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https://web.archive.org/web/20200127175703/https://www.nytimes.com/2020/01/26/arts/music/grammy-winners.html

2020 Grammy Winners: The Complete List

https://web.archive.org/web/20200127172755im_/https://static01.nyt.com/images/2020/01/26/arts/26grammys-winners-billie/merlin_167891961_805fe086-4b08-486d-9d8e-20c0069f55bf-superJumbo.jpg?quality=90&auto=webp

Compiled by Lauren Messman

Published Jan. 26, 2020Updated Jan. 27, 2020, 10:28 a.m. ET

The 62nd annual Grammy Awards were on Sunday. Here are highlights from the show:

Billie Eilish won five awards, including record, album and song of the year, capping a night that also saw multiple wins for Lizzo and Lil Nas X.

Our critics and writers weigh in on the best and worst moments.

Lizzo and host Alicia Keys kicked off the show by addressing the death of the basketball star Kobe Bryant.

The ousted Grammys chief Deborah Dugan is at war with the Recording Academy. In a speech, Keys seemed to reference the turmoil.

Check out the red carpet looks.

See the complete list of winners below:

Record of the Year

“Bad Guy,” Billie Eilish

Album of the Year

“When We All Fall Asleep, Where Do We Go?,” Billie Eilish

Song of the Year

“Bad Guy,” Billie Eilish O’Connell and Finneas O’Connell, songwriters (Billie Eilish)

Best New Artist

Billie Eilish

Best Pop Solo Performance

“Truth Hurts,” Lizzo

Best Pop Duo/Group Performance

“Old Town Road,” Lil Nas X featuring Billy Ray Cyrus

Best Pop Vocal Album

“When We All Fall Asleep, Where Do We Go?,” Billie Eilish

Best Rock Performance

“This Land,” Gary Clark Jr.

Best Rock Song

“This Land,” Gary Clark Jr., songwriter (Gary Clark Jr.)

Best Rock Album

“Social Cues,” Cage the Elephant

Best Alternative Music Album

“Father of the Bride,” Vampire Weekend

Best Metal Performance

“7empest,” Tool

Best R&B Performance

“Come Home,” Anderson .Paak featuring André 3000

Best R&B Song

“Say So,” PJ Morton, songwriter (PJ Morton featuring JoJo)

Best Urban Contemporary Album

“Cuz I Love You (Deluxe),” Lizzo

Best R&B Album

“Ventura,” Anderson .Paak

Best Traditional R&B Performance

“Jerome,” Lizzo

Best Rap Performance

“Racks in the Middle,” Nipsey Hussle featuring Roddy Ricch and Hit-Boy

Best Rap Song

“A Lot,” Jermaine Cole, Dacoury Natche, 21 Savage and Anthony White, songwriters (21 Savage featuring J. Cole)

Best Rap Album

“Igor,” Tyler, the Creator

Best Rap/Sung Performance

“Higher,” DJ Khaled featuring Nipsey Hussle and John Legend

Best Country Solo Performance

“Ride Me Back Home,” Willie Nelson

Best Country Album

“While I’m Livin’,” Tanya Tucker

Best Jazz Instrumental Album

“Finding Gabriel,” Brad Mehldau

Best Latin Pop Album

“#Eldisco,” Alejandro Sanz

Best Latin Rock, Urban or Alternative Album

“El Mal Querer,” Rosalía

Best Americana Album

“Oklahoma,” Keb’ Mo’

Best Song Written for Visual Media

“I’ll Never Love Again (Film Version),” Natalie Hemby, Lady Gaga, Hillary Lindsey and Aaron Raitiere, songwriters (Lady Gaga and Bradley Cooper)

Producer of the Year, Non-Classical

Finneas

Best Music Video

“Old Town Road (Official Movie),” Calmatic, video director; Candice Dragonas, Melissa Larsen and Saul Levitz, video producers (Lil Nas X and Billy Ray Cyrus)

Best Comedy Album

“Sticks & Stones,” Dave Chappelle

Best Musical Theater Album

“Hadestown,” Reeve Carney, André De Shields, Amber Gray, Eva Noblezada and Patrick Page, principal soloists; Mara Isaacs, David Lai, Anaïs Mitchell and Todd Sickafoose, producers (Anaïs Mitchell, composer and lyricist) (Original Broadway Cast)

Best Instrumental Composition

“Star Wars: Galaxy’s Edge Symphonic Suite,” John Williams, composer (John Williams)

Best Arrangement, Instrumental or A Cappella

“Moon River,” Jacob Collier, arranger (Jacob Collier)

Best Arrangement, Instruments and Vocals“All Night Long,” Jacob Collier, arranger (Jacob Collier featuring Jules Buckley, Take 6 and Metropole Orkest)

A Grammys Red Carpet Fantasia

We went to the Grammys red carpet in Los Angeles.

Best Recording Package

Chris Cornell, Barry Ament, Jeff Ament and Joe Spix, art directors (Chris Cornell)

Best Boxed or Special Limited Edition Package

“Woodstock: Back to the Garden — The Definitive 50th Anniversary Archive,” Masaki Koike, art director (Various Artists)

Best Album Notes

“Stax ’68: A Memphis Story,” Steve Greenberg, album notes writer (Various Artists)

Best Historical Album

“Pete Seeger: The Smithsonian Folkways Collection,” Jeff Place and Robert Santelli, compilation producers; Pete Reiniger, mastering engineer (Pete Seeger)

Best Engineered Album, Non-Classical

“When We All Fall Asleep, Where Do We Go?,” Rob Kinelski and Finneas O’Connell, engineers; John Greenham, mastering engineer (Billie Eilish)

Best Remixed Recording

“I Rise (Tracy Young’s Pride Intro Radio Remix),” Tracy Young, remixer (Madonna)

Best Immersive Audio Album

“Lux,” Morten Lindberg, immersive audio engineer; Morten Lindberg, immersive audio mastering engineer; Morten Lindberg, immersive audio producer (Anita Brevik, Trondheimsolistene and Nidarosdomens Jentekor)

