9PLAYLIST | JALEN HURTS

Read the FEB ISSUE #110 of Athleisure Mag and see 9PLAYLIST Jalen Hurts in mag listen to his selects on 9PLAYLIST.

BLESSED ICE | SIMONE I SMITH

We love a bling moment and when we were first introduced to Simone I Smith's line in 2011 and 2012, we loved her lollipop pendant, creating a line that is filled with statement jewelry that includes earrings, necklaces, and rings! She has collaborated with Celebrity Fashion Stylist Misa Hylton as well as 9X Grammy Award winner (32X Nominated), 8 multi-platinum albums, 2X Golden Globe nominee and SAG nominee Executive Producer and actress, Mary J. Blige (Power Book II: Ghost, Respect, How to Get Away with Murder)! Her line empowers those who wear it and she continues to expand her design aesthetic so that we can put our best foot forward. We sat down with Simone to find out more about her namesake line, her creative process, her recent launch of Majesty, her men's jewelry line where her sons and husband, Todd Smith aka LL Cool J (Oz, Deep Blue Sea, NCIS: Los Angeles) participated in her campaign, and more.

ATHLEISURE MAG: I love the earrings, of course. Well, thank you so much for taking the time I met you briefly at your launch event with you and Misa Hylton last Spring which was amazing and you debuted your Denim and Diamonds collection which was beautiful. I've been a fan of yours for a number of years, so I'm just so excited to chat with you.

SIS: Thank you, I'm excited to chat with you too!

AM: Well, when did you first fall in love with fashion and accessories?

SIS: When I was a teenager, you know, like 17, 18 years, when I met my husband and that was in ‘87 and it was right when they called it back then, it was called Truck Jewelry (Editor’s Note: Truck Jewelry is a Hip-Hop style of jewelry representing the intersection of religion, faith, and the culture. It showcases wealth, power, and social statsus. It’s often associated with large hoop earrings, rings, chains, watches, and medallions. It has influenced fashion globally.). But it was, when the Doorknockers were out there and you know, I had the Triangle Earrings. Todd gave me my first pair of Doorknocker Earrings and I was 17 years old and that's when I like fell in love with big hoops.

But fashion was always something that I've just always loved! I was always in my mother's closet always trying to wear her stuff. You know, I would love to, you know, just like put really cool fashionable things together. But I would say my love, definitely started around 17.

AM: What led you to decide to design jewelry?

SIS: An opportunity was presented to me and I ran with it. I just grabbed it and I was like the opportunity was presented to design the jewelry line and I was like, absolutely. But the first things, first things, first is Hoops! It's gonna be hard to find.

AM: Yeah.

SIS: They were hard to find, it was a big void in the marketplace. You couldn't really find good quality hoop earrings that were affordable. At that time, I was actually able to find like sterling silver hoops right?

AM: Yeah.

SIS: Just the color sterling jewelry ones. Because all of my jewelry is sterling silver. But the gold ones have a sterling silver base with 18K, plating on top of it. Just to find good quality gold hoops without having to spend $5,000 because they're 14K gold which is good quality hoops and I just wanted to be that designer that just blessed women with really fabulous, good quality, affordable hoops which I have been able to do.

AM: Which have a good wearable weight to them too.

SIS: Right, they’re not too heavy. We have a few pairs that may have a little weight to them, but that's because of the design and thickness, but even my thickest earrings, aren't that heavy because the base is sterling silver and not Stainless Steel.

AM: I remember the very first jewelry piece that I had seen from you was your Lollipop Pendant, which I remember when those came out. What was the first piece that you remember just designing?

SIS: The first piece I designed – okay, the first earring that I designed was my logo earring and It was because I fell in love with my logo. When I decided and I chose my logo, I said, “oh my God, these are going to be the hottest freaking hoops! This is going to be a hot hoop.”

AM: Yeah!

SIS: That was my first earring that I designed, and we named, well, my husband actually named it Infinite Love because if you look at my logo, it looks like an infinity sign, you see a heart, and you see a butterfly. So, Todd actually named those earrings for me and they're called Infinite Love. And then my second design was my lollipop and that's, because by the grace of God, thank you Jesus. I am a 20-year cancer survivor going on 21.

I had a lollipop tattoo on my left leg. Let me back up, they found a chondrosarcoma in my right, tibia bone. So I had to have Microvascular Reconstructive surgery, so they had to remove my whole tibia bone and replace it with my left, fibular bone. So when they had to go into my left leg to take my fibula bone out, the surgeon said, “Simone, you may wake up and your lollipop tattoo may not be there." And I was like, “well if there's any way you can avoid from messing up my lollipop tattoo, I would really appreciate it.” I woke up and a part of the lollipop tattoo was on the front of my right leg because they had to do a skin graft -

AM: Oh wow.

SIS: To cover the scarring on where they had to open up. So, when I had created my lollipop pendant, my lollipop tattoo actually looked like somebody took a bite out of it. So I designed my lollipop, exactly the way it looked after my surgery and I called it A Sweet Touch of Hope.

AM: Yeah.

SIS: Because the candy represents how sweet life is and the bite represents what cancer does.

AM: Yeah.

SIS: In the bite, my logo, emerges out of it because it's just a reminder of me being a cancer survivor, getting well, staying well, and it's all a part of my journey because life is really sweet. Life is a gift. Because everybody's cancer journey is different and I praise God that I'm here 20 years cancer free. I can walk. I can wear heels.

AM: You surely can walk in those heels as you looked great at the event!

SIS: I can’t chase dogs or anything, but I’m here. You know, praise God. And I can workout and I can wear heels and And, you know, and I'm just healthy.

AM: Where do you start in terms of your design process? Where do you get the inspiration from?

SIS: My inspiration comes from nature, you know what I'm saying? Like, I remember one day, I was eating some strawberries, and I was like, you know what, I want to make it, I'm gonna design an earring, that's the shape of a strawberry. So, anything inspires me, you know? So with the strawberry shape, like I came with the earring called Precious Fruit. So Precious Fruit is one of the classics. It was in the first collection of my earrings that I designed and it's still a very popular piece because the earring is actually shaped like a strawberry. My inspiration comes from fashion, my inspiration comes from my children.

AM: Mmm

SIS: If I look at flowers, it’s like, it's so many things that my inspiration is also women always just want to make sure that women have like great earrings. My inspiration just comes from the culture. My inspiration comes from just growing up in New York. You know the New York fashion to me, I don't think anybody has it. New York fashion is amazing.

What else inspires me? Like growing up being a teenager, you know, in the late ‘80s and meeting my husband. And when I think about sister love and me and Mary J. Blige coming together, and creating Sister Love the whole Sister Love brand is about creating big bold jewelry for women, because that's what we grew up on big bold jewelry!

AM: Right.

SIS: So, Hip-Hop is definitely an inspiration when it comes down to certain designs on Sister Love like all of the Fly Girls and the Bam Beauties (Editor’s Note: Bam Beauties are earrings and hoops inspired by bamboo), and bringing back the Doorknocker Earrings, but recreating them and modernizing them, and making them high polished with beautiful crystals and all of that. Even though I create that, I don't want to be pigeonholed as just an urban jewelry designer.

AM: Right.

SIS: Because when you look at all of my pieces, it's like, they're not all urban, but they like to pigeonhole me as an urban designer because I'm a Black female designer. If I wasn’t Black and I was designing all of this stuff, I wouldn't be called an urban designer. I'm a jewelry designer. I’m Simone I Smith that happens to be a Black woman.

So that’s my inspiration. It’s inspired by life!

AM: It’s clear in using, wearing, and styling your pieces that they hold their own in luxury, they illustrate a focus craftsmanship, and it is something that is very versatile that regardless of your personal style that can be worn. So when I'm looking at your pieces, I see a point of view for that person who wants to wear statement pieces unapologetically.

SIS: Thank you, thank you!

AM: I will say that what I love most about it is that I live in New York now, and have wow since 2001. I was born in ‘79 and I'm from the Midwest. So growing up watching Salt-N-Pepa and all these people, when I first saw the collection years ago I loved the themes woven in them that took Hip-Hop elements, but then elevating it to be something that could be mixed in with like your Gucci wear or whatever your style is. It was just so exciting to see the homage and where each person can take it to when they wear it. As someone who's a stylist, who really likes to infuse my looks with accessories, there's just such a visual texture to what you're creating in your line.

SIS: Thank you. Thank you. Look, it goes with your Gucci wear, but it also goes if you're wearing a beautiful gown. If you're putting on a suit and going into the office. Which is why, you know, we have the medium-sized hoops and we have the large hoops and then we have the extra-large hoops and then we have extra extra-large hoops. So, it's really about your fashion.

AM: Yup.

SIS: And fashion as you know, as a stylist, fashion is personal.

AM: Very much so.

SIS: You know what I’m saying? Fashion is your own identity. I encourage women that come to my trunk shows like when they go, “oh, you know, I work in Corporate America, I can't wear this size hoop.” Well, who told you that?

AM: Exactly.

SIS: Who made up the rule that you can't wear a 60mm hoop? You may not want to wear 80mm hoop. But maybe you might, if you have the boldness, and the security to wear it. You could walk in that room with your suit on with a nice big hoop earring. As long as you're wearing it, nobody's gonna notice it unless you feel uncomfortable.

AM: Exactly.

SIS: You understand what I’m saying? If you’re working it and owning it, people are going to say okay.

AM: Who is the Simone I Smith customer and what do you feel that they're looking for when they're coming to your site and to your brand?

SIS: I think the Simone I Smith customer is a woman who knows who she is. Who loves hoops, who is looking for a good quality piece of jewelry and who wants to be inspired. Not only do I have hoops, I have beautiful necklaces, I am a God fearing woman. Women can come on to Simona I Smith site and they can get beautiful scrolls that reminds them of how good God is. It reminds them who they are to God, to give them inspiration. You know, one of my famous scrolls is Let Your Light So Shine and I think women shine and I think women come to the Simone I Smith site because they want to be inspired, they want to shine. They want to look good. They want to feel good and my focus is making jewelry to make women look good and feel good.

AM: As you go from season to season, are there core pieces of the collection that are essentials and carry over?

SIS: I would say that my jewelry is for every season, I'm gonna be honest. It’s for every season. I’m not going to say that this is for the Fall. It’s classic, it’s timeless, and it’s for every season.

AM: What do you look for in a collaboration? Talking about before with sister, love with Mary, J. Blige, obviously Misa Hylton. You have another Misa Hylton, collaboration that's come out. What do you look for when it comes to collaborating?

SIS: I look for people who are just as inspired with passion, and the love of big hoop earrings. That's what I look for. You know, if you inspire me like Misa inspires me, Mary inspires me like we have a couple of collaborations that we're working on now that I can't announce, you know, until you know, they actually come into fruition. But everybody that I work with that I'm going to be working with they inspire me, they love God, they love fashion, and they love jewelry. They love the love of big hoops. I think it's important to show other women that women can work together. That's so important because you know, we know women can be so catty and can be so competitive. We're all flowers so we should all bloom and we can bloom together. We make a beautiful bouquet, right?

AM: 100%.

SIS: We make a beautiful bouquet so it's about supporting one another and then showing these young women, showing these young girls, we're better together, let's work together. So that's so important to me. Just working with people that you know that are not necessarily like-minded but right-minded!

AM: That’s a word, I like that!

SIS: Yeah and then have a love for accessories and making women feel good and look good, you know?

AM: Well, I received your Cosmic Ice Hoops which are beautiful another great collab between you and Misa!

SIS: Aren’t they so cute?

AM: So cute! When I got them out of their duster bags it was so exciting to see them.

SIS: I'm so happy you love them!

AM: I can't wait to wear them as well as include them in our next shoot, that comes up!

SIS: You could have had them on today honey!

AM: I should have but honestly I just finished my hot pilates class and time got away from me!

I love that this is called Cosmic Ice hoops. So, what was the inspiration behind it?

SIS: The inspiration behind it was whoa. Are you talking about the actual name?

AM: Well, the name and then also, this particular collection in its design, yes.

SIS: Okay, so Cosmic Ice, you know, me and Misa, we were in a design meeting and we were just talking about, making a pair of earrings that just kind of like reminded us of like the solar system. We wanted to give the women a little bit of ice and a little bit of pearl. But then it winds up just being kind of like balls with ice and how could we create the earring that kind of reminds us of the solar system? It's kind of like just started, you know, Misa got to sketching - it's so interesting the way these meetings happen because they're kind of hard to explain. We would definitely talk about how can we make a solar system on a pair hoops that’s not a dangle. We decided to put it on the outside and then once the samples came, a lot of times the samples can come back one time, which it doesn't always happen when you come back one time, but the samples, you just take about two or three times, and then when you get that one sample and it's perfect - as soon as we looked at it, I said, Misa, we need to call these Cosmic Ice.

AM: Wow.

SIS: We got our solar system hoops, but now, we're going to call them Cosmic Ice because they have a touch of ice and the circles.

AM: I love that.

SIS: I hope that that is a good explanation.

AM: I think it is. A lot of times, you don't know until you see it. I mean I've designed lines and you know it's in your head but until like you said, you get that 1st, 2nd, 3rd pass, you're like, alright, that's what that is.

SIS: Until things are being sketched up, you have your visual, and it's like, okay, these are going to be dope and then once you get them and then it's like, oh, these are hot. Like you have the visual in your mind. There have been plenty of things that were sketched out, you see the finished product and you're like nah!

AM: Nope.

SIS: It didn’t come out the way I wanted it to – nope, we’re not doing this. This isn't what I envisioned.

AM: It's always about getting that tingle in your skin when you see it, and everybody's faces light up, but if it doesn't happen, it's like, let's just put that to the side. Rework it.

SIS: Some things can't even be reworked.

AM: Well, then there's that!

What are 3 pieces from your collection like across your collection that if someone says these are three essential pieces, I need to have. What would you suggest?

SIS: The 3 essential pieces you need to have, I would probably say let me think because it depends on the someone.

AM: Oh well, that's true.

SIS: It depends on the someone because if it's someone that likes a big hoop, if it's someone that likes a really big hoop, right? I would probably say the 3 essential hoop earrings that you should have from the Simone I Smith - are we talking about Simone I Smith or Sister Love?

AM: Well that is up to you. It can be from Simone I Smith, Sister Love, Denim and Diamonds, Cosmic Ice – it’s up to you!

SIS: Okay, so let me think. So you have 3 essential pieces that you should have from the Simone I Smith collection. If you're a big hoop girl, I would say are the Brilliance Hoops in XL because those are my go-to's. Those are like my go-to. I would say the Brilliance. I would say Precious Fruit size L because Precious Fruit size, L with the diamond embellishments, you could dress that hoop up, you could dress that hoop down. And I would probably say, The Bangles. Yeah, I would say more than 1 because I wear 10 of them.

AM: Nice, I love a good wrist stack.

SIS: You know, I would say an arm full of Bangles, Brilliance XL - Gold or silver. Ooo can I add a fourth one please?

AM: Yes ma’am you can.

SIS: I would definitely say my Blessed Necklace. I think that women should wake up and they should feel every day that they open up their eyes that they are blessed. Lord, thank you for waking me up this morning to see another day. Thank you for waking me up in my right mind. Thank you for starting me, guide my thoughts, guide my steps. I am blessed. I want women to wake up every morning and feel like they're blessed. And I think my Blessed Necklace is definitely in there. If you to narrow it down, I would say the Brilliance Hoops, the Blessed Necklace and an arm full of Bangles.

AM: Well we're giving you all four.

SIS: Thank you!

AM: You also launched Majesty. I'm loving right now that jewelry lines that I really love that maybe began with women are now adding a men's collection to it. So what was the inspiration behind that?

SIS: The inspiration behind Majesty was to create an affordable luxe line for men to wear because everybody can’t afford a $5,000 or a $10,000 chain and a lot of those Cuban links with the beautiful links with the ice with real diamonds cost of a lot of money.

AM: For sure.

SIS: For so many years, many of my girlfriends' husbands or if guys would come to my trunk shows and buy things for their wives, they were like, “when are you gonna make something for us guys?” Women would say the same thing asking about jewelry for their guys. The time was right to create Majesty and really men inspired me to do it. My husband inspired me to do it. My son inspired me to do it. And thank you Jesus, they were able to be my models.

AM: Which is amazing.

SIS: They did a cool video and a photo shoot and it was really just, you know, blessing the brothers with some really great good quality jewelry, so that they could feel fly, they feel good and they can have great bracelets and nice link chains that are affordable, but look good and make them feel good.

AM: What are 3 from the Majesty Collection that you want to highlight that are great, you know essentials to start with to add to your style?

SIS: I would definitely say that The Truth Necklace is a classic and it is probably our number 1 seller. The Lion of Judah, I believe it is 2 of 3 different pendants. Lions represent strength, royalty, courage, and all of that. It's something about that lion pendant, that men don't mind wearing. I would probably say, the 3rd piece would be like Divine Ice and it gives them that touch of ice and makes them feel like they’re blinging today and they have some luxe on.

AM: Are there things coming up that we should keep an eye out for?

SIS: Well, you know, I always drop something exciting for my birthday so you can keep your eyes out for that. I'm not sure what it's going to be. We’re still kind of like, working on designs and everything. For Valentine's Day, during the holidays, we dropped Couture and I don’t know if you checked that out yet, but it’s really beautiful. It’s nice, big, bold chains for women.

AM: I'm going to check it out.

SIS: Check out the Guetty Necklace and the Guetty Bracelet. So with this Couture we have a piece dropping for Valentine's Day that I'm excited about, and my fingers are crossed that they get here in time because I'm super excited about that. So we had some really cute stuff wrapping for Valentine's Day. Something for my birthday. There are some new collaborations coming so I'm excited about that. Just stay tuned, cuz you know, SIS always has the products that I will continue to bless you ladies with fabulous hoops and fabulous bangles and all of that good stuff just to make you feel good.

IG @simoneismith

@sislovespurple

PHOTOS COURTESY | Simone I Smith

Read the JAN ISSUE #109 of Athleisure Mag and see BLESSED ICE | Simone I Smith in mag.

9PLAYLIST | KENDRICK LAMAR + SZA

PHOTO CREDIT | Apple Music

Read the JAN ISSUE #109 of Athleisure Mag and see 9PLAYLIST | Kendrick Lamar + SZA in mag.

AWARDS SEASON | GRAMMYS WINNERS

Today, the GRAMMYs announced then winners for the 67th award show which took place today on Feb 2nd on CBS at 8pm ET. Music’s biggest night did not disappoint! As we do throughout Awards Season, we shared our predictions in bold, the ones we correctly identified as winners are in bold italics and winners that we didn’t predict are in italics. On the night of the event, we will share who we predicted correctly as well as those we didn’t that won.

RECORD OF THE YEAR

“Now and Then” The Beatles

“Texas Hold ‘Em” Beyoncé

“Espresso” Sabrina Carpenter

“360” Charli XCX

“Birds of a Feather” Billie Eilish

“Not Like Us” Kendrick Lamar

“Good Luck, Babe!” Chappell Roan

“Fortnight” Taylor Swift Featuring Post Malone

ALBUM OF THE YEAR

“New Blue Sun” André 3000

“Cowboy Carter” Beyoncé

“Short n’ Sweet” Sabrina Carpenter

“Brat” Charli XCX

“Djesse Vol. 4” Jacob Collier

“Hit Me Hard and Soft” Billie Eilish

“The Rise and Fall of a Midwest Princess” Chappell Roan

“The Tortured Poets Department” Taylor Swift

SONG OF THE YEAR

“A Bar Song (Tipsy)” Sean Cook, Jerrel Jones, Joe Kent, Chibueze Collins Obinna, Nevin Sastry & Mark Williams, songwriters (Shaboozey)

“Birds of a Feather” Billie Eilish O’Connell & Finneas, songwriters (Billie Eilish)

“Die With a Smile” Dernst Emile II, James Fauntleroy, Lady Gaga, Bruno Mars & Andrew Watt, songwriters (Lady Gaga & Bruno Mars)

“Fortnight” Jack Antonoff, Austin Post & Taylor Swift, songwriters (Taylor Swift Featuring Post Malone)

“Good Luck, Babe!” Kayleigh Rose Amstutz, Daniel Nigro & Justin Tranter, songwriters (Chappell Roan)

“Not Like Us” Kendrick Lamar, songwriter (Kendrick Lamar)

“Please Please Please” Amy Allen, Jack Antonoff & Sabrina Carpenter, songwriters (Sabrina Carpenter)

“Texas Hold ‘Em” Brian Bates, Beyoncé, Elizabeth Lowell Boland, Megan Bülow, Nate Ferraro & Raphael Saadiq, songwriters (Beyoncé)

BEST NEW ARTIST

Benson Boone

Sabrina Carpenter

Doechii

Khruangbin

Raye

Chappell Roan

Shaboozey

Teddy Swims

PRODUCER OF THE YEAR (NON-CLASSICAL)

Alissia

Dernst “D’Mile” Emile II

Ian Fitchuk

Mustard

Daniel Nigro

SONGWRITER OF THE YEAR

Jessi Alexander

Amy Allen

Edgar Barrera

Jessie Jo Dillon

Raye

BEST POP SOLO PERFORMANCE

“Bodyguard” Beyoncé

“Espresso” Sabrina Carpenter

“Apple” Charli xcx

“Birds of a Feather” Billie Eilish

“Good Luck, Babe!” Chappell Roan

BEST POP DUO/GROUP PERFORMANCE

“Us” Gracie Abrams Featuring Taylor Swift

“Levii’s Jeans” Beyoncé Featuring Post Malone

“Guess” Charli XCX & Billie Eilish

“The Boy Is Mine” Ariana Grande, Brandy & Monica

“Die With a Smile” Lady Gaga & Bruno Mars’

BEST POP VOCAL ALBUM

“Short n’ Sweet” Sabrina Carpenter

“Hit Me Hard and Soft” Billie Eilish

“Eternal Sunshine” Ariana Grande

“The Rise and Fall of a Midwest Princess” Chappell Roan

“The Tortured Poets Department” Taylor Swift

BEST DANCE/ELECTRONIC RECORDING

“She’s Gone, Dance On” Disclosure

“Loved” Four Tet

“Leavemealone” Fred Again & Baby Keem

“Neverender” Justice & Tame Impala

“Witchy” Kaytranada Featuring Childish Gambino

BEST DANCE POP RECORDING

“Make You Mine” Madison Beer

“Von Dutch” Charli XCX

“L’Amour de Ma Vie [Over Now Extended Edit]” Billie Eilish

“Yes, And?” Ariana Grande

“Got Me Started” Troye Sivan

BEST DANCE/ELECTRONIC ALBUM

“Brat” Charli XCX

“Three” Four Tet

“Hyperdrama” Justice

“Timeless” Kaytranada

“Telos” Zedd

BEST REMIXED RECORDING

“Alter Ego – Kaytranada Remix” Kaytranada, remixer (Doechii Featuring JT)

“A Bar Song (Tipsy) [Remix]” David Guetta, remixer (Shaboozey & David Guetta)

“Espresso (Mark Ronson x FNZ Working Late Remix)” FNZ & Mark Ronson, remixers (Sabrina Carpenter)

“Jah Sees Them – Amapiano Remix” Alexx Antaeus, Footsteps & MrMyish, remixers (Julian Marley & Antaeus)

“Von Dutch” A.G. Cook, remixer (Charli xcx & A.G. Cook Featuring Addison Rae)

BEST TRADITIONAL POP VOCAL ALBUM

À Fleur De Peau Cyrille Aimée

Visions Norah Jones

Good Together Lake Street Dive

Impossible Dream Aaron Lazar

Christmas Wish Gregory Porter

BEST ROCK PERFORMANCE

“Now and Then” The Beatles

“Beautiful People (Stay High)” The Black Keys

“The American Dream Is Killing Me” Green Day

“Gift Horse” Idles

“Dark Matter” Pearl Jam

“Broken Man” St. Vincent

BEST METAL PERFORMANCE

“Mea Culpa (Ah! Ça ira!)” Gojira, Marina Viotti & Victor Le Masne

“Crown of Horns” Judas Priest

“Suffocate” Knocked Loose Featuring Poppy

“Screaming Suicide” Metallica

“Cellar Door” Spiritbox

BEST ROCK ALBUM

“Happiness Bastards” The Black Crowes

“Romance” Fontaines D.C.

