tottered a little and given her something of a fright. Again a sort of apology arose to my lips. Almost any exhibition of complete self-sufficiency draws a stunned tribute from me. I looked back at my cousin, who began to ask me questions in her low, thrilling voice. It was the kind of voice that the ear follows up and down, as if each speech is an arrangement of notes that will never be played again. Her face was sad and lovely with bright things in it, bright eyes and a bright passionate mouth, but there was an excitement in her voice that men who had cared for her found difficult to forget: a singing compulsion, a whispered “Listen,” a promise that she had done gay, exciting things just a while since and that there were gay, exciting things hovering in the next hour. I told her how I had stopped off in Chicago for a day on my way East, and how a dozen people had sent their love through me. “Do they miss me?” she cried ecstatically. “The whole town is desolate. All the cars have the left rear wheel painted black as a mourning wreath, and there’s a persistent wail all night along the north shore.” “How gorgeous! Let’s go back, Tom. To-morrow!” Then she added irrelevantly: “You ought to see the baby.” “I’d like to.” “She’s asleep. She’s three years old. Haven’t you ever seen her?” “Never.” “Well, you ought to see her. She’s ——” Tom Buchanan, who had been hovering restlessly about the room, stopped and rested his hand on my shoulder. “What you doing, Nick?” “I’m a bond man.” “Who with?” I told him. “Never heard of them,” he remarked decisively. This annoyed me. “You will,” I answered shortly. “You will if you stay in the East.” “Oh, I’ll stay in the East, don’t you worry,” he said, glancing at Daisy and then back at me, as if he were alert for something more. “I’d be a God damned fool to live anywhere else.” At this point Miss Baker said: “Absolutely!” with such suddenness that I started — it was the first word she uttered since I came into the room. Evidently it surprised her as much as it did me, for she yawned and with a series of rapid, deft movements stood up into the room. “I’m stiff,” she complained, “I’ve been lying on that sofa for as long as I can remember.” “Don’t look at me,” Daisy retorted, “I’ve been trying to get you to New York all afternoon.” “No, thanks,” said Miss Baker to the four cocktails just in from the pantry, “I’m absolutely in training.” Her host looked at her incredulously. “You are!” He took down his drink as if it were a drop in the bottom of a glass. “How you ever get anything done is beyond me.” I looked at Miss Baker, wondering what it was she “got done.” I enjoyed looking at her. She was a slender, small-breasted girl, with an erect carriage, which she accentuated by throwing her body backward at the shoulders like a young cadet. Her gray sun-strained eyes looked back at me with polite reciprocal curiosity out of a wan, charming, discontented face. It occurred to me now that I had seen her, or a picture of her, somewhere before. “You live in West Egg,” she remarked contemptuously. “I know somebody there.” “I don’t know a single ——” “You must know Gatsby.” “Gatsby?” demanded Daisy. “What Gatsby?” Before I could reply that he was my neighbor dinner was announced; wedging his tense arm imperatively under mine, Tom Buchanan compelled me from the room as though he were moving a checker to another square. Slenderly, languidly, their hands set lightly on their hips, the two young women preceded us out onto a rosy-colored porch, open toward the sunset, where four candles flickered on the table in the diminished wind. “Why candles?” objected Daisy, frowning. She snapped them out with her fingers. “In two weeks it’ll be the longest day in the year.” She looked at us all radiantly. “Do you always watch for the longest day of the year and then miss it? I always watch for the longest day in the year and then miss it.” “We ought to plan something,” yawned Miss Baker, sitting down at the table as if she were getting into bed. “All right,” said Daisy. “What’ll we plan?” She turned to me helplessly: “What do people plan?” Before I could answer her eyes fastened with an awed expression on her little finger. “Look!” she complained; “I hurt it.” We all looked — the knuckle was black and blue. “You did it, Tom,” she said accusingly. “I know you didn’t mean to, but you did do it. That’s what I get for marrying a brute of a man, a great, big, hulking physical specimen of a ——” “I hate that word hulking,” objected Tom crossly, “even in kidding.” “Hulking,” insisted Daisy. Sometimes she and Miss Baker talked at once, unobtrusively and with a bantering inconsequence that was never quite chatter, that was as cool as their white dresses and their impersonal eyes in the absence of all desire. They were here, and they accepted