chicagotribune--2020-01-26--Ask Amy: Pregnant job seeker ponders disclosure

Growing up , she made some bad choices ( we all do ) but I always helped where I could @ @ @ @ @ I 'm reaching the point where I have to avoid certain subjects because I do @ @ @ @ @ The other night she responded to my defensive mood saying she can have an opposing @ @ @ @ @ the way she goes at it .
And sometimes all you want is to vent @ @ @ @ @ know there 's more to this , it 's not just about me , but @ @ @ @ @

Dear Amy: I like my workplace, but I'm easily working 60 to 70 hours a week with no overtime compensation. The pace is unsustainable, especially now that I'm three months pregnant. There is no slowing down at my workplace -- my profession is very time sensitive and demands me to be on-call all the time, including nights and weekends.
A dream job, in a related but different field, became open recently. I applied and got invited to interview. My question is, at what point in the interview process do I disclose that I'm pregnant? And what should I say when I get asked my reasons for leaving my current job?
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I still don't look pregnant, and by my calculations, I would potentially get hired three months before my due date.
— Preggers in need of balance
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Dear Preggers: When seeking a job change, you should tell potential employers that you believe you have maximized your opportunities where you are.
Putting in 20 to 30 "extra" hours a week with no additional compensation reduces your net income considerably. Surely, you're seeking a job with better hours and appropriate compensation. (You would be a fool not to!)
In terms of your pregnancy, you are not legally required to disclose it at any time. You could walk in to an interview at eight months pregnant, and the hiring manager should not ask you about it. (At that stage of pregnancy, should a potential hire bring it up in an interview herself? It depends.)
Do not disclose your early-term pregnancy during your first interview with the company. It is not relevant to your professional skills. You should move forward in the process with confidence that you will make it to the next stage. The hiring process these days can last for many months.
If you develop a rapport with the hiring manager and are very obviously pregnant during a later-stage interview, you could address it and offer reassurances that you will handle your challenges readily -- the way countless working mothers have done, since the dawn of time.
You might benefit from reading "Here's the Plan.: Your Practical, Tactical Guide to Advancing Your Career During Pregnancy and Parenthood," by Allyson Downey (2016, Seal Press).
Dear Amy: I've been friends with "Marian" since grade school. We're now in our 60s and live in the same neighborhood.
Although our lives took different paths at times, I consider her like family.
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We've always been there for each other, but lately I'm feeling a lot of negative judgment from her, even concerning trivial things.
Instead of being supportive or even just sympathetic, she's taken to chastising me in almost a parental tone, or by minimizing my discomfort.
Growing up, she made some bad choices (we all do) but I always helped where I could and stood behind her. I'm reaching the point where I have to avoid certain subjects because I don't want the criticism. The other night she responded to my defensive mood saying she can have an opposing opinion. But it's the way she goes at it. And sometimes all you want is to vent to a friend. I know there's more to this, it's not just about me, but what do I do?
— BFFs?
Dear BFF: Yes, sometimes all you want is to vent to a friend. But are you venting too often? Are you listening as much as you are talking?
You should "rerack" this conversation, back up, and express: "You seem very frustrated, but I want you to know that there are times when I just hope for a sympathetic ear. Having you really hear me means so much."
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You should also pay close attention to your defensive reaction when your friend weighs in. Often, defensiveness means that you are clinging to a position that should be examined -- and perhaps abandoned.
Dear Amy: "Buzz Killed in Boston" complained about co-workers' incessant morbid ramblings.
I worked in a nursing home for 43 years. I helped residents with their mail. It seemed to me that all the old people wrote about was their aches, pains and death.
Ask Amy Daily No-nonsense advice for better living delivered to your inbox every morning. By submitting your email to receive this newsletter, you agree to our Subscriber Terms & Conditions and Privacy Policy >
Now that I'm 66, I don't bore others with aches and pains. My mom had MS, broke her hip three times, and NEVER talked about her health troubles. Talking all day about troubles IS boring.
— Learned From Mom
Daer Learned: My mother also had chronic health problems and NEVER mentioned them because she understood that this reportage IS boring.
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However, "Buzz Killed" was referring to colleagues recounting losses (deaths and illnesses) of family members. I put this in a different category.
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(You can email Amy Dickinson at askamy@amydickinson.com or send a letter to Ask Amy, P.O. Box 194, Freeville, NY 13068. You can also follow her on Twitter @askingamy or Facebook.)
Copyright 2019 by Amy Dickinson
Distributed by Tribune Content Agency


chicagotribune--2020-01-26--Commentary: Grammys get it half right on a night of mourning

The performances by Tyler and Clark made so much of what came in between sound irrelevant .
There was yet @ @ @ @ @ by the in-over-his-head Usher .
There was the obligatory Billy Cyrus walk-on for Lil Nas @ @ @ @ @ Town Road , ” a rap-country song that is already starting to lose its novelty @ @ @ @ @ an absurd “ reunion ” of Aerosmith and Run-D.M.C .
on the rap-rock progenitor “ @ @ @ @ @ that the hip-hop duo hated being pushed by their producer Rick Rubin into collaborating with @ @ @ @ @ in 1986 on the song .
And yet here we were again .

As usual, the Grammy Awards got it partly right Sunday. Newcomer Billie Eilish swept the big awards, including album of the year (“When We All Fall Asleep, Where Do We Go?”), song and record of the year (“Bad Guy”) and best new artist.
Yet somehow, Lizzo – who went into the Grammys with eight nominations – was shut out in the major categories, even though Lizzo and Eilish were clearly the two artists who had the greatest impact on mainstream culture in the last year. Lizzo doesn’t deserve just one of the year’s biggest music awards? Really?
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But by now we should be used to lousy judgment calls – they’re the Grammys’ specialty, after all. And that sense of ineptitude, of the awards somehow being not just out of touch but a reflection of a chronically corrupt industry, hovered over the nationally televised telecast Sunday.
Beneath the surface of what was billed as a “celebration” of former pro-basketball great Kobe Bryant, who died in a helicopter crash earlier in the day, lurked an undeniable sadness, rage and ugliness.
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It all began innocently enough.
“Tonight is for Kobe,” said Lizzo as she kicked off the nationally televised broadcast. A few minutes later, host Alicia Keys settled in behind the piano to deliver a musical opening statement: “I know how much Kobe loved this music … Let’s make this a celebration in his honor.”
[ Grammys winners 2020: The full list ]
Lizzo accepts the award for best pop solo performance for "Truth Hurts" at the 62nd annual Grammy Awards on Sunday, in Los Angeles. (Matt Sayles/Matt Sayles/Invision/AP)
Bryant’s death provided a last-minute focus for an awards ceremony that seemed on the verge of implosion. Only days earlier, the Recording Academy’s chief executive, Deborah Dugan, was placed on administrative leave after a misconduct allegation surfaced. Dugan’s attorney in turn filed a complaint against the academy that alleged her predecessor, Neil Portnow, raped a female artist and accused board members of “egregious conflicts of interest, improper self-dealing … and (Grammy) voting irregularities,” among other allegations. Last year, Dugan replaced Portnow, who was criticized for suggesting that women in the industry needed to “step up” if they wanted wider recognition at the Grammys.
But all of that became largely a footnote Sunday, though there were allusions to the trouble at the gates. “It’s been a helluva week,” Keys said. But “I’m proud to be here as an artist for the artists … who refuse the negative energy … we refuse the whole system. …”
Then there was Tyler, the Creator, who marshaled a legion of clones in blond wigs and sunglasses, then threw himself into a fiery pit. This version of Hades may or may not have been a metaphor for the Recording Academy’s current travails, but it was undeniably electric, a 2,000-volt reality check. Later, the artist won a best-rap-album Grammy for “Igor,” a landmark in his decade-long career.
His performance was echoed later by Gary Clark Jr., who lit into “This Land” backed by the Roots and some well-situated pyro that made it appear the stage was burning down. The scowl on Clark’s face mirrored his guitar solo: Here’s the news, folks, and it’s going to hurt.
[ The best tweets we saw during the Grammys 2020 ]
The performances by Tyler and Clark made so much of what came in between sound irrelevant. There was yet another underwhelming Prince tribute, by the in-over-his-head Usher. There was the obligatory Billy Cyrus walk-on for Lil Nas X’s “Old Town Road,” a rap-country song that is already starting to lose its novelty charm. And how about an absurd “reunion” of Aerosmith and Run-D.M.C. on the rap-rock progenitor “Walk This Way.” Recall that the hip-hop duo hated being pushed by their producer Rick Rubin into collaborating with a washed up rock band in 1986 on the song. And yet here we were again.
A measure of gravitas came from some of the youngest performers: the 18-year-old Eilish delivered a hushed reading of “When the Party’s Over” with brother Finneas O’Connell on piano. And Demi Lovato returned to the stage for the first time since being hospitalized in 2018 with a crusher of a new ballad, “Anyone”: “So, why am I praying anyway? / If nobody’s listening.”
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As usual, most of the 84 awards for recordings released between Oct. 1, 2018, and Aug. 31, 2019, were distributed before the national telecast. The bulk of the show consisted of acceptance speeches and performances.
Here are some of the highs and lows from the show:
So it’s rather dark, you say? O’Connell, Eilish’s brother, gave one of the most memorable speeches of the night in accepting the best album award. “We didn’t set out to make an album to win a Grammy,” he said. We made an album about “depression and climate change and suicidal thoughts.”
Expand Autoplay Image 1 of 99 Jeremy Most arrives at the 62nd annual Grammy Awards at the Staples Center on Sunday, Jan. 26, 2020, in Los Angeles. (Jordan Strauss/Jordan Strauss/Invision/AP)
Prine time: Bonnie Raitt was championing John Prine’s music from Day 1. Her version of the erstwhile Maywood mail carrier’s “Angel from Montgomery” still sends chills, and ushered in a well-deserved Lifetime Achievement award for the master songwriter.
Julie Andrews, hip again: The Ariana Grande “7 Rings” mashup with “My Favorite Things” turned Rodgers and Hammerstein’s ode to innocence into a bedroom fantasia. Clearly, the songwriting duo wrote melodies that hold up no matter how much recontextualizing they must endure.
Oops: “The academy sent his invitation to the wrong address,” Elvis Costello said in explaining the absence of his longtime bandmate Steve Nieve while accepting the award for best pop vocal album (“Look Now”). Costello was accompanied on stage by the other members of the Imposters, drummer Pete Thomas and bassist Davey Faragher, as well as coproducer Sebastian Krys.
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Chicago winner: That would be Michelle Obama, the sole Grammy winner from her hometown, for best spoken word album.
Gone, not forgotten: Beloved Los Angeles rapper, activist and community linchpin Nipsey Hussle was killed last year, but the artist claimed his first Grammy, for best rap performance with Roddy Rich and Hit-Boy for the song “Racks in the Middle.” The rapper’s grandmother accepted the honor with concise emotion: “I wanted to thank all of you for showing all the love that I have felt for him all of his life and will always live in my heart, so: thank you, thank you, thank you.”
Gone, not forgotten 2: Hussle received a gospel-infused tribute from a stage full of robed singers, dancers and countless collaborators and friends, including Meek Mill, DJ Khaled, John Legend, Kirk Franklin, et al. It was perhaps the most moving reminder of all that it was a staggering day for L.A. icons.
The long wait is over: Tanya Tucker was 13 when she scored a 1972 hit, “Delta Dawn,” which garnered her first Grammy nomination. Now 61, the country great finally won her first Grammys, for best country album (“While I’m Livin’”) and best country song (“Bring My Flowers Now”).
The long wait is over, Part 2: Gloria Gaynor notched her first Grammy 40 years ago for the immortal “I Will Survive,” and she finally won a second, for best roots gospel album (“Testimony”). She apparently has a spot all picked out for it at her home. “I’m at last able to balance out my piano,” Gaynor said.
greg@gregkot.com


chicagotribune--2020-01-26--Grammys winners 2020: Billie Eilish takes the top awards

Eilish won album of the year and pop vocal album ( for “ When We All Fall Asleep , Where @ @ @ @ @ ) , song of the year ( for “ Bad Guy ” ) , new @ @ @ @ @ for Finneas ’ work on “ When We All Fall Asleep ” ) , and @ @ @ @ @ non-classical ( Finneas ) .
He is a rare producer nominated for just one release @ @ @ @ @ for several ) alongside Jack Antonoff ( Taylor Swift , Lana Del Rey ) , @ @ @ @ @ , Yola ) , John Hill ( Khalid , Cage the Elephant , Carly Rae @ @ @ @ @ ( Lizzo , Maggie Rogers , Maren Morris ) .