“Saviors” Green Day

“TANGK” Idles

“Dark Matter” Pearl Jam

“Hackney Diamonds” The Rolling Stones

“No Name” Jack White

BEST ROCK SONG

“Beautiful People (Stay High)” Dan Auerbach, Patrick Carney, Beck Hansen & Daniel Nakamura, songwriters (The Black Keys)

“Broken Man” Annie Clark, songwriter (St. Vincent)

“Dark Matter” Jeff Ament, Matt Cameron, Stone Gossard, Mike McCready, Eddie Vedder & Andrew Watt, songwriters (Pearl Jam)

“Dilemma” Billie Joe Armstrong, Mike Dirnt & Tré Cool, songwriters (Green Day)

“Gift Horse” Jon Beavis, Mark Bowen, Adam Devonshire, Lee Kiernan & Joe Talbot, songwriters (Idles)

BEST ALTERNATIVE MUSIC PERFORMANCE

“Neon Pill” Cage the Elephant

“Song of the Lake” Nick Cave & the Bad Seeds

“Starburster” Fontaines D.C.

“Bye Bye” Kim Gordon

“Flea” St. Vincent

BEST ALTERNATIVE MUSIC ALBUM

“Wild God” Nick Cave & the Bad Seeds

“Charm” Clairo

“The Collective” Kim Gordon

“What Now” Brittany Howard

“All Born Screaming” St. Vincent

BEST R&B PERFORMANCE

“Guidance” Jhené Aiko

“Residuals” Chris Brown

“Here We Go (Uh Oh)” Coco Jones

“Made For Me (Live On BET)” Muni Long

“Saturn” SZA

BEST TRADITIONAL R&B PERFORMANCE

“Wet” Marsha Ambrosius

“Can I Have This Groove” Kenyon Dixon

“No Lie” Lalah Hathaway Featuring Michael McDonald

“Make Me Forget” Muni Long

“That’s You” Lucky Daye

BEST PROGRESSIVE R&B ALBUM

“So Glad to Know You” Avery*Sunshine

“En Route” Durand Bernarr

“Bando Stone and the New World” Childish Gambino

“Crash” Kehlani

“Why Lawd?” NxWorries (Anderson .Paak & Knxwledge)

BEST R&B SONG

“After Hours” Diovanna Frazier, Alex Goldblatt, Kehlani Parrish, Khris Riddick-Tynes & Daniel Upchurch, songwriters (Kehlani)

“Burning” Ronald Banful & Temilade Openiyi, songwriters (Tems)

“Here We Go (Uh Oh)” Sara Diamond, Sydney Floyd, Marisela Jackson, Courtney Jones, Carl McCormick & Kelvin Wooten, songwriters (Coco Jones)

“Ruined Me” Jeff Gitelman, Priscilla Renea & Kevin Theodore, songwriters (Muni Long)

“Saturn” Rob Bisel, Carter Lang, Solána Rowe, Jared Solomon & Scott Zhang, songwriters (SZA)

BEST R&B ALBUM

“11:11 (Deluxe)” Chris Brown

“Vantablack” Lalah Hathaway

“Revenge” Muni Long

“Algorithm” Lucky Daye

“Coming Home” Usher

BEST RAP PERFORMANCE

“Enough (Miami)” Cardi B

“When the Sun Shines Again” Common & Pete Rock Featuring Posdnuos

“Nissan Altima” Doechii

“Houdini” Eminem

“Like That” Future & Metro Boomin Featuring Kendrick Lamar

“Yeah Glo!” GloRilla

“Not Like Us” Kendrick Lamar

BEST MELODIC RAP PERFORMANCE

“Kehlani” Jordan Adetunji Featuring Kehlani

“Spaghettii” Beyoncé Featuring Linda Martell & Shaboozey

“We Still Don’t Trust You” Future & Metro Boomin Featuring The Weeknd

“Big Mama” Latto

“3:AM” Rapsody Featuring Erykah Badu

BEST RAP ALBUM

“Might Delete Later” J. Cole

“The Auditorium, Vol. 1” Common & Pete Rock

“Alligator Bites Never Heal” Doechii

“The Death Of Slim Shady (Coup De Grâce)” Eminem

“We Don’t Trust You” Future & Metro Boomin

BEST RAP SONG

“Asteroids” Marlanna Evans, songwriter (Rapsody Featuring Hit-Boy)

“Carnival” Jordan Carter, Raul Cubina, Grant Dickinson, Samuel Lindley, Nasir Pemberton, Dimitri Roger, Ty Dolla $ign, Kanye West & Mark Carl Stolinski Williams, songwriters (¥$ (Kanye West & Ty Dolla $Ign)
Featuring Rich The Kid & Playboi Carti)

“Like That” Kendrick Lamar Duckworth, Kobe “BbyKobe” Hood, Leland Wayne & Nayvadius Wilburn, songwriters (Future & Metro Boomin Featuring Kendrick Lamar)

“Not Like Us” Kendrick Lamar, songwriter (Kendrick Lamar)

“Yeah Glo!” Ronnie Jackson, Jaucquez Lowe, Timothy McKibbins, Kevin Andre Price, Julius Rivera III & Gloria Woods, songwriters (GloRilla)

BEST SPOKEN WORD POETRY ALBUM

“Civil Writes: The South Got Something To Say” Queen Sheba

“Concrete & Whiskey Act II Part 1: A Bourbon 30 Series” Omari Hardwick

“Good M.U.S.I.C. Universe Sonic Sinema: Episode 1 In the Beginning Was the Word” Malik Yusef

“The Heart, the Mind, the Soul” Tank and the Bangas

“The Seven Number Ones” Mad Skillz

BEST COUNTRY SOLO PERFORMANCE

16 Carriages Beyoncé

I Am Not Okay Jelly Roll

The Architect Kacey Musgraves

A Bar Song (Tipsy) Shaboozey

It Takes A Woman Chris Stapleton

BEST COUNTRY DUO/GROUP PERFORMANCE

Cowboys Cry Too Kelsea Ballerini With Noah Kahan

II Most Wanted Beyoncé Featuring Miley Cyrus

Break Mine Brothers Osborne

Bigger Houses Dan + Shay

I Had Some Help Post Malone Featuring Morgan Wallen

BEST COUNTRY SONG

The Architect Shane McAnally, Kacey Musgraves & Josh Osborne, songwriters (Kacey Musgraves)

A Bar Song (Tipsy) Sean Cook, Jerrel Jones, Joe Kent, Chibueze Collins Obinna, Nevin Sastry & Mark Williams, songwriters (Shaboozey)

I Am Not Okay Casey Brown, Jason DeFord, Ashley Gorley & Taylor Phillips, songwriters (Jelly Roll)

I Had Some Help Louis Bell, Ashley Gorley, Hoskins, Austin Post, Ernest Smith, Ryan Vojtesak, Morgan Wallen & Chandler Paul Walters, songwriters (Post Malone Featuring Morgan Wallen)

Texas Hold ‘Em Brian Bates, Beyoncé, Elizabeth Lowell Boland, Megan Bülow, Nate Ferraro & Raphael Saadiq, songwriters (Beyoncé)

BEST COUNTRY ALBUM

Cowboy Carter Beyoncé

F-1 Trillion Post Malone

Deeper Well Kacey Musgraves

Higher Chris Stapleton

Whirlwind Lainey Wilson

BEST AMERICAN ROOTS PERFORMANCE

Blame It On Eve Shemekia Copeland

Nothing In Rambling The Fabulous Thunderbirds Featuring Bonnie Raitt, Keb’ Mo’, Taj Mahal & Mick Fleetwood

Lighthouse Sierra Ferrell

The Ballad Of Sally Anne Rhiannon Giddens

BEST AMERICANA PERFORMANCE

Ya Ya Beyoncé

Subtitles Madison Cunningham

Don’t Do Me Good Madi Diaz Featuring Kacey Musgraves

American Dreaming Sierra Ferrell

Runaway Train Sarah Jarosz

Empty Trainload of Sky Gillian Welch & David Rawlings

BEST AMERICAN ROOTS SONG

Ahead of the Game Mark Knopfler, songwriter (Mark Knopfler)

All In Good Time Sam Beam, songwriter (Iron & Wine Featuring Fiona Apple)

All My Friends Aoife O’Donovan, songwriter (Aoife O’Donovan)

American Dreaming Sierra Ferrell & Melody Walker, songwriters (Sierra Ferrell)

Blame It on Eve John Hahn & Will Kimbrough, songwriters (Shemekia Copeland)

BEST AMERICANA ALBUM

The Other Side T Bone Burnett

$10 Cowboy Charley Crockett

Trail Of Flowers Sierra Ferrell

Polaroid Lovers Sarah Jarosz

No One Gets Out Alive Maggie Rose

Tigers Blood Waxahatchee

BEST BLUEGRASS ALBUM

I Built A World Bronwyn Keith-Hynes

Songs of Love and Life The Del McCoury Band

No Fear Sister Sadie

Live Vol. 1 Billy Strings

Earl Jam Tony Trischka

Dan Tyminski: Live From the Ryman Dan Tyminski

BEST TRADITIONAL BLUES ALBUM

Hill Country Love Cedric Burnside

Struck Down The Fabulous Thunderbirds

One Guitar Woman Sue Foley

Sam’s Place Little Feat

Swingin’ Live at the Church In Tulsa The Taj Mahal Sextet

BEST CONTEMPORARY BLUES ALBUM

Blues Deluxe Vol. 2 Joe Bonamassa

Blame It On Eve Shemekia Copeland

Friendlytown Steve Cropper & The Midnight Hour

Mileage Ruthie Foster

The Fury Antonio Vergara

BEST FOLK ALBUM

American Patchwork Quartet American Patchwork Quartet

Weird Faith Madi Diaz

Bright Future Adrianne Lenker

All My Friends Aoife O’Donovan

Woodland Gillian Welch & David Rawlings

BEST REGIONAL ROOTS MUSIC ALBUM

25 Back To My Roots Sean Ardoin And Kreole Rock And Soul

Live At The 2024 New Orleans Jazz & Heritage Festival Big Chief Monk Boudreaux & The Golden Eagles Featuring J’Wan Boudreaux

Live At The 2024 New Orleans Jazz & Heritage Festival New Breed Brass Band Featuring Trombone Shorty

Kuini Kalani Pe’a

Stories From The Battlefield The Rumble Featuring Chief Joseph Boudreaux Jr.

BEST GOSPEL PERFORMANCE/SONG

Church Doors Yolanda Adams; Donald Lawrence & Sir William James Baptist, songwriters

Yesterday Melvin Crispell III

Hold On (Live) Ricky Dillard

Holy Hands DOE; Jesse Paul Barrera, Jeffrey Castro Bernat, Dominique Jones, Timothy Ferguson, Kelby Shavon Johnson, Jr., Jonathan McReynolds, Rickey Slikk Muzik Offord & Juan Winans, songwriters

One Hallelujah Tasha Cobbs Leonard, Erica Campbell & Israel Houghton Featuring Jonathan McReynolds & Jekalyn Carr; G. Morris Coleman, Israel Houghton, Kenneth Leonard, Jr., Tasha Cobbs Leonard & Naomi Raine, songwriters

BEST CONTEMPORARY CHRISTIAN MUSIC PERFORMANCE/SONG

Holy Forever (Live) Bethel Music, Jenn Johnson Featuring CeCe Winans

Praise Elevation Worship Featuring Brandon Lake, Chris Brown & Chandler Moore; Pat Barrett, Chris Brown, Cody Carnes, Steven Furtick, Brandon Lake & Chandler Moore, songwriters

Firm Foundation (He Won’t) Honor & Glory Featuring Disciple

In The Name Of Jesus JWLKRS Worship & Maverick City Music Featuring Chandler Moore; Austin Armstrong, Ran Jackson, Chandler Moore, Sajan Nauriyal, Ella Schnacky, Noah Schnacky & Ilya Toshinskiy, songwriters

In The Room Maverick City Music, Naomi Raine & Chandler Moore Featuring Tasha Cobbs Leonard; G. Morris Coleman, Tasha Cobbs Leonard & Naomi Raine, songwriters

That’s My King CeCe Winans; Taylor Agan, Kellie Gamble, Lloyd Nicks & Jess Russ, songwriters

BEST GOSPEL ALBUM

Covered Vol. 1 Melvin Crispell III

Choirmaster II (Live) Ricky Dillard

Father’s Day Kirk Franklin

Still Karen Karen Clark Sheard

More Than This CeCe Winans

BEST CONTEMPORARY CHRISTIAN MUSIC ALBUM

Heart Of A Human DOE

When Wind Meets Fire Elevation Worship

Child Of God Forrest Frank

Coat Of Many Colors Brandon Lake

The Maverick Way Complete Maverick City Music, Naomi Raine & Chandler Moore

BEST ROOTS GOSPEL ALBUM

The Gospel Sessions, Vol 2 Authentic Unlimited

The Gospel According To Mark Mark D. Conklin

Rhapsody The Harlem Gospel Travelers

Church Cory Henry

Loving You The Nelons

BEST LATIN POP ALBUM

Funk Generation Anitta

El Viaje Luis Fonsi

GARCÍA Kany García

Las Mujeres Ya No Lloran Shakira

ORQUÍDEAS Kali Uchis

BEST MUSICA URBANA ALBUM

nadie sabe lo que va a pasar mañana Bad Bunny

Rayo J Balvin

FERXXOCALIPSIS Feid

LAS LETRAS YA NO IMPORTAN Residente

att. Young Miko

BEST LATIN ROCK OR ALTERNATIVE ALBUM

Compita del Destino El David Aguilar

Pa’ Tu Cuerpa Cimafunk

Autopoiética Mon Laferte

GRASA NATHY PELUSO

¿Quién trae las cornetas? Rawayana

BEST MUSICA MEXICANA ALBUM (INCLUDING TEJANO)

Diamantes Chiquis

Boca Chueca, Vol. 1 Carín León

ÉXODO Peso Pluma

De Lejitos Jessi Uribe

BEST TROPICAL LATIN ALBUM

MUEVENSE Marc Anthony

Bailar Sheila E.

Radio Güira Juan Luis Guerra 4.40

Alma, Corazón y Salsa (Live at Gran Teatro Nacional) Tony Succar, Mimy Succar

Vacilón Santiaguero Kiki Valera

BEST CHILDREN’S MUSIC ALBUM

Brillo, Brillo! Lucky Diaz And The Family Jam Band

Creciendo Lucy Kalantari & The Jazz Cats

My Favorite Dream John Legend

Solid Rock Revival Rock For Children

World Wide Playdate Divinity Roxx and Divi Roxx Kids

BEST COMEDY ALBUM

Armageddon Ricky Gervais

The Dreamer Dave Chappelle

The Prisoner Jim Gaffigan

Someday You’ll Die Nikki Glaser

Where Was I Trevor Noah

BEST AUDIOBOOK, NARRATION, AND STORYTELLING RECORDING

All You Need Is Love: The Beatles In Their Own Words (Various Artists) Guy Oldfield, producer

…And Your Ass Will Follow George Clinton

Behind The Seams: My Life In Rhinestones Dolly Parton

Last Sundays In Plains: A Centennial Celebration Jimmy Carter

My Name Is Barbra Barbra Streisand

BEST MUSICAL THEATER ALBUM

Hell’s Kitchen Shoshana Bean, Brandon Victor Dixon, Kecia Lewis & Meleah Joi Moon, principal vocalists; Adam Blackstone, Alicia Keys & Tom Kitt, producers (Alicia Keys, composer & lyricist) (Original Broadway Cast)

Merrily We Roll Along Jonathan Groff, Lindsay Mendez & Daniel Radcliffe, principal vocalists; David Caddick, Joel Fram, Maria Friedman & David Lai, producers (Stephen Sondheim, composer & lyricist) (New Broadway Cast)

The Notebook John Clancy, Carmel Dean, Kurt Deutsch, Derik Lee, Kevin McCollum & Ingrid Michaelson, producers; Ingrid Michaelson, composer & lyricist (Original Broadway Cast)

The Outsiders Joshua Boone, Brent Comer, Brody Grant & Sky Lakota-Lynch, principal vocalists; Zach Chance, Jonathan Clay, Matt Hinkley, Justin Levine & Lawrence Manchester, producers; Zach Chance, Jonathan Clay & Justin Levine, composers/lyricists (Original Broadway Cast)

Suffs Andrea Grody, Dean Sharenow & Shaina Taub, producers; Shaina Taub, composer & lyricist (Original Broadway Cast)

The Wiz Wayne Brady, Deborah Cox, Nichelle Lewis & Avery Wilson, principal vocalists; Joseph Joubert, Allen René Louis & Lawrence Manchester, producers (Charlie Smalls, composer & lyricist) (2024 Broadway Cast Recording)

BEST COMPILATION SOUNDTRACK FOR VISUAL MEDIA

The Color Purple (Various Artists)

Deadpool & Wolverine (Various Artists)

Maestro: Music By Leonard Bernstein London Symphony Orchestra, Yannick Nézet-Séguin, Bradley Cooper

Saltburn (Various Artists)

Twisters: The Album (Various Artists)

BEST SCORE SOUNDTRACK FOR VISUAL MEDIA

American Fiction Laura Karpman, composer

Challengers Trent Reznor & Atticus Ross, composers

The Color Purple Kris Bowers, composer

Dune: Part Two Hans Zimmer, composer

Shōgun Nick Chuba, Atticus Ross & Leopold Ross, composers

BEST SCORE SOUNDTRACK FOR VIDEO GAMES AND OTHER INTERACTIVE MEDIA

Avatar: Frontiers of Pandora Pinar Toprak, composer

God of War Ragnarök: Valhalla Bear McCreary, composer

Marvel’s Spider-Man 2 John Paesano, composer

Star Wars Outlaws Wilbert Roget, II, composer

Wizardry: Proving Grounds of the Mad Overlord Winifred Phillips, composer

BEST SONG WRITTEN FOR VISUAL MEDIA

Ain’t No Love In Oklahoma [From “Twisters: The Album”] Jessi Alexander, Luke Combs & Jonathan Singleton, songwriters (Luke Combs)

Better Place [From “TROLLS Band Together”] Amy Allen, Shellback & Justin Timberlake, songwriters (*NSYNC & Justin Timberlake)

Can’t Catch Me Now [From “The Hunger Games: The Ballad of Songbirds & Snakes”] Daniel Nigro & Olivia Rodrigo, songwriters (Olivia Rodrigo)

It Never Went Away [From “American Symphony”] Jon Batiste & Dan Wilson, songwriters (Jon Batiste)

Love Will Survive [From “The Tattooist of Auschwitz”] Walter Afanasieff, Charlie Midnight, Kara Talve & Hans Zimmer, songwriters (Barbra Streisand)

BEST MUSIC VIDEO

Tailor Swif A$AP Rocky Vania Heymann & Gal Muggia, video directors

360 Charli XCX Aidan Zamiri, video director; Jami Arceo & Evan Thicke, video producers

Houdini Eminem Rich Lee, video director; Kathy Angstadt, Lisa Arianna & Justin Diener, video producers

Not Like Us Kendrick Lamar Dave Free & Kendrick Lamar, video directors; Jack Begert, Sam Canter & Jamie Rabineau, video producers

Fortnight Taylor Swift Featuring Post Malone Taylor Swift, video director; Jil Hardin, video producer

BEST MUSIC FILM

American Symphony Jon Batiste Matthew Heineman, video director; Lauren Domino, Matthew Heineman & Joedan Okun, video producers

June (June Carter Cash) Kristen Vaurio, video director; Josh Matas, Sarah Olson, Jason Owen, Mary Robertson & Kristen Vaurio, video producers

Kings From Queens Run DMC Kirk Fraser, video director; William H. Masterson III, video producer

Stevie Van Zandt: Disciple Steven Van Zandt Bill Teck, video director; Robert Cotto, David Fisher & Bill Teck, video producers

The Greatest Night In Pop (Various Artists) Bao Nguyen, video director; Bruce Eskowitz, George Hencken, Larry Klein, Julia Nottingham, Lionel Richie & Harriet Sternberg, video producers

BEST CONTEMPORARY INSTRUMENTAL ALBUM

Plot Armor Taylor Eigsti

Rhapsody In Blue Béla Fleck

Orchestras (Live) Bill Frisell Featuring Alexander Hanson, Brussels Philharmonic, Rudy Royston & Thomas Morgan

Mark Mark Guiliana

Speak To Me Julian Lage

BEST JAZZ PERFORMANCE

“Walk With Me, Lord (SOUND | SPIRIT)” The Baylor Project

“Phoenix Reimagined (Live)” Lakecia Benjamin Featuring Randy Brecker, Jeff “Tain” Watts & John Scofield

“Juno” Chick Corea & Béla Fleck

“Twinkle Twinkle Little Me” Samara Joy Featuring Sullivan Fortner

“Little Fears” Dan Pugach Big Band Featuring Nicole Zuraitis & Troy Roberts

BEST JAZZ VOCAL ALBUM

Journey In Black Christie Dashiell

Wildflowers Vol. 1 Kurt Elling & Sullivan Fortner

A Joyful Holiday Samara Joy

Milton + Esperanza Milton Nascimento & Esperanza Spalding

My Ideal Catherine Russell & Sean Mason

BEST JAZZ INSTRUMENTAL ALBUM

Owl Song Ambrose Akinmusire Featuring Bill Frisell & Herlin Riley

Beyond This Place Kenny Barron Featuring Kiyoshi Kitagawa, Johnathan Blake, Immanuel Wilkins & Steve Nelson

Phoenix Reimagined (Live) Lakecia Benjamin

Remembrance Chick Corea & Béla Fleck

Solo Game Sullivan Fortner

BEST LARGE JAZZ ENSEMBLE ALBUM

Returning To Forever John Beasley & Frankfurt Radio Big Band

And So It Goes The Clayton-Hamilton Jazz Orchestra

Walk A Mile In My Shoe Orrin Evans & The Captain Black Big Band

Bianca Reimagined: Music For Paws And Persistence Dan Pugach Big Band

Golden City Miguel Zenón

BEST LATIN JAZZ ALBUM

Spain Forever Again Michel Camilo & Tomatito

Cubop Lives! Zaccai Curtis

COLLAB Hamilton de Holanda & Gonzalo Rubalcaba

Time And Again Eliane Elias

El Trio: Live in Italy Horacio ‘El Negro’ Hernández, John Beasley & José Gola

Cuba And Beyond Chucho Valdés & Royal Quartet

As I Travel Donald Vega Featuring Lewis Nash, John Patitucci & Luisito Quintero

BEST ALTERNATIVE JAZZ ALBUM

Night Reign Arooj Aftab

New Blue Sun André 3000

Code Derivation Robert Glasper

Foreverland Keyon Harrold

No More Water: The Gospel Of James Baldwin Meshell Ndegeocello

BEST GLOBAL MUSIC PERFORMANCE

Raat Ki Rani Arooj Aftab

A Rock Somewhere Jacob Collier Featuring Anoushka Shankar & Varijashree Venugopal