Tom and me, making only a polite pleasant effort to entertain or to be entertained. They knew that presently dinner would be over and a little later the evening too would be over and casually put away. It was sharply different from the West, where an evening was hurried from phase to phase toward its close, in a continually disappointed anticipation or else in sheer nervous dread of the moment itself. “You make me feel uncivilized, Daisy,” I confessed on my second glass of corky but rather impressive claret. “Can’t you talk about crops or something?” I meant nothing in particular by this remark, but it was taken up in an unexpected way. “Civilization’s going to pieces,” broke out Tom violently. “I’ve gotten to be a terrible pessimist about things. Have you read ‘The Rise of the Colored Empires’ by this man Goddard?” “Why, no,” I answered, rather surprised by his tone. “Well, it’s a fine book, and everybody ought to read it. The idea is if we don’t look out the white race will be — will be utterly submerged. It’s all scientific stuff; it’s been proved.” “Tom’s getting very profound,” said Daisy, with an expression of unthoughtful sadness. “He reads deep books with long words in them. What was that word we ——” “Well, these books are all scientific,” insisted Tom, glancing at her impatiently. “This fellow has worked out the whole thing. It’s up to us, who are the dominant race, to watch out or these other races will have control of things.” “We’ve got to beat them down,” whispered Daisy, winking ferociously toward the fervent sun. “You ought to live in California —” began Miss Baker, but Tom interrupted her by shifting heavily in his chair. “This idea is that we’re Nordics. I am, and you are, and you are, and ——” After an infinitesimal hesitation he included Daisy with a slight nod, and she winked at me again. “— And we’ve produced all the things that go to make civilization — oh, science and art, and all that. Do you see?” There was something pathetic in his concentration, as if his complacency, more acute than of old, was not enough to him any more. When, almost immediately, the telephone rang inside and the butler left the porch Daisy seized upon the momentary interruption and leaned toward me. “I’ll tell you a family secret,” she whispered enthusiastically. “It’s about the butler’s nose. Do you want to hear about the butler’s nose?” “That’s why I came over to-night.” “Well, he wasn’t always a butler; he used to be the silver polisher for some people in New York that had a silver service for two hundred people. He had to polish it from morning till night, until finally it began to affect his nose ——” “Things went from bad to worse,” suggested Miss Baker. “Yes. Things went from bad to worse, until finally he had to give up his position.” For a moment the last sunshine fell with romantic affection upon her glowing face; her voice compelled me forward breathlessly as I listened — then the glow faded, each light deserting her with lingering regret, like children leaving a pleasant street at dusk. The butler came back and murmured something close to Tom’s ear, whereupon Tom frowned, pushed back his chair, and without a word went inside. As if his absence quickened something within her, Daisy leaned forward again, her voice glowing and singing. “I love to see you at my table, Nick. You remind me of a — of a rose, an absolute rose. Doesn’t he?” She turned to Miss Baker for confirmation: “An absolute rose?” This was untrue. I am not even faintly like a rose. She was only extemporizing, but a stirring warmth flowed from her, as if her heart was trying to come out to you concealed in one of those breathless, thrilling words. Then suddenly she threw her napkin on the table and excused herself and went into the house. Miss Baker and I exchanged a short glance consciously devoid of meaning. I was about to speak when she sat up alertly and said “Sh!” in a warning voice. A subdued impassioned murmur was audible in the room beyond, and Miss Baker leaned forward unashamed, trying to hear. The murmur trembled on the verge of coherence, sank down, mounted excitedly, and then ceased altogether. “This Mr. Gatsby you spoke of is my neighbor ——” I said. “Don’t talk. I want to hear what happens.” “Is something happening?” I inquired innocently. “You mean to say you don’t know?” said Miss Baker, honestly surprised. “I thought everybody knew.” “I don’t.” “Why ——” she said hesitantly, “Tom’s got some woman in New York.” “Got some woman?” I repeated blankly. Miss Baker nodded. “She might have the decency not to telephone him at dinner time. Don’t you think?” Almost before I had grasped her meaning there was the flutter of a dress and the crunch of leather boots, and Tom and Daisy were back at the table. “It couldn’t be helped!” cried Daisy with tense