Best Contemporary Instrumental Album

“Mettavolution,” Rodrigo y Gabriela

Best Gospel Performance/Song

“Love Theory,” Kirk Franklin, songwriter (Kirk Franklin)

Best Contemporary Christian Music Performance/Song

“God Only Knows,” Josh Kerr, Jordan Reynolds, Joel Smallbone, Luke Smallbone and Tedd Tjornhom, songwriters (For King & Country and Dolly Parton)

Best Gospel Album

“Long Live Love,” Kirk Franklin

Best Contemporary Christian Music Album

“Burn the Ships,” For King & Country

Best Roots Gospel Album

“Testimony,” Gloria Gaynor

Best World Music Album

“Celia,” Angelique Kidjo

Best Compilation Soundtrack for Visual Media

“A Star Is Born,” Lady Gaga and Bradley Cooper

Best Score Soundtrack for Visual Media

“Chernobyl,” Hildur Guonadottir, composer

Best New Age Album

“Wings,” Peter Kater

Best American Roots Performance

“Saint Honesty,” Sara Bareilles

Best American Roots Song

“Call My Name,” Sarah Jarosz, Aoife O’Donovan and Sara Watkins, songwriters (I’m With Her)

Best Bluegrass Album

“Tall Fiddler,” Michael Cleveland

Best Traditional Blues Album

“Tall, Dark & Handsome,” Delbert McClinton and Self-Made Men + Dana

Best Contemporary Blues Album

“This Land,” Gary Clark Jr.

Best Folk Album

“Patty Griffin,” Patty Griffin

Best Children’s Album

“Ageless Songs for the Child Archetype,” Jon Samson

Best Spoken Word Album (Includes Poetry, Audio Books and Storytelling)

“Becoming,” Michelle Obama

Best Regional Mexican Music Album (Including Tejano)

“De Ayer Para Siempre,” Mariachi Los Camperos

Best Tropical Latin Album

“Opus,” Marc Anthony

“A Journey Through Cuban Music,” Aymée Nuviola

Best Regional Roots Music Album

“Good Time,” Ranky Tanky

Best Music Film

“Homecoming,” Beyoncé Knowles-Carter and Ed Burke, video directors; Steve Pamon and Erinn Williams, video producers (Beyoncé)

Best Country Duo/Group Performance

“Speechless,” Dan + Shay

Best Country Song

“Bring My Flowers Now,” Brandi Carlile, Phil Hanseroth, Tim Hanseroth and Tanya Tucker, songwriters (Tanya Tucker)

Best Traditional Pop Vocal Album

“Look Now,” Elvis Costello and the Imposters

Best Engineered Album, Classical

“Riley: Sun Rings,” Leslie Ann Jones, engineer; John Kilgore, Judith Sherman and David Harrington, engineers/mixers; Robert C. Ludwig, mastering engineer (Kronos Quartet)

Producer of the Year, Classical

Blanton Alspaugh

Best Orchestral Performance

“Norman: Sustain,” Gustavo Dudamel, conductor (Los Angeles Philharmonic)

Best Opera Recording

“Picker: Fantastic Mr. Fox,” Gil Rose, conductor; John Brancy, Andrew Craig Brown, Gabriel Preisser, Krista River and Edwin Vega; Gil Rose, producer (Boston Modern Orchestra Project; Boston Children’s Chorus)

Best Choral Performance

“Duruflé: Complete Choral Works,” Robert Simpson, conductor (Ken Cowan; Houston Chamber Choir)

Best Chamber Music/Small Ensemble Performance

“Shaw: Orange,” Attacca Quartet

Best Classical Instrumental Solo

“Marsalis: Violin Concerto; Fiddle Dance Suite,” Nicola Benedetti; Cristian Măcelaru, conductor (Philadelphia Orchestra)

Best Classical Solo Vocal Album

“Songplay,” Joyce DiDonato; Chuck Israels, Jimmy Madison, Charlie Porter and Craig Terry, accompanists (Steve Barnett and Lautaro Greco)

Best Classical Compendium

“The Poetry of Places,” Nadia Shpachenko; Marina A. Ledin and Victor Ledin, producers

Best Contemporary Classical Composition

“Higdon: Harp Concerto,” Jennifer Higdon, composer (Yolanda Kondonassis, Ward Stare and the Rochester Philharmonic Orchestra)

Best Dance Recording

“Got to Keep On,” The Chemical Brothers, producers; Steve Dub Jones and Tom Rowlands, mixers (The Chemical Brothers)

Best Dance/Electronic Album

“No Geography,” The Chemical Brothers

Best Reggae Album

“Rapture,” Koffee

Best Improvised Jazz Solo

“Sozinho,” Randy Brecker, soloist

Best Jazz Vocal Album

“12 Little Spells,” Esperanza Spalding

Best Large Jazz Ensemble Album

“The Omni-American Book Club,” Brian Lynch Big Band

Best Latin Jazz Album

“Antidote,” Chick Corea and the Spanish Heart Band

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[mealvaan]

Pitch

Mitra finds herself grateful that her deluxe inn suite has been paid for. You can’t ask for a better desk than a king-sized bed. 

Her folio’s guts are laid lovingly across the duvet. The densest document is a written guide from her superior outlining the product’s KSPs, competitive features and frequently asked questions, with keywords underlined in crimson ink. Truthfully, this leaf has been strewn to the side in favour of her grand design.

On pieces of parchment in all kinds of shapes and sizes, she’s curated the ideas that really speak to her. There’s diagrams of the device as drawn by its designers, dissected layer by layer or shown in prospective for each use case. In their peripheries, there are business cards from various clientele she’s worked with, the keywords of their testimonials scribbled on the backs. Occasionally, there’s a scrap of parchment with her own writing on it hosting a solitary phrase such as “set-up”, “inversion” or “size” which are single triggers to a sprawling web of persuasive ideas, filed into her mental cabinets. There’s not a single industry buzzword to be found here — strings of letters that evoke nothing within her.