Rise Rocky Dawuni

Bemba Colorá Sheila E. Featuring Gloria Estefan & Mimy Succar

Sunlight To My Soul Angélique Kidjo Featuring Soweto Gospel Choir

Kashira Masa Takumi Featuring Ron Korb, Noshir Mody & Dale Edward Chung

BEST AFRICAN MUSIC PERFORMANCE

Tomorrow Yemi Alade

MMS Asake & Wizkid

Sensational Chris Brown Featuring Davido & Lojay

Higher Burna Boy

Love Me JeJe Tems

BEST GLOBAL MUSIC ALBUM

Alkebulan II Matt B Featuring Royal Philharmonic Orchestra

Paisajes Ciro Hurtado

Heis Rema

Historias De Un Flamenco Antonio Rey

Born In The Wild Tems

BEST REGGAE ALBUM

Take It Easy Collie Buddz

Party With Me Vybz Kartel

Never Gets Late Here Shenseea

Bob Marley: One Love – Music Inspired By The Film (Deluxe) (Various Artists)

Evolution The Wailers

BEST NEW AGE, AMBIENT OR CHANT ALBUM

Break Of Daw Ricky Kej

Triveni Wouter Kellerman, Éru Matsumoto & Chandrika Tandon

Visions Of Sounds De Luxe Chris Redding

Opus Ryuichi Sakamoto

Chapter II: How Dark It Is Before Dawn Anoushka Shankar

Warriors Of Light Radhika Vekaria

BEST RECORDING PACKAGE

The Avett Brothers Jonny Black & Giorgia Sage, art directors (The Avett Brothers)

Baker Hotel Sarah Dodds & Shauna Dodds, art directors (William Clark Green)

BRAT Brent David Freaney & Imogene Strauss, art directors (Charli XCX)

F-1 Trillion Archie Lee Coates IV, Jeffrey Franklin, Blossom Liu, Kylie McMahon & Ana Cecilia Thompson Motta, art directors (Post Malone)

Hounds Of Love The Baskerville Edition Kate Bush & Albert McIntosh, art directors (Kate Bush)

Jug Band Millionaire Andrew Wong & Julie Yeh, art directors (The Muddy Basin Ramblers)

Pregnancy, Breakdown, And Disease Lee Pei-Tzu, art director (iWhoiWhoo)

BEST BOXED OR SPECIAL LIMITED EDITION PACKAGE

Half Living Things Patrick Galvin, art director (Alpha Wolf)

Hounds Of Love The Boxes Of Lost At Sea Kate Bush & Albert McIntosh, art directors (Kate Bush)

In Utero Doug Cunningham & Jason Noto, art directors (Nirvana)

Mind Games Simon Hilton & Sean Ono Lennon, art directors (John Lennon)

Unsuk Chin Takahiro Kurashima & Marek Polewski, art directors (Unsuk Chin & Berliner Philharmoniker)

We Blame Chicago Rebeka Arce & Farbod Kokabi, art directors (90 Day Men)

BEST ALBUM NOTES

After Midnight Tim Brooks, album notes writer (Ford Dabney’s Syncopated Orchestras)

The Carnegie Hall Concert Lauren Du Graf, album notes writer (Alice Coltrane)

Centennial Ricky Riccardi, album notes writer (King Oliver’s Creole Jazz Band & Various Artists)

John Culshaw – The Art Of The Producer – The Early Years 1948-55 Dominic Fyfe, album notes writer (John Culshaw)

SONtrack Original De La Película “Al Son De Beno” Josh Kun, album notes writer (Various Artists)

BEST HISTORICAL ALBUM

Centennial Meagan Hennessey & Richard Martin, compilation producers; Richard Martin, mastering engineer (King Oliver’s Creole Jazz Band And Various Artists)

Diamonds And Pearls: Super Deluxe Edition Charles F. Spicer, Jr. & Duane Tudahl, compilation producers; Brad Blackwood & Bernie Grundman,
mastering engineers (Prince & The New Power Generation)

Paul Robeson – Voice of Freedom: His Complete Columbia, RCA, HMV, and Victor Recordings Tom Laskey & Robert Russ, compilation producers; Nancy Conforti & Andreas K. Meyer, mastering engineers (Paul Robeson)

Pepito Y Paquito Pepe De Lucía & Javier Doria, compilation producers; Jesús Bola, mastering engineer (Pepe De Lucía And Paco De Lucía)

The Sound Of Music (Original Soundtrack Recording – Super Deluxe Edition) Mike Matessino & Mark Piro, compilation producers; Steve Genewick & Mike Matessino, mastering engineers (Rodgers & Hammerstein & Julie Andrews)

BEST ENGINEERED ALBUM, NON-CLASSICAL

Algorithm Dernst Emile II, Michael B. Hunter, Stephan Johnson, Rachel Keen, John Kercy, Charles Moniz & Todd Robinson, engineers; Colin Leonard, mastering engineer (Lucky Daye)

Cyan Blue Jack Emblem, Jack Rochon & Charlotte Day Wilson, engineers; Chris Gehringer, mastering engineer (Charlotte Day Wilson)

Deeper Well Craig Alvin, Shawn Everett, Mai Leisz, Todd Lombardo, John Rooney, Konrad Snyder & Daniel Tashian, engineers; Greg Calbi, mastering engineer (Kacey Musgraves)

empathogen Beatriz Artola, Zach Brown, Oscar Cornejo, Chris Greatti & Mitch McCarthy, engineers; Joe La Porta, mastering engineer (WILLOW)

i/o Tchad Blake, Oli Jacobs, Katie May & Dom Shaw, engineers; Matt Colton, mastering engineer (Peter Gabriel)

Short n’ Sweet Bryce Bordone, Julian Bunetta, Serban Ghenea, Jeff Gunnell, Oli Jacobs, Ian Kirkpatrick, Jack Manning, Manny Marroquin, John Ryan & Laura Sisk, engineers; Nathan Dantzler & Ruairi O’Flaherty, mastering engineers (Sabrina Carpenter)

BEST ENGINEERED ALBUM, CLASSICAL

Adams: Girls Of The Golden West Alexander Lipay & Dmitriy Lipay, engineers; Alexander Lipay & Dmitriy Lipay, mastering engineers (John Adams, Daniela Mack, Ryan McKinny, Paul Appleby, Hye Jung Lee, Elliot Madore, Julia Bullock, Davóne Tines, Los Angeles Philharmonic & Los Angeles Master Chorale)

Andres: The Blind Banister Silas Brown, Doron Schachter & Michael Schwartz, engineers; Matt Colton, mastering engineer (Andrew Cyr, Inbal Segev & Metropolis Ensemble)

Bruckner: Symphony No. 7; Bates: Resurrexit Mark Donahue & John Newton, engineers; Mark Donahue, mastering engineer (Manfred Honeck & Pittsburgh Symphony Orchestra)

Clear Voices In The Dark Daniel Shores, engineer; Daniel Shores, mastering engineer (Matthew Guard & Skylark Vocal Ensemble)

Ortiz: Revolución Diamantina Alexander Lipay & Dmitriy Lipay, engineers; Alexander Lipay & Dmitriy Lipay, mastering engineers (Gustavo Dudamel, María Dueñas, Los Angeles Philharmonic & Los Angeles Master Chorale)

PRODUCER OF THE YEAR, CLASSICAL

Erica Brenner

Christoph Franke

Morten Lindberg

Dmitriy Lipay

Elaine Martone

Dirk Sobotka

BEST IMMERSIVE AUDIO ALBUM

Avalon Bob Clearmountain, immersive mix engineer; Rhett Davies & Bryan Ferry, immersive producers (Roxy Music)

Genius Loves Company Michael Romanowski, Eric Schilling & Herbert Waltl, immersive mix engineers; Michael Romanowski,
immersive mastering engineer; John Burk, immersive producer (Ray Charles With Various Artists)

Henning Sommerro: Borders Morten Lindberg, immersive mix engineer; Morten Lindberg, immersive mastering engineer; Morten
Lindberg, immersive producer (Trondheim Symphony Orchestra)

i/o (In-Side Mix) Hans-Martin Buff, immersive mix engineer; Brian Eno, Peter Gabriel & Richard Russell, immersive producers (Peter Gabriel)

Pax Morten Lindberg, immersive mix engineer; Morten Lindberg, immersive mastering engineer; Morten
Lindberg, immersive producer (Ensemble 96 & Current Saxophone Quartet)

BEST INSTRUMENTAL COMPOSITION

At Last Shelton G. Berg, composer (Shelly Berg)

Communion Christopher Zuar, composer (Christopher Zuar Orchestra)

I Swear, I Really Wanted To Make A “Rap” Album But This Is Literally The Way The Wind Blew Me This Time André 3000, Surya Botofasina, Nate Mercereau & Carlos Niño, composers (André 3000)

Remembrance Chick Corea, composer (Chick Corea & Béla Fleck)

Strands Pascal Le Boeuf, composer (Akropolis Reed Quintet, Pascal Le Boeuf & Christian Euman)

BEST ARRANGEMENT, INSTRUMENTAL OR A CAPPELLA

Baby Elephant Walk – Encore Michael League, arranger (Snarky Puppy)

Bridge Over Troubled Water Jacob Collier, Tori Kelly & John Legend, arrangers (Jacob Collier Featuring John Legend & Tori Kelly)

Rhapsody In Blue(Grass) Béla Fleck & Ferde Grofé, arrangers (Béla Fleck Featuring Michael Cleveland, Sierra Hull, Justin
Moses, Mark Schatz & Bryan Sutton)

Rose Without The Thorns Erin Bentlage, Alexander Lloyd Blake, Scott Hoying, A.J. Sealy & Amanda Taylor, arrangers (Scott Hoying Featuring säje & Tonality)

Silent Night Erin Bentlage, Sara Gazarek, Johnaye Kendrick & Amanda Taylor, arrangers (säje)

BEST ARRANGEMENT, INSTRUMENTS AND VOCALS

Alma Erin Bentlage, Sara Gazarek, Johanye Kendrick & Amanda Taylor, arrangers (säje Featuring Regina Carter)

Always Come Back Matt Jones, arranger (John Legend)

b i g f e e l i n g s Willow, arranger (WILLOW)

Last Surprise (From “Persona 5”) Charlie Rosen & Jake Silverman, arrangers (The 8-Bit Big Band Featuring Jonah Nilsson & Button Masher)

The Sound Of Silence Cody Fry, arranger (Cody Fry Featuring Sleeping At Last)

BEST ORCHESTRAL PERFORMANCE

Adams: City Noir, Fearful Symmetries & Lola Montez Does The Spider Dance Marin Alsop, conductor (ORF Vienna Radio Symphony Orchestra)

Kodály: Háry János Suite; Summer Evening & Symphony In C Major JoAnn Falletta, conductor (Buffalo Philharmonic Orchestra)

Ortiz: Revolución Diamantina Gustavo Dudamel, conductor (Los Angeles Philharmonic)

Sibelius: Karelia Suite, Rakastava, & Lemminkäinen Susanna Mälkki, conductor (Helsinki Philharmonic Orchestra)

Stravinsky: The Firebird Esa-Pekka Salonen, conductor (San Francisco Symphony)

BEST OPERA RECORDING

Adams: Girls Of The Golden West John Adams, conductor; Paul Appleby, Julia Bullock, Hye Jung Lee, Daniela Mack, Elliot Madore, Ryan McKinny & Davóne Tines; Dmitriy Lipay, producer (Los Angeles Philharmonic; Los Angeles Master Chorale)

Catán: Florencia En El Amazonas Yannick Nézet-Séguin, conductor; Mario Chang, Michael Chioldi, Greer Grimsley, Nancy Fabiola
Herrera, Mattia Olivieri, Ailyn Pérez & Gabriella Reyes; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)

Moravec: The Shining Gerard Schwarz, conductor; Tristan Hallett, Kelly Kaduce & Edward Parks; Blanton Alspaugh, producer (Kansas City Symphony; Lyric Opera Of Kansas City Chorus)

Puts: The Hours Yannick Nézet-Séguin, conductor; Joyce DiDonato, Renée Fleming & Kelli O’Hara; David Frost, producer (Metropolitan Opera Orchestra; Metropolitan Opera Chorus)

Saariaho: Adriana Mater Esa-Pekka Salonen, conductor; Fleur Barron, Axelle Fanyo, Nicholas Phan & Christopher Purves; Jason O’Connell, producer (San Francisco Symphony; San Francisco Symphony Chorus; Timo Kurkikangas)

BEST CHORAL PERFORMANCE

Clear Voices In The Dark Matthew Guard, conductor (Carrie Cheron, Nathan Hodgson, Helen Karloski & Clare McNamara; Skylark Vocal Ensemble)

A Dream So Bright – Choral Music Of Jake Runestad Eric Holtan, conductor (Jeffrey Biegel; True Concord Orchestra; True Concord Voices)

Handel: Israel In Egypt Jeannette Sorrell, conductor (Margaret Carpenter Haigh, Daniel Moody, Molly Netter, Jacob Perry &
Edward Vogel; Apollo’s Fire; Apollo’s Singers)

Ochre Donald Nally, conductor (The Crossing)

Sheehan: Akathist Elaine Kelly, conductor; Melissa Attebury, Stephen Sands & Benedict Sheehan, chorus masters (Elizabeth Bates, Paul D’Arcy, Tynan Davis, Aine Hakamatsuka, Steven Hrycelak, Helen Karloski, Enrico Lagasca, Edmund Milly, Fotina Naumenko, Neil Netherly, Timothy Parsons, Stephen Sands, Miriam Sheehan & Pamela Terry; Novus NY; Artefact Ensemble, The Choir Of Trinity Wall Street, Downtown Voices & Trinity Youth Chorus)

BEST CHAMBER MUSIC/SMALL ENSEMBLE PERFORMANCE

Adams, J.L.: Waves & Particles JACK Quartet

Beethoven For Three: Symphony No. 4 And Op. 97, ‘Archduke’ Yo-Yo Ma, Leonidas Kavakos & Emanuel Ax

Cerrone: Beaufort Scales Beth Willer, Christopher Cerrone & Lorelei Ensemble

Home Miró Quartet

Rectangles And Circumstance Caroline Shaw & Sō Percussion

BEST CLASSICAL INSTRUMENTAL SOLO

Akiho: Longing Andy Akiho

Bach: Goldberg Variations Víkingur Ólafsson

Eastman: The Holy Presence Of Joan D’Arc Seth Parker Woods; Christopher Rountree, conductor (Wild Up)

Entourer Mak Grgić (Ensemble Dissonance)

Perry: Concerto For Violin & Orchestra Curtis Stewart; James Blachly, conductor (Experiential Orchestra)

BEST CLASSICAL VOCAL SOLO ALBUM

Beyond The Years – Unpublished Songs Of Florence Price Karen Slack, soloist; Michelle Cann, pianist

A Change Is Gonna Come Nicholas Phan, soloist; Palaver Strings, ensembles

Newman: Bespoke Songs Fotina Naumenko, soloist; Marika Bournaki, pianist (Nadège Foofat; Julietta Curenton, Colin Davin, Mark Edwards, Nadia Pessoa, Timothy Roberts, Ryan Romine, Akemi Takayama, Karlyn Viña & Garrick Zoeter)

Show Me The Way Will Liverman, soloist; Jonathan King, pianist

Wagner: Wesendonck Lieder Joyce DiDonato, soloist; Maxim Emelyanychev, conductor (Il Pomo d’Oro)

BEST CLASSICAL COMPENDIUM

Akiho: BeLonging Andy Akiho & Imani Winds; Andy Akiho, Sean Dixon & Mark Dover, producers

American Counterpoints Curtis Stewart; James Blachly, conductor; Blanton Alspaugh, producer

Foss: Symphony No. 1; Renaissance Concerto; Three American Pieces; Ode JoAnn Falletta, conductor; Bernd Gottinger, producer

Mythologies II Sangeeta Kaur, Omar Najmi, Hilá Plitmann, Robert Thies & Danaë Xanthe Vlasse; Michael Shapiro,
conductor; Jeff Atmajian, Emilio D. Miler, Hai Nguyen, Robert Thies, Danaë Xanthe Vlasse & Kitt Wakeley, Producers

Ortiz: Revolución Diamantina Gustavo Dudamel, conductor; Dmitriy Lipay, producer

BEST CONTEMPORARY CLASSICAL COMPOSITION

Casarrubios: Seven For Solo Cello Andrea Casarrubios, composer (Andrea Casarrubios)

Coleman: Revelry Valerie Coleman, composer (Decoda)

Lang: Composition As Explanation David Lang, composer (Eighth Blackbird)

Ortiz: Revolución Diamantina Gabriela Ortiz, composer (Gustavo Dudamel, Los Angeles Philharmonic & Los Angeles Master Chorale)

Saariaho: Adriana Mater Kaija Saariaho, composer (Esa-Pekka Salonen, Fleur Barron, Nicholas Phan, Christopher Purves, Axelle Fanyo, San Francisco Symphony Chorus & Orchestra)

Read the latest issue of Athleisure Mag.

9PLAYLIST | PAUL VAN DYK

Read the DEC ISSUE #108 of Athleisure Mag and see 9PLAYLIST Paul Van Dyk in mag.

THE INTENTIONAL ONE | BOZOMA SAINT JOHN

When you think of a brand, you think about its ethos; products it makes; how it engages with those who purchase it as well as their followers. As you delve deeper, there are campaigns, collaborations, how it presents its assortments and how it is seen in terms of how it changes our lives and the way that we move.

This movement and exchange takes place with thoughtleaders and we're thrilled that this month our cover is with the former CMO of Netflix, Endeavor, CBO of Uber, and Marketing Exec at Apple Music, PepsiCo, and Beats Music - Bozoma Saint John. Without a doubt, she is a badass in the boardroom and she is bringing her brand of creativity on S14 of BRAVO's The Real Housewives of Beverly Hills as a full-time castmember which premiered on Nov 19th. We can't wait to see her navigate her season. We wanted to talk with her about her fingerprint on some of the most innovative brands on the planet, how she approaches her work, the launch of her hairline Eve by Boz, and being on RHOBH!

ATHLEISURE MAG: All right, so I mean, I followed your career for a number of years and have been blown away by just the Innovative companies. Just things I couldn't have imagined as a kid growing up to see you doing that. What led you to that journey to work with these Innovative companies?

BOZOMA SAINT JOHN: Well, I don't really believe in the 5 or 10-year plans. I don't even really believe in like a 2-year plan. I think you have to follow you know, the feeling of the moment. We're always in a state of evolution and so it's more important to understand like where you are and what you're trying to achieve than it is, where you're actually going. Because in hindsight, it will look like you had a plan.

I don’t know if I can answer that there was a plan in working for the innovative companies. I believe I’m an innovative person and therefore the companies found me and my job style.

AM: Do you have key moments that you're really proud of that you did at these companies?

BSJ: Yeah, of course. I don't know that there's a company I've ever worked for where I didn't feel proud of something I did there. You know, I think that as long as you know your focus on doing your best work, that there can't be a bad job.

AM: Right.

BSJ: You know, there can't be a bad work experience and so I could rattle off a whole bunch. I mean, it's like when I was working for Spike Lee (School Daze, Do the Right Thing, Malcolm X), working on Carmen the commercial for PepsiCo featuring Beyoncé (Dreamgirls, Austin Powers in Goldmember, Lemonade), who had her first solo gig was great.

When I was at Mountain Dew, working on the, AND1 Streetball initiative, it was amazing. That was the first time any of the big companies paid attention to these Black men who were playing on concrete. It was also the first time we ever created a brand lead film called First Descent using Mountain Dew and obviously, I also did the Super Bowl Pepsi Halftime Show featuring Beyoncé, followed by Bruno Mars, followed by Katy Perry, followed by Lady Gaga and those were big.

Then at Apple, I mean that was creating Apple Music.

AM: Yeah.

BSJ: You know, as the biggest thing probably because it just changed the way that we listen to music in the way that people consume it.

At Uber, it was working with LeBron James, on his production company because he was trying to break out of, you know, just playing basketball and trying to branch out and nobody wanted to give him a job because they didn't believe that athletes could do that kind of thing. And then we made this amazing piece of content which it was said he should just shut up and dribble. Which led to his own transformation in terms of his vocal presence and what he felt like he should be able to say and that he's more than an athlete. That's where it was coming from.

At Endeavor, it was working on Miss Universe and crowning Zozibini Tunzi as the first Black South African with the crown and that same year, all five beauty queens, who are black.

AM: Yup.

BSJ: So you had Miss Universe, Miss America (Nia Franklin), Miss USA (Cheslie Kryst), Miss Teen USA (Kaliegh Garris), and Miss World (Toni-Ann Singh of Jamaica). Who were all black. (Editor’s Note: In 2019, Black women won all 5 major beauty pageants for the first time in history).

AM: That was incredible and I had the pleasure of styling Nia Frankin for an editorial shoot during her reign and it was such an amazing experience.

BSJ: Oh nice.

Of course, my good friend Cheslie Kryst unfortunately, lost her life to suicide.

AM: She was lovely. I had the pleasure of interviewing her and was so sad to hear of her passing.

BSJ: Then at Netflix, it was you know, making the world understand that content can travel. You know, it's been the long-held belief that you can't use content from Spain in France or French content in Nigeria or Nigerian content in the US. I proved all of those people wrong especially because we used the pandemic as the way to do it. So a show like Squid Game would never have been possible. without that moment in time.

AM: 100%

BSJ: You couldn't have predicted that show. I mean, the creator, Hwang Dong-hyuk had been trying to sell it for 12 years!

AM: I didn’t know that until after the series came out which was incredible.

BSJ: You couldn't have sold it without the pandemic, without me being a global citizen. A true global citizen understands that language is actually not the barrier, it's the access and so if you break down the walls of access then people will be able to enjoy other cultures.

AM: I mean, I have to say Love is Blind, I've watched every edition of it starting with the US, Habibi, Japan, etc and going through the various countries.

BSJ: Yeah!

AM: Prior to watching Squid Game, I didn’t watch shows in subtitles. But after I got hooked on Squid Game, I realized that there was so much content that I was missing that I wanted to enjoy and I haven’t stopped since. I realized that if I watched that, why can't I enjoy the Swedish thrillers on Netflix, true crime etc?

BSJ: Yeah! A weird, violent, and comedic drama!

AM: We're actually going to a VIP Editor Event at Squid Game: The Experience as guests of Johnnie Walker tonight after spending time with you and I can’t wait to kind of get into the game ahead of the second season launching next month!

BSJ: Yeah, you could never predict that, that would work.

AM: I just love hearing all the different things that you've talking about. You’re also an author and you released your book The Urgent Life: My Story of Love, Loss, and Survival, which is a powerful memoir. Why did you want to share something like this as it is so vulnerable, and so amazing.

BSJ: Because leaders are just supposed to be fierce. They're supposed to be behind the corner office, behind a very heavy desk without showing any vulnerability without showing their humanity. Oftentimes, I think people think that if you go through something difficult that somehow, then you can't rise to the top.

AM: Right.

BSJ: That your traumas have to stop you. And that's not true. And so, if more leaders were able to share their humanity and have more empathy about who they work with and how they work, how they show up and we probably would have a better culture all the way around, not just even corporate culture, but in politics and in social reform and in charities, If we would just show more of our humanity, perhaps we just have a better world anyway.

AM: When I read your book, it was the first person that I knew that looked like me that could be both. Like, you're clearly very fierce, but the fact that you can still embrace these other elements was intriguing to me as I continue to learn to be more vulnerable as I figure out how to apply it for me. I commend you for that.

BSJ: Well I'm only fierce because of my vulnerability - just because of the things I've been through. You know, you don't become fierce because you sat in one place and everything was peachy keen, you know. So, I actually don't understand that dichotomy. I don't understand it when people think that like, your vulnerability is weakness.

AM: Right.

BSJ: You know, I think you say that, you know, there's so many catchphrases that people use that they don't actually understand.

AM: Right, it’s like a whole retraining. I find myself at 45 examining and thinking about how I look at things and seeing that you can be this and this and that one doesn’t deplete the other.