Billie Eilish swept the top Grammy categories on Sunday night.
In their Grammys debut, Eilish and her brother/recording partner Finneas took home six awards.
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Eilish won album of the year and pop vocal album (for “When We All Fall Asleep, Where Do We Go?”), song of the year (for “Bad Guy”), new artist, engineered album (for Finneas’ work on “When We All Fall Asleep”), and producer of the year, non-classical (Finneas). He is a rare producer nominated for just one release (ordinarily producers are nominated for several) alongside Jack Antonoff (Taylor Swift, Lana Del Rey), Dan Auerbach (Black Keys, Yola), John Hill (Khalid, Cage the Elephant, Carly Rae Jepsen) and Ricky Reed (Lizzo, Maggie Rogers, Maren Morris).
[ Commentary: Grammys get it half right on a night of mourning ]
Following a performance from Ariana Grande, the superstar siblings took the stage, giving an intimate and emotional performance of "When the Party's Over," a single featured on Eilish's last album. Eilish captivated the room as she performed the ballad while perched on a stool while Finneas played the piano alongside her. Finneas applauded his little sister as she closed the song.
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They took the stage again after winning song of the year for “Bad Guy.” “I don’t even know what to say, I didn’t even think we’d win for this,” Finneas said.
Updated list of winners:
Record of the Year
“Bad Guy” -- Billie Eilish (WINNER)
“Hey, Ma” -- Bon Iver
“7 Rings” -- Ariana Grande
“Hard Place” -- H.E.R.
“Talk” -- Khalid
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“Old Town Road” -- Lil Nas X Featuring Billy Ray Cyrus
“Truth Hurts” -- Lizzo
“Sunflower” -- Post Malone & Swae Lee
Album of the Year
“When We All Fall Asleep, Where Do We Go?” -- Billie Eilish (WINNER)
“I, I” -- Bon Iver
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“Norman F--ing Rockwell!” -- Lana Del Rey
“Thank U, Next” -- Ariana Grande
“I Used To Know Her” -- H.E.R.
"7″ -- Lil Nas X
“Cuz I Love You” (Deluxe) -- Lizzo
“Father of the Bride” -- Vampire Weekend
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Expand Autoplay Image 1 of 99 Jeremy Most arrives at the 62nd annual Grammy Awards at the Staples Center on Sunday, Jan. 26, 2020, in Los Angeles. (Jordan Strauss/Jordan Strauss/Invision/AP)
Song of the Year
“Bad Guy” -- Billie Eilish O’Connell & Finneas O’Connell, songwriters (Billie Eilish) (WINNER)
“Always Remember Us This Way” -- Natalie Hemby, Lady Gaga, Hillary Lindsey & Lori McKenna, songwriters (Lady Gaga)
“Bring My Flowers Now” -- Brandi Carlile, Phil Hanseroth, Tim Hanseroth & Tanya Tucker, songwriters (Tanya Tucker)
“Hard Place” -- Ruby Amanfu, Sam Ashworth, D. Arcelious Harris. H.E.R. & Rodney Jerkins, songwriters (H.E.R.)
“Lover” -- Taylor Swift, songwriter (Taylor Swift)
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“Norman F--ing Rockwell” -- Jack Antonoff & Lana Del Rey, songwriters (Lana Del Rey)
“Someone You Loved” -- Tom Barnes, Lewis Capaldi, Pere Kelleher, Benjamin Kohn & Sam Roman, songwriters (Lewis Capaldi)
“Truth Hurts” -- Steven Cheung, Eric Frederic, Melissa Jefferson & Jesse Saint John, songwriters (Lizzo)
Best New Artist
Billie Eilish (WINNER)
Black Pumas
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Lil Nas X
Lizzo
Maggie Rogers
Rosalía
Tank and the Bangas
Yola
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POP FIELD
Best Pop Solo Performance:
“Truth Hurts” -- Lizzo (WINNER)
“Spirit” -- Beyoncé
“Bad Guy” -- Billie Eilish
“7 Rings” -- Ariana Grande
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“You Need To Calm Down” -- Taylor Swift
Best Pop Duo/Group Performance:
"Old Town Road" -- Lil Nas X & Billy Ray Cyrus (WINNER)
“Boyfriend” -- Ariana Grande & Social House
“Sucker” -- Jonas Brothers
“Señorita” -- Shawn Mendes & Camila Cabello
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Best Traditional Pop Vocal Album:
Look Now -- Elvis Costello & The Imposters (WINNER)
Sì -- Andrea Bocelli
Love (Deluxe Edition) -- Michael Bublé
A Legendary Christmas -- John Legend
Walls -- Barbra Streisand
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Best Pop Vocal Album:
When We All Fall Asleep, Where Do We Go -- Billie Eilish (WINNER)
The Lion King: The Gift -- Beyoncé
Thank U, Next -- Ariana Grande
No. 6 Collaborations Project -- Ed Sheeran
Lover -- Taylor Swift
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DANCE/ELECTRONIC FIELD
Best Dance Recording:
"Got To Keep On" -- The Chemical Brothers (WINNER)
“Linked” -- Bonobo
“Piece Of Your Heart” -- Meduza & Goodboys
“Underwater” -- Rüfüs Du Sol
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“Midnight Hour” -- Skrillex & Boys Noize With Ty Dolla $ign
Best Dance/Electronic Album:
No Geography -- The Chemical Brothers (WINNER)
LP5 -- Apparat
Hi This Is Flume (Mixtape) -- Flume
Solace -- Rüfüs Du Sol
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Weather -- Tycho
CONTEMPORARY INSTRUMENTAL MUSIC
Best Contemporary Instrumental Album:
Mettavolution -- Rodrigo y Gabriela (WINNER)
Ancestral Recall -- Christian Scott aTunde Adjuah
Star People Nation -- Theo Croker
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Beat Music! Beat Music! Beat Music! -- Mark Guiliana
Elevate -- Lettuce
ROCK
Best Rock Performance:
"This Land" -- Gary Clark Jr. (WINNER)
“Pretty Waste” -- Bones UK
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“History Repeats” -- Brittany Howard
“Woman” -- Karen O & Danger Mouse
“Too Bad” -- Rival Sons
Best Metal Performance:
"7empest" -- Tool (WINNER)
“Astorolus - The Great Octopus” -- Candlemass ft. Tony Iommi
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“Humanicide” -- Death Angel
“Bow Down” -- I Prevail
“Unleashed” -- Killswitch Engage
Best Rock Song:
"This Land" -- Gary Clark Jr., Songwriter (Gary Clark Jr.) (WINNER)
“Fear Inoculum” -- Danny Carey, Justin Chancellor, Adam Jones & Maynard James Keenan, Songwriters (Tool)
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“Give Yourself A Try” -- George Daniel, Adam Hann, Matthew Healy & Ross Macdonald, Songwriters (The 1975)
“Harmony Hall” -- Ezra Koenig, Songwriter (Vampire Weekend)
“History Repeats” -- Brittany Howard, Songwriter (Brittany Howard)
Best Rock Album:
Social Cues -- Cage The Elephant (WINNER)
Amo -- Bring Me The Horizon
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In The End -- The Cranberries
Trauma -- I Prevail
Feral Roots -- Rival Sons
ALTERNATIVE
Best Alternative Music Album:
Father of the Bride -- Vampire Weekend (WINNER)
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U.F.O.F. -- Big Theif
Assume Form -- James Blake
i,i -- Bon Iver
Anima -- Thom Yorke
R&B
Best R&B Performance:
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"Come Home" -- Anderson .Paak & André 300 (WINNER)
“Love Again” -- Daniel Caesar & Brandy
“Could’ve Been” -- H.E.R. & Bryson Tiller
“Exactly How I Feel” -- Lizzo & Gucci Mane
“Roll Some Mo” -- Lucky Daye
Best Traditional R&B Performance:
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"Jerome" -- Lizzo (WINNER)
“Time Today” -- BJ The Chicago Kid
“Steady Love” -- India.Arie
“Real Games” -- Lucky Daye
“Built For Love” -- PJ Morton & Jazmine Sullivan
Best R&B Song:
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"Say So" -- Pj Morton, Songwriter (Pj Morton Ft. Jojo) (WINNER)
“Could’ve Been” -- Dernst Emile Ii, David
“Swagg R’celious” Harris, H.E.R. & Hue
“Soundzfire” Strother, Songwriters (H.E.R. Ft. Bryson Tiller)
“Look At Me Now” -- Emily King & Jeremy Most, Songwriters (Emily King)
“No Guidance” -- Chris Brown, Tyler James Bryant, Nija Charles, Aubrey Graham, Anderson Hernandez, Michee Patrick Lebrun, Joshua Lewis, Noah Shebib & Teddy Walton, Songwriters (Chris Brown Ft. Drake)
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“Roll Some Mo” -- David Brown, Dernst Emile Ii & Peter Lee Johnson, Songwriters (Lucky Daye)
Best Urban Contemporary Album:
Cuz I Love You (Deluxe) -- Lizzo (WINNER)
Apollo XXI -- Steve Lacy
Overload -- Georgia Anne Muldrow
Saturn -- Nao
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Being Human In Public -- Jessie Reyez
Best R&B Album:
Venture -- Anderson .Paak (WINNER)
1123 -- BJ The Chicago Kid
Painted -- Lucky Daye
Ella Mai -- Ella Mai
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Paul -- PJ Morton
RAP
Best Rap Performance:
"Racks In The Middle" -- Nipsey Hussle ft. Roddy Ricch & Hit-boy (WINNER)
“Middle Child” -- J.Cole
“Suge” -- DaBaby
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“Down Bad” -- Dreamville ft. J.I.D, Bas, J. Cole, Earthgang & Young Nudy
“Clout” -- Offset ft. Cardi B
Best Rap/Sung Performance:
“Higher” -- DJ Khaled ft. Nipsey Hussle & John Legend (WINNER)
“Drip Too Hard” -- Lil Baby & Funna
“Panini” -- Lil Nas X
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“Ballin” -- Mustard ft. Roddy Ricch
“The London” -- Young Thug ft. J. Cole & Travis Scott
Best Rap Song:
"A Lot" -- Jermaine Cole, Dacoury Natche, 21 Savage & Anthony White, songwriters (21 Savage ft. J. Cole) (WINNER)
“Bad Idea” -- Chancelor Bennett, Cordae Dunston, Uforo Ebong & Daniel Hackett, songwriters (Ybn Cordae ft. Chance The Rapper)
“Gold Roses” -- Noel Cadastre, Aubrey Graham, Anderson Hernandez, Khristopher Riddick-tynes, William Leonard Roberts Ii, Joshua Quinton Scruggs, Leon Thomas Iii & Ozan Yildirim, songwriters (Rick Ross ft. Drake)
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“Racks In The Middle” -- Ermias Asghedom, Dustin James Corbett, Greg Allen Davis, Chauncey Hollis, Jr. & Rodrick Moore, songwriters (Nipsey Hussle ft. Roddy Ricch & Hit-boy)
“Suge” -- Dababy, Jetsonmade & Pooh Beatz, songwriters (Dababy)
Best Rap Album:
IGOR -- Tyler, The Creator (WINNER)
Revenge Of The Dreamers III -- Dreamville
Championships -- Meek Mill
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i am > i was -- 21 Savage
The Lost Boy -- YBN Cordae
COUNTRY
Best Country Solo Performance:
"Ride Me Back Home" -- Willie Nelson (WINNER)
“All Your’n” -- Tyler Childers
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“Girl Goin’ Nowhere” -- Ashley McBryde
“God’s Country” -- Blake Shelton
“Bring My Flowers Now” -- Tanya Tucker
Best Country Duo/Group Performance:
“Speechless” -- Dan & Shay (WINNER)
"Brand New Man" -- Brooks & Dunn with Luke Combs
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“I Don’t Remember Me (Before You)” -- Brothers Osborne
“The Daughters” -- Little Big Town
“Common” -- Maren Morris ft. Brandi Carlile
Best Country Song:
"Bring My Flowers Now" -- Brandi Carlile, Phil Hanseroth, Tim Hanseroth & Tanya Tucker, Songwriters (Tanya Tucker) (WINNER)
“Girl Goin’ Nowhere” -- Jeremy Bussey & Ashley Mcbryde, Songwriters (Ashley Mcbryde)
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“It All Comes Out In The Wash” -- Miranda Lambert, Hillary Lindsey, Lori Mckenna & Liz Rose, Songwriters (Miranda Lambert)
“Some Of It” -- Eric Church, Clint Daniels, Jeff Hyde & Bobby Pinson, Songwriters (Eric Church)
“Speechless” -- Shay Mooney, Jordan Reynolds, Dan Smyers & Laura Veltz, Songwriters (Dan + Shay)
Best Country Album:
While I'm Livin' -- Tanya Tucker (WINNER)
Desperate Man -- Eric Church
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Stronger Than The Truth -- Reba McEntire
Interstate Gospel -- Pistol Annies
Center Point Road -- Thomas Rhett
NEW AGE
Best New Age Album:
Wings -- Peter Kater (WINNER)
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Fairy Dreams -- David Arkenstone
Homage To Kindness -- David Darling
Verve -- Sebastian Plano
Deva -- Deva Premal
JAZZ
Best Improvised Jazz Solo:
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"Sozinho" -- Randy Brecker, soloist (WINNER)
