Read the NOV ISSUE #107 of Athleisure Mag and see 9PLAYLIST | Saraya in mag.
We've always been a proponent of the power of creativity. When it comes together, there's something about being able to explore ideas and being in inspirational environments that allows concepts to grow!
When we heard about TECHNICA HOUSE, this creative space piqued our interest as this vinyl listening lounge is an impressive showroom space that allows you to know more about Audio-Technica's headphones and speakers, has a space to create podcasts, is a working office, and also has innovated automation machines by AUTEC to make sushi!
After hearing about this space, we decided that it would be the perfect location for our Lo-Fi Vibes Editorial which is Fall forward with easy styles that can be worn when you're taking in your latest music find, working on your next project, collaborating with those that are like minded and being able to enjoy wherever the day takes you!
LO-FI VIBES EDITORIAL | TEAM CREDITS
PHOTOGRAPHER Paul Farkas | FASHION STYLIST + CREATIVE DIRECTOR Kimmie Smith | MUA Sang Le | MODEL Olivia Picchione + Ben Simic |
IG @pvfarkas
LO-FI VIBES EDITORIAL | STYLE CREDITS
LOOK I PG 76 - 86 | OLIVIA - MICHAEL KORS Ribbed Knit Cropped Tank Top + Chocolate Burnished Leather Skirt | LAGOS Pink Caviar BCRF Ceramic Beaded Bracelet 9mm + Pink Caviar Single Station Diamond Caviar Bracelet 9mm | AIR & ANCHOR Set in Stone Necklace Set 18" - Tiger Eye | BEN - COLMAR Down Jacket with Envelopping Collar | White Tank | MAVI James Skinny | LAGOS Caviar Beaded Chain Necklace 12mm + Twist Curb Chain Bracelet 12mm |
LOOK II | PG 88 - 89 | OLIVIA - ATHLEISUREVERSE Bomber Jacket | SPLITS59 Ashby Rib Crop + Theo Rib Short | LULU FROST Plaza Rectangle Link Necklace Base - Gold + Plaza Letter K Charm | PRINCE TENNIS Sneakers | MZ WALLACE Micro Crosby Sling | BEN - ATHLEISUREVERSE Sleeveless Hoodie | MICHAEL KORS Camouflage Denim Cargo Jeans | LAGOS Twist Curb Chain Bracelet 12mm |
LOOK III | PG 104 | OLIVIA - SPLITS59 Ashby Ribbed Tank | GREY BANDIT Unwritten Love Knit Pants - Green | PONO BY JOAN GOODMAN Sea Chain Necklace - Hawaii | BEN - LX3 Olive Track Jacket + Olive Track Pants | PSYCHO BUNNY Graphic Tee |
LOOK IV | PG 106 - 111 | OLIVIA - ATHLEISUREVERSE Varsity Jacket | MICHAEL KORS Cropped Tank + Colby Extra-Small Burnished Leather Shoulder Bag | TOMMY HILFIGER Wide Leg Jean | AIR & ANCHOR Double Standard Necklace with Cuff Keeper, Putting it in Writing - A + M | BEN - | LX3 Oversized Cream Hoodie | MAVI Jake Slim Leg | LAGOS Caviar Beaded Chain Necklace 12mm + Twist Curb Chain Bracelet 12mm | NIKE Air Jordan |
LO-FI VIBES EDITORIAL | PHOTOGRAPHY CREDITS
| SONY Alpha A7R V, FE 50mm F/1.2 GM, FE 24-70mm F2.8 GM II, FE 70-200mm F2.8 GM II, FE 90mm F2.8 Macro G OSS + HVL-F45RM Wireless Radio Flash |
We enjoyed shooting our Lo-Fi Vibed Editorial at TECHNICA HOUSE and we wanted to find out more about this space which recently opened, what they offer in this creative destination, and how you can get to know more about them. We took some time to chat with Takayuki Tanaka, the CEO of TECHNICA HOUSE to find out this and more.
ATHLEISURE MAG: You just launched TECHNICA HOUSE New York earlier this month. This space is above SUSHIDELIC which we covered last month in The Art of the Snack. Tell us about the Japanese technology companies AUTEC and Audio-Technica that came together for this space.
TAKAYUKI TANAKA: TECHNICA HOUSE is a unique collaboration between two iconic Japanese technology companies, AUTEC and Audio-Technica, both bring their expertise, heritage, and commitment to fostering the next generation of creators into this space.
AUTEC is known for its innovative sushi robots, designed to deliver chef-quality sushi with unmatched efficiency. By merging tradition with advanced automation, AUTEC empowers chefs to maintain the authenticity of Japanese cuisine while optimizing operations. Their focus on culinary technology has revolutionized the food service industry and created new opportunities for emerging culinary creators to innovate.
Audio-Technica, a global leader in high-fidelity audio equipment, has a long history of supporting artistic and creative communities. Their expertise in sound technology elevates the experience at TECHNICA HOUSE, offering an immersive auditory environment. Audio-Technica's involvement speaks to its dedication to fostering creativity through sound, empowering emerging creators in music and art.