Instead, her eyes flit between the organs of her sales case, digesting the lot in the way she best knows how. All the while, she’s muttering the spiel to commit it to memory, spurred by the invisible connections between visual aids. Once she completes her umpteenth run through, she deflates entirely with a sigh.

She had never seen the former consultant put his ideas to the test in this way. The outline was all that he needed, and the rest was emollient talk. The deal would be agreed, signed and shaken on after a seed of fear was introduced, wherein the competition’s repute would be taken into question, and of course — a few drinks. She had so little to minute. Her notes were an audit trail, and nothing more. He had always said, “Thavnairian alchemy speaks for itself,” and that had been the core of his work.

But his era has suddenly collapsed, his advice with it. No longer is Thavnairian work an esoteric, sparse commodity. Following the Final Days, alchemical experts are strewn across Hydaelyn in droves. Not to mention a united Eorzea has proven for further innovations in their own alchemical technology. It isn’t enough for something to be Thavnairian — the product must host its own merit. 

Further to that, her late superior had never used the Thavnairian brand as a crutch. His manner of speaking and precision for tone was a concoction of powerful charisma that she could never perfect. Each lilt, an implementation of his will made manifest. It cut through sceptical first-time clientele, drunken long-term business partners, and everything in between. 

An innate magic she doesn’t hold. Not inherited from his passing. She possesses the singular tool in his kit, and there it lies, far out from her periphery.

She glances towards the cheat sheet, taking it between delicate fingers. The other hand attends to the loosely strewn bathrobe she’s slung over her diminutive form, and her lips purse. There’s a proper bureau to the right of her, left untouched.

After she tucks her bits and pieces into the folio to rest, she hobbles over to the closet and starts sifting through her outfits.

Here, the real preparation begins.

[arisudhan]

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Porta Potty Rental in Boston, MA: Everything You Need to Know

Potty Rental in Boston provide a sensible answer to meet these wants except the trouble of constructing everlasting restrooms.

 Let's delve into the benefits, costs, and issues of porta potty condominium in Boston.

Benefits of Porta Potty Rental in Boston, MA

Convenience for Event Organizers

Hosting occasions in out of doors venues or places besides get entry to to normal restrooms can pose logistical challenges.

 Porta potty leases furnish a handy answer via providing brief sanitation services that can be positioned honestly anywhere. 

Event Potty Rental in Boston  organizers can focal point on planning and executing their occasions except traumatic about restroom accessibility.

Hygiene and Sanitation Benefits

Maintaining cleanliness and hygiene is imperative for the fitness and well-being of match attendees or building workers.

Modern porta potties are geared up with hand sanitizers, air flow systems, and antimicrobial coatings to limit odors and stop the unfold of germs. By opting for porta potty rentals, you can make certain a sanitary surroundings for every person involved.

Cost-Effectiveness Potty Rental in Boston Compared to Building Permanent Facilities

Constructing everlasting restrooms can be prohibitively luxurious and time-consuming, in particular for non permanent activities or transient development projects.

 Porta potty leases provide a budget friendly choice that eliminates the want for long-term investments in infrastructure. You solely pay for the length of the rental, making it a budget-friendly desire for quite a number occasions.

Types of Porta Potties Available

Porta potty in Boston, MA, provide a vary of preferences to swimsuit special wishes and preferences.

Standard Porta Potties

Standard porta potties are the most frequent kind of transportable restroom, providing simple services such as a toilet, urinal, and hand sanitizer dispenser.

They are appropriate for occasions of all sizes and can be without difficulty transported and set up on-site.

Deluxe Porta Potties with Additional Features

Deluxe porta potties are outfitted with greater facilities for improved remedy and convenience.

These may also consist of aspects like flushing toilets, sinks with strolling water, and indoors lighting.

Deluxe devices are best for upscale occasions or activities the place a greater stage of relief is desired.

ADA-Compliant Porta Potties for Accessibility

For activities or building web sites that require accessibility accommodations, ADA-compliant porta potties are available. These gadgets are designed to meet the necessities of the Americans with Disabilities Act (ADA) and function spacious interiors, handrails, and wheelchair-accessible entrances.

Factors Affecting Porta Potty Rental Rates

Several elements have an impact on the price of porta potty leases in Boston, MA.

Location in Boston, MA

Rental fees may also range relying on the particular region inside Boston and surrounding areas.

Urban areas with greater demand for porta potties might also have barely greater expenditures in contrast to rural or suburban areas.

Duration of Rental

The period of the apartment length without delay impacts the standard cost.

Most porta potty apartment businesses provide bendy condominium options, such as daily, weekly, and month-to-month rates. 

Longer condo durations commonly end result in decrease per-day costs.

Type and Quantity of Porta Potties Required

The kind and extent of porta potties wished for your match or task will affect the whole apartment cost.

Deluxe gadgets and ADA-compliant fashions may also be priced greater than fashionable porta potties due to their extra points and amenities.

Additional Services like Cleaning and Maintenance

Some porta potty apartment organizations provide optionally available services such as ordinary cleaning and maintenance.

While these offerings incur greater charges, they make sure that the porta potties continue to be clean, sanitary, and presentable in the course of the apartment period.

Average Cost of Porta Potty Rental in Boston

The common price of porta potty condo in Boston, MA, varies relying on the elements stated above.

Pricing Breakdown for Different Types of Porta Potties

Standard Porta Potties: $100 - $150 per day

Deluxe Porta Potties: $150 - $250 per day

ADA-Compliant Porta Potties: $200 - $300 per day

Comparison with National Average Rental Rates

On average, porta potty condominium prices in Boston, MA, are in line with or barely greater than the country wide average.

However, pricing may also fluctuate based totally on seasonal demand, one-of-a-kind events, and different factors.

Tips for Finding Affordable Porta Potty Rentals

If you are searching to keep cash on porta potty leases in Boston, MA, think about the following tips:

Booking in Advance: Reserve your porta potties nicely beforehand of your match or venture to tightly closed decrease quotes and make certain availability.