“Elsewhere” -- Melissa Aldana, soloist
“Tomorrow Is The Question” -- Julian Lage, soloist
“The Windup” -- Brandford Marsalis, soloist
“Sightseeing” -- Christian McBride, soloist
Best Jazz Vocal Album:
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12 Little Spells -- Esperanza Spalding (WINNER)
Thirsty Ghost -- Sara Gazarek
Love & Liberation -- Jazzmeia Horn
Alone Together -- Catherine Russell
Screenplay -- The Tierney Sutton Band
Best Jazz Instrumental Album:
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Finding Gabriel -- Brad Mehldau (WINNER)
In The Key Of The Universe -- Joey DeFrancesco
The Secret Between The Shadow And The Soul -- Branford Marsalis Quartet
Christian McBride’s New Jawn -- Brad Mehldau
Come What May - Joshua Redman Quartet
Best Jazz Ensemble Album:
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The Omni-american Book Club -- Brian Lynch Big Band (WINNER)
Triple Helix -- Anat Cohen Tentet
Dancer In Nowhere -- Miho Hazama
Hiding Out -- Mike Holober & The Gotham Jazz Orchestra
One Day Wonder -- Terraza Big Band
Best Latin Jazz Album:
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Antidote -- Chick Corea & The Spanish Heart Band (WINNER)
Sorte!: Music By John Finbury -- Thalma De Freitas With Vitor Gonçalves, John Patitucci, Chico Pinheiro, Rogerio Boccato & Duduka Da FonsecaUna Noche Con Rubén
Blades -- Jazz At Lincoln Center Orchestra With Wynton Marsalis & Rubén Blades
Carib -- David Sánchez
Sonero: The Music Of Ismael Rivera -- Miguel Zenón
GOSPEL/CONTEMPORARY CHRISTIAN MUSIC
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Best Gospel Performance/Song:
“Love Theory”- Kirk Franklin; Kirk Franklin, Songwriter (WINNER)
“Talkin’ 'Bout Jesus” -- Gloria Gaynor ft. Yolanda Adams; Bryan Fowler, Gloria Gaynor & Chris Stevens, Songwriters
“See The Light” -- Travis Greene ft. Jekalyn Carr
“Speak The Name” -- Koryn Hawthorne ft. Natalie Grant
“This Is A Move (Live)” -- Tasha Cobbs Leonard; Tony Brown, Brandon Lake, Tasha Cobbs Leonard & Nate Moore, Songwriters
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Best Contemporary Christian Music Performance/Song:
"God Only Knows" -- for King & Country & Dolly Parton; Josh Kerr, Jordan Reynolds, Joel Smallbone, Luke Smallbone & Tedd Tjornhom, songwriters (WINNER)
"Only Jesus" -- Casting Crowns; Mark Hall, Bernie Herms & Matthew West, songwriters
“Haven’t Seen It Yet” -- Danny Gokey; Danny Gokey, Ethan Hulse & Colby Wedgeworth, songwriters
“God’s Not Done With You (Single Version)” -- Tauren Wells
“Rescue Story” -- Zach Williams; Ethan Hulse, Andrew Ripp, Jonathan Smith & Zach Williams, songwriters
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Best Gospel Album:
Long Live Love -- Kirk Franklin (WINNER)
Goshen -- Donald Lawrence Presents The Tri-City Singers
Tunnel Vision -- Gene Moore
Settle Here -- William Murphy
Something’s Happening! A Christmas Album -- CeCe Winans
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Best Contemporary Christian Music Album:
Burn The Ships -- for King & Country (WINNER)
I Know A Ghost -- Crowder
Haven’t Seen It Yet -- Danny Gokey
The Elements -- TobyMac
Holy Roar -- Chris Tomlin
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Best Roots Gospel Album:
Testimony -- Gloria Gaynor (WINNER)
Deeper Roots: Where The Bluegrass
Grows -- Steven Curtis Chapman
Deeper Oceans -- Joseph Habedank
His Name Is Jesus -- Tim Menzies
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Gonna Sing, Gonna Shout (Various Artists) -- Jerry Salley, producer
LATIN
Best Latin Pop Album:
#ELDISCO -- Alejandro Sanz (WINNER)
Vida -- Luis Fonsi
11:11 -- Maluma
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Montaner -- Ricardo Montaner
Fantasía -- Sebastian Yatra
Best Latin Rock, Urban or Alternative Album:
El Mal Querer - Rosalía (WINNER)
X 100PRE -- Bad Bunny
Oasis -- J Balvin & Bad Bunny
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Indestructible -- Flor De Toloache
Almadura -- iLe
Best Regional Mexican Music Album (Including Tejano):
De Ayer Para Siempre -- Mariachi Los Camperos (WINNER)
Caminando -- Joss Favela
Percepción -- Intocable
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Poco A Poco -- La Energia Norteña
20 Aniversario -- Mariachi Divas De Cindy Shea
Best Tropical Latin Album:
Opus -- Marc Anthony (WINNER - TIE)
A Journey Through Cuban Music -- Aymée Nuviola (WINNER - TIE)
Tiempo Al Tiempo -- Luis Enrique + C4 Trio
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Candela -- Vicente García
Literal -- Juan Luis Guerra 4.40
AMERICAN ROOTS MUSIC
Best American Roots Performance:
"Saint Honesty" -- Sara Bareilles (WINNER)
“Call My Name” -- I’m With Her
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“Father Mountain” -- Calexico With Iron & Wine
“I’m On My Way” -- Rhiannon Giddens With Francesco Turrisi
“Faraway Look” -- Yola
Best American Roots Song:
"Call My Name" -- Sarah Jarosz, Aoife O'donovan & Sara Watkins, songwriters (I'm With Her) (WINNER)
“Black Myself” -- Amythyst Kiah, songwriter (Our Native Daughters)
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“Crossing To Jerusalem” -- Rosanne Cash & John Leventhal, songwriters (Rosanne Cash)
“Faraway Look” -- Dan Auerbach, Yola Carter & Pat Mclaughlin, songwriters (Yola)
“I Don’t Wanna Ride The Rails No More” -- Vince Gill, songwriter (Vince Gill)
Best Americana Album:
Oklahoma -- Keb' Mo' (WINNER)
Years To Burn -- Calexico And Iron & Wine
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Who Are You Now -- Madison Cunningham
Tales Of America -- J.S. Ondara
Walk Through Fire -- Yola
Best Bluegrass Album:
Tall Fiddler -- Michael Cleveland (WINNER)
Live In Prague, Czech Republic -- Doyle Lawson & Quicksilver
Toil, Tears & Trouble -- The Po’ Ramblin’ Boys
Royal Traveller -- Missy Raines
If You Can’t Stand The Heat -- Frank Solivan & Dirty Kitchen
Best Traditional Blues Album:
Tall, Dark & Handsome -- Delbert McClinton & Self-made Men (WINNER)
Kingfish -- Christone “Kingfish” Ingram
Sitting On Top Of The Blues -- Bobby Rush
Baby, Please Come Home -- Jimmie Vaughan
Spectacular Class -- Jontavious Willis
Best Contemporary Blues Album:
This Land -- Gary Clark Jr. (WINNER)
Venom & Faith -- Larkin Poe
Brighter Days -- Robert Randolph & The Family Band
Somebody Save Me -- Sugaray Rayford
Keep On -- Southern Avenue
Best Folk Album:
Patty Griffin -- Patty Griffin (WINNER)
My Finest Work Yet -- Andrew Bird
Rearrange My Heart -- Che Apalache
Evening Machines -- Gregory Alan Isakov
Front Porch -- Joy Williams
Best Regional Roots Music Album:
Good Time -- Ranky Tanky (WINNER)
Kalawai’anui -- Amy Hānaiali’i
When It’s Cold - Cree Round Dance Songs -- Northern Cree
Recorded Live At The 2019 New Orleans Jazz & Heritage Festival -- Rebirth Brass Band
Hawaiian Lullaby (Various Artists) -- Imua Garza & Kimié Miner, Producers
REGGAE
Best Reggae Album:
Rapture -- Koffee (WINNER)
As I Am -- Julian Marley
The Final Battle: Sly & Robbie Vs. Roots Radics -- Sly & Robbie & Roots Radics
Mass Manipulation -- Steel Pulse
More Work To Be Done -- Third World
WORLD MUSIC
Best World Music Album:
Celia -- Angelique Kidjo (WINNER)
Gece -- Altin Gün
What Heat -- Bokanté & Metropole Orkest Conducted By Jules Buckley
African Giant -- Burna Boy
Fanm D’ayiti -- Nathalie Joachim With Spektral Quartet
CHILDREN'S
Best Children's Music Album:
Ageless Songs For The Child Archetype -- Jon Samson (WINNER)
Flying High! -- Caspar Babypants
I Love Rainy Days -- Daniel Tashian
The Love -- Alphabet Rockers
Winterland -- The Okee Dokee Brothers
SPOKEN WORD
Best Spoken Word Album (Includes Poetry, Audio Books & Storytelling):
Becoming -- Michelle Obama (WINNER)
Beastie Boys Book (Various Artists) -- Michael Diamond, Adam Horovitz, Scott Sherratt & Dan Zitt, producers
I.V. Catatonia: 20 Years As A Two-Time Cancer Survivor -- Eric Alexandrakis
Mr. Know-It-All -- John Waters
Sekou Andrews & The String Theory -- Sekou Andrews & The String Theory
Comedy
Best Comedy Album:
Sticks & Stones -- Dave Chappelle (WINNER)
Quality Time -- Jim Gaffigan
Relatable -- Ellen Degeneres
Right Now -- Aziz Ansari
Son Of Patricia -- Trevor Noah
MUSICAL THEATER
Best Musical Theater Album:
Hadestown -- Reeve Carney, André De Shields, Amber Gray, Eva Noblezada & Patrick Page, principal soloists; Mara Isaacs, David Lai, Anaïs Mitchell & Todd Sickafoose, producers (Anaïs Mitchell, composer & lyricist) (Original Broadway Cast) (WINNER)
Ain’t Too Proud: The Life And Times Of The Temptations -- Saint Aubyn, Derrick Baskin, James Harkness, Jawan M. Jackson, Jeremy Pope & Ephraim Sykes, principal soloists; Scott M. Riesett, producer (Original Broadway Cast)
Moulin Rouge! The Musical -- Danny Burstein, Tam Mutu, Sahr Ngaujah, Karen Olivo & Aaron Tveit, principal soloists; Justin Levine, Baz Luhrmann, Matt Stine & Alex Timbers, producers (Original Broadway Cast)
The Music Of Harry Potter And The Cursed Child - In Four Contemporary Suites -- Imogen Heap, producer; Imogen Heap, composer (Imogen Heap)Oklahoma! -- Damon Daunno, Rebecca Naomi Jones, Ali Stroker, Mary Testa & Patrick Vaill, principal soloists; Daniel Kluger & Dean Sharenow, producers (Richard Rodgers, composer; Oscar Hammerstein II, lyricist) (2019 Broadway Cast)
MUSIC FOR VISUAL MEDIA
Best Compilation Soundtrack For Visual Media:
A Star Is Born -- Lady Gaga & Bradley Cooper (WINNER)
The Lion King: The Songs -- (Various Artists)
Quentin Tarantino’s Once Upon A Time In Hollywood -- (Various Artists)
Rocketman -- Taron Egerton
Spider-Man: Into The Spider-Verse -- (Various Artists)
Best Score Soundtrack For Visual Media:
Chernobyl -- Hildur Guðnadóttir, composer (WINNER)
Avengers: Endgame -- Alan Silvestri, composer
Game Of Thrones: Season 8 -- Ramin Djawadi, composer
The Lion King -- Hans Zimmer, composer
Mary Poppins Returns -- Marc Shaiman, composer
Best Song Written For Visual Media:
"I'll Never Love Again (Film Version)" -- Natalie Hemby, Lady Gaga, Hillary Lindsey & Aaron Raitiere, songwriters (Lady Gaga & Bradley Cooper); Track from: A Star Is Born (WINNER)
“The Ballad Of The Lonesome Cowboy” -- Randy Newman, songwriter (Chris Stapleton); Track from: “Toy Story 4″
”Girl In The Movies" -- Dolly Parton & Linda Perry, songwriters (Dolly Parton); Track from: “Dumplin'"
”Spirit" -- Beyoncé Knowles-Carter, Timothy McKenzie & Ilya Salmanzadeh, songwriters (Beyoncé); Track from: “The Lion King"
”Suspirium" -- Thom Yorke, songwriter (Thom Yorke); Track from: “Suspiria”
COMPOSING/ARRANGING
Best Instrumental Composition:
"Star Wars: Galaxy's Edge Symphonic Suite" -- John Williams, composer (John Williams) (WINNER)
“Begin Again” -- Fred Hersch, composer (Fred Hersch & The WDR Big Band Conducted By Vince Mendoza)
“Crucible For Crisis” -- Brian Lynch, composer (Brian Lynch Big Band)
“Love, A Beautiful Force” -- Vince Mendoza, composer (Vince Mendoza, Terell Stafford, Dick Oatts & Temple University Studio Orchestra)
“Walkin’ Funny” -- Christian McBride, composer (Christian McBride)
Best Arrangement, Instrumental or A Cappella:
"Moon River" -- Jacob Collier, arranger (Jacob Collier) (WINNER)
“Blue Skies” -- Kris Bowers, arranger (Kris Bowers)
“Hedwig’s Theme” -- John Williams, arranger (Anne-Sophie Mutter & John Williams)
“La Novena” -- Emilio Solla, arranger (Emilio Solla Tango Jazz Orchestra)
“Love, A Beautiful Force” -- Vince Mendoza, arranger (Vince Mendoza, Terell Stafford, Dick Oatts & Temple University Studio Orchestra)
Best Arrangement, Instruments and Vocals:
"All Night Long" -- Jacob Collier, arranger (Jacob Collier Featuring Jules Buckley, Take 6 & Metropole Orkest) (WINNER)
“Jolene” -- Geoff Keezer, arranger (Sara Gazarek)
“Marry Me A Little” -- Cyrille Aimée & Diego Figueiredo, arrangers (Cyrille Aimée)
“Over The Rainbow” -- Vince Mendoza, arranger (Trisha Yearwood)