Together, TECHNICA HOUSE celebrates Japanese heritage while providing a collaborative space where food, music, fashion, and art converge. This venture is designed to nurture creativity and inspire the next generation of innovators, offering a unique platform for emerging creators to explore new possibilities and ideas.
AM: It seems that TECHNICA HOUSE - New York merges food, music, fashion, and art together. Why was it important for you to have these elements in one place?
TT: Merging food, music, fashion, and art at TECHNICA HOUSE was a natural progression at TECHNICA HOUSE was a natural progression of our vision to create a dynamic space where creativity and cultural expression thrive. Each of these elements speaks to the core of human connection and emotion. Food brings people together and is a universal language; music is the heartbeat of culture, evoking powerful emotions; fashion reflects individuality and artistic expression; and art gives form to imagination and ideas.
Combining these elements in one space fosters a platform where creators from diverse backgrounds and industries can collaborate, share ideas, and inspire each other. TECHINICA HOUSE is more than just a venue—it's a movement that encourages innovation and exploration across disciplines. We wanted to create a tradition can fuel modern creativity, and emerging creators as well as established creators as well push the boundaries of what's possible in a collaborative environment. This holistic approach creates a vibrant atmosphere that invites people to be part of something bigger, sparking new ideas and connections.
AM: In terms of the concept of TECHNICA HOUSE, are there others in addition to the one in New York and if not, do you plan on having other locations?
TT: At present, the joint venture TECHNICA HOUSE in New York City is our sole location. While our primary focus is on establishing a thriving community here, we have aspirations to expand TECHNICA HOUSE to other cities across the United States and around the world. By doing so, we aim to celebrate and support emerging creators in various regions.
AM: Can you tell us about who designed the space and what visitors can expect to see when they are entering this space?
TT: The space was designed by Yoshiyuki Morii of Cafe Co, incorporating the aesthetics and heritage of both AUTEC and Audio-Technica. At TECHNICA HOUSE NY, visitors can immerse themselves in a state-of-the-art listening experience featuring top-tier Audio-Technica analog audio equipment to listen to the 2000 vinyl records collection. The space includes a fully equipped conference room, a dedicated podcast studio, and an AUTEC sushi counter where chefs showcase cutting-edge robotic sushi-making technology.
AM: You have over 2,000 records here. How do you go about acquiring them, are their genres that you tend to focus on?
TT: Our record collection has come from various sources, both local and international. Many were donated by Audio-Technica staff members, discovered at local thrift shops and secondhand record stores, or sought out by company leadership. Some of our favorites are the Japanese pressings of classic American albums.
AM: What can we do in this listening lounge which also allows us to hear music on your headphones as well as your speakers?
TT: We have a variety of headphones and turntables on display, like our colorful Sound Burger and our pro-grade High-end AT-LP7. Visitors are welcome to hook up a pair of M50x headphones to any of our turntables and enjoy a listening experience. We also have a pair of our newly released AT-SP3x Bluetooth Speakers if they're listening with friends.
AM: Can you tell us about the equipment that is available there?
TT: AUTEC’s food-focused experience at TECHNICA HOUSE highlights the latest innovations in sushi-making technology. On display are cutting-edge sushi robots, including ASM895A The Rice Sheet Maker for sushi rolls, ASM260A The Sushi Roll Cutter, ASM410A The Nigiri Sushi Rice Ball Maker, and ASM575A The Handheld Onigiri Rice Ball Maker, showcasing the precision and efficiency that define modern culinary automation. One of our goals is for chefs to visit this space to tap into their creativity and explore the potential of integrating these robots into their culinary processes.
TECHNICA HOUSE displays a wide variety of Audio-Technica products: from high-end turntables to limited edition headphones and microphones, to a collection of artistic signed A-T gear. We prominently feature the NARUKA MI Headphone Amplifier, a premium piece of audio technology built from kurogaki wood. Very few of these exist in the United States. We welcome guests to pull a record off the wall and enjoy the listening experience at our space.
AM: As Audio-Technica continues to create new products, will they find their way into TECHNICA HOUSE - New York? Will there always be someone on site that will be able to walk you through products?
TT: While TECHNICA HOUSE is currently open to the general public for select events and collaborations, we're actively working to expand our accessibility. Stay tuned for updates on future openings and opportunities for general visitors to experience our space.
AUTEC and Audio-Technica staff are regularly at TECHNICA HOUSE and are available to schedule visits for those genuinely interested in the space. While we're happy to arrange appointments, we may only sometimes be able to accommodate every request due to the nature of the space. We appreciate the understanding of those wishing to explore this creative hub.
AM: Tell us about the podcast studio and the conference room.
TT: The podcast studio is a little respite from the noise of a bustling Soho. It's an isolated studio space, acoustically treated from floor to ceiling. We are recording original podcasts and digital content in the space and are beginning to bring outside creators in to use the space for their content creation.
Our debut series, AT Sometime, Somewhere, features artists and creatives from New York City telling stories of their ambitions, failures, successes, and the moments that helped them find their voices. We look forward to future series featuring an even wider variety of artists, stories, and topics.
AT-ONE Studio is designed to make production as simple as possible. On top of that, it's built for comfort. Recording in the studio is like chatting in a high-end living room with your friends.