Comparing Quotes: Obtain costs from more than one apartment corporations and evaluate pricing, services, and phrases to locate the first-rate fee for your budget.

Negotiating for Discounts: Don't hesitate to negotiate with condo businesses for reductions or bundle deals, in particular for massive or long-term rentals.

Common Concerns About Porta Potty Rentals

Despite their convenience, some people can also have reservations or worries about porta potty rentals.

Cleanliness and Maintenance

Porta potty condo businesses are accountable for cleansing and retaining their gadgets to make certain cleanliness and hygiene.

Regular servicing schedules and excellent manage measures assist tackle worries about sanitation.

Delivery and Pickup Logistics

Coordinating the shipping and pickup of porta potties can be challenging, specifically for giant occasions or far flung locations. However, official apartment corporations provide dependable transport offerings and can accommodate precise scheduling requirements.

Accessibility for People with Disabilities

ADA-compliant porta potties are designed to supply accessibility for humans with disabilities. These gadgets characteristic spacious interiors, handrails, and different lodging to make certain equal get admission to for all attendees or workers.

Customer Reviews and Testimonials

Numerous relaxed clients have shared their wonderful experiences with porta potty leases in Boston, MA.

"The porta potties supplied via Premier Portable Potties had been clean, well-maintained, and handy for our out of doors wedding.

 Highly recommend!"

"As a development manager, I matter on porta potty leases from Premier Portable Potties for our job sites. Prompt shipping and expert carrier each time."

Conclusion

In conclusion, porta potty apartment gives a sensible and affordable answer for assembly sanitation wants at activities and development web sites in Boston, MA. By selecting the proper kind of porta potty and apartment plan, you can make sure a relaxed and hygienic surroundings for all and sundry involved.

Unique FAQs

Q: How a long way in strengthen ought to I e book porta potty leases for my event?

A: It's beneficial to e book porta potty leases at least a few weeks in advance, specially for giant occasions or at some stage in top seasons.

Q: Are there any restrictions on the place porta potties can be placed?

A: Porta potties can generally be positioned on any flat, steady floor available by means of provider vehicles. However, nearby guidelines and venue restrictions can also apply.

Q: Can I hire porta potties for a single-day event?

A: Yes, many condominium groups provide day by day condo alternatives for occasions of all durations.

Q: How frequently are porta potties cleaned and serviced at some stage in condominium periods?

A: Rental businesses generally agenda normal cleansing and preservation visits primarily based on the period and utilization of the porta potties.

Q: What occurs if a porta potty receives broken all through my condominium period?

A: Rental corporations may additionally cost extra expenses for damages past ordinary put on and tear. It's integral to document any problems instantly to keep away from liability.

[dutifullyfoulperfection]

Guide to Porta Potty Rental in Plymouth, MA

Welcome to our complete information on porta potty in Plymouth, MA.

Whether you are planning a building project, web hosting an outside event, or managing a renovation, having get admission to to smooth and dependable transportable restrooms is essential. 

Understanding Porta Potty Rental

What are Porta Potties?

Porta potties, additionally recognized as transportable bathrooms or porta johns, are brief outside restroom amenities that are typically used at development sites, festivals, weddings, and different events. 

They are designed to furnish a handy and hygienic answer for people who want to use the restroom when ordinary services are unavailable.

Benefits of Porta Potty Rental

Convenience

One of the principal advantages of a porta potty rental condo is the comfort it offers. Whether you're internet hosting a giant out of doors match or working on a development site, having get entry to to transportable restrooms ensures that friends or people have a area to use the restroom besides having to go away the premises.

Versatility

Porta potties come in a range of sizes and configurations, making them appropriate for a huge variety of applications. 

From fundamental single-unit porta potties to deluxe restroom trailers with more than one stalls and amenities, there may be a porta potty alternative to meet each and every want and budget.

Hygiene

Modern porta potties are outfitted with points such as hand sanitizer dispensers, air flow systems, and waste tanks that assist keep a smooth and hygienic environment. 

Some companies even provide extra offerings such as ordinary cleansing and restocking of materials to make certain that the restrooms stay in pristine circumstance at some point of your condominium period.

Choosing the Right Porta Potty Rental Provider

When it comes to selecting a porta potty apartment company in Plymouth, MA, there are countless elements to consider:

Reputation

Look for a legitimate porta potty condominium enterprise with a established music report of presenting dependable and great service. Reading consumer opinions and testimonials can assist you gauge the recognition of a achievable provider.

Pricing

Compare pricing from a couple of porta potty condo agencies to make certain that you are getting the satisfactory fee for your money. Be certain to inquire about any extra expenses or prices that may additionally apply, such as shipping and setup charges or cleansing fees.

Options

Consider your particular wishes and necessities when selecting a porta potty condo provider. 

Do you want fundamental single-unit porta potties, or are you searching for greater upscale restroom trailers with extra amenities? Make certain the company presents the kind of porta potties that are appropriate for your match or project.

Service Area

Choose a porta potty condominium employer that serves the Plymouth, MA location and can accommodate your transport and pickup schedule. Some carriers may additionally have confined provider areas or cost extra costs for deliveries outdoor of their preferred provider area.

Conclusion

In conclusion, porta potty apartment is a handy and sensible answer for a extensive vary of applications, from building initiatives to out of doors events. By deciding on the proper porta potty condominium company in Plymouth, MA, you can make certain that your visitors or people have get entry to to smooth and dependable restroom amenities at some point of your match or project.