“12 Little Spells (Thoracic Spine)” -- Esperanza Spalding, arranger (Esperanza Spalding)
PACKAGE
Best Recording Package:
Chris Cornell -- Barry Ament, Jeff Ament, Jeff Fura & Joe Spix, art directors (Chris Cornell) (WINNER)
Anónimas & Resilientes -- Luisa María Arango, Carlos Dussan, Manuel García-Orozco & Juliana Jaramillo-Buenaventura, art directors (Voces Del Bullerengue)
Hold That Tiger -- Andrew Wong & Fongming Yang, art directors (The Muddy Basin Ramblers)
i,i -- Aaron Anderson & Eric Timothy Carlson, art directors (Bon Iver)
Intellexual -- Irwan Awalludin, art director (Intellexual)
Best Boxed or Special Limited Edition Package:
Woodstock: Back To The Garden - The Definitive 50th Anniversary Archive -- Masaki Koike, art director (Various Artists) (WINNER)
Anima -- Stanley Donwood & Tchocky, art directors (Thom Yorke)
Gold In Brass Age -- Amanda Chiu, Mark Farrow & David Gray, art directors (David Gray)
1963: New Directions -- Josh Cheuse, art director (John Coltrane)
The Radio Recordings 1939-1945 -- Marek Polewski, art director (Wilhelm Furtwängler & Berliner Philharmoniker)
NOTES
Best Album Notes:
Stax '68: A Memphis Story -- Steve Greenberg, album notes writer (Various Artists) (WINNER)
The Complete Cuban Jam Sessions -- Judy Cantor-Navas, album notes writer (Various Artists)
The Gospel According To Malaco -- Robert Marovich, album notes writer (Various Artists)Pedal Steel + Four Corners -- Brendan Greaves, album notes writer (Terry Allen And The Panhandle Mystery Band)
Pete Seeger: The Smithsonian Folkways Collection -- Jeff Place, album notes writer (Pete Seeger)
HISTORICAL
Best Historical Album:
Pete Seeger: The Smithsonian Folkways Collection -- Jeff Place & Robert Santelli, compilation producers; Pete Reiniger, mastering engineer (Pete Seeger) (WINNER)
The Girl From Chickasaw County - The Complete Capitol Masters -- Andrew Batt & Kris Maher, compilation producers; Simon Gibson, mastering engineer (Bobbie Gentry)
The Great Comeback: Horowitz At Carnegie Hall -- Robert Russ, compilation producer; Andreas K. Meyer & Jennifer Nulsen, mastering engineers (Vladimir Horowitz)
Kankyo Ongaku: Japanese Ambient, Environmental & New Age Music 1980-1990 -- Spencer Doran, Yosuke Kitazawa, Douglas Macgowan & Matt Sullivan, compilation producers; John Baldwin, mastering engineer (Various Artists)
Woodstock: Back To The Garden - The Definitive 50th Anniversary Archive -- Brian Kehew, Steve Woolard & Andy Zax, compilation producers; Dave Schultz, mastering engineer, Brian Kehew, restoration engineer (Various Artists)
PRODUCTION, NON-CLASSICAL
Best Engineered Album, Non-Classical:
When We All Fall Asleep, Where Do We Go? -- Rob Kinelski & Finneas O'Connell, engineers; John Greenham, mastering engineer (Billie Eilish) (WINNER)
All These Things -- Tchad Blake, Adam Greenspan & Rodney Shearer, engineers; Bernie Grundman, mastering engineer (Thomas Dybdahl)
Ella Mai -- Chris “Shaggy” Ascher, Jaycen Joshua & David Pizzimenti, engineers; Chris Athens, mastering engineer (Ella Mai)
Run Home Slow -- Paul Butler & Sam Teskey, engineers; Joe Carra, mastering engineer (The Teskey Brothers)
Scenery -- Tom Elmhirst, Ben Kane & Jeremy Most, engineers; Bob Ludwig, mastering engineer (Emily King)
Producer Of The Year, Non-Classical:
Finneas (WINNER)
Jack Antonoff
Dan Auerbach
John Hill
Ricky Reed
Best Remixed Recording:
"I Rise (Tracy Young's Pride Intro Radio Remix)" -- Tracy Young, remixer (Madonna) (WINNER)
“Mother’s Daughter (Wuki Remix)” -- Wuki, remixer (Miley Cyrus)
“The One (High Contrast Remix)”- Lincoln Barrett, remixer (Jorja Smith)
“Swim (Ford. Remix)” -- Luc Bradford, remixer (Mild Minds)
“Work It (Soulwax Remix)” -- David Gerard C Dewaele & Stephen Antoine C Dewaele, remixers (Marie Davidson)
PRODUCTION, IMMERSIVE AUDIO
Best Immersive Audio Album:
Lux -- Morten Lindberg, immersive audio engineer; Morten Lindberg, immersive audio mastering engineer; Morten Lindberg, immersive audio producer (Anita Brevik, Trondheimsolistene & Nidarosdomens Jentekor) (WINNER)
Chain Tripping -- Luke Argilla, immersive audio engineer; Jurgen Scharpf, immersive audio mastering engineer; Jona Bechtolt, Claire L. Evans & Rob Kieswetter, immersive audio producers (Yacht)
Kverndokk: Symphonic Dances -- Jim Anderson, immersive audio engineer; Robert C. Ludwig, immersive audio mastering engineer; Ulrike Schwarz, immersive audio producer (Ken-David Masur & Stavanger Symphony Orchestra)
The Orchestral Organ -- Keith O. Johnson, immersive audio engineer; Keith O. Johnson, immersive audio mastering engineer; Marina A. Ledin & Victor Ledin, immersive audio producers (Jan Kraybill)
The Savior -- Bob Clearmountain, immersive audio engineer; Bob Ludwig, immersive audio mastering engineer; Michael Marquart & Dave Way, immersive audio producers (A Bad Think)
PRODUCTION, CLASSICAL
Best Engineered Album, Classical:
Riley: Sun Rings -- Leslie Ann Jones, engineer; Robert C. Ludwig, mastering engineer (Kronos Quartet) (WINNER)
Aequa - Anna Thorvaldsdóttir -- Daniel Shores, engineer; Daniel Shores, mastering engineer (International Contemporary Ensemble)
Bruckner: Symphony No. 9 -- Mark Donahue, engineer; Mark Donahue, mastering engineer (Manfred Honeck & Pittsburgh Symphony Orchestra)
Rachmaninoff - Hermitage Piano Trio -- Keith O. Johnson & Sean Royce Martin, engineers; Keith O. Johnson, mastering engineer (Hermitage Piano Trio)
Wolfe: Fire In My Mouth -- Bob Hanlon & Lawrence Rock, engineers; Ian Good & Lawrence Rock, mastering engineers (Jaap Van Zweden, Francisco J. Núñez, Donald Nally, The Crossing, Young People’s Chorus Of NY City & New York Philharmonic)
Producer Of The Year, Classical:
Blanton Alspaugh (WINNER)
James Ginsburg
Marina A. Ledin, Victor Ledin
Morten Lindberg
Dirk Sobotka
CLASSICAL
Best Orchestral Performance:
"Norman: Sustain" -- Gustavo Dudamel, conductor (Los Angeles Philharmonic) (WINNER)
“Bruckner: Symphony No. 9” -- Manfred Honeck, conductor (Pittsburgh Symphony Orchestra)
“Copland: Billy The Kid; Grohg” -- Leonard Slatkin, conductor (Detroit Symphony Orchestra)
“Transatlantic” -- Louis Langrée, conductor (Cincinnati Symphony Orchestra)
"Weinberg: Symphonies Nos. 2 & 21″ -- Mirga Gražinytė-tyla, conductor (City Of Birmingham Symphony Orchestra & Kremerata Baltica)
Best Opera Recording:
"Picker: Fantastic Mr. Fox" -- Gil Rose, conductor; John Brancy, Andrew Craig Brown, Gabriel Preisser, Krista River & Edwin Vega; Gil Rose, producer (Boston Modern Orchestra Project; Boston Children's Chorus) (WINNER)
“Benjamin: Lessons In Love & Violence” -- George Benjamin, conductor; Stéphane Degout, Barbara Hannigan, Peter Hoare & Gyula Orendt; James Whitbourn, producer (Orchestra Of The Royal Opera House)
“Berg: Wozzeck” -- Marc Albrecht, conductor; Christopher Maltman & Eva-Maria Westbroek; François Roussillon, producer (Netherlands Philharmonic Orchestra; Chorus Of Dutch National Opera)
“Charpentier: Les Arts Florissants; Les Plaisirs De Versailles” -- Paul O’Dette & Stephen Stubbs, conductors; Jesse Blumberg, Teresa Wakim & Virginia Warnken; Renate Wolter-Seevers, producer (Boston Early Music Festival Chamber Ensemble; Boston Early Music Festival Vocal Ensemble)
“Wagner: Lohengrin” -- Christian Thielemann, conductor; Piotr Beczała, Anja Harteros, Tomasz Konieczny, Waltraud Meier & Georg Zeppenfeld; Eckhard Glauche, producer (Festspielorchester Bayreuth; Festspielchor Bayreuth)
Best Choral Performance:
"Duruflé: Complete Choral Works" -- Robert Simpson, conductor (Ken Cowan; Houston Chamber Choir) (WINNER)
“Boyle: Voyages” -- Donald Nally, conductor (The Crossing)
“The Hope Of Loving” -- Craig Hella Johnson, conductor (Conspirare)
“Sander: The Divine Liturgy Of St. John Chrysostom” -- Peter Jermihov, conductor (Evan Bravos, Vadim Gan, Kevin Keys, Glenn Miller & Daniel Shirley; PaTRAM Institute Singers)
“Smith, K.: The Arc In The Sky” -- Donald Nally, conductor (The Crossing)
Best Chamber Music/Small Ensemble Performance:
"Shaw: Orange" -- Attacca Quartet (WINNER)
“Cerrone: The Pieces That Fall To Earth” -- Christopher Rountree & Wild Up
“Freedom & Faith” -- Publiquartet
“Perpetulum” -- Third Coast Percussion
“Rachmaninoff” - Hermitage Piano Trio -- Hermitage Piano Trio
Best Classical Instrumental Solo:
"Marsalis: Violin Concerto; Fiddle Dance Suite" -- Nicola Benedetti; Cristian Măcelaru, conductor (Philadelphia Orchestra) (WINNER)
“The Berlin Recital” -- Yuja Wang
“Higdon: Harp Concerto” -- Yolanda Kondonassis; Ward Stare, conductor (The Rochester Philharmonic Orchestra)
“The Orchestral Organ” -- Jan Kraybill
“Torke: Sky, Concerto For Violin” -- Tessa Lark; David Alan Miller, conductor (Albany Symphony)
Best Classical Solo Vocal Album:
Songplay -- Joyce Didonato; Chuck Israels, Jimmy Madison, Charlie Porter & Craig Terry, accompanists (Steve Barnett & Lautaro Greco) (WINNER)
The Edge Of Silence - Works For Voice By György Kurtág -- Susan Narucki (Donald Berman, Curtis Macomber, Kathryn Schulmeister & Nicholas Tolle)
Himmelsmusik -- Philippe Jaroussky & Céline Scheen; Christina Pluhar, conductor; L’arpeggiata, ensemble (Jesús Rodil & Dingle Yandell)
Schumann: Liederkreis Op. 24, Kerner-lieder Op. 35 -- Matthias Goerne; Leif Ove Andsnes, accompanist
A Te, O Cara -- Stephen Costello; Constantine Orbelian, conductor (Kaunas City Symphony Orchestra)
Best Classical Compendium:
The Poetry Of Places -- Nadia Shpachenko; Marina A. Ledin & Victor Ledin, producers (WINNER)
American Originals 1918 -- John Morris Russell, conductor; Elaine Martone, producer
Leshnoff: Symphony No. 4 ‘heichalos’; Guitar Concerto; Starburst -- Giancarlo Guerrero, conductor; Tim Handley, producer
Meltzer: Songs And Structures -- Paul Appleby & Natalia Katyukova; Silas Brown & Harold Meltzer, producers
Saariaho: True Fire; Trans; Ciel D’hiver -- Hannu Lintu, conductor; Laura Heikinheimo, producer
Best Contemporary Classical Composition:
Higdon: Harp Concerto -- Jennifer Higdon, composer (Yolanda Kondonassis, Ward Stare & The Rochester Philharmonic Orchestra) (WINNER)
Bermel: Migration Series For Jazz Ensemble & Orchestra -- Derek Bermel, composer (Derek Bermel, Ted Nash, David Alan Miller, Juilliard Jazz Orchestra & Albany Symphony Orchestra)
Marsalis: Violin Concerto In D Major -- Wynton Marsalis, composer (Nicola Benedetti, Cristian Măcelaru & Philadelphia Orchestra)
Norman: Sustain -- Andrew Norman, composer (Gustavo Dudamel & Los Angeles Philharmonic)
Shaw: Orange -- Caroline Shaw, composer (Attacca Quartet)
Wolfe: Fire In My Mouth -- Julia Wolfe, composer (Jaap Van Zweden, Francisco J. Núñez, Donald Nally, The Crossing, Young People’s Chorus Of NY City & New York Philharmonic)
MUSIC VIDEO/FILM
Best Music Video:
"Old Town Road (Official Movie)" -- Lil Nas X & Billy Ray Cyrus, Calmatic, video director; Candice Dragonas, Melissa Larsen & Saul Levitz, video producers (WINNER)
“We’ve Got To Try” -- The Chemical Brothers, Ellie Fry, video director; Ninian Doff, video producer
“This Land” -- Gary Clark Jr., Savanah Leaf, video director; Alicia Martinez, video producer
“Cellophane” -- FKA twigs, Andrew Thomas Huang, video director; Alex Chamberlain, video producer
“Glad He’s Gone” -- Tove Lo, Vania Heymann & Gal Muggia, video directors; Natan Schottenfels, video producer
Best Music Film:
HOMECOMING -- Beyoncé, Beyoncé Knowles-Carter & Ed Burke, video directors; Dora Melissa Vargas, video producer (WINNER)
Remember My Name -- David Crosby, A.J. Eaton, video director; Cameron Crowe, Michele Farinola & Greg Mariotti, video producers
Birth Of The Cool -- Miles Davis, Stanley Nelson, video director; Nicole London, video producer
Shangri-la -- Various Artists,Morgan Neville, video director; Emma Baiada, video producer
Anima -- Thom Yorke, Paul Thomas Anderson, video director; Paul Thomas Anderson, Erica Frauman & Sara Murphy, video producers