AT-ONE Studio is for both Audio-Technica podcast projects and outside artists and organizations who want to rent time in the space. We'll be introducing a rental fee menu soon. If you're interested in collaborating on a project with A-T or using the studio to produce a personal project, give us a ring through the TECHNICA HOUSE website.
The conference room is available for meetings of all types, and it features a large Frame-style television connected to a hi-def camera for remote meetings, plus an Audio-Technica ceiling array beamforming microphone - the ATND1061.
AM: You also have a sushi counter along with robotic sushi making technology. What kinds of sushi do these machines make?
TT: AUTEC's sushi robots are designed to assist in various aspects of sushi-making rather than creating a complete sushi dish. These machines automate essential tasks like mixing and seasoning rice, forming rice sheets for rolls, shaping rice balls for nigiri, and cutting rolls with speed and precision. By handling these repetitive tasks, our robots enable chefs to focus on their creativity and the artistry of sushi, all while ensuring consistent, high-quality production.
AM: When is this space open to the general public and how do they go about reserving a time to come in?
TT: Currently, TECHNICA HOUSE is not fully open to the general public, as our primary focus is hosting select events and collaborations. If you're interested in exploring partnerships or attending a specific event, we encourage you to reach out through the contact information provided on our website. While we may not always be able to accommodate all requests, we're happy to consider inquiries related to our mission and space. In the near future, we plan to expand access to general inquiries and reservations.
AM: What kinds of events will be offered here and do you have anything coming up for the fall and/or holiday season?
TT: We're currently crafting our event calendar, which will include a variety of engaging activities for the community to participate in at TECHNICA HOUSE. Stay tuned for exciting announcements to come.
AM: How will you reach out to creatives to come to this space?
TT: We're building a strong community at TECHNICA HOUSE by leveraging our existing network of creators and brands with whom we've built relationships. Our organic approach allows us to grow with emerging creators through word of mouth, meaningful collaborations, and increased visibility across various channels. We'll continue to foster this community through engaging activations such as open houses and events to connect with potential collaborators.
Read the OCT ISSUE #106 of Athleisure Mag and see LO-FI VIBES EDITORIAL | Technica House in mag.
We love when worlds collide and this month's cover does just that. Tai Woffinden is a 5x Speedway World Champion and an open format DJ/Producer. We wanted to know more about Speedway racing and how he got into the sport, how he stays in shape for it, his passion for music, and why he became a DJ.
Since signing onto Armada Music, he released Body, a collaboration with Grammy nominated Gabry Ponte and vocalist Yasmin Jane. This was followed up by Feeling Super Naughty with CERES which just dropped recently. With all of this movement, we took some time find out more and to see what we should keep an eye out for.
ATHLEISURE MAG: We're excited to be able to talk with you as your background as an athlete as well as a DJ and a producer is such a great mix! When did you fall in love with being a Speedway Rider?
TAI WOFFINDEN: I first got into Speedway way way back in 2002. I went to my Dad’s mate’s house to ride on their private track and there was a speedway bike tucked away in the corner. I said to my dad at 12 years old, “I wanna try that” so we sold my MX gear and went all in from that day on.
AM: You are a 3X World Champion in this sport. What do you love about racing?
TW: It’s hard to explain but there is a feeling when you’re railing the fence on a nice little dirt line as fast as the bike will go and you’re on the complete limit of what you’re able to do on these bikes and you either make it around the corner or bury it into the wall. There is no better feeling in the world (not that I have found yet anyway) and I chase that feeling every time I race.
AM: Can you tell us about Speedway racing from what the bike is like and what races are like?
TW: They’re a one-of-a-kind motorcycle, built to only go left, 500cc, methanol-burning bulls with no breaks!
The races are super short and fast averaging about 1min per heat (4 laps). In a Grand Prix, we do 5 heats and the top eight go to the semi-finals and the 1st and 2nd place from each semi qualify for the final. It’s a wild sport! In Poland it’s huge in Warsaw we race in front of 55,000 inside the national stadium.
AM: To optimize yourself as a racer, what kinds of workouts do you do to stay in shape and meet the goals you need to be a champion rider?
TW: I won’t bore you with this too much but 5 days a week strength work, 6 days a week running or cycling, and a good nutritional plan to get through the workload and recovery.
AM: Your season is over this year. Are there any races that you are preparing for in 2025?
TW: Yes, it’s all done now so full focus on 2025 prep. Next year I will race most weekends in Poland, most Mondays and Thursdays in the UK, and some in races in Sweden on Tuesdays. Plus, four qualification rounds for the Grand Prix and possibly the European championship.
AM: What was the first song that you heard that made you fall in love with music?
TW: I can’t remember exactly, but it would have been something my mum had on in the car when I was a kid. My first hook on EDM specifically would have to be the Old EDM. Specifically it would have to be the Old Skitz Mix CDs back in the day.
AM: What led to you becoming a DJ and a producer?
TW: I went to watch Fisher headline his own show in Perth, Western Australia, and as Fisher was a surfer before he became a DJ, I was just watching him thinking well if he can do that, so can I. So, the week after I started my DJ course with Lab Six.
AM: How would you describe the Tai Woffinden sound?