[searchingfortheuniverse]

Hello!!! 2, 17, 19, 37, 55, 67, 79, 81, and 100 for the Spotify Wrapped Ask game please! (and sorry there’s a lot 😂)

Hi hi!!! I don't mind there being a lot, thank you for being interested enough to ask sdhhdhsj

2. Ghosts by BANNERS

I got really into this last year and now it's inextricably linked with Band of Brothers and the Pacific in my brain to the extent I used it in one of my web weaves for the Pacific

17. Bad by Royal Deluxe

I'm realising how many songs I get into because of good edits dhhdjsjks this one was because there's a really good one for The Bad Batch that uses it

19. In My Blood by The Score

... this one was because of The Clone Wars. You may be noticing a pattern

37. Colors – Stripped by Halsey

I was really into the original version in. I think late 2017? And I found this version this year and really liked it

55. My My, Hey Hey (Out of the Blue) by Creeper

A friend of mine loves Creeper and this was the first song by them he sent me. I think it's an interesting choice going for a cover first but it seems to have worked because I've liked the stuff by them I've heard a lot

67. The Draw by Bastille

The whole of the album this is from reminds me of being in Italy now because I kept listening to it one time when I was there

79. Yo Yo by Mika

Kind of a bop ngl. The only reason I watched The Piano on Channel 4 to start with before I actually got interested was because Mika was one of the hosts/presenters/judges or whatever

81. Mad IQs by I Don't Know How But They Found Me

Fun fact I once had Google maps mansplained to me on the way to an IDKHow gig. Which was mind boggling

100. One Little Lie by Simple Creatures

I keep meaning to recommend this song to one of my friends and I always forget to do it. Tragic really

[cyarskaren52]

https://web.archive.org/web/20200127184533/https://www.nytimes.com/2020/01/26/arts/music/grammy-awards.html

Billie Eilish Sweeps Top Awards at the Grammys

The 18-year-old won five Grammys, including record of the year and best new artist, at a ceremony in which Kobe Bryant, who died on Sunday, was mourned.

Published Jan. 26, 2020Updated Jan. 27, 2020, 10:24 a.m. ET

https://web.archive.org/web/20200127184533im_/https://static01.nyt.com/images/2020/01/26/arts/26grammys-livebriefing-billie/26grammys-livebriefing-billie-superJumbo.jpg?quality=90&auto=webp

A big night for an 18-year-old auteur.

LOS ANGELES — The 62nd annual Grammy Awardsanointed a new star in Billie Eilish, even as the mood Sunday night was darkened by the death earlier that day of the basketball great Kobe Bryant, who spent much of his N.B.A. career playing at the Staples Center, the arena where the show was held.

Eilish, an 18-year-old auteur with a moody and idiosyncratic aesthetic, won five awards, including the four most prestigious and competitive prizes — album, record and song of the year, and best new artist. She was the first artist to sweep the top awards since Christopher Cross in 1981, besting competition from Lizzo, Lil Nas X, Ariana Grande and others. 

“Bad Guy,” a No. 1 hit, took record and song of the year — the latter prize recognizes songwriting — while “When We All Fall Asleep, Where Do We Go?” won album of the year as well as best pop vocal album. She is the youngest artist to win album of the year.

When accepting the award for best new artist, Eilish recognized the fans — even other artists’ fans, who, she said, would surely be dogging her for years. 

“I love all fandoms,” she said. “You guys make this worth it.” 

Finneas O’Connell, her brother, accepting with her for song of the year, noted that they record together in a bedroom in their family home. “This is to all the kids that are making music in their bedroom today,” he said, holding the trophy. “You’re going to get one of these.”

Finneas, as he is known, also won producer of the year and an engineering award.

Lizzo declares, ‘Tonight is for Kobe.’

Lizzo and Alicia Keys set a mournful and celebratory tone right from the start of the show, with both addressing Bryant’s death in a helicopter crash. 

“Tonight is for Kobe,” Lizzo announced as the show began, and went straight into a bold, full-throated medley of her songs “Cuz I Love You” and “Truth Hurts,” backed up by a mini orchestra and surrounded by ballerinas with otherworldly lights in their tutus.

Keys, the host for the night, then walked solemnly to the stage and said softy, “Here we are together, on music’s biggest night, celebrating the artists that do it best, but to be honest with you we’re all feeling crazy sadness right now.”

“We’re literally standing here heartbroken in the house that Kobe Bryant built,” Keys went on to say. Keys then invited members of the group Boyz II Men to the stage and sang part of their elegiac song “It’s So Hard to Say Goodbye to Yesterday” with them. 

Lizzo, a charismatic and outspoken performer who had worked in obscurity for almost a decade before her breakout last year, won three awards, but all in lesser categories. “Truth Hurts,” her breakthrough track, won best pop solo performance, while “Jerome” won traditional R&B performance and the deluxe version of her album “Cuz I Love You” took urban contemporary album.

Lil Nas X, a gleeful master of internet memes, won two for his “country-trap” hybrid “Old Town Road”: best pop duo/group performance and best music video.

Well before Bryant’s death, a degree of anxiety had hung over the Grammys, following the removal just days ago of the head of the Recording Academy, the organization behind the awards — a clash that brought out accusations of vote-rigging and sexual harassment, and criticisms that the academy had been moving too slowly to reach its stated goals of becoming more diverse and inclusive. 

Keys seemed to obliquely allude to those issues — and more — in a speech and piano medley near the start of the show. “It’s been a hell of a week, damn,” she said, as she twinkled chords at the keyboard. “This is a serious one. Real talk — there’s a lot going on.” 

She added, “It’s time for newness. We refuse the negative energy, we refuse the old systems.” She also took aim at President Trump, saying he should be replaced by the Bronx singer-rapper Cardi B.

There were other nods to Grammy controversies. After Tyler, the Creator won best rap album for “Igor,” an ambitious and genre-defying album, he said he was grateful for the honor but that the categorizing of his music as rap still felt like a “backhanded compliment.” 

“Whenever we — and I mean guys that look like me — do anything that’s genre-bending or anything, they always put it in a rap or urban category,” Tyler said backstage. “When I hear that I’m like, ‘Why can’t we just be in pop?’” 

Hours before the show, the news of Bryant’s death led to gasps in the press room. The Grammys take place at the Staples Center, where championship banners Bryant helped the Los Angeles Lakers win hang from the building’s rafters, along with his jerseys. 

“In Staples Arena, where Kobe created so many memories for all of us, preparing to pay tribute to another brilliant man we lost too soon, Nipsey Hussle,” John Legend wrote on Twitter. “Life can be so brutal and senseless sometimes.”