BSJ: Exactly! People like these catchphrases, but don't actually apply them! Like vulnerability is strength so yippie, yippie yippie, but you don't actually show your vulnerability - so how are you strong?

AM: Yeah.

BSJ: The way that people think about these phrases that have become a way of being - almost like a badge.

AM: Yeah.

BSJ: But don't actually apply life to it. They say, you know, be unapologetic, but yet you are apologizing – you’re afraid to show up as exactly as you are because you are apologizing. You may not want to say that. Because it's embarrassing. It makes you feel like you're not. But don't say that you are if you aren't behaving in that way.

AM: You are a woman who never stops. You have a hairline and as we were in prep for this cover interview and I was watching your IG even more than I already do, that’s when I saw what your new company is Eve by Boz. Tell me about this and why did you want to create it?

BSJ: Yeah, well I think as much from my business acumen you know being a Black woman in Corporate America obviously means that most of the time I'm one of one or one of few and our hair is always a topic of conversation, even if we don't want it to be. So having had the experiences in corporate where, you know, people have often said stuff about my hair you know whether it's like oh I know you know Boz is going to be crazy today if her hair is white. You know, where she's gonna be more reasonable because her hair is straight.

And it's not even just like from white people. A lot of people do that and so it's like well-meaning well-intentioned, who say things like, oh you're going into a board meeting, you should probably pull your hair back so that it's, it's not too much.

AM: Exactly.

BSJ: And then you have, you know, the legality of it all with like The Crown Act and having to find ways to just simply exist without the threat of being fired or the threat of being kicked out of school or whatever places you have to be where you just simply are trying to exist as your natural self. I remember when I got on the Apple keynote stage and yes, I was the first Black person but also, besides look, I'm a Black woman and I'm going to show up that way. Steve Jobs built that stage. Everybody knows that he showed up in the black turtleneck and his jeans and everybody has followed suit since. Maybe it's not a black turtleneck but it sure is a blue button down and maybe some cargos that were switched out from the jeans.

AM: Which is still the same look in essence.

BSJ: It was the same white tech boy look. For me, it was how do I do that, but in my own way? Truth be told, for me it was like, look, I want to wear something that makes me feel my most comfortable and most powerful, which meant that I was wearing a pink Mimi Plange dress, and my pink Louboutins with the little puff on the back. My hair was in a curly afro and very shortly thereafter, there were Tweets and comments both positive and negative about my hair and that's just one instance where I made a deliberate choice to wear my hair a particular way.

AM: Yeah.

BSJ: When I got my job at Uber and I was a Chief Brand Officer, I did decide to show up with my braids down to the back of my kneecaps, because it was like look where else are you gonna see anybody in the Chief seat like that.

At the time that I became the Chief Marketing Officer at Netflix, I was the only Black C-suite executive with budget in any of the most profit companies on the planet. The only one man or woman. It was important to me, then also to show up with my hair however, the hell I wanted to show it.

Now the challenge has been that I happen to like hair and wearing numerous ways. Whether I have somebody fabulous like Nikki styling my hair or I'm at home. I have made wigs. I have cut my hair, I have - well, Nikki, has had to take care of some of my cuts – that’s fine and we won’t talk about that - ha! But the point is that, regardless of what I'm doing, I've always had to manipulate the hair so that it matches my texture, so that it matches my complexion, so that it feels more like me. Why do I have to do that when 80% of the consumer base is Black or women of color? The product that is being made is being centered around white women. That doesn't make any sense as they are under 20% of the of the market. Now I can see makeup companies - I understand. You are focused on white women even though they happen to be 50% of the marketplace or whatever, because you know that's quote unquote majority. But is it a majority because wasn't it just because it wasn't available?

AM: Exactly.

BSJ: So you change that dynamic and you make it available, then shouldn't the numbers increase? So that goes for makeup, other beauty products, skincare etc. But when we talk about hair, the numbers already exist. It's not as if we're saying, oh do this, and they will build this and they will come. They are already there, you're just not even serving them.

AM: Right.

BSJ: So it was Innovation like lace color. I mean right now I just have 3. Can you imagine if I had 40?

AM: Wow!

BSJ: And I'll get there. Right now, we have 3. You know, can the textures not be named these ridiculous names that don’t have anything to do with us?

AM: That part!

BSJ: No disrespect to the Burmese, but why am I wearing Burmese curly?

And who named it Yaki Straight?

AM: Liteally was just going to say where did Yaki come from?

BSJ: Was it an actual yak? What are we saying? What are we talking about?

AM: When you were there with the names, I was literally like, what about Yaki?

BSJ: I know right? Where did that come from?

Why does everything have to be Kinky?

AM: Exactly!

BSJ: So my point in the building of the company was yes, both from a product standpoint and being Innovative in that way because of lace, textures, etc. But also because I want the narrative to change. So what we call the hair and where it's produced. So it's very important to me that every tag had created in Ghana. So meaning that the hair is still sourced from Asia, because that's the number one market and it's very difficult to change the supply chain from there, but manufacturing doesn't have to be done there.

AM: Right.

BSJ: So manufacturing in Ghana, using ingredients that are found on the continent, whether that's Moringa, Baobab Tree Oil, Rose hip, Shea Butter, Palm Tree Oil – these are all amazing ingredients that are found all over the continent. We've been using it for a Millennia and so some of the big, you know, companies are already using that in terms of, soaps, lotions and things like that. You'll see a lot of Shea Butter, and Moringa is starting to make its way into the marketplace. But it's still not used in hair and it's not treated. So most of the time, what people do when they purchase these units, is that whether it's wigs, closures, bundles - they're getting it out of a plastic bag first of all. It stinks to high heaven because it hasn't been washed and hasn't been processed in a way that's healthy for us. So, I changed all of that, including the packaging that you receive the hair in, it's fabric. It's actually a bonnet.

AM: Oh, wow!

BSJ: It’s a bonnet that is used as the bag to put the hair in.

AM: That's smart.

BSJ: The fabric I made myself at GTP which is Ghana's first textile company was founded by Osagyefo Dr. Kwame Nkrumah, who was Ghana's first president. And they're established and their mission was to also showcase the patterns of Ghana to the world. So why not follow in those footsteps? On top of that, it's like the hair products that go to treat the hair – by the way, we don't have any that are specifically formulated for extension hair and so I did that.

AM: Oh wow!

BSJ: I partnered with a Black woman chemist, Jerry Watson, who is amazing. She's worked at all the big companies before. She has a few patents herself and I wanted to formulate new products that I could then own the formulas and also use for these specific products that I'm making. So that meant shampoo, conditioner, leave-in conditioner. A hair perfume which is my favorite of the line. In three scents, Genesis, Rose of Eden, and Earth Bomb - those use Baobab Tree Oil, Rosehip and Moringa Oil respectively. I made a Goddess Paste which is an edge control.

I have this product called Native Skin, which is innovative because it hides the lace. So it's like a paste that you put on the lace to camouflage it again in three colors so that you can match it to your shades. And It just felt to me like once I was going, there was no stopping. The truth of it is that I think I made this for myself because I made it for anybody. You know which is just like I've been in the spotlight, and doing my hair and all kind of ways for a long time. Sometimes I want to pick out some hair and go!

AM: And how many SKUS would you say you started with?

BSJ: I have 166 SKUS.

AM: Wow.

BSJ: Yeah, so big.

AM: My background is in wholesale so listening to you talking about the assortment and how a number of them fall into 3 shades, I felt that it was 100+ maybe even as high as 210 – 250.

BSJ: Yeah exactly!

AM: Do you envision going to HSN or QVC down the road? I created a collab line with a footwear brand it being able to be on that platform to talk about the brand as well as the designs I created was a great way for consumers to become engaged and to drive sales.

BSJ: Oh right, right, right! You know, I don't know if I want to do HSN. Maybe. My primary concern is that I'm in control of the entire chain. So I don't know that I want to go in that direction. Right now, I have direct to consumer (DTC) via the website, the only retail location actually is in Ghana at my headquarters, where if you're in Ghana, you can come to the store and purchase.

AM: Okay.

BSJ: I plan to own my own retail, so I don't plan to, you know, sell through any big box. If I have a big box, it'll be my own. So right now, it's like I want to be able to build the consumer base to understand the product first and then create the demand to have retail myself.

AM: It’s really interesting to hear about Eve by Boz and the innovation that is built into it and how it is structured! I can’t wait to see how it continues to move forward!

How did you decide to come to The Real Housewives of Beverly Hills?

BSJ: That came after the fact in my sabbatical while writing my book, I was trying to consider where else to go. You know, what else I wanted to do, what company I want to work with. There wasn't anything that was really drawing my attention. I had a few meetings that were great companies but just nothing that I felt passionate about, and then I made the decision to start my own and build my own.

Which was scary and all of the things. Because it's just like, oh my gosh. I could just comfortably, go and sit in somebody's seat, get paid a lot of money and just keep doing that, you know? But starting my own thing felt like such a departure from anything that I thought I ever wanted to do. And so, when I got the call about the Housewives, it almost felt like just keep going.

AM: Yeah!

BSJ: You know, in the same direction where it's like, look, I'm not ignorant to the fact that it's a huge platform that people are excited about that other women have created businesses off of, but you know, not for nothing. I don't believe that there are any, who have started the way that I'm starting, right with the kind of purpose that I have.

AM: Well, that was the thing that caught me by a surprise. I've been watching Housewives since the very beginning starting with the Orange County and I have watched every franchise and there is generally a very specific type of woman and I'm like but you're coming out completely different. All anyone has to do if they have not followed you previously is to Google you!

BSJ: Right! I already exist! I appreciate that because also you know, how do I say this? In my entire career, it has been about quote unquote representation.

My entire career. I can't remember a time when I was working where it was just like, oh I'm just Boz to be Boz. I don't remember a time. It's always been like, oh, you're representing this entire group of people and then it got worse and worse and worse as I became more and more and more successful, it was like what if I had failed on that Apple stage - we all know.

AM: Of course.

BSJ: There wouldn't be another one. You know it!

AM: Facts.

BSJ: I don't even have to explain it to you and not only that, it's like every space has had to be shattered. We've had to represent it every single space. So on this show, I look at it and I'm just like but then why not represent here? You know it's like what about the corporate baddies who look like me, who act like me, who don't care about wearing a gray suit, who want long claws, and weaves down to their asses. What about them?

AM: 100%

BSJ: Why not have the self-made girl down there? You know it's like I've been a widow for 11 years, 11 years. That’s a long time. My daughter was 4 when my husband died. I at the time I wasn't like it just the whole future looked so far.

AM: Yeah

BSJ: Everything just looked like it was just too far to get to and now she's 15 and a half. We're talking about colleges and it's remarkable to me that I've been able to come as far as I've come and so again, this is not a knock to anybody who's done a different way.

AM: Right.

BSJ: I'm just saying there's some of us out here who've made it ourselves. Who like when you see the success and what we came through, everything have our claw marks on it.

AM: That part, I’m feeling that in my soul right now!

BSJ: Because we climbed ourselves. Nobody gave this to me. So there's not a single day that goes where I'm just like, oh my gosh, I'm so like, oh, what if this happens? No, I've seen the worst already. I've been to the bottom already and I climbed out and so there's nothing that scares me about anything. And so that's why it's like I'm like what about those women? Like where are they in this lineup of people that we see or are they not important enough to be represented? They're more of us and they're all done.

So my hope is that being on this show is yes both about getting a platform for my business, but also doing what I've always done which is simply represent for those who are not represented.

AM: I love hearing this.

Are there any other upcoming projects that we should keep an eye out for?

BSJ: I know, right? You never know. Tomorrow I could be like – Anita!

AM: I have followed you for so many years. I've awalys been impressed by you with everything that you've done. The fingerprint that you have left across industries, verticals, and projects is amazing and has left significant and dynamic impressions! So I know that there is always more out there!

BSJ: But that's what I find is so beautiful about life. Again, just going back to why I live my life the way that I live it. You know it's I think again it's so cliche when people say like carpe diem.

AM: Right.

BSJ: Because they don't even know what they're talking about. I know I look pretty, but I'm a Latin student, you know, High School and in College, I took Latin the entire time. Carpe diem doesn't mean Seize the Day. It actually means A Plucking of the Day. It's more delicate and intentional, so carpe diem, quam minimum postero credula means pluck today - trusting as little as possible into the next one.

AM: Ooo.

BSJ: That's the whole thing. So the idea that you will trust tomorrow.

AM: Right.

BSJ: That you trust what's not yet seen.

AM: Right.

BSJ: Versus making today, the most important thing, the most powerful thing. It's crazy to me. And so that's why I'm living this life this way. You know, I'm taking everything that I can, I'm making everything as I go. It's like tomorrow I might wake up and have a new idea and I'll go do that.

AM: Exactly!

BSJ: You know? But I'm not worried about what's to come, because I'm so excited about the life that I'm living today. So there is no need for me to worry about what comes or when I go from this planet because I'm gonna live the best one that I can. It's not it's not flippant to me. So again, people say these words and they say them without knowing. They're like, “oh live like today's your last,” are you really though? Are you truly? Are you waiting until six months from now to be the thing that you want to do? Are you waiting a year to ask for that raise? Are you still in a relationship that you shouldn't be in? Because why? You're gonna wait five years until your kid gets a little older? I don't think so. So for me, it's like if you're really gonna live this life to its fullest then you have to start actually living a true story!

AM: Wow.

I think back to Paul and I sketching out this magazine in the Summer of 2015 and then we dropped the first issue in Jan 2016. In addition to thinking about concepts and flow, I made a list of 10 people that I wanted as a cover and you were in that list of 10 and here I am talking with you as our cover for our 107th issue!

BSJ: Girl really? I didn’t know that! Oh wow that’s amazing!

AM: I just appreciate you being out there and being all the positions that you did where who else would have done something like that and for you to be the first to leave that door open in other areas for other people it’s a legacy that you can proud of.

BSJ: Oh thank you. That means a lot and I really appreciate that.

AM: When you’re navigating from point A to point B, you do look up and out to see what other trailblazing is going on. So seeing all the things and where you continue to go, I'm just so happy to see somebody that's like this. Then when you were announced on the show, it became next level and I was just like, ok, she's gonna shake some shit up.

BSJ: Exactly. No, that's just it. I mean no I really really really appreciate you saying that though because I do think it's it's really so important for us to be seen. And the thing is like, you know, in addition to us seeing each other, I want other people to see us you know? It goes back to like even the company where I'm just like man, I do not see us.

AM: A lot of times we don’t.

BSJ: How are we centered? Because if you actually saw us, you would talk to us.

It's like, look, we need more opportunities to be seen in more beautiful ways and more intentional ways. You know, it's like it can't just be one note or one-dimensional.

AM: Exactly.

BSJ: And so that's why I also find it really important that, you know, both from just like I don't take the image to be superficial at all. It's like people often do that, like, what's the big deal about clothes and I'm like, no, it's very important.

AM: It’s huge.

BSJ: When you’re out, when people can spotlight you and say that one. So that's why it's like even in doing this I'm like okay you know we just got to make sure that it looks the way it's supposed to.

AM: Yeah, I'm a very first show every show.

BSJ: This, we are on the same wavelength! I can't! I don't I understand it when people show up halfway it just makes no sense!

AM: It's just not how I was raised. I come from people who did multiple things within their careers and I know that it is possible to be able to navigate that, but it has to be done right!

IG @badassboz

@evebyboz

@bravotv

We enjoyed being able to sit down with Boz to talk with her about her career, outlook, RHOBH, and more while we were in the midst of shooting her cover editorial for our NOV ISSUE #107! Our shoot included looks that can be worn in Fitness, Out + About, WFH/Lounge, and Night Out.

THE INTENTIONAL ONE COVER EDITORIAL | TEAM CREDITS

PHOTOGRAPHER Paul Farkas | FASHION STYLIST + CREATIVE DIRECTOR Kimmie Smith | MUA Ashley | HAIR STYLIST Nicky Newland |

IG @pvfarkas

@shes.kimmie

@aluxxe__

@nicky_b_on_hair

THE INTENTIONAL ONE COVER EDITORIAL | STYLE CREDITS

FITNESS LOOK | PG 16 - 26 | SKIMS Bandeau | GORWEAR Progress Thermo Bib Tights | DEEPA GURNANI Lalika Earrings |

OUT + ABOUT LOOK | PG 29 + 30 | PANTORA Florence Jacket + Florence Pants | WOXER Rib Tank Top | SIMONE I. SMITH X MISA HYLTON The Misa Doorknockers |

WFH/LOUNGE LOOK | PG 33 - 42 | PANTORA BRIDAL Taylor Robe | ATHLEISUREVERSE LUXE Lace + Tulle Deep V-Neck Adjustable Tap Pant Bodysuit | PONO BY JOAN GOODMAN Azalea Clip Earring + Mini Barile Maria Necklace |

NIGHT OUT LOOK | PG 44 - 54 | HWIT Red Gown | DEEPA GURNANI Teresa Earrings | MIRIAM HASKELL Necklace |

THE INTENTIONAL ONE COVER EDITORIAL | PHOTOGRAPHY CREDITS

| SONY Alpha ILCE 7RM5, FE 50mm F1.4 GM, FE 70-200 mm F2.8 GM OSS II, FE 24-70 mm F2.8 GM II + HVL-F45RM Wireless Radio Flash | SIRUI Dragon Series Bendable RGB Panel Lights Set of 2 of B25R*2 Kit + DJ280 |

Our cover editorial took place at 77 Greenwich PH. This luxurious space was the perfect setting to showcase the looks and the vibes for this story. We sat down with the team at 77 Greenwich to find out more about the property and specifically the penthouse unit.

ATHLEISURE MAG: When did this residential condominium open, how many units are still available, and can you tell us about the neighborhood that it is located in?

77 GREENWICH: 77 Greenwich officially opened in 2020, and it has quickly become one of the most sought after addresses in Lower Manhattan. Out of its 90 luxurious homes, there are a variety of unit types still available for purchase, most notably the Cloud Club Residences on our uppermost floors, which we just released. Located in the heart of Lower Manhattan, the building is on the west side of the Financial District overlooking the Hudson River and Battery Park. Our pocket of Lower Manhattan is a burgeoning but off-the-radar neighborhood that has rapidly transformed into one of the city's most convenient and vibrant places to live. Aside from the 80+ acres of waterfront parks at our doorstep and Manhattan’s newest Whole Foods Market a block away, we’re adjacent to nearly every subway line, and we can walk to a dynamic mix of cultural hubs such as the new Perelman Performing Arts Center. Lower Manhattan has also developed an award-winning dining scene, from Michelin-starred restaurants to the newly made over Tin Building at The Seaport. Residents of 77 Greenwich overlook all of this and soak in expansive views of New York Harbor and the Statue of Liberty. This "New Downtown" offers the perfect combination of contemporary living with historic charm, and is one of the most desirable places to live in the city.

AM: Who are the architects/developers that are involved in 77 Greenwich and what can you tell us about them and how they came to this project?

77G: 77 Greenwich was designed by FXCollaborative, a renowned New York-based architecture firm celebrated for its sustainable and innovative designs, with interiors by Deborah Berke and Stephen Brockman of TenBerke. The vision for the tower was to create a structure that blends seamlessly with the historic neighborhood while offering a refined, luxurious lifestyle. The building’s pleated glass curtain wall is a testament to FXCollaborative’s ingenuity, maximizing natural light and framing breathtaking views of the New York Harbor and Freedom Tower. FXCollaborative is known for its commitment to green building practices, and this project was designed to meet LEED certification standards, reflecting their dedication to sustainability.

The development of 77 Greenwich was spearheaded by Trinity Place Holdings, a respected name in real estate known for revitalizing and creating exceptional properties. Trinity Place Holdings aimed to make this project a cornerstone of Lower Manhattan’s transformation into a vibrant residential and cultural hub. Their vision encompassed more than just luxury living, and thus incorporated a new public elementary school to foster community growth and strengthen neighborhood connections.

AM: 77 Greenwich has 42 floors and 90 residences. What are the community amenities that are offered in this building that residents can enjoy?

77G: The amenities at 77 Greenwich have been thoughtfully designed to enhance every aspect of residents’ lives, from wellness and leisure to entertaining and convenience. The highlight is Cloud Club 77, located on the penthouse level and rooftop, which offers breathtaking views and exclusive spaces, including an art-filled lounge with a fireplace, a private dining room with a catering kitchen and a double-height fitness center. Families enjoy the fully-supplied children’s playroom, while fitness enthusiasts utilize the training studio and the multipurpose game room with direct access to an outdoor terrace. Outdoor areas, crafted by Future Green Studio, include a rooftop garden with a grassy lawn, a meditation deck, grill stations, dining spaces and a play area for children. All of 77 Greenwich’s residents have access to these top-floor amenity spaces. Additional outdoor features include a Japanese rock garden, pergolas, a dog run and a zen garden on the 12th floor, providing another tranquil retreat above the urban setting. Practical amenities include a 24-hour attended lobby, dedicated storage spaces, bike storage and a package room.

AM: This property is clearly luxurious, what can you tell us about the environmental sustainable elements that are here?

77G: 77 Greenwich is designed to meet LEED standards, emphasizing environmental responsibility and sustainability. The building incorporates energy-efficient systems, including high-performance windows and advanced HVAC systems that reduce energy consumption and are private to each residence. The use of sustainable materials throughout the building is central to its design, and the inclusion of green rooftops and gardens provides both aesthetic appeal and environmental benefits. These features, combined with its energy-efficient infrastructure, make 77 Greenwich a model for luxury living that is also ecologically responsible. The building integrates green design seamlessly, ensuring that its residents can enjoy an elevated standard of living without compromising on sustainability.

AM: Tell us about the outdoor space which was designed by Future Green Studio.

77G: The many outdoor spaces at 77 Greenwich, designed by Future Green Studio, are a standout feature. This Brooklyn-based landscape architecture firm is known for its innovative designs that integrate nature with urban living. At 77 Greenwich, they have created multiple outdoor spaces that offer both relaxation and recreation. The open-air rooftop garden spans 3,600 square feet and includes a grassy lawn, a play area for children, a meditation deck and grill stations. The design promotes a sense of tranquility amidst the hustle and bustle of the city. Additionally, the Cloud Club level features a Japanese rock garden and lounge areas, offering residents a peaceful space. Below, a 2,350-square-foot terrace on the 12th floor includes pergolas and a dog park, catering to the needs of families and pet owners. The outdoor areas are thoughtfully designed to make the most of 77 Greenwich’s sweeping views while offering residents an intimate and serene escape within their building.

AM: We’re thrilled that our cover editorial took place in the penthouse of Greenwich 77! What can you tell us about the floorplan of this unit that was designed by TenBerke.

77G: The Penthouse at 77 Greenwich is a stunning example of contemporary elegance, designed by TenBerke, with recent customization options led by Stephen Brockman. Spanning 3,531 square feet, this four-bedroom, five-and-a-half-bathroom, plus home office residence is truly one of a kind. The design prioritizes open space and natural light, with floor-to-ceiling glass windows framing breathtaking views of the New York Harbor. The penthouse features an expansive great room with southern, eastern and western exposures, offering panoramic views of the city’s skyline and waterways. Finally, the Penthouse includes a private loggia terrace, adding 219 square feet of outdoor living space overlooking New York Harbor. The design emphasizes both stylish functionality and timeless elegance, with sleek materials like Blue de Savoie marble countertops and custom fumed sycamore vanities. There are very few newly constructed homes of this size available in Downtown New York City.

AM: For those that may be interested in buying this unit, what options do they have to customize this space?

77G: The penthouse at 77 Greenwich is a customizable masterpiece. Led by Stephen Brockman of TenBerke, customizations are available for buyers, offering options to tailor the space according to their individual tastes. From custom millwork to bespoke finishes, the design team allows for personalization across the home.