TW: It’s been varied as I navigate and find my sound, I started out with some Tech House, but I’m a Techno guy so I want to focus on that Mainstage vibe after my first release on Armada Music with Gabry Ponte. But, my current track with CERES and my next single are still slightly different in sound so I’ll continue to play around with it all and see where it takes me.
AM: What would you say are the similarities between racing in front of large crowds and being able to DJ in front of them?
TW: For now, the biggest crowd I’ve played to as a DJ has been 12,000 people at Forestland Festival. It’s hard to say if it’s the same level of intensity as when I race, but from my history, the bigger the crowd, and the more pressure, is exactly where I thrive.
AM: How do you get inspiration for your music?
TW: Same as most people I would guess. Hearing a track I like that sparks an idea, or an individual sound. In the world that we live in today with everything at our fingertips it shouldn’t take too long to be inspired by something.
AM: Tell us about Body and what it was like to collaborate with Gabry Ponte and vocalist Yasmin Jane?
TW: So my A&R at Armada sent over the vocals, I then made a little demo and we sent it to Gabry’s team to shoot our shot. Four days later he said he loved it and wanted to work on it and a week later got it back, we were all stoked with his influence on the production! From my side, one, it was huge to have my first release secured with Armada, and for that track to then be a collaborative with Gabry Ponte was just amazing!
AM: Feeling Super Naughty is your latest with CERES - what is the meaning behind this song?
TW: Again, I heard the vocals and just immediately thought there was something about it. The track was a bit more Techno originally, but I was listening to some track at that time from Indira Paganotto and starting to play with that sound myself so that’s how it came to the final song you hear now. I’m super happy with it. I guess the track is just about having a great time!
AM: You were at ADE this month - what was that like?
TW: ADE was wild…it was my first one and I really made the most of it. I met some great people, made lots of new connections, and did a lot of partying. I already can’t wait until next year and hopefully I can get a few DJ sets locked in as well.
AM: You will be at You&Me Fest, a multi-day NYE fest in Australia. How excited are you to be performing there?
TW: Yes, I am! I’m super grateful that Bailey and Isaac called me up! I’m in Australia all summer and I’m ready to build my presence in this part of the world so why not kick things off there with the local boys. They’re killing it over here in West Australia, I mean you only have to look at this year’s huge line-up to see!
AM: Who are 3 people that are on your bucket list that you would like to work with?
TW: Timmy Trumpet would be one. We have chatted about a track and getting him on one of my race bikes which would be wild!
Also Maddix for sure. I love his sound. Finally, Will Sparks, I'm just a fan of Will. I met him in Newcastle UK this year and we chatted for ages backstage. He is a great guy and a beast at what he does. I also love his DJ performances. Anyway, enough fanboying haha!
AM: Do you have any upcoming festivals or tours that we should know about?
TW: Not right now. I’m in the studio and You&Me is my next big one. However, I have an important meeting coming up which I hope brings big opportunities and parties into 2025.
AM: You do a lot of traveling. What are 3 things that you like to have with you when you're on the road?
TW: I'm a simple man! As long as I have my passport, phone and USB, I can do everything I want…
AM: Whether you're racing or hitting the stage, are there routines you do?
TW: Maybe this comes as a surprise, but I have no routines, pre or post events. I literally just live in the moment and enjoy whatever is surrounding me, be it the stage or the racetrack, I soak it all up and enjoy the process.
AM: Are there any upcoming projects that you would like to share?
TW: I have one track that’s just come back from clearance, and I think could be my biggest yet but can’t say much right now. I plan to host my own event again in the UK next year. I threw a one-off this summer and we sold 12,000 tickets in just 11 days and it was fully sold-out which was insane.
My full focus now is on getting ready for the 2025 season ahead.
IG @twoffinden
PHOTOGRAPHY CREDITS | Front/Back Cover + PG 16 - 21 Tai Woffiden| PG 22 Tai Woffiden Press |
Read the OCT ISSUE #106 of Athleisure Mag and see DOUBLING DOWN ON THE TRACK | Tai Woffinden in mag.
Today, the GRAMMYs announced the nominations for the 67th award show that will take place on Feb 2nd on CBS at 8pm ET. Music’s biggest night will not disappoint! As we do throughout Awards Season, we share our predictions in bold, the ones we correctly identified as winners are in bold italics and winners that we didn’t predict are in italics. On the night of the event, we will share who we predicted correctly as well as those we didn’t that won.