chicagotribune--2020-01-26--Billie Eilish wins big at Grammys

Billie Eilish wins big at Grammys

“ Here we are together on music ’ s biggest night celebrating the artists that do it best , but @ @ @ @ @ we are all feeling crazy sadness right now , ” Keys said as she entered @ @ @ @ @ “ Los Angeles , America and the world-wide world lost a hero .
”

The edgy, avant-pop album that siblings Billie Eilish and Finneas created in a small bedroom made a big splash at the 2020 Grammy Awards, winning 11 honors for the musical family.
“When We All Fall sleep, Where Do We Go?” — created in the musicians’ Los Angeles home — helped Eilish win the top four honors, including album, song and record of the year, along with best new artist. The 18-year-old is the young artist to achieve the feat.
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Finneas — who co-wrote, produced and engineered the album, walked away as Sunday’s top winner with six. Eilish won five honors.
Together, they also won best pop vocal album, while Finneas’ individual honors included home producer of the year (non-classical) and best engineered album (non-classical).
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“This is my first Grammys. I never thought this would happen in my whole life,” Eilish said. “I genuinely wanna say I am so grateful and I only wanna say that I am so grateful.”
Finneas added that they “just make music in a bedroom together and we still do that.”
“This is to all the kids who are making music in the bedroom today — you’re going to get one of these,” Finneas said.
[ Billie Eilish wins big at the Grammys. See the full list of winners here. ]
The bedroom where they created magic was brought to life when they hit the stage and performed “When the Party’s Over,” which featured Finneas on keys and Eilish singing in a soft, pitch perfect tone.
Los Angeles, where the show was held, had a central theme at the show Sunday: local icons Kobe Bryant and Nipsey Hussle were honored and celebrated at the show.
The Grammys kicked off with a performance in honor of Bryant, who died hours before the awards began. And later in the show Hussle’s collaborators and friends, including DJ Khaled, John Legend, Meek Mill, Kirk Franklin, Roddy Ricch and YG, gave an all-star tribute to the man who died last year.
Hussle also posthumously won his first pair of Grammys.
[ Commentary: Grammys get it half right on a night of mourning ]
Filmmaker Ava DuVernay introduced the performance, which featured band players, background dancers and Legend wearing traditional Ethiopian and Eritrean clothing in honor of Hussle’s African roots. Mill performed a new song called “Letter to Nipsey” while others joined together for “Higher,” which won best rap/sung performance.
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“This is for Nipsey Hussle. This is for hip-hop,” said DJ Khaled, who collaborated on the song with Legend and Hussle, whose family stood onstage.
“We all love him. We all miss him. It’s terrible that we had to lose him so early,” Legend said. “We’ve seen some tragedy today and last year ... let’s hold each tight.”
During the pre-ceremony, Hussle’s “Racks in the Middle” picked up best rap performance.
The show — which took place at the Staples Center, Bryant’s stomping ground — kicked off with a touching, emotional and a cappella performance of “It’s So Hard to Say Goodbye to Yesterday” by host Alicia Keys and Boyz II Men.
Expand Autoplay Image 1 of 99 Jeremy Most arrives at the 62nd annual Grammy Awards at the Staples Center on Sunday, Jan. 26, 2020, in Los Angeles. (Jordan Strauss/Jordan Strauss/Invision/AP)
“Here we are together on music’s biggest night celebrating the artists that do it best, but to be honest with you we are all feeling crazy sadness right now,” Keys said as she entered the stage, adding that “Los Angeles, America and the world-wide world lost a hero.”
She said the audience was “heartbroken in the house that Kobe Bryant built.”
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“Right now Kobe and his daughter Gianna ... are in our spirits, they’re in our hearts, they’re in prayers, they’re in this building,” she added. “Take a moment and hold them inside of you and share our strength and our support with their families.”
Before the show officially honored Bryant, Lizzo performed the songs “Truth Hurts” and “Cuz I Love You,” saying at the top of the show: “Tonight is for Kobe.”
Lizzo won three honors Sunday, including best pop solo performance for “Truth Hurts” and two R&B awards.
“Hold on one second,” she said, catching her breathe. “Thank you to the academy. This is really (expletive) sick.”
Lizzo was among the mix of newcomers and well-known acts who reached their goals of winning their first-ever Grammy Awards on Sunday, which also included Tanya Tucker, J. Cole, Billie Eilish, Lil Nas X, Billy Ray Cyrus, Michelle Obama, Sara Bareilles, Rosalía, 21 Savage and Tyler, the Creator.
“To my mother, you did a great job raising this guy,” Tyler, who won best rap album, said to his mom, who was onstage and crying by side.
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More crying took place Sunday.
[ The best tweets we saw during the Grammys 2020 ]
Demi Lovato, who has mostly taken a break from the public since focusing on her recovery after reportedly overdosing in July 2018, gave a stirring, vocally top-notch performance that earned her a standing ovation. She was so emotional that she had to restart the song as a teardrop ran down her cheek.
Camila Cabello’s performance of “First Man” — a song dedicated to her father — also induced tears. Cabello walked off the stage to her dad’s seat to finish singing him the song in front of him, while he teared up. Audience members were emotional, too, including Gwen Stefani.
Ariana Grande had a lengthy performance — probably to make up for the drama that surrounded her axed performance last year. Run DMC joined forces with Aerosmith to rock the Grammys stage, while Usher, Sheila E. and FKA twigs paid tribute to Prince.
Lil Nas X brought the story of “Old Town Road” to life by performing alongside the artists who helped the song stay at No. 1 for 19 weeks through various remixes, including BTS, Mason Ramsey, Diplo and the track’s main co-star, Billy Ray Cyrus.
Veteran rapper Nas then joined Lil Nas X for a new song, shouting out Bryant at the end: “Kobe, we love you.”
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A dark cloud loomed over ceremony since the Recording Academy announced it had put its recently hired CEO, Deborah Dugan, on administrative leave for misconduct. Dugan and her lawyers fired back at the academy, claiming that the awards show is rigged.
But no mention of Dugan was directly made during the three-plus-hour show.