Buyers can choose from a range of high-end materials and finishes, such as custom cabinetry and flooring options. Whether it's altering the layout, adding additional built-in features, or refining the color palette, the options available enable prospective buyers to create a truly personalized residence that fits their lifestyle and aesthetic.

AM: What are some of the key features of this property that our readers should know about?

77G: 77 Greenwich offers an extraordinary blend of modern luxury, thoughtful design and a location that captures the essence of downtown living. The building features 90 residences, ranging from one to four bedrooms, each outfitted with high-end finishes and appliances. Floor-to-ceiling windows frame breathtaking views of the New York Harbor and iconic landmarks like the Statue of Liberty, offering an unparalleled living experience in Lower Manhattan.

All of 77 Greenwich’s residents can take advantage of its top-floor Cloud Club 77 suite of amenities, including the Cloud Club lounge private dining room and a double-height fitness center overlooking the Hudson River. The rooftop garden, designed by Future Green Studio, offers residents a peaceful outdoor retreat with a children's play area, meditation deck and spacious dining areas with grill stations. There is also a multi-use game room and a fitness center with terrace access, making it a perfect blend of relaxation and active living.

The location of 77 Greenwich places residents in the vibrant Lower Manhattan area, close to a wealth of cultural, dining and entertainment options. Nearby, Manhatta offers elevated dining experiences with panoramic views, while the Perlman Arts Center in the World Trade Center complex provides world-class performances. With its proximity to world-renowned restaurants, shopping and cultural landmarks, 77 Greenwich offers an unmatched lifestyle.

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The penthouse also comes together with its impeccable staging which was done by ARTEFACTO a 3rd generation Brazilian firm that manufactures its own furniture as well as supplies a cohesive look in an array of properties! We wanted to know more about the inspiration behind how they staged 77 Greenwich PH, the history of the company, their recently launched showroom here in NYC, and more. Pietro Bacchi shares this and more with us.

ATHLEISURE MAG: We enjoyed shooting at 77 Greenwich St PH and as we have spoken to the building about this particular unit, we’re looking forward to speaking with you as well. We wanted to know more about your business and the staging that you did at the penthouse, which is beautiful. Before we delve into that and the staging that was done there, can you tell me about ARTEFACTO as a firm, its history, and what you guys do?

PIETRO BACCHI: ARTEFACTO is 48 years old and it’s in its third generation. The firm was started by my grandfather in São Paulo Brazil. My father formalized the corporation and brought it to the United States via South Florida. We quickly became market leaders in Florida, and throughout South America and now, we want to kill it in the Northeast. I run the New York operations with my twin brother, Bruno. We're very happy about this New York expansion.

AM: Did you always know that you would work in the family business?

PB: In the beginning, I wasn't really sure, to be honest. When I started seeing all of the components together from the design to the manufacturing and delivery, it gave me a whole different scope. I started thinking about how big this business could actually be. I got to see the real craftsmanship and quality of work that goes into every piece. We have about 1 million square feet of manufacturing and showroom space including the recent New York expansion. That’s 1 million square feet under one roof. We do absolutely everything from upholstery to woodwork to leather and suede.

AM: Wow.

PB: Yeah, from designing SKUS on a computer, to making prototypes to launching a whole line.

AM: What are the kinds of projects that are of interest to your firm when you're looking to add things into your portfolio? You were talking about obviously you have the manufacturing but then you also have all of the staging that you do as well.

PB: We have quite a few different streams of business that we've been adding to our model in the last four or five years. One of them is a staging. The reason that we do staging is because it's beneficial for all parties.

AM: Right.

PB: It’s great for ARTEFACTO because our products are displayed in a beautiful apartment instead of sitting in a warehouse waiting for delivery. So it's kind of an extension of the showroom. Obviously, the developer can show the unit more beautifully and the idea behind it is that it actually sells completely furnished which happens about 80-85% of the time. So that's a huge model for us. We really specialize in residential, but now we’ve branched off into the commercial sector as well. We just finished Casa Cipriani in New York City, I don’t know if you have been there.

AM: Yes, it’s lovely.

PB: We just finished that project. That was one of our bigger commercial projects. And we have a lot in the pipeline, but of note, we did the Hotel Du Cap Eden Roc in the South of France for their 150th year anniversary.

AM: Nice!

PB: So that that's kind of the key piece of why we work so well with the real estate sector. You can't really do that at that level of customization if you don't have the manufacturing component. It’s not the most beautiful part of the business, but by far one of the most important.

AM: Tell us about your Madison Ave.showroom.

PB: We got super lucky. We found the perfect corner on 32nd and Madison with double-height ceilings on the first floor. There’s a tree that we blew the ceiling out for so you could see it from the first and second floor. The first floor is more of a museum-styled concept; all of our new collection living room sets. Upstairs, we have distinct spaces designed: living, bedroom, dining six times over. We have different fabrics available for customization and everything you see on the showroom floor is ready for immediate delivery in two weeks.

AM: Wow, that’s amazing!

PB: That's one of our big selling points because, you know, everybody knows how long you wait for furniture especially after COVID.

AM: A 2 week turnaround is phenomenal because we have friends that are still waiting for their couches and it's been 8 weeks.

PB: I've heard eight months at one point!

AM: Yikes!

So what's your role at the company as well as your brother to get a scope of the kind of the things that you are involved in.

PB: My brother handles the complicated and important backend… manufacturing, the warehouse, and logistics. I handle business development, the PR teams of course, marketing and product development. But together, we're working on this big United States expansion.

We picked Miami as our first showroom in the United States - my analysts looked at, from the American public point of view - because Miami is the bridge into the United States.

Whereas New York is known as the bridge to the rest of the world. In New York, you have the best architecture and developers. The restaurants are amazing and the culture is next level as well. So it made sense as a solid move. Believe it or not, it's very similar to São Paulo with its character, and similar kind of aesthetic in interior design, fabrics, etc.

AM: We get that. Recently we watched a few thriller series on Netflix that take place in São Paulo and the similarity is interesting.

In looking at the penthouse at 77 Greenwich as a point of reference, when you take on a new project or you partner with a residence or developer, can you walk us through like, how you stage a property from where do you start, and what's the inspiration? There were just so many details and elements of that place that really came together beautifully.

PB: Absolutely. I mean, I’m definitely very proud of our projects. Usually, we hear from the Sales Team of the building if it's a new development. We listen to the problems that they're having and usually the number one problem is that the clients can’t visualize themselves in the space. They don't have an imagination in terms of what a dining table of 8 people or 10 people will look like in a space. How many people are in the living room? Especially in these bigger apartments - it's especially difficult. So then, we look at the floor plan and we dissect it. We look at the mood and the feeling that we're going for. Obviously our Miami line is completely different from our New York line, and that’s completely different from our Hamptons line.

So we have quite a few pieces to choose from and then basically, they pay me a deposit which is one-third of the staging package furniture process. But the reason the developers love it so much is because the remaining amount is paid after the property sells. It's about marketing property and so it's an investment on both sides essentially.

AM: Right.

PB: It's an investment for us because obviously, it's the products that would probably be sold and shipped out from the warehouse. It's also an investment on the broker’s part or the developer because there is a deposit. They are trying to maximize those profit margins, so it gives them an opportunity to do that.

AM: What are the some of the key elements that you added into 77 Greenwich St PH that you would like to highlight, especially?

PB: I think the double-size sofa. It’s a beautiful touch there by the window.

AM: I love that piece. It makes such a statement.

PB: And that's kind of why we put that oversized mirror on that wall, because anywhere, you sit in the apartment and you get the view of the water and the Statue of Liberty. I think the most important thing that we think of when we go to stage an apartment is, what are the first five seconds of a person who's going to buy? What is the reaction going to be? That's why we make it as big as possible and as grand as possible. We really try to invoke all five senses! We have the music playing, the aromas in the air, the lighting is correct. I think it's a huge part of it.

AM: From start to finish for this Penthouse unit for example, how long did it take for you to Stage it?

PB: So between getting floor plans and preliminary estimates and that kind of thing, that takes about a week - week and a half.

AM: Oh, wow!

PB: Then once the client is ready to move forward, it takes about two weeks to install and deliver.

AM: That's pretty quick. Wow!

So, for developers that are reading this, how can they begin to work with you or reach out to you so that they can talk about their project?

PB: Yeah, whatever they prefer. I think the most important thing ever is to come into the showroom on Madison that we just built because it is - and it's not because we did it - jaw dropping from every angle!

AM: We definitely want to drop by to see your showroom for ourselves.

For those that have their own homes who are also reading this issue, are they able o go on your website and buy their desired pieces a la carte like they would at another furniture or interior design store?

PB: Yeah, we do have an online presence. But for the high-end furniture realm that we're in, it’s more common for them to come into the showroom so that they can come in and sit down on the furniture and actually see it. We also offer a design service where the clients come in and the designers and the architects come, they bring their floor plan and make sure everything's in sync. We do a full presentation of swatches and fabrics to marble, and art as well as accessories. We really try to make it a turnkey solution.

AM: Wow, that's amazing.

PB: Right, for these clients and architects.

AM: It’s been great to find out more about ARTEFACTO and its scope. What has it been like for you to be involved in this business that has been around for three generations?

PB: I mean, first off, I couldn’t be more happy to do this! We have had a lot of positive feedback even though we have only been open in the New York showroom since September. There have been a lot of clients walking in, a lot of people hearing about the brand for the first time, which is amazing!

I think Brazilian furniture definitely had its time back in the day, you know, with Oscar Niemeyer, Sergio Rodrigues, and other designers of the world and then it kind of died down. So Vèr - our new collection - is our fresh take on the community.

Vèr really pulls from The Mid-Century Modern design that Brazil had to offer with all the natural woods and natural lines and what we've created is completely different than anything you see on that entire block.

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Read the NOV ISSUE #107 of Athleisure Mag and see THE INFLUENTIAL ONE | Bozoma Saint John in mag.

9PLAYLIST | SARAYA

Read the NOV ISSUE #107 of Athleisure Mag and see 9PLAYLIST | Saraya in mag.

LO-FI VIBES EDITORIAL @ TECHNICA HOUSE

We've always been a proponent of the power of creativity. When it comes together, there's something about being able to explore ideas and being in inspirational environments that allows concepts to grow!

When we heard about TECHNICA HOUSE, this creative space piqued our interest as this vinyl listening lounge is an impressive showroom space that allows you to know more about Audio-Technica's headphones and speakers, has a space to create podcasts, is a working office, and also has innovated automation machines by AUTEC to make sushi!

After hearing about this space, we decided that it would be the perfect location for our Lo-Fi Vibes Editorial which is Fall forward with easy styles that can be worn when you're taking in your latest music find, working on your next project, collaborating with those that are like minded and being able to enjoy wherever the day takes you!

LO-FI VIBES EDITORIAL | TEAM CREDITS

PHOTOGRAPHER Paul Farkas | FASHION STYLIST + CREATIVE DIRECTOR Kimmie Smith | MUA Sang Le | MODEL Olivia Picchione + Ben Simic |

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LO-FI VIBES EDITORIAL | STYLE CREDITS

LOOK I PG 76 - 86 | OLIVIA - MICHAEL KORS Ribbed Knit Cropped Tank Top + Chocolate Burnished Leather Skirt | LAGOS Pink Caviar BCRF Ceramic Beaded Bracelet 9mm + Pink Caviar Single Station Diamond Caviar Bracelet 9mm | AIR & ANCHOR Set in Stone Necklace Set 18" - Tiger Eye | BEN - COLMAR Down Jacket with Envelopping Collar | White Tank | MAVI James Skinny | LAGOS Caviar Beaded Chain Necklace 12mm + Twist Curb Chain Bracelet 12mm |

LOOK II | PG 88 - 89 | OLIVIA - ATHLEISUREVERSE Bomber Jacket | SPLITS59 Ashby Rib Crop + Theo Rib Short | LULU FROST Plaza Rectangle Link Necklace Base - Gold + Plaza Letter K Charm | PRINCE TENNIS Sneakers | MZ WALLACE Micro Crosby Sling | BEN - ATHLEISUREVERSE Sleeveless Hoodie | MICHAEL KORS Camouflage Denim Cargo Jeans | LAGOS Twist Curb Chain Bracelet 12mm |

LOOK III | PG 104 | OLIVIA - SPLITS59 Ashby Ribbed Tank | GREY BANDIT Unwritten Love Knit Pants - Green | PONO BY JOAN GOODMAN Sea Chain Necklace - Hawaii | BEN - LX3 Olive Track Jacket + Olive Track Pants | PSYCHO BUNNY Graphic Tee |

LOOK IV | PG 106 - 111 | OLIVIA - ATHLEISUREVERSE Varsity Jacket | MICHAEL KORS Cropped Tank + Colby Extra-Small Burnished Leather Shoulder Bag | TOMMY HILFIGER Wide Leg Jean | AIR & ANCHOR Double Standard Necklace with Cuff Keeper, Putting it in Writing - A + M | BEN - | LX3 Oversized Cream Hoodie | MAVI Jake Slim Leg | LAGOS Caviar Beaded Chain Necklace 12mm + Twist Curb Chain Bracelet 12mm | NIKE Air Jordan |

LO-FI VIBES EDITORIAL | PHOTOGRAPHY CREDITS

| SONY Alpha A7R V, FE 50mm F/1.2 GM, FE 24-70mm F2.8 GM II, FE 70-200mm F2.8 GM II, FE 90mm F2.8 Macro G OSS + HVL-F45RM Wireless Radio Flash |

We enjoyed shooting our Lo-Fi Vibed Editorial at TECHNICA HOUSE and we wanted to find out more about this space which recently opened, what they offer in this creative destination, and how you can get to know more about them. We took some time to chat with Takayuki Tanaka, the CEO of TECHNICA HOUSE to find out this and more.

ATHLEISURE MAG: You just launched TECHNICA HOUSE New York earlier this month. This space is above SUSHIDELIC which we covered last month in The Art of the Snack. Tell us about the Japanese technology companies AUTEC and Audio-Technica that came together for this space.

TAKAYUKI TANAKA: TECHNICA HOUSE is a unique collaboration between two iconic Japanese technology companies, AUTEC and Audio-Technica, both bring their expertise, heritage, and commitment to fostering the next generation of creators into this space.

AUTEC is known for its innovative sushi robots, designed to deliver chef-quality sushi with unmatched efficiency. By merging tradition with advanced automation, AUTEC empowers chefs to maintain the authenticity of Japanese cuisine while optimizing operations. Their focus on culinary technology has revolutionized the food service industry and created new opportunities for emerging culinary creators to innovate. 

Audio-Technica, a global leader in high-fidelity audio equipment, has a long history of supporting artistic and creative communities. Their expertise in sound technology elevates the experience at TECHNICA HOUSE, offering an immersive auditory environment. Audio-Technica's involvement speaks to its dedication to fostering creativity through sound, empowering emerging creators in music and art.

Together, TECHNICA HOUSE celebrates Japanese heritage while providing a collaborative space where food, music, fashion, and art converge. This venture is designed to nurture creativity and inspire the next generation of innovators, offering a unique platform for emerging creators to explore new possibilities and ideas.

AM: It seems that TECHNICA HOUSE - New York merges food, music, fashion, and art together. Why was it important for you to have these elements in one place?

TT: Merging food, music, fashion, and art at TECHNICA HOUSE was a natural progression at TECHNICA HOUSE was a natural progression of our vision to create a dynamic space where creativity and cultural expression thrive. Each of these elements speaks to the core of human connection and emotion. Food brings people together and is a universal language; music is the heartbeat of culture, evoking powerful emotions; fashion reflects individuality and artistic expression; and art gives form to imagination and ideas.

Combining these elements in one space fosters a platform where creators from diverse backgrounds and industries can collaborate, share ideas, and inspire each other. TECHINICA HOUSE is more than just a venue—it's a movement that encourages innovation and exploration across disciplines. We wanted to create a tradition can fuel modern creativity, and emerging creators as well as established creators as well push the boundaries of what's possible in a collaborative environment. This holistic approach creates a vibrant atmosphere that invites people to be part of something bigger, sparking new ideas and connections. 

AM: In terms of the concept of TECHNICA HOUSE, are there others in addition to the one in New York and if not, do you plan on having other locations?

TT: At present, the joint venture TECHNICA HOUSE in New York City is our sole location. While our primary focus is on establishing a thriving community here, we have aspirations to expand TECHNICA HOUSE to other cities across the United States and around the world. By doing so, we aim to celebrate and support emerging creators in various regions.

AM: Can you tell us about who designed the space and what visitors can expect to see when they are entering this space?

TT: The space was designed by Yoshiyuki Morii of Cafe Co, incorporating the aesthetics and heritage of both AUTEC and Audio-Technica. At TECHNICA HOUSE NY, visitors can immerse themselves in a state-of-the-art listening experience featuring top-tier Audio-Technica analog audio equipment to listen to the 2000 vinyl records collection. The space includes a fully equipped conference room, a dedicated podcast studio, and an AUTEC sushi counter where chefs showcase cutting-edge robotic sushi-making technology.

AM: You have over 2,000 records here. How do you go about acquiring them, are their genres that you tend to focus on?

TT: Our record collection has come from various sources, both local and international. Many were donated by Audio-Technica staff members, discovered at local thrift shops and secondhand record stores, or sought out by company leadership. Some of our favorites are the Japanese pressings of classic American albums. 

AM: What can we do in this listening lounge which also allows us to hear music on your headphones as well as your speakers?

TT: We have a variety of headphones and turntables on display, like our colorful Sound Burger and our pro-grade High-end AT-LP7. Visitors are welcome to hook up a pair of M50x headphones to any of our turntables and enjoy a listening experience. We also have a pair of our newly released AT-SP3x Bluetooth Speakers if they're listening with friends.

AM: Can you tell us about the equipment that is available there? 

TT: AUTEC’s food-focused experience at TECHNICA HOUSE highlights the latest innovations in sushi-making technology. On display are cutting-edge sushi robots, including ASM895A The Rice Sheet Maker for sushi rolls, ASM260A The Sushi Roll Cutter, ASM410A The Nigiri Sushi Rice Ball Maker, and ASM575A The Handheld Onigiri Rice Ball Maker, showcasing the precision and efficiency that define modern culinary automation. One of our goals is for chefs to visit this space to tap into their creativity and explore the potential of integrating these robots into their culinary processes.

TECHNICA HOUSE displays a wide variety of Audio-Technica products: from high-end turntables to limited edition headphones and microphones, to a collection of artistic signed A-T gear. We prominently feature the NARUKA MI Headphone Amplifier, a premium piece of audio technology built from kurogaki wood. Very few of these exist in the United States. We welcome guests to pull a record off the wall and enjoy the listening experience at our space.

AM: As Audio-Technica continues to create new products, will they find their way into TECHNICA HOUSE - New York? Will there always be someone on site that will be able to walk you through products?

TT: While TECHNICA HOUSE is currently open to the general public for select events and collaborations, we're actively working to expand our accessibility. Stay tuned for updates on future openings and opportunities for general visitors to experience our space.

AUTEC and Audio-Technica staff are regularly at TECHNICA HOUSE and are available to schedule visits for those genuinely interested in the space. While we're happy to arrange appointments, we may only sometimes be able to accommodate every request due to the nature of the space. We appreciate the understanding of those wishing to explore this creative hub.

AM: Tell us about the podcast studio and the conference room.

TT: The podcast studio is a little respite from the noise of a bustling Soho. It's an isolated studio space, acoustically treated from floor to ceiling. We are recording original podcasts and digital content in the space and are beginning to bring outside creators in to use the space for their content creation. 

Our debut series, AT Sometime, Somewhere, features artists and creatives from New York City telling stories of their ambitions, failures, successes, and the moments that helped them find their voices. We look forward to future series featuring an even wider variety of artists, stories, and topics. 

AT-ONE Studio is designed to make production as simple as possible. On top of that, it's built for comfort. Recording in the studio is like chatting in a high-end living room with your friends.

AT-ONE Studio is for both Audio-Technica podcast projects and outside artists and organizations who want to rent time in the space. We'll be introducing a rental fee menu soon. If you're interested in collaborating on a project with A-T or using the studio to produce a personal project, give us a ring through the TECHNICA HOUSE website.

The conference room is available for meetings of all types, and it features a large Frame-style television connected to a hi-def camera for remote meetings, plus an Audio-Technica ceiling array beamforming microphone - the ATND1061.

AM: You also have a sushi counter along with robotic sushi making technology. What kinds of sushi do these machines make?

TT: AUTEC's sushi robots are designed to assist in various aspects of sushi-making rather than creating a complete sushi dish. These machines automate essential tasks like mixing and seasoning rice, forming rice sheets for rolls, shaping rice balls for nigiri, and cutting rolls with speed and precision. By handling these repetitive tasks, our robots enable chefs to focus on their creativity and the artistry of sushi, all while ensuring consistent, high-quality production.

AM: When is this space open to the general public and how do they go about reserving a time to come in?

TT: Currently, TECHNICA HOUSE is not fully open to the general public, as our primary focus is hosting select events and collaborations. If you're interested in exploring partnerships or attending a specific event, we encourage you to reach out through the contact information provided on our website. While we may not always be able to accommodate all requests, we're happy to consider inquiries related to our mission and space. In the near future, we plan to expand access to general inquiries and reservations.

AM: What kinds of events will be offered here and do you have anything coming up for the fall and/or holiday season?

TT: We're currently crafting our event calendar, which will include a variety of engaging activities for the community to participate in at TECHNICA HOUSE. Stay tuned for exciting announcements to come.

AM: How will you reach out to creatives to come to this space?

TT: We're building a strong community at TECHNICA HOUSE by leveraging our existing network of creators and brands with whom we've built relationships. Our organic approach allows us to grow with emerging creators through word of mouth, meaningful collaborations, and increased visibility across various channels. We'll continue to foster this community through engaging activations such as open houses and events to connect with potential collaborators.

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Read the OCT ISSUE #106 of Athleisure Mag and see LO-FI VIBES EDITORIAL | Technica House in mag.

DOUBLING DOWN ON THE TRACK | TAI WOFFINDEN

We love when worlds collide and this month's cover does just that. Tai Woffinden is a 5x Speedway World Champion and an open format DJ/Producer. We wanted to know more about Speedway racing and how he got into the sport, how he stays in shape for it, his passion for music, and why he became a DJ.

Since signing onto Armada Music, he released Body, a collaboration with Grammy nominated Gabry Ponte and vocalist Yasmin Jane. This was followed up by Feeling Super Naughty with CERES which just dropped recently. With all of this movement, we took some time find out more and to see what we should keep an eye out for.

ATHLEISURE MAG: We're excited to be able to talk with you as your background as an athlete as well as a DJ and a producer is such a great mix! When did you fall in love with being a Speedway Rider?

TAI WOFFINDEN: I first got into Speedway way way back in 2002. I went to my Dad’s mate’s house to ride on their private track and there was a speedway bike tucked away in the corner. I said to my dad at 12 years old, “I wanna try that” so we sold my MX gear and went all in from that day on.

AM: You are a 3X World Champion in this sport. What do you love about racing?

TW: It’s hard to explain but there is a feeling when you’re railing the fence on a nice little dirt line as fast as the bike will go and you’re on the complete limit of what you’re able to do on these bikes and you either make it around the corner or bury it into the wall. There is no better feeling in the world (not that I have found yet anyway) and I chase that feeling every time I race.

AM: Can you tell us about Speedway racing from what the bike is like and what races are like?

TW: They’re a one-of-a-kind motorcycle, built to only go left, 500cc, methanol-burning bulls with no breaks!

The races are super short and fast averaging about 1min per heat (4 laps). In a Grand Prix, we do 5 heats and the top eight go to the semi-finals and the 1st and 2nd place from each semi qualify for the final. It’s a wild sport! In Poland it’s huge in Warsaw we race in front of 55,000 inside the national stadium.