“Now and Then” The Beatles
“Texas Hold ‘Em” Beyoncé
“Espresso” Sabrina Carpenter
“360” Charli XCX
“Birds of a Feather” Billie Eilish
“Not Like Us” Kendrick Lamar
“Good Luck, Babe!” Chappell Roan
“Fortnight” Taylor Swift Featuring Post Malone
“New Blue Sun” André 3000
“Cowboy Carter” Beyoncé
“Short n’ Sweet” Sabrina Carpenter
“Brat” Charli XCX
“Djesse Vol. 4” Jacob Collier
“Hit Me Hard and Soft” Billie Eilish
“The Rise and Fall of a Midwest Princess” Chappell Roan
“The Tortured Poets Department” Taylor Swift
“A Bar Song (Tipsy)” Sean Cook, Jerrel Jones, Joe Kent, Chibueze Collins Obinna, Nevin Sastry & Mark Williams, songwriters (Shaboozey)
“Birds of a Feather” Billie Eilish O’Connell & Finneas, songwriters (Billie Eilish)
“Die With a Smile” Dernst Emile II, James Fauntleroy, Lady Gaga, Bruno Mars & Andrew Watt, songwriters (Lady Gaga & Bruno Mars)
“Fortnight” Jack Antonoff, Austin Post & Taylor Swift, songwriters (Taylor Swift Featuring Post Malone)
“Good Luck, Babe!” Kayleigh Rose Amstutz, Daniel Nigro & Justin Tranter, songwriters (Chappell Roan)
“Not Like Us” Kendrick Lamar, songwriter (Kendrick Lamar)
“Please Please Please” Amy Allen, Jack Antonoff & Sabrina Carpenter, songwriters (Sabrina Carpenter)
“Texas Hold ‘Em” Brian Bates, Beyoncé, Elizabeth Lowell Boland, Megan Bülow, Nate Ferraro & Raphael Saadiq, songwriters (Beyoncé)
Benson Boone
Sabrina Carpenter
Doechii
Khruangbin
Raye
Chappell Roan
Shaboozey
Teddy Swims
Alissia
Dernst “D’Mile” Emile II
Ian Fitchuk
Mustard
Daniel Nigro
Jessi Alexander
Amy Allen
Edgar Barrera
Jessie Jo Dillon
Raye
“Bodyguard” Beyoncé
“Espresso” Sabrina Carpenter
“Apple” Charli xcx
“Birds of a Feather” Billie Eilish
“Good Luck, Babe!” Chappell Roan
“Us” Gracie Abrams Featuring Taylor Swift
“Levii’s Jeans” Beyoncé Featuring Post Malone
“Guess” Charli XCX & Billie Eilish
“The Boy Is Mine” Ariana Grande, Brandy & Monica
“Die With a Smile” Lady Gaga & Bruno Mars’
“Short n’ Sweet” Sabrina Carpenter
“Hit Me Hard and Soft” Billie Eilish
“Eternal Sunshine” Ariana Grande
“The Rise and Fall of a Midwest Princess” Chappell Roan
“The Tortured Poets Department” Taylor Swift
“She’s Gone, Dance On” Disclosure
“Loved” Four Tet
“Leavemealone” Fred Again & Baby Keem
“Neverender” Justice & Tame Impala
“Witchy” Kaytranada Featuring Childish Gambino
“Make You Mine” Madison Beer
“Von Dutch” Charli XCX
“L’Amour de Ma Vie [Over Now Extended Edit]” Billie Eilish
“Yes, And?” Ariana Grande
“Got Me Started” Troye Sivan
“Brat” Charli XCX
“Three” Four Tet
“Hyperdrama” Justice
“Timeless” Kaytranada
“Telos” Zedd
“Alter Ego – Kaytranada Remix” Kaytranada, remixer (Doechii Featuring JT)
“A Bar Song (Tipsy) [Remix]” David Guetta, remixer (Shaboozey & David Guetta)
“Espresso (Mark Ronson x FNZ Working Late Remix)” FNZ & Mark Ronson, remixers (Sabrina Carpenter)
“Jah Sees Them – Amapiano Remix” Alexx Antaeus, Footsteps & MrMyish, remixers (Julian Marley & Antaeus)
“Von Dutch” A.G. Cook, remixer (Charli xcx & A.G. Cook Featuring Addison Rae)
À Fleur De Peau Cyrille Aimée
Visions Norah Jones
Good Together Lake Street Dive
Impossible Dream Aaron Lazar
Christmas Wish Gregory Porter
“Now and Then” The Beatles
“Beautiful People (Stay High)” The Black Keys
“The American Dream Is Killing Me” Green Day
“Gift Horse” Idles
“Dark Matter” Pearl Jam
“Broken Man” St. Vincent
“Mea Culpa (Ah! Ça ira!)” Gojira, Marina Viotti & Victor Le Masne
“Crown of Horns” Judas Priest
“Suffocate” Knocked Loose Featuring Poppy
“Screaming Suicide” Metallica
“Cellar Door” Spiritbox
“Happiness Bastards” The Black Crowes
“Romance” Fontaines D.C.
“Saviors” Green Day
“TANGK” Idles
“Dark Matter” Pearl Jam
“Hackney Diamonds” The Rolling Stones
“No Name” Jack White
“Beautiful People (Stay High)” Dan Auerbach, Patrick Carney, Beck Hansen & Daniel Nakamura, songwriters (The Black Keys)
“Broken Man” Annie Clark, songwriter (St. Vincent)
“Dark Matter” Jeff Ament, Matt Cameron, Stone Gossard, Mike McCready, Eddie Vedder & Andrew Watt, songwriters (Pearl Jam)
“Dilemma” Billie Joe Armstrong, Mike Dirnt & Tré Cool, songwriters (Green Day)
“Gift Horse” Jon Beavis, Mark Bowen, Adam Devonshire, Lee Kiernan & Joe Talbot, songwriters (Idles)
“Neon Pill” Cage the Elephant
“Song of the Lake” Nick Cave & the Bad Seeds
“Starburster” Fontaines D.C.