Flags outside the arena were lowered to half-staff as preparations for the event continued, and lights shined on Bryant’s jerseys inside. Harvey Mason Jr., the chairman and interim chief of the Recording Academy, called for a moment of silence.

“Since we are in his house, I would ask you to join me in a moment of silence,” Mason said, The Associated Press reported.

Tanya Tucker wins for the first time in her career. 

All but nine of the Grammys’ 84 awards were given out before the television broadcast, in a separate “premiere” ceremony that, as usual, was plagued by celebrity absences — but also featured non-stars celebrating how a Grammy win can be a career-defining moment. 

Beyoncé’s concert special “Homecoming” won best music film, while Michelle Obama won best spoken word album for the audio version of her book “Becoming.” Neither was present to accept. 

Gary Clark Jr., a guitarist adored by critics and rock and blues purists, won three awards. His album “This Land” took best contemporary blues album, while the title track from that release won best rock song and best rock performance. 

The early ceremony featured some landmarks. Tanya Tucker, the 61-year-old country singer, won the first Grammys of her career, taking best country album for “While I’m Livin’,” her first release in a decade, and best country song for “Bring My Flowers Now.” 

Gloria Gaynor, the disco diva who won in 1980 for her anthem “I Will Survive,” took home her first award since then — best roots gospel album, for “Testimony.” Tracy Young became the first woman to win the best remixed recording category for a version of Madonna’s “I Rise.” 

“We’ve shattered the glass ceiling together,” Young said when accepting the award. “I proudly accept this on behalf of all female producers who have been overlooked.” 

Nipsey Hussle, the rapper who died last March at 33, won his first Grammy for “Racks in the Middle,” which took best rap performance. Family members spoke, including his grandmother, who said: “I wanted to thank all of you for showing all the love that I have felt for him all of his life and will always live in my heart. So thank you, thank you, thank you.” Hussle was celebrated during the telecast in a performance segment, and “Higher” by DJ Khaled, Hussle and John Legend won best rap/sung performance. 

Beyond the Grammy glitz, a battle is raging behind the scenes.

This year’s event, featuring a fresh crop of stars competing for the top awards., was supposed to represent “a new era for the Recording Academy,” one that would be more attuned to pop’s current pulse after years of bruising criticism over the Grammys’ poor record in recognizing women and artists of color in the major categories.

That “new era” statement was made just two months ago, when nominations were announced, by Deborah Dugan, the academy’s new chief executive. She had been telegraphed as the bold new leader the Grammys needed, and came armed with an unsparing critique of the academy’s record on diversity by Michelle Obama’s former chief of staff, the Time’s Up leader Tina Tchen.

But just 10 days ago, Dugan was removed from her position, stunning the industry and plunging the normally cheery pre-Grammys week into mudslinging and chaos that has threatened to overshadow the event itself.

Dugan claimed in a 44-page complaint to the Equal Employment Opportunity Commission that she had been retaliated against for uncovering misconduct including sexual harassment, vote rigging and rampant conflicts of interest. The academy, in turn, said that an assistant had complained about a toxic and bullying work environment, and that Dugan had demanded a $22 million payoff to leave quietly, a charge Dugan has denied.

Accepting an award at Clive Davis’s glamorous annual pre-Grammys party, the hip-hop mogul Diddy avoided mentioning Dugan by name but criticized the academy for its failure to recognize hip-hop artists of color in the top categories. Over the last decade, for example, just one nonwhite artist — Bruno Mars — has won album of the year.

“Truth be told, hip-hop has never been respected by the Grammys; black music has never been respected by the Grammys to the point that it should be,” Diddy said. “For years, we have allowed institutions that have never had our best interests at heart to judge us. And that stops right now.”

He added: “You’ve got 365 days’ notice to get this [expletive] together.”

Big names perform, including Tyler, the Creator — but not Taylor Swift.

The industry was riveted on Friday with reports that Taylor Swift would not appear on the show. Was Swift — always an outspoken backer of women — dropping out in protest, or was she simply unprepared or uninterested? Everyone, including fans and the most powerful people in music, was left to guess. 

Tyler, the Creator’s two-song segment began with Boyz II Men and the R&B singer Charlie Wilson harmonizing to Tyler’s song “Earfquake,” done as an old-fashioned doo-wop set piece, complete with the singers surrounding a burning barrel. For “New Magic Wand,” Tyler shifted into a surrealistic scene in which a troupe of dancers — all dressed like him, in asymmetric suits and platinum pageboy wigs — walked to the stage and moshed violently as Tyler screamed with distortion, a set of picturesque homes burning down behind him. 

As Bryant’s fans mourned him and his 13-year-old daugher Gianna, who also died in the helicopter crash, the father-daughter relationship found poignant expression in Camila Cabello’s song “First Man.” First singing it while home videos showed her as a young girl with her father, Alejandro, Cabello then walked to him in the front row, serenading him as he dabbed away tears.

Eilish, whose debut album is filled with creeping noises, booming electronics and dentist’s drills, performed her song “When the Party’s Over” in the most Grammy format of all — a delicate piano ballad, played with her brother. 

The Spanish singer Rosalía performed her songs “Juro Que” and “Malamente” with a mixture of flamenco touches — acoustic guitar and claps — and booming beats and hip-hop dance moves.

Ariana Grande, who did not perform last year after a public clash with the show’s producer, Ken Ehrlich, put on an elaborate segment. She went from a straight concert performance of Rodgers and Hammerstein’s “My Favorite Things” with a small orchestra, to a staged version of her hit “7 Rings” — which is based on Rodgers and Hammerstein’s classic — with a boudoir-striptease theme. At the end, she smiled with relief, as if she had finally gotten the chance to do it. 

The show had plenty of reverent tributes. Hussle was feted in a segment with Legend, DJ Khaled, Roddy Ricch, Meek Mill, YG and the gospel star Kirk Franklin. From New Orleans, Trombone Shorty and members of the Preservation Hall Jazz Band closed the annual “in memoriam” segment.