AM: To optimize yourself as a racer, what kinds of workouts do you do to stay in shape and meet the goals you need to be a champion rider?

TW: I won’t bore you with this too much but 5 days a week strength work, 6 days a week running or cycling, and a good nutritional plan to get through the workload and recovery.

AM: Your season is over this year. Are there any races that you are preparing for in 2025?

TW: Yes, it’s all done now so full focus on 2025 prep. Next year I will race most weekends in Poland, most Mondays and Thursdays in the UK, and some in races in Sweden on Tuesdays. Plus, four qualification rounds for the Grand Prix and possibly the European championship.

AM: What was the first song that you heard that made you fall in love with music?

TW: I can’t remember exactly, but it would have been something my mum had on in the car when I was a kid. My first hook on EDM specifically would have to be the Old EDM. Specifically it would have to be the Old Skitz Mix CDs back in the day.

AM: What led to you becoming a DJ and a producer?

TW: I went to watch Fisher headline his own show in Perth, Western Australia, and as Fisher was a surfer before he became a DJ, I was just watching him thinking well if he can do that, so can I. So, the week after I started my DJ course with Lab Six.

AM: How would you describe the Tai Woffinden sound?

TW: It’s been varied as I navigate and find my sound, I started out with some Tech House, but I’m a Techno guy so I want to focus on that Mainstage vibe after my first release on Armada Music with Gabry Ponte. But, my current track with CERES and my next single are still slightly different in sound so I’ll continue to play around with it all and see where it takes me.

AM: What would you say are the similarities between racing in front of large crowds and being able to DJ in front of them?

TW: For now, the biggest crowd I’ve played to as a DJ has been 12,000 people at Forestland Festival. It’s hard to say if it’s the same level of intensity as when I race, but from my history, the bigger the crowd, and the more pressure, is exactly where I thrive.

AM: How do you get inspiration for your music?

TW: Same as most people I would guess. Hearing a track I like that sparks an idea, or an individual sound. In the world that we live in today with everything at our fingertips it shouldn’t take too long to be inspired by something.

AM: Tell us about Body and what it was like to collaborate with Gabry Ponte and vocalist Yasmin Jane?

TW: So my A&R at Armada sent over the vocals, I then made a little demo and we sent it to Gabry’s team to shoot our shot. Four days later he said he loved it and wanted to work on it and a week later got it back, we were all stoked with his influence on the production! From my side, one, it was huge to have my first release secured with Armada, and for that track to then be a collaborative with Gabry Ponte was just amazing!

AM: Feeling Super Naughty is your latest with CERES - what is the meaning behind this song?

TW: Again, I heard the vocals and just immediately thought there was something about it. The track was a bit more Techno originally, but I was listening to some track at that time from Indira Paganotto and starting to play with that sound myself so that’s how it came to the final song you hear now. I’m super happy with it. I guess the track is just about having a great time!

AM: You were at ADE this month - what was that like?

TW: ADE was wild…it was my first one and I really made the most of it. I met some great people, made lots of new connections, and did a lot of partying. I already can’t wait until next year and hopefully I can get a few DJ sets locked in as well.

AM: You will be at You&Me Fest, a multi-day NYE fest in Australia. How excited are you to be performing there?

TW: Yes, I am! I’m super grateful that Bailey and Isaac called me up! I’m in Australia all summer and I’m ready to build my presence in this part of the world so why not kick things off there with the local boys. They’re killing it over here in West Australia, I mean you only have to look at this year’s huge line-up to see!

AM: Who are 3 people that are on your bucket list that you would like to work with?

TW: Timmy Trumpet would be one. We have chatted about a track and getting him on one of my race bikes which would be wild!

Also Maddix for sure. I love his sound. Finally, Will Sparks, I'm just a fan of Will. I met him in Newcastle UK this year and we chatted for ages backstage. He is a great guy and a beast at what he does. I also love his DJ performances. Anyway, enough fanboying haha!

AM: Do you have any upcoming festivals or tours that we should know about?

TW: Not right now. I’m in the studio and You&Me is my next big one. However, I have an important meeting coming up which I hope brings big opportunities and parties into 2025.

AM: You do a lot of traveling. What are 3 things that you like to have with you when you're on the road?

TW: I'm a simple man! As long as I have my passport, phone and USB, I can do everything I want…

AM: Whether you're racing or hitting the stage, are there routines you do?

TW: Maybe this comes as a surprise, but I have no routines, pre or post events. I literally just live in the moment and enjoy whatever is surrounding me, be it the stage or the racetrack, I soak it all up and enjoy the process.

AM: Are there any upcoming projects that you would like to share?

TW: I have one track that’s just come back from clearance, and I think could be my biggest yet but can’t say much right now. I plan to host my own event again in the UK next year. I threw a one-off this summer and we sold 12,000 tickets in just 11 days and it was fully sold-out which was insane.

My full focus now is on getting ready for the 2025 season ahead.

IG @twoffinden

PHOTOGRAPHY CREDITS | Front/Back Cover + PG 16 - 21 Tai Woffiden| PG 22 Tai Woffiden Press |

Read the OCT ISSUE #106 of Athleisure Mag and see DOUBLING DOWN ON THE TRACK | Tai Woffinden in mag.

63MIX ROUTIN3S | TAI WOFFINDEN

Read the OCT ISSUE #106 of Athleisure Mag and see 63MIX ROUTIN3S | Tai Woffinden in mag.

AWARDS SEASON | GRAMMYS NOMINATIONS

Today, the GRAMMYs announced the nominations for the 67th award show that will take place on Feb 2nd on CBS at 8pm ET. Music’s biggest night will not disappoint! As we do throughout Awards Season, we share our predictions in bold, the ones we correctly identified as winners are in bold italics and winners that we didn’t predict are in italics. On the night of the event, we will share who we predicted correctly as well as those we didn’t that won.

RECORD OF THE YEAR

“Now and Then” The Beatles

“Texas Hold ‘Em” Beyoncé

“Espresso” Sabrina Carpenter

“360” Charli XCX

“Birds of a Feather” Billie Eilish

“Not Like Us” Kendrick Lamar

“Good Luck, Babe!” Chappell Roan

“Fortnight” Taylor Swift Featuring Post Malone

ALBUM OF THE YEAR

“New Blue Sun” André 3000

“Cowboy Carter” Beyoncé

“Short n’ Sweet” Sabrina Carpenter

“Brat” Charli XCX

“Djesse Vol. 4” Jacob Collier

“Hit Me Hard and Soft” Billie Eilish

“The Rise and Fall of a Midwest Princess” Chappell Roan

“The Tortured Poets Department” Taylor Swift

SONG OF THE YEAR

“A Bar Song (Tipsy)” Sean Cook, Jerrel Jones, Joe Kent, Chibueze Collins Obinna, Nevin Sastry & Mark Williams, songwriters (Shaboozey)

“Birds of a Feather” Billie Eilish O’Connell & Finneas, songwriters (Billie Eilish)

“Die With a Smile” Dernst Emile II, James Fauntleroy, Lady Gaga, Bruno Mars & Andrew Watt, songwriters (Lady Gaga & Bruno Mars)

“Fortnight” Jack Antonoff, Austin Post & Taylor Swift, songwriters (Taylor Swift Featuring Post Malone)

“Good Luck, Babe!” Kayleigh Rose Amstutz, Daniel Nigro & Justin Tranter, songwriters (Chappell Roan)

“Not Like Us” Kendrick Lamar, songwriter (Kendrick Lamar)

“Please Please Please” Amy Allen, Jack Antonoff & Sabrina Carpenter, songwriters (Sabrina Carpenter)

“Texas Hold ‘Em” Brian Bates, Beyoncé, Elizabeth Lowell Boland, Megan Bülow, Nate Ferraro & Raphael Saadiq, songwriters (Beyoncé)

BEST NEW ARTIST

Benson Boone

Sabrina Carpenter

Doechii

Khruangbin

Raye

Chappell Roan

Shaboozey

Teddy Swims

PRODUCER OF THE YEAR (NON-CLASSICAL)

Alissia

Dernst “D’Mile” Emile II

Ian Fitchuk

Mustard

Daniel Nigro

SONGWRITER OF THE YEAR

Jessi Alexander

Amy Allen

Edgar Barrera

Jessie Jo Dillon

Raye

BEST POP SOLO PERFORMANCE

“Bodyguard” Beyoncé

“Espresso” Sabrina Carpenter

“Apple” Charli xcx

“Birds of a Feather” Billie Eilish

“Good Luck, Babe!” Chappell Roan

BEST POP DUO/GROUP PERFORMANCE

“Us” Gracie Abrams Featuring Taylor Swift

“Levii’s Jeans” Beyoncé Featuring Post Malone

“Guess” Charli XCX & Billie Eilish

“The Boy Is Mine” Ariana Grande, Brandy & Monica

“Die With a Smile” Lady Gaga & Bruno Mars’

BEST POP VOCAL ALBUM

“Short n’ Sweet” Sabrina Carpenter

“Hit Me Hard and Soft” Billie Eilish

“Eternal Sunshine” Ariana Grande

“The Rise and Fall of a Midwest Princess” Chappell Roan

“The Tortured Poets Department” Taylor Swift

BEST DANCE/ELECTRONIC RECORDING

“She’s Gone, Dance On” Disclosure

“Loved” Four Tet

“Leavemealone” Fred Again & Baby Keem

“Neverender” Justice & Tame Impala

“Witchy” Kaytranada Featuring Childish Gambino

BEST DANCE POP RECORDING

“Make You Mine” Madison Beer

“Von Dutch” Charli XCX

“L’Amour de Ma Vie [Over Now Extended Edit]” Billie Eilish

“Yes, And?” Ariana Grande

“Got Me Started” Troye Sivan

BEST DANCE/ELECTRONIC ALBUM

“Brat” Charli XCX

“Three” Four Tet

“Hyperdrama” Justice

“Timeless” Kaytranada

“Telos” Zedd

BEST REMIXED RECORDING

“Alter Ego – Kaytranada Remix” Kaytranada, remixer (Doechii Featuring JT)

“A Bar Song (Tipsy) [Remix]” David Guetta, remixer (Shaboozey & David Guetta)

“Espresso (Mark Ronson x FNZ Working Late Remix)” FNZ & Mark Ronson, remixers (Sabrina Carpenter)

“Jah Sees Them – Amapiano Remix” Alexx Antaeus, Footsteps & MrMyish, remixers (Julian Marley & Antaeus)

“Von Dutch” A.G. Cook, remixer (Charli xcx & A.G. Cook Featuring Addison Rae)

BEST TRADITIONAL POP VOCAL ALBUM

À Fleur De Peau Cyrille Aimée

Visions Norah Jones

Good Together Lake Street Dive

Impossible Dream Aaron Lazar

Christmas Wish Gregory Porter

BEST ROCK PERFORMANCE

“Now and Then” The Beatles

“Beautiful People (Stay High)” The Black Keys

“The American Dream Is Killing Me” Green Day

“Gift Horse” Idles

“Dark Matter” Pearl Jam

“Broken Man” St. Vincent

BEST METAL PERFORMANCE

“Mea Culpa (Ah! Ça ira!)” Gojira, Marina Viotti & Victor Le Masne

“Crown of Horns” Judas Priest

“Suffocate” Knocked Loose Featuring Poppy

“Screaming Suicide” Metallica

“Cellar Door” Spiritbox

BEST ROCK ALBUM

“Happiness Bastards” The Black Crowes

“Romance” Fontaines D.C.

“Saviors” Green Day

“TANGK” Idles

“Dark Matter” Pearl Jam

“Hackney Diamonds” The Rolling Stones

“No Name” Jack White

BEST ROCK SONG

“Beautiful People (Stay High)” Dan Auerbach, Patrick Carney, Beck Hansen & Daniel Nakamura, songwriters (The Black Keys)

“Broken Man” Annie Clark, songwriter (St. Vincent)

“Dark Matter” Jeff Ament, Matt Cameron, Stone Gossard, Mike McCready, Eddie Vedder & Andrew Watt, songwriters (Pearl Jam)

“Dilemma” Billie Joe Armstrong, Mike Dirnt & Tré Cool, songwriters (Green Day)

“Gift Horse” Jon Beavis, Mark Bowen, Adam Devonshire, Lee Kiernan & Joe Talbot, songwriters (Idles)

BEST ALTERNATIVE MUSIC PERFORMANCE

“Neon Pill” Cage the Elephant

“Song of the Lake” Nick Cave & the Bad Seeds

“Starburster” Fontaines D.C.

“Bye Bye” Kim Gordon

“Flea” St. Vincent

BEST ALTERNATIVE MUSIC ALBUM

“Wild God” Nick Cave & the Bad Seeds

“Charm” Clairo

“The Collective” Kim Gordon

“What Now” Brittany Howard

“All Born Screaming” St. Vincent

BEST R&B PERFORMANCE

“Guidance” Jhené Aiko

“Residuals” Chris Brown

“Here We Go (Uh Oh)” Coco Jones

“Made For Me (Live On BET)” Muni Long

“Saturn” SZA

BEST TRADITIONAL R&B PERFORMANCE

“Wet” Marsha Ambrosius

“Can I Have This Groove” Kenyon Dixon

“No Lie” Lalah Hathaway Featuring Michael McDonald

“Make Me Forget” Muni Long

“That’s You” Lucky Daye

BEST PROGRESSIVE R&B ALBUM

“So Glad to Know You” Avery*Sunshine

“En Route” Durand Bernarr

“Bando Stone and the New World” Childish Gambino

“Crash” Kehlani

“Why Lawd?” NxWorries (Anderson .Paak & Knxwledge)

BEST R&B SONG

“After Hours” Diovanna Frazier, Alex Goldblatt, Kehlani Parrish, Khris Riddick-Tynes & Daniel Upchurch, songwriters (Kehlani)

“Burning” Ronald Banful & Temilade Openiyi, songwriters (Tems)

“Here We Go (Uh Oh)” Sara Diamond, Sydney Floyd, Marisela Jackson, Courtney Jones, Carl McCormick & Kelvin Wooten, songwriters (Coco Jones)

“Ruined Me” Jeff Gitelman, Priscilla Renea & Kevin Theodore, songwriters (Muni Long)

“Saturn” Rob Bisel, Carter Lang, Solána Rowe, Jared Solomon & Scott Zhang, songwriters (SZA)

BEST R&B ALBUM

“11:11 (Deluxe)” Chris Brown

“Vantablack” Lalah Hathaway

“Revenge” Muni Long

“Algorithm” Lucky Daye

“Coming Home” Usher

BEST RAP PERFORMANCE

“Enough (Miami)” Cardi B

“When the Sun Shines Again” Common & Pete Rock Featuring Posdnuos

“Nissan Altima” Doechii

“Houdini” Eminem

“Like That” Future & Metro Boomin Featuring Kendrick Lamar

“Yeah Glo!” GloRilla

“Not Like Us” Kendrick Lamar

BEST MELODIC RAP PERFORMANCE

“Kehlani” Jordan Adetunji Featuring Kehlani

“Spaghettii” Beyoncé Featuring Linda Martell & Shaboozey

“We Still Don’t Trust You” Future & Metro Boomin Featuring The Weeknd

“Big Mama” Latto

“3:AM” Rapsody Featuring Erykah Badu

BEST RAP ALBUM

“Might Delete Later” J. Cole

“The Auditorium, Vol. 1” Common & Pete Rock

“Alligator Bites Never Heal” Doechii

“The Death Of Slim Shady (Coup De Grâce)” Eminem

“We Don’t Trust You” Future & Metro Boomin

BEST RAP SONG

“Asteroids” Marlanna Evans, songwriter (Rapsody Featuring Hit-Boy)

“Carnival” Jordan Carter, Raul Cubina, Grant Dickinson, Samuel Lindley, Nasir Pemberton, Dimitri Roger, Ty Dolla $ign, Kanye West & Mark Carl Stolinski Williams, songwriters (¥$ (Kanye West & Ty Dolla $Ign)
Featuring Rich The Kid & Playboi Carti)

“Like That” Kendrick Lamar Duckworth, Kobe “BbyKobe” Hood, Leland Wayne & Nayvadius Wilburn, songwriters (Future & Metro Boomin Featuring Kendrick Lamar)

“Not Like Us” Kendrick Lamar, songwriter (Kendrick Lamar)

“Yeah Glo!” Ronnie Jackson, Jaucquez Lowe, Timothy McKibbins, Kevin Andre Price, Julius Rivera III & Gloria Woods, songwriters (GloRilla)

BEST SPOKEN WORD POETRY ALBUM

“Civil Writes: The South Got Something To Say” Queen Sheba

“Concrete & Whiskey Act II Part 1: A Bourbon 30 Series” Omari Hardwick

“Good M.U.S.I.C. Universe Sonic Sinema: Episode 1 In the Beginning Was the Word” Malik Yusef

“The Heart, the Mind, the Soul” Tank and the Bangas

“The Seven Number Ones” Mad Skillz

BEST COUNTRY SOLO PERFORMANCE

16 Carriages Beyoncé

I Am Not Okay Jelly Roll

The Architect Kacey Musgraves

A Bar Song (Tipsy) Shaboozey

It Takes A Woman Chris Stapleton

BEST COUNTRY DUO/GROUP PERFORMANCE

Cowboys Cry Too Kelsea Ballerini With Noah Kahan

II Most Wanted Beyoncé Featuring Miley Cyrus

Break Mine Brothers Osborne

Bigger Houses Dan + Shay

I Had Some Help Post Malone Featuring Morgan Wallen

BEST COUNTRY SONG

The Architect Shane McAnally, Kacey Musgraves & Josh Osborne, songwriters (Kacey Musgraves)

A Bar Song (Tipsy) Sean Cook, Jerrel Jones, Joe Kent, Chibueze Collins Obinna, Nevin Sastry & Mark Williams, songwriters (Shaboozey)

I Am Not Okay Casey Brown, Jason DeFord, Ashley Gorley & Taylor Phillips, songwriters (Jelly Roll)

I Had Some Help Louis Bell, Ashley Gorley, Hoskins, Austin Post, Ernest Smith, Ryan Vojtesak, Morgan Wallen & Chandler Paul Walters, songwriters (Post Malone Featuring Morgan Wallen)

Texas Hold ‘Em Brian Bates, Beyoncé, Elizabeth Lowell Boland, Megan Bülow, Nate Ferraro & Raphael Saadiq, songwriters (Beyoncé)

BEST COUNTRY ALBUM

Cowboy Carter Beyoncé

F-1 Trillion Post Malone

Deeper Well Kacey Musgraves

Higher Chris Stapleton

Whirlwind Lainey Wilson

BEST AMERICAN ROOTS PERFORMANCE

Blame It On Eve Shemekia Copeland

Nothing In Rambling The Fabulous Thunderbirds Featuring Bonnie Raitt, Keb’ Mo’, Taj Mahal & Mick Fleetwood

Lighthouse Sierra Ferrell

The Ballad Of Sally Anne Rhiannon Giddens

BEST AMERICANA PERFORMANCE

Ya Ya Beyoncé

Subtitles Madison Cunningham

Don’t Do Me Good Madi Diaz Featuring Kacey Musgraves

American Dreaming Sierra Ferrell

Runaway Train Sarah Jarosz

Empty Trainload of Sky Gillian Welch & David Rawlings

BEST AMERICAN ROOTS SONG

Ahead of the Game Mark Knopfler, songwriter (Mark Knopfler)

All In Good Time Sam Beam, songwriter (Iron & Wine Featuring Fiona Apple)

All My Friends Aoife O’Donovan, songwriter (Aoife O’Donovan)

American Dreaming Sierra Ferrell & Melody Walker, songwriters (Sierra Ferrell)

Blame It on Eve John Hahn & Will Kimbrough, songwriters (Shemekia Copeland)

BEST AMERICANA ALBUM

The Other Side T Bone Burnett

$10 Cowboy Charley Crockett

Trail Of Flowers Sierra Ferrell

Polaroid Lovers Sarah Jarosz

No One Gets Out Alive Maggie Rose

Tigers Blood Waxahatchee

BEST BLUEGRASS ALBUM

I Built A World Bronwyn Keith-Hynes

Songs of Love and Life The Del McCoury Band

No Fear Sister Sadie

Live Vol. 1 Billy Strings

Earl Jam Tony Trischka

Dan Tyminski: Live From the Ryman Dan Tyminski

BEST TRADITIONAL BLUES ALBUM

Hill Country Love Cedric Burnside

Struck Down The Fabulous Thunderbirds

One Guitar Woman Sue Foley

Sam’s Place Little Feat

Swingin’ Live at the Church In Tulsa The Taj Mahal Sextet

BEST CONTEMPORARY BLUES ALBUM

Blues Deluxe Vol. 2 Joe Bonamassa

Blame It On Eve Shemekia Copeland

Friendlytown Steve Cropper & The Midnight Hour

Mileage Ruthie Foster

The Fury Antonio Vergara

BEST FOLK ALBUM

American Patchwork Quartet American Patchwork Quartet

Weird Faith Madi Diaz

Bright Future Adrianne Lenker

All My Friends Aoife O’Donovan

Woodland Gillian Welch & David Rawlings

BEST REGIONAL ROOTS MUSIC ALBUM

25 Back To My Roots Sean Ardoin And Kreole Rock And Soul

Live At The 2024 New Orleans Jazz & Heritage Festival Big Chief Monk Boudreaux & The Golden Eagles Featuring J’Wan Boudreaux

Live At The 2024 New Orleans Jazz & Heritage Festival New Breed Brass Band Featuring Trombone Shorty

Kuini Kalani Pe’a

Stories From The Battlefield The Rumble Featuring Chief Joseph Boudreaux Jr.

BEST GOSPEL PERFORMANCE/SONG

Church Doors Yolanda Adams; Donald Lawrence & Sir William James Baptist, songwriters

Yesterday Melvin Crispell III

Hold On (Live) Ricky Dillard

Holy Hands DOE; Jesse Paul Barrera, Jeffrey Castro Bernat, Dominique Jones, Timothy Ferguson, Kelby Shavon Johnson, Jr., Jonathan McReynolds, Rickey Slikk Muzik Offord & Juan Winans, songwriters

One Hallelujah Tasha Cobbs Leonard, Erica Campbell & Israel Houghton Featuring Jonathan McReynolds & Jekalyn Carr; G. Morris Coleman, Israel Houghton, Kenneth Leonard, Jr., Tasha Cobbs Leonard & Naomi Raine, songwriters

BEST CONTEMPORARY CHRISTIAN MUSIC PERFORMANCE/SONG

Holy Forever (Live) Bethel Music, Jenn Johnson Featuring CeCe Winans

Praise Elevation Worship Featuring Brandon Lake, Chris Brown & Chandler Moore; Pat Barrett, Chris Brown, Cody Carnes, Steven Furtick, Brandon Lake & Chandler Moore, songwriters

Firm Foundation (He Won’t) Honor & Glory Featuring Disciple

In The Name Of Jesus JWLKRS Worship & Maverick City Music Featuring Chandler Moore; Austin Armstrong, Ran Jackson, Chandler Moore, Sajan Nauriyal, Ella Schnacky, Noah Schnacky & Ilya Toshinskiy, songwriters

In The Room Maverick City Music, Naomi Raine & Chandler Moore Featuring Tasha Cobbs Leonard; G. Morris Coleman, Tasha Cobbs Leonard & Naomi Raine, songwriters

That’s My King CeCe Winans; Taylor Agan, Kellie Gamble, Lloyd Nicks & Jess Russ, songwriters

BEST GOSPEL ALBUM

Covered Vol. 1 Melvin Crispell III

Choirmaster II (Live) Ricky Dillard

Father’s Day Kirk Franklin

Still Karen Karen Clark Sheard

More Than This CeCe Winans

BEST CONTEMPORARY CHRISTIAN MUSIC ALBUM

Heart Of A Human DOE

When Wind Meets Fire Elevation Worship

Child Of God Forrest Frank

Coat Of Many Colors Brandon Lake

The Maverick Way Complete Maverick City Music, Naomi Raine & Chandler Moore

BEST ROOTS GOSPEL ALBUM

The Gospel Sessions, Vol 2 Authentic Unlimited

The Gospel According To Mark Mark D. Conklin

Rhapsody The Harlem Gospel Travelers

Church Cory Henry

Loving You The Nelons

BEST LATIN POP ALBUM

Funk Generation Anitta

El Viaje Luis Fonsi

GARCÍA Kany García

Las Mujeres Ya No Lloran Shakira

ORQUÍDEAS Kali Uchis

BEST MUSICA URBANA ALBUM

nadie sabe lo que va a pasar mañana Bad Bunny

Rayo J Balvin

FERXXOCALIPSIS Feid

LAS LETRAS YA NO IMPORTAN Residente

att. Young Miko

BEST LATIN ROCK OR ALTERNATIVE ALBUM

Compita del Destino El David Aguilar

Pa’ Tu Cuerpa Cimafunk

Autopoiética Mon Laferte

GRASA NATHY PELUSO

¿Quién trae las cornetas? Rawayana

BEST MUSICA MEXICANA ALBUM (INCLUDING TEJANO)

Diamantes Chiquis

Boca Chueca, Vol. 1 Carín León

ÉXODO Peso Pluma

De Lejitos Jessi Uribe

BEST TROPICAL LATIN ALBUM

MUEVENSE Marc Anthony

Bailar Sheila E.