“Bye Bye” Kim Gordon
“Flea” St. Vincent
“Wild God” Nick Cave & the Bad Seeds
“Charm” Clairo
“The Collective” Kim Gordon
“What Now” Brittany Howard
“All Born Screaming” St. Vincent
“Guidance” Jhené Aiko
“Residuals” Chris Brown
“Here We Go (Uh Oh)” Coco Jones
“Made For Me (Live On BET)” Muni Long
“Saturn” SZA
“Wet” Marsha Ambrosius
“Can I Have This Groove” Kenyon Dixon
“No Lie” Lalah Hathaway Featuring Michael McDonald
“Make Me Forget” Muni Long
“That’s You” Lucky Daye
“So Glad to Know You” Avery*Sunshine
“En Route” Durand Bernarr
“Bando Stone and the New World” Childish Gambino
“Crash” Kehlani
“Why Lawd?” NxWorries (Anderson .Paak & Knxwledge)
“After Hours” Diovanna Frazier, Alex Goldblatt, Kehlani Parrish, Khris Riddick-Tynes & Daniel Upchurch, songwriters (Kehlani)
“Burning” Ronald Banful & Temilade Openiyi, songwriters (Tems)
“Here We Go (Uh Oh)” Sara Diamond, Sydney Floyd, Marisela Jackson, Courtney Jones, Carl McCormick & Kelvin Wooten, songwriters (Coco Jones)
“Ruined Me” Jeff Gitelman, Priscilla Renea & Kevin Theodore, songwriters (Muni Long)
“Saturn” Rob Bisel, Carter Lang, Solána Rowe, Jared Solomon & Scott Zhang, songwriters (SZA)
“11:11 (Deluxe)” Chris Brown
“Vantablack” Lalah Hathaway
“Revenge” Muni Long
“Algorithm” Lucky Daye
“Coming Home” Usher
“Enough (Miami)” Cardi B
“When the Sun Shines Again” Common & Pete Rock Featuring Posdnuos
“Nissan Altima” Doechii
“Houdini” Eminem
“Like That” Future & Metro Boomin Featuring Kendrick Lamar
“Yeah Glo!” GloRilla
“Not Like Us” Kendrick Lamar
“Kehlani” Jordan Adetunji Featuring Kehlani
“Spaghettii” Beyoncé Featuring Linda Martell & Shaboozey
“We Still Don’t Trust You” Future & Metro Boomin Featuring The Weeknd
“Big Mama” Latto
“3:AM” Rapsody Featuring Erykah Badu
“Might Delete Later” J. Cole
“The Auditorium, Vol. 1” Common & Pete Rock
“Alligator Bites Never Heal” Doechii
“The Death Of Slim Shady (Coup De Grâce)” Eminem
“We Don’t Trust You” Future & Metro Boomin
“Asteroids” Marlanna Evans, songwriter (Rapsody Featuring Hit-Boy)
“Carnival” Jordan Carter, Raul Cubina, Grant Dickinson, Samuel Lindley, Nasir Pemberton, Dimitri Roger, Ty Dolla $ign, Kanye West & Mark Carl Stolinski Williams, songwriters (¥$ (Kanye West & Ty Dolla $Ign)
Featuring Rich The Kid & Playboi Carti)
“Like That” Kendrick Lamar Duckworth, Kobe “BbyKobe” Hood, Leland Wayne & Nayvadius Wilburn, songwriters (Future & Metro Boomin Featuring Kendrick Lamar)
“Not Like Us” Kendrick Lamar, songwriter (Kendrick Lamar)
“Yeah Glo!” Ronnie Jackson, Jaucquez Lowe, Timothy McKibbins, Kevin Andre Price, Julius Rivera III & Gloria Woods, songwriters (GloRilla)
“Civil Writes: The South Got Something To Say” Queen Sheba
“Concrete & Whiskey Act II Part 1: A Bourbon 30 Series” Omari Hardwick
“Good M.U.S.I.C. Universe Sonic Sinema: Episode 1 In the Beginning Was the Word” Malik Yusef
“The Heart, the Mind, the Soul” Tank and the Bangas
“The Seven Number Ones” Mad Skillz
16 Carriages Beyoncé
I Am Not Okay Jelly Roll
The Architect Kacey Musgraves
A Bar Song (Tipsy) Shaboozey
It Takes A Woman Chris Stapleton
Cowboys Cry Too Kelsea Ballerini With Noah Kahan
II Most Wanted Beyoncé Featuring Miley Cyrus
Break Mine Brothers Osborne
Bigger Houses Dan + Shay
I Had Some Help Post Malone Featuring Morgan Wallen
The Architect Shane McAnally, Kacey Musgraves & Josh Osborne, songwriters (Kacey Musgraves)
A Bar Song (Tipsy) Sean Cook, Jerrel Jones, Joe Kent, Chibueze Collins Obinna, Nevin Sastry & Mark Williams, songwriters (Shaboozey)
I Am Not Okay Casey Brown, Jason DeFord, Ashley Gorley & Taylor Phillips, songwriters (Jelly Roll)
I Had Some Help Louis Bell, Ashley Gorley, Hoskins, Austin Post, Ernest Smith, Ryan Vojtesak, Morgan Wallen & Chandler Paul Walters, songwriters (Post Malone Featuring Morgan Wallen)
Texas Hold ‘Em Brian Bates, Beyoncé, Elizabeth Lowell Boland, Megan Bülow, Nate Ferraro & Raphael Saadiq, songwriters (Beyoncé)
Cowboy Carter Beyoncé
F-1 Trillion Post Malone
Deeper Well Kacey Musgraves
Higher Chris Stapleton
Whirlwind Lainey Wilson
Blame It On Eve Shemekia Copeland
Nothing In Rambling The Fabulous Thunderbirds Featuring Bonnie Raitt, Keb’ Mo’, Taj Mahal & Mick Fleetwood
Lighthouse Sierra Ferrell
The Ballad Of Sally Anne Rhiannon Giddens
Ya Ya Beyoncé