chicagotribune--2020-01-26--Lincolnwood adjusts ‘insane’ pool fees for non-residents, slightly raises fees for residents

“ Lincolnwood pool is a jewel and a gem in our community , ” she continued .
“ I ’ @ @ @ @ @ 28 years .
People want to come here , people want to spend money , @ @ @ @ @ But we do need controls and policies .
Not anyone should be able to come @ @ @ @ @ can afford to pay the fees .
”

The cost of a season pass for a four-person family at Lincolnwood’s Proesel Park Family Aquatic Center was $203 last year. The price of the same pass for a non-resident family: $678, or more than three times as much.
Lincolnwood’s Parks and Recreation Department has fielded complaints for several years about the village’s “insane” pool fees for non-residents, as one survey respondent put it.
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On Tuesday, the Village Board approved a new pool fee structure that lowers the cost of season passes for non-residents while slightly increasing the price of season passes for residents. The Board also raised the cost of daily passes, from $8 to $9 for residents and from $14 to $18 for non-residents.
A non-resident family of four will now pay $586 for a season pass, $92 less than previously. The cost of season passes for non-residents is still 2.75 times more than for residents, and Lincolnwood’s non-resident prices remain significantly higher than in surrounding municipalities, including Wilmette, Skokie, Park Ridge and Deerfield.
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Parks and Recreation staff said that due in part to the high cost, fewer non-residents have been buying season passes, leading to a combined $64,000 decrease in revenue from non-resident passes over the past two years.
The decline is troubling given that last year, the village generated more than three-and-a-half times as much revenue from non-resident season passes (about $312,000) compared to resident season passes (about $87,000), said Melissa Rimdzius-Marsh, director of Parks and Recreation
“This is important because the Aquatic Center really relies on resident and non-resident entry fees to operate and to make any future improvements,” said Rimdzius-Marsh, adding that pool fees are one of the department’s two primary sources of revenue, along with camp enrollment fees. “We’re seeing this downward trend, and we want to be proactive in taking action before this trend continues.”
The move to attract more non-residents by lowering the price of season passes comes two years after a village survey conducted in 2018, in which respondents stated that the cost of a season pool pass for non-residents had become “exorbitant,” and that many families had stopped buying passes because of the cost.
“We LOVE this pool and encourage all the parents at our Chicago school to join,” one respondent stated. “It is getting too expensive for my family of 3 to join so sadly I might have to tell my kids we can’t do it this year.”
The new fee structure approved Tuesday also simplifies the cost of season passes for residents based on family size. Whereas the previous rates increased by unequal amounts for each additional family member, the new rates set a $50 increase for a second family member and a $30 increase for each additional member.
For residents, the cost of an individual season pass will remain at $103 this year. A four-person family will pay $212, an increase of $10 from last year.
In addition to approving the new pool rates, the Village Board delayed action on two proposals related to non-residents who attend the Aquatic Center. One proposal would lift the current cap on season pass sales to non-residents, while the other would eliminate the requirement that non-residents be accompanied by a resident or pass holder.
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Both proposals were recommended by the Parks and Recreation Board in a 4-0 vote during its Jan. 14 meeting. But three of the Park Board’s seven commissioners were not at the meeting, including Commissioner Laura Tomacic, who said the matter should be returned to the Park Board for further discussion.
“I feel that we need to hear all sides, and I am here at the request of other commissioners who were not able to be at the meeting,” Tomacic said.
“Lincolnwood pool is a jewel and a gem in our community,” she continued. “I’ve lived in Lincolnwood for 28 years. People want to come here, people want to spend money, people want to swim. But we do need controls and policies. Not anyone should be able to come in, even if they can afford to pay the fees.”
Tomacic said she hadn’t heard from one resident who thought it was a good idea to lift restrictions on pool access for non-residents.
After hearing Tomacic’s comments, the Village Board voted to send the two proposals back to the Park Board for further consideration.
The Park Board is scheduled to take up the matter at its Feb. 11 meeting.


chicagotribune--2020-01-26--College baseball coach John Altobelli dies in helicopter crash that killed Kobe Bryant

The 56-year-old Altobelli died along with his wife , Keri , and daughter , Alyssa , who was about 13 @ @ @ @ @ basketball team as Bryant ’ s daughter , said Altobelli ’ s younger brother , @ @ @ @ @ information director at the school .
They were among the nine people aboard the helicopter @ @ @ @ @ a.m. Sunday in Calabasas , about 30 miles northwest of downtown Los Angeles .

This photo released by Orange Coast College shows head baseball coach John Altobelli. His family has confirmed that Altobelli, his wife, Keri and daughter, Alyssa, were among those killed in the helicopter crash with NBA icon Kobe Bryant in Calabasas, Calif., on Jan. 26, 2020. Alyssa played on the same team as Bryant'd daughter Gianna, who also died in the crash. (Orange Coast College)
CALABASAS, Calif. — John Altobelli, the longtime baseball coach at Orange Coast College, was killed along with his wife and daughter in the helicopter crash Sunday that also took the lives of retired NBA superstar Kobe Bryant and Bryant’s daughter Gianna.
The 56-year-old Altobelli died along with his wife, Keri, and daughter, Alyssa, who was about 13 and played on the same basketball team as Bryant’s daughter, said Altobelli’s younger brother, Tony Altobelli, the sports information director at the school. They were among the nine people aboard the helicopter when it crashed around 10 a.m. Sunday in Calabasas, about 30 miles northwest of downtown Los Angeles.
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John Altobelli spent 27 seasons as coach at the community college in Costa Mesa, Calif. The team won a state championship last year and Altobelli was named national coach of the year. He led the team to more than 700 victories and four state titles.
[ Kobe Bryant and his daughter Gianna, 13, die in a helicopter crash that killed 9 outside of Los Angeles ]
Among the players he coached were future major leaguers Jeff McNeil, now with the New York Mets, and Donnie Murphy, who played for six big league teams from 2004-14. McNeil played for Altobelli in 2012 with the Brewster Whitecaps, a summer collegiate team in the Cape Cod League, ESPN reported.
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"One of my favorite coaches I have ever played for and one of the main reasons I got a chance to play professional baseball," McNeil tweeted. "Both the baseball and basketball world lost a great one today."
Orange Coast College announced the creation of a memorial fund for the Altobelli family.
"John meant so much to not only Orange Coast College, but to baseball," athletic director Jason Kehler said in a statement. "He truly personified what it means to be a baseball coach. The passion that he put into the game, but more importantly his athletes, was second to none — he treated them like family."
It is with a shattered heart that we announce the passing of longtime head baseball coach John Altobelli, who died on Sunday in a helicopter crash, along with his wife, Keri and youngest daughter, Alyssa. https://t.co/3fjndZDzXD pic.twitter.com/cWFch9H4SV — OCC Athletics (@OCCAthletics) January 27, 2020
The team was scheduled to start its season Tuesday.
“He treated every player like his own son,” Orange Coast first baseman Justin Brodt told the Orange County Register. “He wanted the best for everybody involved. That’s what made him such a successful coach and such a great guy.”


chicagotribune--2020-01-26--'Every minute’s precious’: Northwestern coach Chris Collins, a longtime friend of Kobe Bryant, displ

'Every minute’s precious’: Northwestern coach Chris Collins, a longtime friend of Kobe Bryant, displays a range of emotions in the Wildcats’ loss to Ohio State

Coincidence or not , Collins seemed even more charged up than usual during the game .
He got his first @ @ @ @ @ official Don Daily called a tight foul on Pete Nance following a missed dunk attempt @ @ @ @

However this game turned out, Chris Collins would be numb Sunday night.
The Northwestern coach had known Kobe Bryant since the two were hoops-loving kids in Philadelphia. Their dads, Doug Collins and Joe “Jellybean” Bryant, played together for the 76ers from 1975 to 1979.
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“We have a lot of history,” Collins said as tears formed. “And I have a daughter who’s 13. Really a hard day. … Every minute’s precious, man. Every minute’s precious.”
Chris Collins reconnected with Kobe Bryant during the 2008 Olympics, with Collins assisting Mike Krzyzewski and Bryant scoring 20 points against Spain to win gold in Beijing. Collins and Bryant also were together for the 2012 Games.
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Chris Collins said he’s known Kobe since he was born. Their dads were teammates for the 76ers. CC: “Every minute’s precious, man.” pic.twitter.com/7R5cUQUOSE — Teddy Greenstein (@TeddyGreenstein) January 27, 2020
Collins got the shocking news that Bryant had been killed in a helicopter crash outside Los Angeles about four hours before Ohio State’s 71-59 victory. He was shaken, of course.
“It was hard to rally to play a game,” he said. “But I know the competitor he was, he would have wanted both teams to go out there and fight hard.”
Coincidence or not, Collins seemed even more charged up than usual during the game. He got his first technical of the season after official Don Daily called a tight foul on Pete Nance following a missed dunk attempt by Andre Wesson.
Collins later swung his arms and did a 360-degree turn after A.J. Turner failed to hunt down a loose ball.
Collins fist-pumped after Ryan Young banked in a short jumper to cut Ohio State’s lead to 59-55 with about five minutes to play.
Ultimately the Wildcats made too many mistakes — missed free throws, an inability to consistently guard the 3-point line — to avoid another close loss. Northwestern fell to 7-12 and 1-8 in Big Ten play.
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“I feel like we’re getting better in a lot of ways,” Collins said. “The results aren’t showing, but I really like the development of our young guys and our attitude and spirit.”
Ohio State, which lost seven of its previous 10, improved to 13-7 and 3-6. The Buckeyes are far better than their record, with KenPom.com rating them 13th nationally before Sunday’s victory.
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Miller Kopp scored a game-high 20 points, but 15 came during the first half.
Northwestern head coach Chris Collins grew up with Kobe Bryant when both of their fathers were playing for the 76ers. Collins was also an assistant from 2006 to 2012 when Bryant was playing for Team USA. https://t.co/90bFDYzOBD — Ella Brockway (@ellabrockway) January 26, 2020
The Wildcats came out with a Mamba Mentality, scoring the game’s first seven points — two jumpers by Pat Spencer and a 3 by Kopp.
Boo Buie (10 points on 3-for-12 shooting) still isn’t himself since coming back from a stress fracture in his left foot. He tried to channel Bryant during his 25 minutes, saying: “That was my idol growing up. I wore his 8 jersey all the time. I looked at him as immortal. I still can’t believe it.”
Ohio State made 11 shots from 3-point range and, at times, showed more hustle.
That made a brutal day even more difficult for Collins.