Radio Güira Juan Luis Guerra 4.40

Alma, Corazón y Salsa (Live at Gran Teatro Nacional) Tony Succar, Mimy Succar

Vacilón Santiaguero Kiki Valera

BEST CHILDREN’S MUSIC ALBUM

Brillo, Brillo! Lucky Diaz And The Family Jam Band

Creciendo Lucy Kalantari & The Jazz Cats

My Favorite Dream John Legend

Solid Rock Revival Rock For Children

World Wide Playdate Divinity Roxx and Divi Roxx Kids

BEST COMEDY ALBUM

Armageddon Ricky Gervais

The Dreamer Dave Chappelle

The Prisoner Jim Gaffigan

Someday You’ll Die Nikki Glaser

Where Was I Trevor Noah

BEST AUDIOBOOK, NARRATION, AND STORYTELLING RECORDING

All You Need Is Love: The Beatles In Their Own Words (Various Artists) Guy Oldfield, producer

…And Your Ass Will Follow George Clinton

Behind The Seams: My Life In Rhinestones Dolly Parton

Last Sundays In Plains: A Centennial Celebration Jimmy Carter

My Name Is Barbra Barbra Streisand

BEST MUSICAL THEATER ALBUM

Hell’s Kitchen Shoshana Bean, Brandon Victor Dixon, Kecia Lewis & Meleah Joi Moon, principal vocalists; Adam Blackstone, Alicia Keys & Tom Kitt, producers (Alicia Keys, composer & lyricist) (Original Broadway Cast)

Merrily We Roll Along Jonathan Groff, Lindsay Mendez & Daniel Radcliffe, principal vocalists; David Caddick, Joel Fram, Maria Friedman & David Lai, producers (Stephen Sondheim, composer & lyricist) (New Broadway Cast)

The Notebook John Clancy, Carmel Dean, Kurt Deutsch, Derik Lee, Kevin McCollum & Ingrid Michaelson, producers; Ingrid Michaelson, composer & lyricist (Original Broadway Cast)

The Outsiders Joshua Boone, Brent Comer, Brody Grant & Sky Lakota-Lynch, principal vocalists; Zach Chance, Jonathan Clay, Matt Hinkley, Justin Levine & Lawrence Manchester, producers; Zach Chance, Jonathan Clay & Justin Levine, composers/lyricists (Original Broadway Cast)

Suffs Andrea Grody, Dean Sharenow & Shaina Taub, producers; Shaina Taub, composer & lyricist (Original Broadway Cast)

The Wiz Wayne Brady, Deborah Cox, Nichelle Lewis & Avery Wilson, principal vocalists; Joseph Joubert, Allen René Louis & Lawrence Manchester, producers (Charlie Smalls, composer & lyricist) (2024 Broadway Cast Recording)

BEST COMPILATION SOUNDTRACK FOR VISUAL MEDIA

The Color Purple (Various Artists)

Deadpool & Wolverine (Various Artists)

Maestro: Music By Leonard Bernstein London Symphony Orchestra, Yannick Nézet-Séguin, Bradley Cooper

Saltburn (Various Artists)

Twisters: The Album (Various Artists)

BEST SCORE SOUNDTRACK FOR VISUAL MEDIA

American Fiction Laura Karpman, composer

Challengers Trent Reznor & Atticus Ross, composers

The Color Purple Kris Bowers, composer

Dune: Part Two Hans Zimmer, composer

Shōgun Nick Chuba, Atticus Ross & Leopold Ross, composers

BEST SCORE SOUNDTRACK FOR VIDEO GAMES AND OTHER INTERACTIVE MEDIA

Avatar: Frontiers of Pandora Pinar Toprak, composer

God of War Ragnarök: Valhalla Bear McCreary, composer

Marvel’s Spider-Man 2 John Paesano, composer

Star Wars Outlaws Wilbert Roget, II, composer

Wizardry: Proving Grounds of the Mad Overlord Winifred Phillips, composer

BEST SONG WRITTEN FOR VISUAL MEDIA

Ain’t No Love In Oklahoma [From “Twisters: The Album”] Jessi Alexander, Luke Combs & Jonathan Singleton, songwriters (Luke Combs)

Better Place [From “TROLLS Band Together”] Amy Allen, Shellback & Justin Timberlake, songwriters (*NSYNC & Justin Timberlake)

Can’t Catch Me Now [From “The Hunger Games: The Ballad of Songbirds & Snakes”] Daniel Nigro & Olivia Rodrigo, songwriters (Olivia Rodrigo)

It Never Went Away [From “American Symphony”] Jon Batiste & Dan Wilson, songwriters (Jon Batiste)

Love Will Survive [From “The Tattooist of Auschwitz”] Walter Afanasieff, Charlie Midnight, Kara Talve & Hans Zimmer, songwriters (Barbra Streisand)

BEST MUSIC VIDEO

Tailor Swif A$AP Rocky Vania Heymann & Gal Muggia, video directors

360 Charli XCX Aidan Zamiri, video director; Jami Arceo & Evan Thicke, video producers

Houdini Eminem Rich Lee, video director; Kathy Angstadt, Lisa Arianna & Justin Diener, video producers

Not Like Us Kendrick Lamar Dave Free & Kendrick Lamar, video directors; Jack Begert, Sam Canter & Jamie Rabineau, video producers

Fortnight Taylor Swift Featuring Post Malone Taylor Swift, video director; Jil Hardin, video producer

BEST MUSIC FILM

American Symphony Jon Batiste Matthew Heineman, video director; Lauren Domino, Matthew Heineman & Joedan Okun, video producers

June (June Carter Cash) Kristen Vaurio, video director; Josh Matas, Sarah Olson, Jason Owen, Mary Robertson & Kristen Vaurio, video producers

Kings From Queens Run DMC Kirk Fraser, video director; William H. Masterson III, video producer

Stevie Van Zandt: Disciple Steven Van Zandt Bill Teck, video director; Robert Cotto, David Fisher & Bill Teck, video producers

The Greatest Night In Pop (Various Artists) Bao Nguyen, video director; Bruce Eskowitz, George Hencken, Larry Klein, Julia Nottingham, Lionel Richie & Harriet Sternberg, video producers

BEST CONTEMPORARY INSTRUMENTAL ALBUM

Plot Armor Taylor Eigsti

Rhapsody In Blue Béla Fleck

Orchestras (Live) Bill Frisell Featuring Alexander Hanson, Brussels Philharmonic, Rudy Royston & Thomas Morgan

Mark Mark Guiliana

Speak To Me Julian Lage

BEST JAZZ PERFORMANCE

“Walk With Me, Lord (SOUND | SPIRIT)” The Baylor Project

“Phoenix Reimagined (Live)” Lakecia Benjamin Featuring Randy Brecker, Jeff “Tain” Watts & John Scofield

“Juno” Chick Corea & Béla Fleck

“Twinkle Twinkle Little Me” Samara Joy Featuring Sullivan Fortner

“Little Fears” Dan Pugach Big Band Featuring Nicole Zuraitis & Troy Roberts

BEST JAZZ VOCAL ALBUM

Journey In Black Christie Dashiell

Wildflowers Vol. 1 Kurt Elling & Sullivan Fortner

A Joyful Holiday Samara Joy

Milton + Esperanza Milton Nascimento & Esperanza Spalding

My Ideal Catherine Russell & Sean Mason

BEST JAZZ INSTRUMENTAL ALBUM

Owl Song Ambrose Akinmusire Featuring Bill Frisell & Herlin Riley

Beyond This Place Kenny Barron Featuring Kiyoshi Kitagawa, Johnathan Blake, Immanuel Wilkins & Steve Nelson

Phoenix Reimagined (Live) Lakecia Benjamin

Remembrance Chick Corea & Béla Fleck

Solo Game Sullivan Fortner

BEST LARGE JAZZ ENSEMBLE ALBUM

Returning To Forever John Beasley & Frankfurt Radio Big Band

And So It Goes The Clayton-Hamilton Jazz Orchestra

Walk A Mile In My Shoe Orrin Evans & The Captain Black Big Band

Bianca Reimagined: Music For Paws And Persistence Dan Pugach Big Band

Golden City Miguel Zenón

BEST LATIN JAZZ ALBUM

Spain Forever Again Michel Camilo & Tomatito

Cubop Lives! Zaccai Curtis

COLLAB Hamilton de Holanda & Gonzalo Rubalcaba

Time And Again Eliane Elias

El Trio: Live in Italy Horacio ‘El Negro’ Hernández, John Beasley & José Gola

Cuba And Beyond Chucho Valdés & Royal Quartet

As I Travel Donald Vega Featuring Lewis Nash, John Patitucci & Luisito Quintero

BEST ALTERNATIVE JAZZ ALBUM

Night Reign Arooj Aftab

New Blue Sun André 3000

Code Derivation Robert Glasper

Foreverland Keyon Harrold

No More Water: The Gospel Of James Baldwin Meshell Ndegeocello

BEST GLOBAL MUSIC PERFORMANCE

Raat Ki Rani Arooj Aftab

A Rock Somewhere Jacob Collier Featuring Anoushka Shankar & Varijashree Venugopal

Rise Rocky Dawuni

Bemba Colorá Sheila E. Featuring Gloria Estefan & Mimy Succar

Sunlight To My Soul Angélique Kidjo Featuring Soweto Gospel Choir

Kashira Masa Takumi Featuring Ron Korb, Noshir Mody & Dale Edward Chung

BEST AFRICAN MUSIC PERFORMANCE

Tomorrow Yemi Alade

MMS Asake & Wizkid

Sensational Chris Brown Featuring Davido & Lojay

Higher Burna Boy

Love Me JeJe Tems

BEST GLOBAL MUSIC ALBUM

Alkebulan II Matt B Featuring Royal Philharmonic Orchestra

Paisajes Ciro Hurtado

Heis Rema

Historias De Un Flamenco Antonio Rey

Born In The Wild Tems

BEST REGGAE ALBUM

Take It Easy Collie Buddz

Party With Me Vybz Kartel

Never Gets Late Here Shenseea

Bob Marley: One Love – Music Inspired By The Film (Deluxe) (Various Artists)

Evolution The Wailers

BEST NEW AGE, AMBIENT OR CHANT ALBUM

Break Of Daw Ricky Kej

Triveni Wouter Kellerman, Éru Matsumoto & Chandrika Tandon

Visions Of Sounds De Luxe Chris Redding

Opus Ryuichi Sakamoto

Chapter II: How Dark It Is Before Dawn Anoushka Shankar

Warriors Of Light Radhika Vekaria

BEST RECORDING PACKAGE

The Avett Brothers Jonny Black & Giorgia Sage, art directors (The Avett Brothers)

Baker Hotel Sarah Dodds & Shauna Dodds, art directors (William Clark Green)

BRAT Brent David Freaney & Imogene Strauss, art directors (Charli XCX)

F-1 Trillion Archie Lee Coates IV, Jeffrey Franklin, Blossom Liu, Kylie McMahon & Ana Cecilia Thompson Motta, art directors (Post Malone)

Hounds Of Love The Baskerville Edition Kate Bush & Albert McIntosh, art directors (Kate Bush)

Jug Band Millionaire Andrew Wong & Julie Yeh, art directors (The Muddy Basin Ramblers)

Pregnancy, Breakdown, And Disease Lee Pei-Tzu, art director (iWhoiWhoo)

BEST BOXED OR SPECIAL LIMITED EDITION PACKAGE

Half Living Things Patrick Galvin, art director (Alpha Wolf)

Hounds Of Love The Boxes Of Lost At Sea Kate Bush & Albert McIntosh, art directors (Kate Bush)

In Utero Doug Cunningham & Jason Noto, art directors (Nirvana)

Mind Games Simon Hilton & Sean Ono Lennon, art directors (John Lennon)

Unsuk Chin Takahiro Kurashima & Marek Polewski, art directors (Unsuk Chin & Berliner Philharmoniker)

We Blame Chicago Rebeka Arce & Farbod Kokabi, art directors (90 Day Men)

BEST ALBUM NOTES

After Midnight Tim Brooks, album notes writer (Ford Dabney’s Syncopated Orchestras)

The Carnegie Hall Concert Lauren Du Graf, album notes writer (Alice Coltrane)

Centennial Ricky Riccardi, album notes writer (King Oliver’s Creole Jazz Band & Various Artists)

John Culshaw – The Art Of The Producer – The Early Years 1948-55 Dominic Fyfe, album notes writer (John Culshaw)

SONtrack Original De La Película “Al Son De Beno” Josh Kun, album notes writer (Various Artists)

BEST HISTORICAL ALBUM

Centennial Meagan Hennessey & Richard Martin, compilation producers; Richard Martin, mastering engineer (King Oliver’s Creole Jazz Band And Various Artists)

Diamonds And Pearls: Super Deluxe Edition Charles F. Spicer, Jr. & Duane Tudahl, compilation producers; Brad Blackwood & Bernie Grundman,
mastering engineers (Prince & The New Power Generation)

Paul Robeson – Voice of Freedom: His Complete Columbia, RCA, HMV, and Victor Recordings Tom Laskey & Robert Russ, compilation producers; Nancy Conforti & Andreas K. Meyer, mastering engineers (Paul Robeson)

Pepito Y Paquito Pepe De Lucía & Javier Doria, compilation producers; Jesús Bola, mastering engineer (Pepe De Lucía And Paco De Lucía)

The Sound Of Music (Original Soundtrack Recording – Super Deluxe Edition) Mike Matessino & Mark Piro, compilation producers; Steve Genewick & Mike Matessino, mastering engineers (Rodgers & Hammerstein & Julie Andrews)

BEST ENGINEERED ALBUM, NON-CLASSICAL

Algorithm Dernst Emile II, Michael B. Hunter, Stephan Johnson, Rachel Keen, John Kercy, Charles Moniz & Todd Robinson, engineers; Colin Leonard, mastering engineer (Lucky Daye)

Cyan Blue Jack Emblem, Jack Rochon & Charlotte Day Wilson, engineers; Chris Gehringer, mastering engineer (Charlotte Day Wilson)

Deeper Well Craig Alvin, Shawn Everett, Mai Leisz, Todd Lombardo, John Rooney, Konrad Snyder & Daniel Tashian, engineers; Greg Calbi, mastering engineer (Kacey Musgraves)

empathogen Beatriz Artola, Zach Brown, Oscar Cornejo, Chris Greatti & Mitch McCarthy, engineers; Joe La Porta, mastering engineer (WILLOW)

i/o Tchad Blake, Oli Jacobs, Katie May & Dom Shaw, engineers; Matt Colton, mastering engineer (Peter Gabriel)

Short n’ Sweet Bryce Bordone, Julian Bunetta, Serban Ghenea, Jeff Gunnell, Oli Jacobs, Ian Kirkpatrick, Jack Manning, Manny Marroquin, John Ryan & Laura Sisk, engineers; Nathan Dantzler & Ruairi O’Flaherty, mastering engineers (Sabrina Carpenter)

BEST ENGINEERED ALBUM, CLASSICAL

Adams: Girls Of The Golden West Alexander Lipay & Dmitriy Lipay, engineers; Alexander Lipay & Dmitriy Lipay, mastering engineers (John Adams, Daniela Mack, Ryan McKinny, Paul Appleby, Hye Jung Lee, Elliot Madore, Julia Bullock, Davóne Tines, Los Angeles Philharmonic & Los Angeles Master Chorale)

Andres: The Blind Banister Silas Brown, Doron Schachter & Michael Schwartz, engineers; Matt Colton, mastering engineer (Andrew Cyr, Inbal Segev & Metropolis Ensemble)

Bruckner: Symphony No. 7; Bates: Resurrexit Mark Donahue & John Newton, engineers; Mark Donahue, mastering engineer (Manfred Honeck & Pittsburgh Symphony Orchestra)

Clear Voices In The Dark Daniel Shores, engineer; Daniel Shores, mastering engineer (Matthew Guard & Skylark Vocal Ensemble)

Ortiz: Revolución Diamantina Alexander Lipay & Dmitriy Lipay, engineers; Alexander Lipay & Dmitriy Lipay, mastering engineers (Gustavo Dudamel, María Dueñas, Los Angeles Philharmonic & Los Angeles Master Chorale)

PRODUCER OF THE YEAR, CLASSICAL

Erica Brenner

Christoph Franke

Morten Lindberg

Dmitriy Lipay

Elaine Martone

Dirk Sobotka

BEST IMMERSIVE AUDIO ALBUM

Avalon Bob Clearmountain, immersive mix engineer; Rhett Davies & Bryan Ferry, immersive producers (Roxy Music)

Genius Loves Company Michael Romanowski, Eric Schilling & Herbert Waltl, immersive mix engineers; Michael Romanowski,
immersive mastering engineer; John Burk, immersive producer (Ray Charles With Various Artists)

Henning Sommerro: Borders Morten Lindberg, immersive mix engineer; Morten Lindberg, immersive mastering engineer; Morten
Lindberg, immersive producer (Trondheim Symphony Orchestra)

i/o (In-Side Mix) Hans-Martin Buff, immersive mix engineer; Brian Eno, Peter Gabriel & Richard Russell, immersive producers (Peter Gabriel)

Pax Morten Lindberg, immersive mix engineer; Morten Lindberg, immersive mastering engineer; Morten
Lindberg, immersive producer (Ensemble 96 & Current Saxophone Quartet)

BEST INSTRUMENTAL COMPOSITION

At Last Shelton G. Berg, composer (Shelly Berg)

Communion Christopher Zuar, composer (Christopher Zuar Orchestra)

I Swear, I Really Wanted To Make A “Rap” Album But This Is Literally The Way The Wind Blew Me This Time André 3000, Surya Botofasina, Nate Mercereau & Carlos Niño, composers (André 3000)

Remembrance Chick Corea, composer (Chick Corea & Béla Fleck)

Strands Pascal Le Boeuf, composer (Akropolis Reed Quintet, Pascal Le Boeuf & Christian Euman)

BEST ARRANGEMENT, INSTRUMENTAL OR A CAPPELLA

Baby Elephant Walk – Encore Michael League, arranger (Snarky Puppy)

Bridge Over Troubled Water Jacob Collier, Tori Kelly & John Legend, arrangers (Jacob Collier Featuring John Legend & Tori Kelly)

Rhapsody In Blue(Grass) Béla Fleck & Ferde Grofé, arrangers (Béla Fleck Featuring Michael Cleveland, Sierra Hull, Justin
Moses, Mark Schatz & Bryan Sutton)

Rose Without The Thorns Erin Bentlage, Alexander Lloyd Blake, Scott Hoying, A.J. Sealy & Amanda Taylor, arrangers (Scott Hoying Featuring säje & Tonality)

Silent Night Erin Bentlage, Sara Gazarek, Johnaye Kendrick & Amanda Taylor, arrangers (säje)

BEST ARRANGEMENT, INSTRUMENTS AND VOCALS

Alma Erin Bentlage, Sara Gazarek, Johanye Kendrick & Amanda Taylor, arrangers (säje Featuring Regina Carter)

Always Come Back Matt Jones, arranger (John Legend)

b i g f e e l i n g s Willow, arranger (WILLOW)

Last Surprise (From “Persona 5”) Charlie Rosen & Jake Silverman, arrangers (The 8-Bit Big Band Featuring Jonah Nilsson & Button Masher)

The Sound Of Silence Cody Fry, arranger (Cody Fry Featuring Sleeping At Last)

BEST ORCHESTRAL PERFORMANCE

Adams: City Noir, Fearful Symmetries & Lola Montez Does The Spider Dance Marin Alsop, conductor (ORF Vienna Radio Symphony Orchestra)

Kodály: Háry János Suite; Summer Evening & Symphony In C Major JoAnn Falletta, conductor (Buffalo Philharmonic Orchestra)

Ortiz: Revolución Diamantina Gustavo Dudamel, conductor (Los Angeles Philharmonic)

Sibelius: Karelia Suite, Rakastava, & Lemminkäinen Susanna Mälkki, conductor (Helsinki Philharmonic Orchestra)

Stravinsky: The Firebird Esa-Pekka Salonen, conductor (San Francisco Symphony)

BEST OPERA RECORDING

Adams: Girls Of The Golden West John Adams, conductor; Paul Appleby, Julia Bullock, Hye Jung Lee, Daniela Mack, Elliot Madore, Ryan McKinny & Davóne Tines; Dmitriy Lipay, producer (Los Angeles Philharmonic; Los Angeles Master Chorale)

Catán: Florencia En El Amazonas Yannick Nézet-Séguin, conductor; Mario Chang, Michael Chioldi, Greer Grimsley, Nancy Fabiola
Herrera, Mattia Olivieri, Ailyn Pérez & Gabriella Reyes; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)

Moravec: The Shining Gerard Schwarz, conductor; Tristan Hallett, Kelly Kaduce & Edward Parks; Blanton Alspaugh, producer (Kansas City Symphony; Lyric Opera Of Kansas City Chorus)

Puts: The Hours Yannick Nézet-Séguin, conductor; Joyce DiDonato, Renée Fleming & Kelli O’Hara; David Frost, producer (Metropolitan Opera Orchestra; Metropolitan Opera Chorus)

Saariaho: Adriana Mater Esa-Pekka Salonen, conductor; Fleur Barron, Axelle Fanyo, Nicholas Phan & Christopher Purves; Jason O’Connell, producer (San Francisco Symphony; San Francisco Symphony Chorus; Timo Kurkikangas)

BEST CHORAL PERFORMANCE

Clear Voices In The Dark Matthew Guard, conductor (Carrie Cheron, Nathan Hodgson, Helen Karloski & Clare McNamara; Skylark Vocal Ensemble)

A Dream So Bright – Choral Music Of Jake Runestad Eric Holtan, conductor (Jeffrey Biegel; True Concord Orchestra; True Concord Voices)

Handel: Israel In Egypt Jeannette Sorrell, conductor (Margaret Carpenter Haigh, Daniel Moody, Molly Netter, Jacob Perry &
Edward Vogel; Apollo’s Fire; Apollo’s Singers)

Ochre Donald Nally, conductor (The Crossing)