In classic Grammy fashion, the show also dripped with nostalgia, much of it with little explanation to a viewer from outside the music business. Aerosmith played “Walk This Way” with Run-DMC. (Aerosmith had headlined a Grammy charity event two nights before.) Prince was celebrated by Usher, Sheila E. and FKA Twigs in a Vegas-like spectacle. (CBS is taping a Prince special on Tuesday.) 

And near the end came a recreation of the ensemble song “I Sing the Body Electric” from the 1980 movie “Fame.” Ehrlich, the producer, began his association with the show that year, and this year is to be his farewell. 

Sent from my iPhone

[corbindavenport]

Introducing Cobalt

FreeDOS is a free and open-source operating system that has been around for over 20 years, designed to mimic MS-DOS and run DOS applications. It’s a fantastic project, but I want to try my own take: Cobalt.

Cobalt is a lightweight operating system I’m working on, based on FreeDOS. To use Linux terminology, it’s a ‘distribution’ of FreeDOS — the kernel, command line, applications, and drivers all come from the FreeDOS project (or at the very least, FreeDOS mirrors). Since it’s so close to FreeDOS, it also runs DOS games and applications (like DOOM, Microsoft Word 5.5, and Oregon Trail Deluxe).

The main difference right now is that FreeDOS has many different versions, some of which allow people to choose which packages they want during installation, while Cobalt has one single version with a fixed set of packages. My initial goal is to include the base drivers and utilities that covers the common bases, as well as a more friendly setup and interface. Going back to Linux analogies, FreeDOS is sort of like Debian or Arch Linux, while I’m trying to make something closer to Ubuntu or Elementary OS.

Cobalt also has a completely custom installer, which takes you from a blank PC or virtual machine to a working installation in just a few clicks. The FreeDOS installer was a bit overwhelming when I first tried it years ago, and even though FreeDOS 1.3 is a massive improvement in this area, I still want to see if I can make something that balances simplicity with helpful features.

The current Cobalt package includes FreeDOS Kernel Build 2040 (the same included in FreeDOS 1.1), FreeCom 0.85a for the command line, Jemm for memory management, CuteMouse for mouse support, UDVD2 for CD/DVD drive support, and other basic drivers and utilities. It also boots into DOS Navigator at startup, which gives you a text-mode graphical interface for viewing files, but I might replace that with another shell in the future.

Most of my work on Cobalt so far has been creating the build infrastructure. Cobalt installation images are generated by a bash script, which pulls the latest-available packages from the FreeDOS project and creates a CD image ready for a VM or real PC. Since the script doesn’t require any interaction and can run on any Linux host, I’m using GitHub Actions to generate “nightly” releases automatically each week. Nightly builds can be used to test the latest FreeDOS packages and Cobalt changes before a full release is ready — something FreeDOS doesn’t currently offer.

Cobalt is still far from being ready for most people to use, though. The installer can’t boot from USB or handle multiple fixed drives yet, and there’s no option yet to install Cobalt on a drive while keeping files/folders. There are also a few more drivers and utilities that would be nice to have, which still need to be tested.

There are also a few features I hope to add soon. Making Cobalt available with multiple options for the DOS kernel (FreeDOS, MS-DOS, DR-DOS, etc.) would be helpful for some situations, like how Ubuntu Linux is available in multiple “flavors” that have different desktop environments. I also want to add built-in configurations for networking in VirtualBox and other popular VMs, which would allow file transfers and basic web browsing.

If the name Cobalt sounds familiar, it’s because it’s actually a reboot of an earlier project with the same name and similar goals. Three releases were made in 2016, then I stopped working on it and developer Ercan Ersoy took over the project. The original Cobalt was a jumbled up mess of proprietary and open-source code, which is why the new Cobalt is almost entirely a clean slate.

If you’re interested in learning more, check out cobaltdos.com and the GitHub repository. There’s also a channel for Cobalt in the Discord server for my software projects.

[kaizendigitalstudios]

Read more: https://www.kaizendigitalstudios.live/how-to-use-colour-psychology-to-build-brand-and-boost-conversion/

[uniquearcademagazine]

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[dutifullyfoulperfection]

Why we are 1 porta potty rental massachusetts

Let's face it, nature calls at the most inconvenient times, specifically when you are web hosting an outside event.

But worry not, porta potty rental massachusetts! For these events when plumbed services don't seem to be available, porta potty leases are your trusty companions. 

Whether you are planning an outside barbecue, a bustling development project, or a weekend-long song festival, renting a porta potty ensures a sanitary and handy solution.

This complete  Premier Portable Potties information dives into the whole lot you want to be aware of about porta potty leases in Massachusetts. 

We'll discover one of a kind sorts of units, condo considerations, pricing factors, and even spotlight some respectable nearby agencies (without at once citing our opponents as analyzed).

Porta Potty Types: Choosing Your Throne

Just like indoor restrooms, porta potties come in quite a number configurations to go well with your unique wishes and budget.

 Here's a breakdown of the most frequent types:

Standard Porta Potty: The basic single-user unit, perfect for smaller gatherings or temporary events.

Deluxe Porta Potty: Offers upgraded aspects like hand sanitizer dispensers, elevated ventilation, and even flushable bathrooms for a extra cosy experience.

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Pricing Power: Factors Affecting Porta Potty Rental Costs

The value of renting a porta potty varies relying on various factors:

Type of Porta Potty: Standard devices are normally the most affordable, whilst deluxe and luxurious selections come at a premium.

Rental Duration: Longer condominium durations commonly translate to decrease day by day rates.

Delivery and Pick-Up: The distance to the shipping vicinity and any different requests can impact the cost.

Services: Additional offerings like cleaning, waste disposal, and handwashing station leases add to the usual cost.

Local Heroes: Reputable Porta Potty Rental Companies in Massachusetts

While we cannot at once point out unique competitors, right here are some suggestions for discovering respectable porta potty apartment organizations in Massachusetts:

Search Online: Look for agencies with web sites showcasing their stock and carrier areas.