gaiety. She sat down, glanced searchingly at Miss Baker and then at me, and continued: “I looked outdoors for a minute, and it’s very romantic outdoors. There’s a bird on the lawn that I think must be a nightingale come over on the Cunard or White Star Line. He’s singing away ——” Her voice sang: “It’s romantic, isn’t it, Tom?” “Very romantic,” he said, and then miserably to me: “If it’s light enough after dinner, I want to take you down to the stables.” The telephone rang inside, startlingly, and as Daisy shook her head decisively at Tom the subject of the stables, in fact all subjects, vanished into air. Among the broken fragments of the last five minutes at table I remember the candles being lit again, pointlessly, and I was conscious of wanting to look squarely at every one, and yet to avoid all eyes. I couldn’t guess what Daisy and Tom were thinking, but I doubt if even Miss Baker, who seemed to have mastered a certain hardy scepticism, was able utterly to put this fifth guest’s shrill metallic urgency out of mind. To a certain temperament the situation might have seemed intriguing — my own instinct was to telephone immediately for the police. The horses, needless to say, were not mentioned again. Tom and Miss Baker, with several feet of twilight between them, strolled back into the library, as if to a vigil beside a perfectly tangible body, while, trying to look pleasantly interested and a little deaf, I followed Daisy around a chain of connecting verandas to the porch in front. In its deep gloom we sat down side by side on a wicker settee. Daisy took her face in her hands as if feeling its lovely shape, and her eyes moved gradually out into the velvet dusk. I saw that turbulent emotions possessed her, so I asked what I thought would be some sedative questions about her little girl. “We don’t know each other very well, Nick,” she said suddenly. “Even if we are cousins. You didn’t come to my wedding.” “I wasn’t back from the war.” “That’s true.” She hesitated. “Well, I’ve had a very bad time, Nick, and I’m pretty cynical about everything.” Evidently she had reason to be. I waited but she didn’t say any more, and after a moment I returned rather feebly to the subject of her daughter. “I suppose she talks, and — eats, and everything.” “Oh, yes.” She looked at me absently. “Listen, Nick; let me tell you what I said when she was born. Would you like to hear?” “Very much.” “It’ll show you how I’ve gotten to feel about — things. Well, she was less than an hour old and Tom was God knows where. I woke up out of the ether with an utterly abandoned feeling, and asked the nurse right away if it was a boy or a girl. She told me it was a girl, and so I turned my head away and wept. ‘all right,’ I said, ‘I’m glad it’s a girl. And I hope she’ll be a fool — that’s the best thing a girl can be in this world, a beautiful little fool.” “You see I think everything’s terrible anyhow,” she went on in a convinced way. “Everybody thinks so — the most advanced people. And I know. I’ve been everywhere and seen everything and done everything.” Her eyes flashed around her in a defiant way, rather like Tom’s, and she laughed with thrilling scorn. “Sophisticated — God, I’m sophisticated!” The instant her voice broke off, ceasing to compel my attention, my belief, I felt the basic insincerity of what she had said. It made me uneasy, as though the whole evening had been a trick of some sort to exact a contributory emotion from me. I waited, and sure enough, in a moment she looked at me with an absolute smirk on her lovely face, as if she had asserted her membership in a rather distinguished secret society to which she and Tom belonged. Inside, the crimson room bloomed with light. Tom and Miss Baker sat at either end of the long couch and she read aloud to him from the Saturday Evening Post. — the words, murmurous and uninflected, running together in a soothing tune. The lamp-light, bright on his boots and dull on the autumn-leaf yellow of her hair, glinted along the paper as she turned a page with a flutter of slender muscles in her arms. When we came in she held us silent for a moment with a lifted hand. “To be continued,” she said, tossing the magazine on the table, “in our very next issue.” Her body asserted itself with a restless movement of her knee, and she stood up. “Ten o’clock,” she remarked, apparently finding the time on the ceiling. “Time for this good girl to go to bed.” “Jordan’s going to play in the tournament to-morrow,” explained Daisy, “over at Westchester.” “Oh — you’re Jordan Baker.” I knew now why her face was familiar — its pleasing contemptuous expression had looked out at me from many rotogravure pictures of the sporting life at Asheville and Hot Springs and Palm Beach. I had heard some story of her too, a critical, unpleasant story, but