Sheehan: Akathist Elaine Kelly, conductor; Melissa Attebury, Stephen Sands & Benedict Sheehan, chorus masters (Elizabeth Bates, Paul D’Arcy, Tynan Davis, Aine Hakamatsuka, Steven Hrycelak, Helen Karloski, Enrico Lagasca, Edmund Milly, Fotina Naumenko, Neil Netherly, Timothy Parsons, Stephen Sands, Miriam Sheehan & Pamela Terry; Novus NY; Artefact Ensemble, The Choir Of Trinity Wall Street, Downtown Voices & Trinity Youth Chorus)

BEST CHAMBER MUSIC/SMALL ENSEMBLE PERFORMANCE

Adams, J.L.: Waves & Particles JACK Quartet

Beethoven For Three: Symphony No. 4 And Op. 97, ‘Archduke’ Yo-Yo Ma, Leonidas Kavakos & Emanuel Ax

Cerrone: Beaufort Scales Beth Willer, Christopher Cerrone & Lorelei Ensemble

Home Miró Quartet

Rectangles And Circumstance Caroline Shaw & Sō Percussion

BEST CLASSICAL INSTRUMENTAL SOLO

Akiho: Longing Andy Akiho

Bach: Goldberg Variations Víkingur Ólafsson

Eastman: The Holy Presence Of Joan D’Arc Seth Parker Woods; Christopher Rountree, conductor (Wild Up)

Entourer Mak Grgić (Ensemble Dissonance)

Perry: Concerto For Violin & Orchestra Curtis Stewart; James Blachly, conductor (Experiential Orchestra)

BEST CLASSICAL VOCAL SOLO ALBUM

Beyond The Years – Unpublished Songs Of Florence Price Karen Slack, soloist; Michelle Cann, pianist

A Change Is Gonna Come Nicholas Phan, soloist; Palaver Strings, ensembles

Newman: Bespoke Songs Fotina Naumenko, soloist; Marika Bournaki, pianist (Nadège Foofat; Julietta Curenton, Colin Davin, Mark Edwards, Nadia Pessoa, Timothy Roberts, Ryan Romine, Akemi Takayama, Karlyn Viña & Garrick Zoeter)

Show Me The Way Will Liverman, soloist; Jonathan King, pianist

Wagner: Wesendonck Lieder Joyce DiDonato, soloist; Maxim Emelyanychev, conductor (Il Pomo d’Oro)

BEST CLASSICAL COMPENDIUM

Akiho: BeLonging Andy Akiho & Imani Winds; Andy Akiho, Sean Dixon & Mark Dover, producers

American Counterpoints Curtis Stewart; James Blachly, conductor; Blanton Alspaugh, producer

Foss: Symphony No. 1; Renaissance Concerto; Three American Pieces; Ode JoAnn Falletta, conductor; Bernd Gottinger, producer

Mythologies II Sangeeta Kaur, Omar Najmi, Hilá Plitmann, Robert Thies & Danaë Xanthe Vlasse; Michael Shapiro,
conductor; Jeff Atmajian, Emilio D. Miler, Hai Nguyen, Robert Thies, Danaë Xanthe Vlasse & Kitt Wakeley, Producers

Ortiz: Revolución Diamantina Gustavo Dudamel, conductor; Dmitriy Lipay, producer

BEST CONTEMPORARY CLASSICAL COMPOSITION

Casarrubios: Seven For Solo Cello Andrea Casarrubios, composer (Andrea Casarrubios)

Coleman: Revelry Valerie Coleman, composer (Decoda)

Lang: Composition As Explanation David Lang, composer (Eighth Blackbird)

Ortiz: Revolución Diamantina Gabriela Ortiz, composer (Gustavo Dudamel, Los Angeles Philharmonic & Los Angeles Master Chorale)

Saariaho: Adriana Mater Kaija Saariaho, composer (Esa-Pekka Salonen, Fleur Barron, Nicholas Phan, Christopher Purves, Axelle Fanyo, San Francisco Symphony Chorus & Orchestra)

Read the latest issue of Athleisure Mag.

9PLAYLIST | CALVIN HARRIS

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9PLAYLIST | CHANEL IMAN

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9PLAYLIST MULTI | ALYSIA REINER

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9PLAYLIST | KELLY CHENG

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BOB MARLEY AND THE WAILERS

One of the best things in life is to re-discover, deep dive, and better connect with things long-admired, and cherished. Bob Marley’s music lies at the top of my must-haves – many tracks and live albums suiting best for joyous and sad moments, and all in between, as well as adventuring outdoors, smoking sessions, studying, romance and more.

Upon reading Bob Marley and The Wailers: The Ultimate Illustrated History by Richie Unterberger, it was quickly apparent that it was time to dust off those old soundboard recording treasures and look to the music, life and culture that has served as such stong guidance over the years.

We put together an expanded 9PLAYLIST STORI3S to explore and ponder more about the man, his music, and the times for then and now, along a series of our favorite song selections: Sun Is Shining, Positive Vibration, Roots Rock Reggae, Downpressor Man, One Love, Zimbabwe, And I Love Her, High Tide or Low Tide, and Redemption Song.

Ultimately, with questions or thoughts of art and nature; good and tough times; peace and strife; love, respect and kindness, we ask along this and our musical journey - What Would Marley Do (WWMD)?

And I Love Her (Alternate Take)

ATHLEISURE MAG: I stumbled upon this ballad mid-college and was floored. It felt immediately intimate and special, loved sharing it at parties as friends generally loved it.

RICHIE UNTERBERGER: Most of the attention on Marley's career goes to the last seven or so years of his life when he was becoming an International star, first with the original Wailers and then with other Wailers. But there was a lot of good music that he made, often with the original Wailers, in the first 10 years of his recording career, which isn't very well known because it was primarily heard in Jamaica and not elsewhere.

And the earliest years of those are like from 1962-63 to 1966. That's when he had his debut single with Studio One. And the records are a lot more ska influenced than what he did after 1966 - [ska as] the precursor to reggae music. It's a lot faster and it's sort of a combination of Jamaican folk music with early American soul music.

Like they did a Curtis Mayfield song and he was maybe their biggest early influence. That's not a surprise. But them doing a Beatles song is not something that you would necessarily expect. And the version that they do, it is more imaginative than you would think, even if you know a fair amount about reggae and the Wailers. I'm a big Beatles fan. I love the original version, but they give it more of a wilting, early reggae cast and they also add, 'and I love her, yes, indeed,' after like every chorus. So it sounds more like a soul, early reggae hybrid sort of yearning quality that's not in the Beatles original, which makes it an interesting variation. And that's how they kind of varied soul music in general, when they were doing their first records in the mid '60s.

AM: At this time, were they doing covers towards getting acceptance or was that honoring their influences, or both?

RU: It's kind of all the above, but I think even though the majority of the material from the get go was original, I think there were a lot of songs they just liked that they wanted to do. It's just it's like when the Beatles started, they were already great songwriters on their first album, but the first few albums all have a good number of cover versions, which they did really well. They didn't just imitate Chuck Berry or Little Richard. They put their own personality on it very strongly. But also, I think they, and a lot of early reggae acts or ska acts, were just putting out tons of records, even though Jamaica was a pretty small market. And to fill out all these singles coming out and the one album that they did in the mid 60s, they needed to have more songs probably than they had already written. So they opted for songs that they really liked and maybe songs that when they performed live would get a good reaction to sort of vary their repertoire if they were playing long concerts.

AM: Yeah. I always liked the Bob Dylan one, Like A Rolling Stone.

RU: And another example, they did a Temptations song, Don't Look Back, an earlier version than the one that Peter Tosh did where Mick Jagger duetted with him in the late 60s. But he was aware of that song by the Temptations, which isn't one of their big hits, even when he was pretty early in his recording career.

AM: You know, I love that part of your book when you showed the Rolling Stones imprints, didn't know much about that, and definitely that whole part about Mick Jagger and the Stones backing Peter Tosh and all that.. That was terrific!

RU: Thanks. Yeah. It's really interesting because I think when the Rolling Stones set up their own label, their ambition was to have it be a sort of Apple Records, the way that Beatles ran Apple Records for the first couple of years, where it would be their label, but they would sign a lot of other artists and not just sign them, but often produce them or help them hands on, like they did with Badfinger and Mary Hopkin. And for various reasons, that aren't clear to me, they signed very few people, like less than five. And the only significant one they signed to put out a reasonable number of records was Peter Tosh. And I think that although the Stones didn't do many reggae songs, whether it was covers or they wrote their reggae style songs, they really liked the music.

They did some recording in Jamaica, like Goats Head Soup, the 1973 album, and they saw the connection between reggae and the American rhythm and blues and soul music that they loved and wanted to promote it with one of the leading artists who was available because he had left the Wailers for various complicated reasons, right after the Wailers started to get a big International audience on Island Records. So I'm not saying they were the most altruistic group of people in the world, the Rolling Stones, but they really wanted to promote a form of Black music, not Black American as it happens, but still from near North America.

It didn't work out indefinitely because Peter Tosh had a fallout with Keith Richards. This is like a few albums into his career with Rolling Stones records. But it was an alliance that made a lot of sense. It's the only such alliance the Stones made for their own record label, but it was the one solid indication of what they could do to help another artist. Not that Tosh needed so much help for his art, but his promotion to an International audience, which also Mick Jagger, of course, helped by actually singing on Don't Look Back, and also appearing in the official promotional video that Peter Tosh did, and also they sang it together on Saturday Night Live.

Sun is Shining

AM: This song increasingly became one of my favorites throughout my life. It’s always something that gets to me right away and the right ways, just find it so magnificent – it's sexy and inspirational!

RU: A lot of the attention given to Marley as a songwriter or for his protest songs are the ones championing social justice. And that's very important, arguably the most important part of his songwriting. But it should never be overlooked, that like almost all great songwriters, he could write about social issues, but also just write songs that were feel good songs, like ‘Positive Vibration,’ it was a great example, I think.

Also really good love songs - and although a lot of his songs, like Get Up, Stand Up is a great example, are about self-empowerment, a lot are sort of anthems just to make people feel more positive about what they are experiencing, what they hope to experience. And Sun Is Shining is an early example of that.

And I think it's interesting that throughout his career, Marley and Tosh would sometimes remake songs from pretty early in their career, like One Love is another great example, when they realized we're getting a much bigger audience and a lot of those people around the world never heard these records, which were primarily or only distributed in Jamaica. It was time to make those songs, which still have a universal message, something that everybody can hear on records, not just in their concerts. So Sun Is Shining is an example of that, where it was revisited and remade as well.

AM: Near the end of the song, he's talking about how he's 'a rainbow, too.' And it made me really reflect, wondering if this was him rescuing us as the unifier, and if also he was encouraging us that we all could all be rainbows, too?

RU: I would say like not just a lot of songwriters, but a lot of artists, his messages can be validly interpreted in different ways. So you might say he's talking about himself or that he's talking about everybody, all of his listeners and himself, or he's talking about both himself and his listeners. One of his great strengths was that as a songwriter, he could deliver very clear, yet easily understood messages that were inspiring. When you hear his spoken interviews, he's often a little vague. And it's interesting that it's not like his songwriting, which is very clear and direct. Get Up, Stand Up - I mean, how can you misinterpret that? I Shot the Sheriff - but I swear it was self-defense..; it's very lucid.

And it's unknown how precise his lyrics were explicitly stating. Yeah, meaning that it's hard to say whether his lyrics were meant for this is how I'm feeling, or this is how humans as a whole feel, or it could be both. His clear, direct messages were that in the lyrics, whether it's interpreted, however it's interpreted to apply to, they are very easily understood and they hit very directly [and across the world]. And it's unlike his spoken interviews, the last quote before my epilogue, somebody who was talking to the New York Times right after he died, just a fan, not someone who knew him, she said, ‘as an orator, he wasn't much, but his music said it all.’ It's almost like his music was his great expression of communication.

He also traveled and did concerts in Japan and other countries where knowledge of English was appreciably lower then, like a couple generations ago. A lot of people probably, if they read the lyrics on the page, they might have had a hard time understanding them, but when they heard them, they were geared around choruses which were easy to remember and sort of sink in. I think a lot of those messages did get through, both in the words, but also the way that they were sung.

High Tide or Low Tide

AM: So let's talk about High Tide or Low Tide and the Catch a Fire sessions in general? This track is so delicate and haunting, really enjoy it chilling with my girlfriend for sure.

RU: Yeah, Catch a Fire [sessions] - made really good music. I think in Britain a few people had heard them because there was such a big Jamaican population there, Jamaica, and they, Marley and Tosh, liked to have an International audience. They had gone to London in part to not just get a bigger audience or whatever concerts they could do, but try to find a record label. I think the feeling was it's going to be easier in Britain than in the U.S. because of that Jamaican population, Jamaica being a former British population in Britain, there was a much wider knowledge of reggae, even among non-Jamaicans, and his record labels were distribution, business distribution, primarily to serve the British Jamaican audience.

To bring reggae music itself to a wider audience, the goal was to give them more of a luster of a rock group, not so much in changing their music, but in marketing the album design, how it's distributed, it's on Island records, which a lot of people associated with those big British rock groups, and only subtly adding some rock instrumentation to their sound without diluting it.

Their appeal then, it was slightly earlier, but still very good records, music was slowing down into reggae and the lyrics were becoming a lot more socially conscious. Even though Catch a Fire is a very well-known album now, when it first came out it, it was primarily an underground hit, but that was very important, because that's where Marley's huge following could grow. When people saw the Wailers when they made their first American tours, they really stood out, in part because most white rock listeners had not heard reggae before, but also because the stage presence and the concerts were so good, and they got a lot of FM radio. I've talked to the leading FM radio disc jockey in the city in which I grew up, Philadelphia, and he said, 'oh yeah, when that record came out we leapt on it, we played it a lot, both because we loved it, but also we knew that our listeners who were maybe more used to Pink Floyd or Sticky Fingers, or something like that would love it too!'

But it should not be lost sight of that the biggest reason was that the material was very strong. You can't sell a record with that sort of marketing if the songs aren't really strong. In retrospect I kind of wish that it could have been a double album, not just Marley but also Tosh and Two, a lesser but significant degree by Quayler. Part of the reason I think that they did not stay together long on Island Records, after being together for a long time, was that Marley was getting so much of the songwriting, and that's one of the reasons he got more attention than anywhere else, although I emphasize they were a group at that time, it wasn't as what it became. They were a group in the sense that all of them have the impact that the act has.

AM: I was honored to see the Wailers after Bob Marley had passed, they were terrific.

Positive Vibration and Roots Rock Reggae

AM: This pair were often musts for outdoor adventures.

RU: With Positive Vibrations, it's like some of Bob Marley's song titles, you get the idea very quickly before even hearing the song. That's a really good example of, yeah we're going to dig into the lyrics.

We're all going to have a much better life here if we can all learn to groove together, which to some degree his concerts enable many people to do that together. But also, even if you don't think about the lyrics, it captures in a way that few reggae songs have done and reggae's been around now for 60 years or so.

Downpressor Man

AM: I first encountered Downpressor Man at an outside cafe in Miami. I had heard the cover rendition of Sinner Man before and loved it, but this magical slowed down version just hit so hard. Of course, a big fan of and feel it gives justice to Nina Simone’s tough bar to meet.

RU: I think that Peter Tosh shared with Marley as a songwriter, where he's documenting the injustices done to the underprivileged - which in Jamaica, most of the people considered underprivileged would have been. And in this instance, he adopted almost like spiritual, but made it particular, or more particular to the circumstances, not just of the oppressed in Jamaica, but the oppressed anywhere. I think that's a big part of not just Marley and Tosh's appeal, but reggae's appeal, especially in Africa, places which don't enjoy, in some cases, not as many human rights. Him changing the focus of the song and championing the downtrodden was something that made people feel that he had a lot of empathy for his audience and was able to express that well.

One Love

AM: With One Love, it's definitely something that became a huge country anthem, it always gives me a smile, and like a hug and form of encouragement – it's inviting..

RU: When preaching unity, [it's] hard to do.. without sounding sappy or sounding, just to get together, to find some common ground. This song had those kinds of sentiments, but did it in a humbler way than a lot of such songs do, but also should not be overestimated. The Beatles had a lot of great lyrics, but maybe the biggest reason they became the biggest group ever was that the songs were so melodic. Marley and the Wailers had a lot of such songs, which were very catchy, easy to hum. One Love is maybe his greatest expression of his hopes for a universal common ground between people of all geography and make inroads toward making the world a more peaceful place. Like I said earlier, he'd done that song, it caught on a lot more when it was remade in his solo career in the 70s. It was more updated, it sounds very contemporary.

Zimbabwe

AM: With Survival, it was very interesting to read your commentary because there came across with fierce lyrics and anthems.

RU: It might seem more tilted toward that on his album, but it seems like he always had a wide range of songs that he emphasized the most, but on others, that was because he was one of the first reggae artists, maybe the first, to recognize that an album should have, even if it's not like a story album or not all the songs, a theme. So maybe with Survival, he focused more on a full statement than like a romantic album that he did, but it's something that will vary on what was put out there that'll keep people interested.

I'm kind of speculating because, in part, Marley's life was short.. he didn't go through all of the phases of his career and explain them in ways like John Lennon did in his numerous interviews before he died. So it's a little bit of projection on my part.

AM: With Zimbabwe, having such significance, and the way it was performed so beautifully at legendary concerts, but how was that received globally?

RU: I do think that it meant a lot that Marley was sort of voicing his support for people's independence and self-determination in a country. It's often asked, and it's a very logical question, what would Marley have done had he not died so young in his later years? He was only - I think, although it's not certain, he definitely would have performed a lot more in Africa. He'd only perform there a bit toward the end of his career, both because he got a really great reception there, but also he saw that, as universal as his music was, it had some particular parts of meaning for people in Africa, where a number of countries - maybe South Africa got more attention in more attention in the United States for that than anywhere else, but a number of countries there - I think he would have performed there as much as he could have, maybe written more songs that were directly applicable to Africa. And possibly, it would seem like a logical step to me, maybe incorporating some elements of African music as he became more exposed to them, whether through touring or just listening more, because in the early 80s, that was the point where artists like Fela were starting to get a much bigger audience in the United States, and I could see Marley being very interested in someone like Fela, not just musically, but also lyrically, and also as a cultural figure in Nigeria.

Redemption Song

AM: Redemption Song, a lot of people's top favorite, and it is very reflective and boldy highlights the past and gives deep lessons. I’ve always held it in a different way, like a supercharged guide to fall back to when happy and chill or lost and sad. It says so much about the past, present and future of humanity, extremely prophetic!

RU: It's interesting to me for a few reasons. One is that unlike maybe all of his other really well-known - it could in some ways be heard not even as a reggae song, more as like folk. And that, it actually relates to something I was riffing on a couple minutes ago, [the] direction that he might have changed his style to that style that he would have done. Maybe he would have been thinking, yeah, I'm a reggae artist, I'm never going to abandon reggae, but I want to explore different styles that might not be dominantly reggae. Other artists have done that. Joni Mitchell started as a folk singer, then she admitted some rock influences, then she went into jazz. Paul Simon started, but then he incorporated reggae and gospel. He eventually got to African music, of course. I think he knew this when he was writing it, that he could do several different styles of music well - and when I hear it, because he didn't die that much long afterward, it's like he also had some sort of awareness that his time is not going to be long, whether he dies or not. it's almost like a Martin Luther King song. It's almost like Martin Luther King's final speeches, where he feels like, I might not have much time, but his urgency to get a message across.

AM: A hypothetical, because I've enjoyed some bubblegum gelato vape during our interview, what did he say about technology? Would he e-vape today or be comfortable his audience did?

RU: About his drug use, which is mostly cannabis, in the book or elsewhere, because there is music, but specifically as far as people using that sort of stimulation for recreational purposes, I don't think he ever would have minded whether it was with a religious dimension, as it was with a lot of prostitutes, or you just wanted to use it, at least in your ability of function and people around you. [Be sure to] be kind to your neighbors, right?

Yeah, and musically, maybe what he would have done. It's hard to project, like, if he was still making music in 2020, what he would have done. What he would have done, at least if he had lived another 10 or 20 years, if he wasn't ill. Technology, I think that would have been one of the things that he would have been wary about in some of his songs. The adverse effects of technology, not just AI, but climate change, which, when he died, that was his concern.

PHOTOGRAPHY CREDITS | PG 27, 38 - 57 Quarto Publishing/Bob Marley and The Wailers: The Ultimate Illustrated History | PG 58 GM/Current Affairs/Alamy Stock Photo | PG 60 Deposit Photos |

Read the JUL ISSUE #103 of Athleisure Mag and see BOB MARLEY AND THE WAILERS in mag.

GOV BALL 2024

In last month's issue we looped you in on a fun music festival that kicks off the Summer season in NY. From Jun 7th - Jun 9th Governors Ball kicked off with 3 days of music across genres at Flushing Meadows in Queens. We enjoyed being able to hear from our favorite acts across 3 stages throughout the days on an endless sunny weekend. Nestled in the park, attendees had the ability to feel like they left the city to be transformed into a musical oasis with sets filled with their favorite songs.

With acts that included The Killers, Post Malone, SZA, Peso Pluma, Sabrina Carpenter, and Reneé Rapp to name a few. While we hung out at the festival we took in the sets from our VIP that also included food and beverage vendors that kept our taste buds engaged and our energy up.

The last day defintiely included our favorites and with good vibes flowing throughout the weekend, we were transfixed all the way to the last song played by SZA who closed out a successful weekend. We're already looking forward to next year's lineup although we're months away from knowing who will perform, but if this year was any indication, we can't wait to see who it will be!

IG @govballnyc

PHOTOGRAPHY CREDITS | PG 137 Phelphs | PG 138 Paigge Wharton | PG 139 N Bradley | PG 140 Charles Reagan | PG 141 Sambalaban |

Read the JUN ISSUE #102 of Athleisure Mag and see GOV BALL 2024 in mag.

9PLAYLIST | KYGO

Read the JUN ISSUE #102 of Athleisure Mag and see 9PLAYLIST | Kygo in mag.

PRE-COVERAGE | GOVERNORS BALL

Next month, we're looking forward to making our way back to Queens to take in great performances, activations, food/beverages and the experiences that we enjoy when we're at one of our favorite music festivals that kick off the season here in NY for this year's Gov Ball taking place Jun 7-9th! Last year we had the pleasure to chat with Co-Founder, Tom Russell (MAY ISSUE #89 in 2023) about this music festival which includes an array of genres. They kicked off their newest home at Flushing Meadows in Queen which is an immersive park setting.

This year, with headlines that include: Post Malone and Rauw Alejandro on Fri, The Killers and 21 Savage on Sat, and ending with Sza and Peso Pluma on Sun, there is something for everyone with 60+ artists across the weekend and 3 stages and a number of acts from Sabrina Carpenter, Sexyy Red, Doechii, Reneé Rapp, and more!

With all of the music that you'll get to enjoy, you want to ensure that you have a number of options for you and your friends who will be attending. From an array of wine and spirit brands, Luke's Lobster, Sweet Chick, Magnolia Bakery, Stella X Hot Ones - there is something that reflects diverse culinary interests that will keep you going!

Make sure to visit the website to see what tickets are still available and to see how you can elevate your experience if you're interested in VIP options. For those that want to keep the party going, there are After Dark shows taking place throughout the city with artists you'll want to hear. Each of these performances have separate tickets and will allow you to truly get an immersive experience.

In the JUN ISSUE #102, we'll share more interviews and experiences from Gov Ball.

IG @govballnyc

PHOTOGRAPHY CREDITS | PG 140 Henry HWU | PG 142 Roger Ho | PG 144 Charles Reagan |

Read the MAY ISSUE #101 of Athleisure Mag and see PRE-COVERAGE | Governors Ball in mag.