Subtitles Madison Cunningham
Don’t Do Me Good Madi Diaz Featuring Kacey Musgraves
American Dreaming Sierra Ferrell
Runaway Train Sarah Jarosz
Empty Trainload of Sky Gillian Welch & David Rawlings
Ahead of the Game Mark Knopfler, songwriter (Mark Knopfler)
All In Good Time Sam Beam, songwriter (Iron & Wine Featuring Fiona Apple)
All My Friends Aoife O’Donovan, songwriter (Aoife O’Donovan)
American Dreaming Sierra Ferrell & Melody Walker, songwriters (Sierra Ferrell)
Blame It on Eve John Hahn & Will Kimbrough, songwriters (Shemekia Copeland)
The Other Side T Bone Burnett
$10 Cowboy Charley Crockett
Trail Of Flowers Sierra Ferrell
Polaroid Lovers Sarah Jarosz
No One Gets Out Alive Maggie Rose
Tigers Blood Waxahatchee
I Built A World Bronwyn Keith-Hynes
Songs of Love and Life The Del McCoury Band
No Fear Sister Sadie
Live Vol. 1 Billy Strings
Earl Jam Tony Trischka
Dan Tyminski: Live From the Ryman Dan Tyminski
Hill Country Love Cedric Burnside
Struck Down The Fabulous Thunderbirds
One Guitar Woman Sue Foley
Sam’s Place Little Feat
Swingin’ Live at the Church In Tulsa The Taj Mahal Sextet
Blues Deluxe Vol. 2 Joe Bonamassa
Blame It On Eve Shemekia Copeland
Friendlytown Steve Cropper & The Midnight Hour
Mileage Ruthie Foster
The Fury Antonio Vergara
American Patchwork Quartet American Patchwork Quartet
Weird Faith Madi Diaz
Bright Future Adrianne Lenker
All My Friends Aoife O’Donovan
Woodland Gillian Welch & David Rawlings
25 Back To My Roots Sean Ardoin And Kreole Rock And Soul
Live At The 2024 New Orleans Jazz & Heritage Festival Big Chief Monk Boudreaux & The Golden Eagles Featuring J’Wan Boudreaux
Live At The 2024 New Orleans Jazz & Heritage Festival New Breed Brass Band Featuring Trombone Shorty
Kuini Kalani Pe’a
Stories From The Battlefield The Rumble Featuring Chief Joseph Boudreaux Jr.
Church Doors Yolanda Adams; Donald Lawrence & Sir William James Baptist, songwriters
Yesterday Melvin Crispell III
Hold On (Live) Ricky Dillard
Holy Hands DOE; Jesse Paul Barrera, Jeffrey Castro Bernat, Dominique Jones, Timothy Ferguson, Kelby Shavon Johnson, Jr., Jonathan McReynolds, Rickey Slikk Muzik Offord & Juan Winans, songwriters
One Hallelujah Tasha Cobbs Leonard, Erica Campbell & Israel Houghton Featuring Jonathan McReynolds & Jekalyn Carr; G. Morris Coleman, Israel Houghton, Kenneth Leonard, Jr., Tasha Cobbs Leonard & Naomi Raine, songwriters
BEST CONTEMPORARY CHRISTIAN MUSIC PERFORMANCE/SONG
Holy Forever (Live) Bethel Music, Jenn Johnson Featuring CeCe Winans
Praise Elevation Worship Featuring Brandon Lake, Chris Brown & Chandler Moore; Pat Barrett, Chris Brown, Cody Carnes, Steven Furtick, Brandon Lake & Chandler Moore, songwriters
Firm Foundation (He Won’t) Honor & Glory Featuring Disciple
In The Name Of Jesus JWLKRS Worship & Maverick City Music Featuring Chandler Moore; Austin Armstrong, Ran Jackson, Chandler Moore, Sajan Nauriyal, Ella Schnacky, Noah Schnacky & Ilya Toshinskiy, songwriters
In The Room Maverick City Music, Naomi Raine & Chandler Moore Featuring Tasha Cobbs Leonard; G. Morris Coleman, Tasha Cobbs Leonard & Naomi Raine, songwriters
That’s My King CeCe Winans; Taylor Agan, Kellie Gamble, Lloyd Nicks & Jess Russ, songwriters
Covered Vol. 1 Melvin Crispell III
Choirmaster II (Live) Ricky Dillard
Father’s Day Kirk Franklin
Still Karen Karen Clark Sheard
More Than This CeCe Winans
Heart Of A Human DOE
When Wind Meets Fire Elevation Worship
Child Of God Forrest Frank
Coat Of Many Colors Brandon Lake
The Maverick Way Complete Maverick City Music, Naomi Raine & Chandler Moore
The Gospel Sessions, Vol 2 Authentic Unlimited
The Gospel According To Mark Mark D. Conklin
Rhapsody The Harlem Gospel Travelers
Church Cory Henry
Loving You The Nelons
Funk Generation Anitta
El Viaje Luis Fonsi
GARCÍA Kany García
Las Mujeres Ya No Lloran Shakira
ORQUÍDEAS Kali Uchis
nadie sabe lo que va a pasar mañana Bad Bunny
Rayo J Balvin
FERXXOCALIPSIS Feid
LAS LETRAS YA NO IMPORTAN Residente
att. Young Miko
Compita del Destino El David Aguilar
Pa’ Tu Cuerpa Cimafunk
Autopoiética Mon Laferte
GRASA NATHY PELUSO
¿Quién trae las cornetas? Rawayana
Diamantes Chiquis
Boca Chueca, Vol. 1 Carín León
ÉXODO Peso Pluma
De Lejitos Jessi Uribe
MUEVENSE Marc Anthony
Bailar Sheila E.