what it was I had forgotten long ago. “Good night,” she said softly. “Wake me at eight, won’t you.” “If you’ll get up.” “I will. Good night, Mr. Carraway. See you anon.” “Of course you will,” confirmed Daisy. “In fact I think I’ll arrange a marriage. Come over often, Nick, and I’ll sort of — oh — fling you together. You know — lock you up accidentally in linen closets and push you out to sea in a boat, and all that sort of thing ——” “Good night,” called Miss Baker from the stairs. “I haven’t heard a word.” “She’s a nice girl,” said Tom after a moment. “They oughtn’t to let her run around the country this way.” “Who oughtn’t to?” inquired Daisy coldly. “Her family.” “Her family is one aunt about a thousand years old. Besides, Nick’s going to look after her, aren’t you, Nick? She’s going to spend lots of week-ends out here this summer. I think the home influence will be very good for her.” Daisy and Tom looked at each other for a moment in silence. “Is she from New York?” I asked quickly. “From Louisville. Our white girlhood was passed together there. Our beautiful white ——” “Did you give Nick a little heart to heart talk on the veranda?” demanded Tom suddenly. “Did I?” She looked at me. “I can’t seem to remember, but I think we talked about the Nordic race. Yes, I’m sure we did. It sort of crept up on us and first thing you know ——” “Don’t believe everything you hear, Nick,” he advised me. I said lightly that I had heard nothing at all, and a few minutes later I got up to go home. They came to the door with me and stood side by side in a cheerful square of light. As I started my motor Daisy peremptorily called: “Wait!” “I forgot to ask you something, and it’s important. We heard you were engaged to a girl out West.” “That’s right,” corroborated Tom kindly. “We heard that you were engaged.” “It’s libel. I’m too poor.” “But we heard it,” insisted Daisy, surprising me by opening up again in a flower-like way. “We heard it from three people, so it must be true.” Of course I knew what they were referring to, but I wasn’t even vaguely engaged. The fact that gossip had published the banns was one of the reasons I had come East. You can’t stop going with an old friend on account of rumors, and on the other hand I had no intention of being rumored into marriage. Their interest rather touched me and made them less remotely rich — nevertheless, I was confused and a little disgusted as I drove away. It seemed to me that the thing for Daisy to do was to rush out of the house, child in arms — but apparently there were no such intentions in her head. As for Tom, the fact that he “had some woman in New York.” was really less surprising than that he had been depressed by a book. Something was making him nibble at the edge of stale ideas as if his sturdy physical egotism no longer nourished his peremptory heart. Already it was deep summer on roadhouse roofs and in front of wayside garages, where new red gas-pumps sat out in pools of light, and when I reached my estate at West Egg I ran the car under its shed and sat for a while on an abandoned grass roller in the yard. The wind had blown off, leaving a loud, bright night, with wings beating in the trees and a persistent organ sound as the full bellows of the earth blew the frogs full of life. The silhouette of a moving cat wavered across the moonlight, and turning my head to watch it, I saw that I was not alone — fifty feet away a figure had emerged from the shadow of my neighbor’s mansion and was standing with his hands in his pockets regarding the silver pepper of the stars. Something in his leisurely movements and the secure position of his feet upon the lawn suggested that it was Mr. Gatsby himself, come out to determine what share was his of our local heavens. I decided to call to him. Miss Baker had mentioned him at dinner, and that would do for an introduction. But I didn’t call to him, for he gave a sudden intimation that he was content to be alone — he stretched out his arms toward the dark water in a curious way, and, far as I was from him, I could have sworn he was trembling. Involuntarily I glanced seaward — and distinguished nothing except a single green light, minute and far away, that might have been the end of a dock. When I looked once more for Gatsby he had vanished, and I was alone again in the unquiet darkness. Link to comment Share on other sites More sharing options...
nameraka Posted December 8, 2017 Author Share Posted December 8, 2017 5 hours ago, CAC said: We really need a character limit. you may be correct Link to comment Share on other sites More sharing options...
CAC Posted December 8, 2017 Share Posted December 8, 2017 42 minutes ago, nameraka said: you may be correct of course i am. Link to comment Share on other sites More sharing options...
Recommended Posts