chicagotribune--2020-01-26--Carol Stream, whose father developed DuPage County town that bears her name, dies at 77

“ In 2008 , my family had a chance to visit her and her mother and brother at their house @ @ @ @ @ she was warm , funny and clever , and she was very interested in what @ @ @ @ @ ” said Carol Stream village trustee Rick Gieser .
“ She was very , very @ @ @ @ @ the town was named after her .
She was disappointed that Glenbard North High School @ @ @ @ @ was not named for her , and I reminded her that an elementary school also @ @ @ @ @ she said , ‘ I want both .
’ ”

Carol Stream was the namesake of the DuPage County village developed by her father, Jay.
A Wheaton native who spent all of her adult life in Arizona, she returned periodically to Carol Stream, which today has a population of 40,000.
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“When I go back, I’m so proud that people have taken such good care of the town,” Stream told the Tribune in 1991. “It’s like they’re taking good care of me.”
Stream, 77, died of respiratory failure Jan. 18 at HonorHealth Scottsdale Thompson Peak Medical Center in Scottsdale, Arizona, said her cousin, Debra Campbell. A longtime resident of nearby Paradise Valley, Stream had suffered from chronic obstructive pulmonary disorder and pneumonia.
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Carol Jayne Stream grew up on the north side of Wheaton, along Geneva Road. Her father, Jay, was a developer in DuPage County during the 1950s, building homes in Wheaton and Naperville through his company, Durable Construction.
At one point, Jay Stream was frustrated by the red tape and required infrastructure improvements related to a 350- to 400-home subdivision he had been proposing in Naperville. According to the 1984 history of Carol Stream, “Build Your Own Town, the Carol Stream Story,” written by historian Jean Moore, an employee at Naperville’s City Hall reportedly told Stream, “Why don’t you go build your own town?”
Stream started to buy large plots of unincorporated farmland north of Wheaton and proceed to do just that, complete with large, industrial employers in areas served by rail spurs extending south from the Illinois Central Railroad and north from what then was the Chicago Great Western Railway.
Stream’s marriage to his wife, Dorothy, came undone in 1957, prompting Dorothy Stream to move with her two children, Carol and Jim, to Arizona. They returned to spend the summer at the family’s vacation home in Twin Lakes, Wisconsin.
In August 1957, Carol Stream was traveling in a 1949 Studebaker with other teenagers on U.S. Highway 45, about 15 miles west of Kenosha, Wisconsin. The car’s brakes failed, and it collided with another car. A 15-year-old boy in Stream’s car was killed, while all other passengers were injured, including Stream, who was critically hurt.
“The other car hit us in the right rear fender,” Stream told the Tribune in 1991. “The boy in the back was crushed to death instantly. The other two in the front seat had minor injuries, and I was thrown out through the windshield and would have been fine except I ended up hitting the telephone pole. The whole area, and I had to hit the telephone pole.”
Stream eventually emerged from a coma, and initially she communicated by blinking her eyes. The accident required more than a dozen corrective operations, and years later, Stream remained weak on her right side. As an adult, she could walk short distances, such as inside her home, but she required a wheelchair for traveling any distance.
Stream lived with her mother, who died in 2010, and later with her brother, who died in 2018. Jay Stream died in California in 2006.
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Carol Stream — the village — was incorporated in January 1959, but Stream’s father first had used the name in 1958 for a subdivision that formed the nucleus of the village.
“It seemed very odd and silly, especially on those advertising signs that said, ‘Have you seen Carol Stream?’ Of course I had. Dad just liked good copy,” she told the Tribune in 1991.
Stream’s final visit to the suburb was in 2010.
“In 2008, my family had a chance to visit her and her mother and brother at their house in Paradise Valley, and she was warm, funny and clever, and she was very interested in what happened in Carol Stream,” said Carol Stream village trustee Rick Gieser. “She was very, very proud of the fact that the town was named after her. She was disappointed that Glenbard North High School (in Carol Stream) was not named for her, and I reminded her that an elementary school also is named after her and she said, ‘I want both.’”
Retired Carol Stream Park District Director Barb O’Rahilly, who is on the board of the Carol Stream Historical Society, met Stream several times, including during the village’s 25th anniversary celebration in 1984 and also in 2010.
“She was just a lovely lady,” O’Rahilly said. “She had an endearing smile and considering that she had health issues and a hard time getting around, it just never seemed to deter her. She was interested in how nice the school and parks were and how her town was doing. She was very proud of being Carol Stream in Carol Stream.”
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Sherry Kuhn attended junior high school in Wheaton with Stream and kept in touch with her over the years. Kuhn, who lives in California, visited Stream in Arizona four or five times a year.
“Carol was the most positive person I’ve ever seen,” Kuhn said. “When you think about living like she lived, ever since her accident, I never heard her say, ‘Poor me.’ She made light of everything and could laugh at everything, including at herself. She was just a special human being.”
Stream had no immediate survivors.
No services are planned.
Goldsborough is a freelance reporter.


chicagotribune--2020-01-26--From high school phenom to NBA legend: The basketball legacy of Kobe Bryant

When O ’ Neal was traded to the Heat , Bryant was the lone star in Los Angeles and became @ @ @ @ @ nothing ever felt too far-fetched .
The stories of Bryant ’ s on-court excellence were @ @ @ @ @ 4 a.m. workouts , played through major injuries and pushed teammates to higher levels .
@ @ @ @ @ stuff of legend as he went on a scoring streak unlike any other in his @ @ @ @ @ as 35.1 points per game as he struggled to trust his Lakers teammates .

Kobe Bryant, 41, died in a helicopter crash outside Los Angeles on Sunday morning, sending shockwaves through the basketball community and beyond. Eight others, including his 13-year-old daughter, Gianna, were also killed.
Bryant, who played 20 seasons with the Lakers and became one of the best players in history, was mourned across the country in NBA arenas and on social media. Teams around the league held a moment of silence and the Raptors and Spurs began their game by dribbling out the 24-second shot clock in honor of Bryant, who wore No. 24 in the second half of his career.
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The outpouring of love included former Lakers Shaquille O’Neal and Brian Shaw, who discussed the loss of a brother and a teammate.
Bryant leaves behind a long basketball legacy that started when he was only 17. Outfitted with a buzz cut and a wagging tongue, Bryant emerged on the national scene as a high school phenom out of Lower Merion in Philadelphia. He jumped straight to the NBA as the 13th pick in the 1996 NBA draft. Originally selected by the Hornets, Bryant was traded to the Lakers for Vlade Divac, starting a storybook career that fittingly played out in Hollywood.
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Expand Autoplay Image 1 of 43 Kobe Bryant, nominated for Animated Short Film "Dear Basketball" during the Nominees Luncheon for the 90th Oscars in the Beverly Hilton Grand Ballroom on Monday, Feb. 5, 2018 in Beverly Hills, Calif. (Al Seib/Los Angeles Times/TNS)
Armed with charm and otherworldly talent, Bryant took the league by storm and moved at an unprecedented pace. Bryant became a household name before he could legally enter a bar, partly because of a transcendent performance in the 1997 NBA Slam Dunk Contest, where he put on a show at the rim and on the court, flexing and selling his dunks.
Bryant’s rookie season had its share of trials, too, as his confidence got the best of him in a 1997 playoff series against the Jazz, when Bryant shot four critical air balls, three in overtime. Bryant’s air balls would serve as a lesson he would later credit for his many successes.
Bryant recovered and picked up every possible accolade along the way, playing in the All-Star Game against Michael Jordan at 19 and winning a title by the tender age of 21.
The list of accomplishments only grew from there as Bryant finished his tenure alongside O’Neal with three titles before his 24th birthday. That Lakers team broke up after their third title with tensions increasing between O’Neal and Bryant.
Expand Autoplay Image 1 of 102 Lakers star Kobe Bryant dunks during a game against the Utah Jazz on Jan. 25, 2013, at Staples Center. Arguably the greatest player of his generation, Bryant has played a leading role in helping the Lakers carry their winning tradition into the 21st century. (Wally Skalij / Los Angeles Times)
Bryant also was arrested and charged with felony sexual assault in July 2003. Prosecutors later dropped the charge at the request of the accuser. The woman later filed a civil suit against Bryant that was settled out of court.
When O’Neal was traded to the Heat, Bryant was the lone star in Los Angeles and became a larger-than-life figure for whom nothing ever felt too far-fetched. The stories of Bryant’s on-court excellence were never-ending. He endured grueling 4 a.m. workouts, played through major injuries and pushed teammates to higher levels. His competitive streak became the stuff of legend as he went on a scoring streak unlike any other in his career, averaging as much as 35.1 points per game as he struggled to trust his Lakers teammates.
The Lakers later landed Pau Gasol in a 2008 trade with the Grizzlies, changing the trajectory of the franchise and Bryant’s career. With an improved roster, Bryant led the Lakers to titles in 2009 and 2010, taking home Finals MVP on both occasions.
Known for his relentless approach, Bryant continued to push for a sixth title in the twilight of his career. Bryant, who had won five titles, harbored hopes of catching Bulls legend Michael Jordan’s career mark of six NBA championships. While Bryant fell short, he continued to create memories on the basketball court.
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In the ultimate show of toughness, Bryant, who always felt invincible, suffered a torn Achilles while being fouled in a 2013 game against the Warriors. Bryant took both free throws before walking to the locker room without assistance. His free throws helped the Lakers win 118-116.
Perhaps no moment sticks out more than his final NBA game in 2016. In typical Bryant fashion, the night was an event. He completed his 20-year journey with one of the all-time sendoffs. Bryant scored 60 points on 50 shots in a game that perfectly encapsulated a career that played out on his terms.
The stats in Bryant’s final game weren’t exactly pristine, but he left his mark on the record book. He retired as the No. 3 scorer in NBA history, though LeBron James passed him on Saturday, prompting Bryant to tweet congratulations.
Continuing to move the game forward @KingJames. Much respect my brother 💪🏾 #33644 — Kobe Bryant (@kobebryant) January 26, 2020
Bryant was selected to the All-NBA Team 15 times, picked for the All-Defensive Team 12 times and played in the All-Star Game on 18 occasions. Bryant scored 81 points against the Raptors in 2006. He scored 60 points six times and had 50 points 26 times.
Bryant didn’t disappear from the spotlight in retirement. He settled deeper into family life but picked up new passions, writing children’s books, creating a venture capital fund and winning an Oscar for his short film “Dear Basketball.”
Bryant also was seen at NBA games and AAU tournaments, often with Gianna at his side. In some ways he was more present in retirement than he was as a player. Videos of Bryant teaching Gianna basketball details from the sideline of a game went viral and NBA stars gushed about their interactions with him.
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Bryant, a player who seldom shared pieces of his life or personality, had entered his teaching phase after raising an NBA generation for more than two decades.


chicagotribune--2020-01-26--Which position battles stand out? What’s the next step in Michael Kopech’s comeback? 4 questions for

Which position battles stand out? What’s the next step in Michael Kopech’s comeback? 4 questions for the White Sox with spring training around the corner.