Read Reviews: Customer critiques provide precious insights into a company's reliability, cleanliness standards, and client service.

Get Quotes: Contact numerous agencies and examine costs earlier than making a decision. Don't be afraid to negotiate!

Porta Potty Etiquette: Keeping it Clean and Considerate

Even even though it is a porta potty, following simple etiquette ensures a more quality ride for everyone:

Dispose of waste properly.

Conserve water and loo paper.

Report any troubles to the condominium business enterprise promptly.

Porta Potty Power: A Stress-Free Solution

By appreciation your needs, deciding on the proper porta potty type, and selecting a legitimate company, you can make sure a worry-free sanitation solution for your subsequent Massachusetts event.

For a weblog exceeding a thousand words, you ought to think about including a area with "Dos and Don'ts of Porta Potty Rentals" or discover innovative approaches to beautify the porta potty trip at your event, like festive decorations or themed signage.

[herochan]

Marvel Unveils New York Comic Con Panel Line-Up

Marvel Entertainment is heading to New York Comic Con with all-star panels, activations, exclusive announcements, fan favorite talent signings, and unforgettable fan experiences at the Marvel booth all starting Thursday, October 6 through Sunday, October 9.

Stop by the Marvel booth (#2057) for the livestream broadcast, giveaways, and signings, and check out Marvel’s merch booth (#2261) for exclusive New York Comic Con merchandise, Marvel Unlimited subscription offers, and so much more.

Click to see the full schedule below...

Thursday, October 6, 2022

Captain America: Cold War – A This Week in Marvel Special Event 1:45PM – 2:45PM EST | Room: 401 Co-hosts Ryan Penagos (aka Agent M, VP & Creative Executive at Marvel) and Lorraine Cink (Director of Creative Content at Marvel) return for a lively live-recording of the This Week in Marvel podcast! They’ll be joined by an all-star panel featuring Collin Kelly & Jackson Lanzing (Captain America: Sentinel of Liberty), Tochi Onyebuchi (Captain America: Symbol of Truth), and star-spangled Marvel Comics Editor Alanna Smith to talk about what lies ahead for Marvel’s premier shield-slinging heroes. Hold onto your hats, True Believers - Things are heating up as we hurtle headlong into the 2023 Captain America crossover: Cold War.

Friday, October 7th

Marvel Comics: Marvel Fanfare with C.B. Cebulski 1:30PM– 2:30PM EST | Room: 405 Marvel Comics Editor-in-Chief C.B. Cebulski along with super-secret special guests (TBA) will assemble for a lively discussion and Q&A session about anything and everything Marvel! What was their favorite outfit at the Hellfire Gala? Would they rather be represented by Matt Murdock or Jennifer Walters? Who do they think is the greatest Spider-Man villain of all time? Get your answers to these questions and more. But that’s not all - fans who stay until the end will receive an exclusive giveaway.

Marvel: Books of Future Past 6:00PM – 7:00 PM EST | Room: 408 From original graphic novels to museum quality archival editions, some of Marvel's most exciting books are produced with best-in-class publishing partners! How are these unique collections made? Join host Ryan Penagos (aka Agent M, VP & Creative Executive at Marvel), Marvel's VP of Licensed Publishing, Sven Larsen, Abrams Editor Charlie Kochman (Fantastic Four: Full Circle), IDW Editor Scott Dunbier (Todd McFarlane’s Spider-Man Artist's Edition), Folio Society Editor James Rose (Thor, Black Panther Deluxe Editions) and Penguin Classics Publisher Elda Rotor (Marvel Penguin Classics) as they reveal how these books are created and share a sneak peek at what's coming next.

Saturday, October 8th

Marvel’s Voices: The World Outside Your Window 11:15AM – 12:15 PM EST | Room: 401 Marvel strives to create stories that reflect “the world outside your window” both on and off the page, so we’re bringing together some of our most celebrated creators to talk about a variety of characters and stories. The first-ever NYCC Marvel’s Voices panel is hosted by writer and podcast host Angelique Roche who will be joined by Eve L. Ewing (Monica Rambeau: Photon), John Jennings (My Super Hero is Black), Steve Orlando (Marauders), Cody Ziglar (Miles Morales: Spider-Man), and Marvel’s Voices Editor Sarah Brunstad. Celebrate the growing legacy of Marvel’s Voices in a conversation about their creative processes, collaborations, and professional journeys, as they paint a full picture of the diversity of the Marvel Universe. Plus – attendees will receive a special giveaway.

Marvel Comics: Next Big Thing 4:00PM – 5:00PM EST | Room: 405 This is it, True Believers, the panel you absolutely cannot miss! Learn what’s next for the Marvel Universe as Marvel Comics Executive Editor Nick Lowe and Editor-in-Chief C.B. Cebulski lead a legion of literary legends in discussion, including Gerry Duggan (Dark Web: X-Men, Invincible Iron Man), Jed MacKay (Mary Jane & Black Cat, Timeless), Zeb Wells (Amazing Spider-Man, Dark Web), and more! What lies in store for everyone’s favorite mutants and mutates as dusk falls across the world in the Spider-Man/X-Men crossover Dark Web? What do the hands of fate hold in store for the Marvel Universe in the pages of Timeless? And what hot new 2023 titles will be announced? Plus, stay until the end of the panel for an exclusive giveaway.

Sunday, October 9th

Women of Marvel 

10:30AM – 11:30AM EST | Room 405 The Women of Marvel return to New York!  Writer and podcast host Angelique Roche will lead a lively discussion with Marvel talent including Digital Media Executive Director Ellie Pyle, writer Eve L. Ewing (Monica Rambeau: Photon), Senior Editor Lauren Bisom¸ and more Mighty Marvel guests! What is it like for women working in the industry today, and what is next for Marvel’s woman-led titles?  And don’t miss a special giveaway at the end of the panel.

More details about Marvel Entertainment’s NYCC merchandise, booth, and booth activities, including additional signings and events, are coming soon.