`` We still think the world of him and think he ’ s going to play a very large role @ @ @ @ @ a long time here , but we also have to understand where he is and @ @ @ @ @ building on after missing the 2019 season .
He ’ s going to come to @ @ @ @ @ going to see him live .
We ’ re probably going to smile and we @ @ @ @ @ the precise plan for managing his workload over the course of his first year back @ @ @ @ @

SoxFest wrapped up Saturday. And spring training is up next, with pitchers and catchers set to report on Feb. 12.
Here are four storylines as the White Sox prepare to head to Glendale, Ariz..
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1. Which starting positions are up for grabs?
Luis Robert’s six-year, $50 million deal puts him in line to be the team’s opening-day center fielder.
That would leave second base as the one spot to be determined.
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The Sox non-tendered Gold Glove winner Yolmer Sanchez in December, creating the opening. Leury Garcia, Danny Mendick and highly touted prospect Nick Madrigal are among the options.
All three are excited about the opportunity.
White Sox second baseman Danny Mendick runs to first base as he grounds out against the Angels on Sept. 6, 2019. (Chris Sweda / Chicago Tribune)
“I got an opportunity and I’m always going to try to take advantage of every opportunity I can,” Mendick said Thursday. “It’s been a different kind of a route for me. There’s an opening there and I’m going to do everything I can to take that. I’m excited.”
Mendick hit .308 in 16 games as a September call-up. Garcia is the veteran of the group. He hit .279 while spending a majority of his time as an outfielder.
“Everybody going in one direction, and that’s to win,” Garcia said Friday. “No matter where (I play), I want to win.”
Madrigal isn’t sure if he’ll begin the season in the big leagues or at Triple-A Charlotte, but on Friday he said: “Whenever they call me, I’ll be ready.”
2. What’s next for Michael Kopech?
Kopech missed all 2019 while recovering from Tommy John surgery.
The right-hander, who is the No. 20 prospect in baseball, according to MLB Pipeline, said Wednesday: “Physically, I feel great. Better than I probably have felt my entire baseball career since I was drafted.”
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General manager Rick Hahn talked about what’s next on Thursday.
White Sox pitcher Michael Kopech before his major-league debut on Aug. 21, 2018. (Nuccio DiNuzzo / Chicago Tribune)
“We’re excited to see Michael back healthy and on the mound," Hahn said. "He obviously has completed his rehabilitation and will report to spring training from a health standpoint like any other pitcher in the system. That said, we have to be mindful of the fact that it’s been over 18 months since he’s faced any big-league hitters. And even 18 months ago prior to the injury, he was still a bit of a work in progress.
"We still think the world of him and think he’s going to play a very large role on very good ballclubs for a long time here, but we also have to understand where he is and what foundation he’s building on after missing the 2019 season. He’s going to come to camp. We’re going to see him live. We’re probably going to smile and we’ll come up with the precise plan for managing his workload over the course of his first year back, come Arizona.”
3. How will new hitting coach Frank Menechino affect the team?
The Sox made two changes to their coaching staff in the offseason, naming Frank Menechino hitting coach and Scott Coolbaugh assistant hitting coach.
Menechino spent 2019 as the hitting coach for Triple-A Charlotte. The Knights led the International League in runs with 792, were second in on-base percentage (.352), slugging percentage (.472) and OPS (.824). He also spent some of September with the Sox.
Expand Autoplay Image 1 of 54 Yoan Moncada cuts a ribbon to open SoxFest. (Chris Sweda / Chicago Tribune)
“I don’t know if the philosophy will change," Sox manager Rick Renteria said. “I think it’s just maybe more that guys gravitate a little bit more to Franky in terms of his communication and ability to articulate something in a different way that might get you hopefully the successes that you want to have.
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"Franky’s impact in many ways is his energy, he’s straightforward. He’ll go about ways of trying to get things out of guys just like everybody does. And his energy and ability to put together a plan for these guys, I think, is going to be impactful in many ways.”
4. What’s the plan to use catcher James McCann?
McCann made the All-Star team for the first in his career and had a huge impact on the pitching staff during his first season with the Sox in 2019.
The Sox added the top free-agent catcher on the market this offseason in Yasmani Grandal, who has many strengths, including working with pitchers.
How will the Sox use McCann?
White Sox catcher James McCann before a game on Aug. 29, 2019. (Brian Cassella / Chicago Tribune)
“I’ve been asked questions about how are you going to split time with McCann and Grandal," Renteria said. "I think that the game itself will dictate a lot in terms of what we do. Obviously, Mac played a huge role for us last year. I’ve had several conversations with Mac over the winter, and baseball has a way of working itself out in terms of playing time.
“Mac’s going to be able to continue to help us in the way he does in catching and at bat, everything he does will help us and I’ve just got to figure out a way to continue to balance it. And I’m not afraid to have conversations with everybody because they’re concerned about their playing time, it comes back to this — we want to win.”


chicagotribune--2020-01-26--Review: ‘The Mousetrap’ is updated at Court Theatre for a ‘Knives Out’ generation

Director Sean Graney ’ s new production at Court , a theater better known for Sophocles than Christie , is @ @ @ @ @ sometimes to the point of intentional subversion .
How you feel about the show , @ @ @ @ @ actors as David Cerda , Carolyn Ann Hoerdemann and Alex Goodrich will depend on how @ @ @ @ @ Christie .
If you are a traditionalist and see these works as psychological thrillers , @ @ @ @ @ human behavior , you might , like me , resist some of the theatrical flourishes @ @ @ @ @ threaten belief .
The performances are all scaled differently and that means it is hard @ @ @ @ @ of normalcy .
This production wants to be as a satirical comedy as much as @ @ @

Agatha Christie’s “The Mousetrap” has been playing in London’s West End for more than 67 years, making it far and away the longest running show in history. When you think how much the culture has changed within that era, it’s a stunning feat. Of course, British detective whodunnits as a whole have never been more popular. Even on the way to the Court Theatre in Hyde Park on Saturday night, my car radio was probing the appeal of the genre and listing what to do if you want to stay alive in a small English village.
(Pro tip: Avoid gargoyles, statuary, vicars, gardeners and beekeepers.)
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But on this side of the pond, the murderous doings at the Monkswell Manor guesthouse crop up around town around every five years. I’ve seen this show several times, beginning when I was a kid; I somehow have programmed myself to forget the details of the plot until next time, even if I find I start all my reviews the same way. But I’ll say this: “The Mousetrap” is much harder to do than theater people tend to think.
“The Mousetrap," of course, is a masterpiece of misdirection. Thriller writers are like magicians and mind readers; the best of them constantly persuade you to look in the wrong direction, to think about anything but the actual logic of the plot. Of all the stage versions of Christie’s books, “The Mousetrap” is by far the best, perhaps because of its genesis as a radio play. Unlike “And Then There None,” you don’t watch a succession of murders and follow an ever-narrowing group of suspects. With one exception, the cast of characters in “The Mousetrap” stay alive.
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Director Sean Graney’s new production at Court, a theater better known for Sophocles than Christie, is broadly played and comic, sometimes to the point of intentional subversion. How you feel about the show, which features such droll character actors as David Cerda, Carolyn Ann Hoerdemann and Alex Goodrich will depend on how old school you like your Christie. If you are a traditionalist and see these works as psychological thrillers, grounded in truth and regular human behavior, you might, like me, resist some of the theatrical flourishes on the grounds that they threaten belief. The performances are all scaled differently and that means it is hard to see a consistent world of normalcy. This production wants to be as a satirical comedy as much as a thriller.
On the other hand, if you were a fan of the movie “Knives Out” and see tweedy old Christie as in need of some shaking up for a new moment, you’ll likely have similar fun here, watching everyone cavort around Arnel Sancianco’s amusing set. We didn’t really need some of the pretty terrible English accents.
The three core performances, though, come from Kate Fry, Allen Gilmore and Erik Hellman and this trio has palpable respect for the quality of the material and they sufficiently anchor the show in actual behavior and insecurity to allow the all-important plot to do its thing. And the actress Tina Muñoz Pandya, playing one of the more enigmatic characters, adds a lot of life to that mix.
The work generally deepens in Act 2, as Christie sends you off down her signature garden path, far away from the real truth. She has been much copied, hasn’t she?
Chris Jones is a Tribune critic.
cjones5@chicagotribune.com
Review: “The Mousetrap” (3 stars)
When: Through Feb. 16
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Where: Court Theatre, 5535 S. Ellis Ave.
Running time: 2 hours, 15 minutes
Tickets: $37.50-$84 at 773-753-4472 or www.courttheatre.org


chicagotribune--2020-01-25--How do the Bulls plan to fill the scoring void left by Lauri Markkanen’s injury? Play faster.

With the Bulls lacking another reliable scoring option on the floor , the Kings focused all their attention on guard @ @ @ @ @ every time he touched the ball .
It ’ s an adjustment LaVine made quickly @ @ @ @ @ next game , scoring 27 points in the first half against the Cavs , but @ @ @ @ @ the Bulls are going to have to manage for the near future .

CLEVELAND — One way the Bulls plan to counteract the loss of forward Lauri Markkanen, who will miss four to six weeks with a stress reaction in his right pelvis is to start playing faster.
The Bulls have played at about a league average pace this season. Entering Saturday’s game against the Cavaliers, their pace was 100.6 points per 100 possessions, good for 14th in the NBA. To make up for the scoring void left by Markkanen’s absence, however, coach Jim Boylen wants his team to start picking up the pace.
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“We need to play faster,” Boylen said before Saturday’s game. “We’ve got to play faster. We’ve got to use our speed. We’ve got to make people play in front of us.”
The Bulls’ first game without Markkanen, however, was a disaster offensively.
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They never found an offensive rhythm Friday during a 17-point home loss to the Kings, who had dropped six in a row. Even though Boylen lamented more than a few scoring opportunities and open shots he believed they could have converted, the Bulls were stagnant for long stretches of the game and were held to 81 points.
With the Bulls lacking another reliable scoring option on the floor, the Kings focused all their attention on guard Zach LaVine, swarming him every time he touched the ball. It’s an adjustment LaVine made quickly by the start of the next game, scoring 27 points in the first half against the Cavs, but it’s an issue the Bulls are going to have to manage for the near future.
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“(The Kings) had 4½ guys with a foot in the paint the whole game,” Boylen said. “That’s what people are going to do to us, they’re going to shrink the floor. We’ve got to play faster. We got to move the ball. I thought we had a couple possessions the ball stuck; the ball can’t stick. We’ve got to move it, we’ve got to drive it."
To lessen the impact of playing without their top four frontcourt players — Markkanen, Otto Porter Jr., Wendell Carter Jr. and Daniel Gafford — the Bulls will be forced to use smaller lineups more frequently, which should help them push the pace.
It’s a different approach from last season when Boylen wanted to slow his shorthanded team down and get back to the basics. This team is missing the kind of big men who can make that style work.
“Obviously my style of play is completely different (than Markkanen’s),” said forward Thaddeus Young, who has replaced Markkanen in the starting lineup. “I can post up and put my back to the basket. I make some shots. I’m not as good a shooter as Lauri, but I try to insert myself in those positions that help our offense be successful against teams how he was playing.”
But finding a second scoring option has been an issue all season for the Bulls, even with Markkanen healthy.
So his absence will force the Bulls to get creative to find ways to score, even if it means disrupting their rotation. Behind Young, Boylen has gone to Chandler Hutchison as backup power forward while inserting Denzel Valentine and Shaquille Harrison into the rotation in hopes of finding a scoring spark.
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“It’s going to be more fluid, I think, just by necessity,” Boylen said. “Valentine comes in, gets it going a little bit, he plays longer. Coby’s (White) got it going, we extend his minutes, which we’ve done. Yeah, we’ll make that feel and we’ll get a read on it as it goes.”