Radio Güira Juan Luis Guerra 4.40
Alma, Corazón y Salsa (Live at Gran Teatro Nacional) Tony Succar, Mimy Succar
Vacilón Santiaguero Kiki Valera
Brillo, Brillo! Lucky Diaz And The Family Jam Band
Creciendo Lucy Kalantari & The Jazz Cats
My Favorite Dream John Legend
Solid Rock Revival Rock For Children
World Wide Playdate Divinity Roxx and Divi Roxx Kids
Armageddon Ricky Gervais
The Dreamer Dave Chappelle
The Prisoner Jim Gaffigan
Someday You’ll Die Nikki Glaser
Where Was I Trevor Noah
All You Need Is Love: The Beatles In Their Own Words (Various Artists) Guy Oldfield, producer
…And Your Ass Will Follow George Clinton
Behind The Seams: My Life In Rhinestones Dolly Parton
Last Sundays In Plains: A Centennial Celebration Jimmy Carter
My Name Is Barbra Barbra Streisand
Hell’s Kitchen Shoshana Bean, Brandon Victor Dixon, Kecia Lewis & Meleah Joi Moon, principal vocalists; Adam Blackstone, Alicia Keys & Tom Kitt, producers (Alicia Keys, composer & lyricist) (Original Broadway Cast)
Merrily We Roll Along Jonathan Groff, Lindsay Mendez & Daniel Radcliffe, principal vocalists; David Caddick, Joel Fram, Maria Friedman & David Lai, producers (Stephen Sondheim, composer & lyricist) (New Broadway Cast)
The Notebook John Clancy, Carmel Dean, Kurt Deutsch, Derik Lee, Kevin McCollum & Ingrid Michaelson, producers; Ingrid Michaelson, composer & lyricist (Original Broadway Cast)
The Outsiders Joshua Boone, Brent Comer, Brody Grant & Sky Lakota-Lynch, principal vocalists; Zach Chance, Jonathan Clay, Matt Hinkley, Justin Levine & Lawrence Manchester, producers; Zach Chance, Jonathan Clay & Justin Levine, composers/lyricists (Original Broadway Cast)
Suffs Andrea Grody, Dean Sharenow & Shaina Taub, producers; Shaina Taub, composer & lyricist (Original Broadway Cast)
The Wiz Wayne Brady, Deborah Cox, Nichelle Lewis & Avery Wilson, principal vocalists; Joseph Joubert, Allen René Louis & Lawrence Manchester, producers (Charlie Smalls, composer & lyricist) (2024 Broadway Cast Recording)
The Color Purple (Various Artists)
Deadpool & Wolverine (Various Artists)
Maestro: Music By Leonard Bernstein London Symphony Orchestra, Yannick Nézet-Séguin, Bradley Cooper
Saltburn (Various Artists)
Twisters: The Album (Various Artists)
American Fiction Laura Karpman, composer
Challengers Trent Reznor & Atticus Ross, composers
The Color Purple Kris Bowers, composer
Dune: Part Two Hans Zimmer, composer
Shōgun Nick Chuba, Atticus Ross & Leopold Ross, composers
Avatar: Frontiers of Pandora Pinar Toprak, composer
God of War Ragnarök: Valhalla Bear McCreary, composer
Marvel’s Spider-Man 2 John Paesano, composer
Star Wars Outlaws Wilbert Roget, II, composer
Wizardry: Proving Grounds of the Mad Overlord Winifred Phillips, composer
Ain’t No Love In Oklahoma [From “Twisters: The Album”] Jessi Alexander, Luke Combs & Jonathan Singleton, songwriters (Luke Combs)
Better Place [From “TROLLS Band Together”] Amy Allen, Shellback & Justin Timberlake, songwriters (*NSYNC & Justin Timberlake)
Can’t Catch Me Now [From “The Hunger Games: The Ballad of Songbirds & Snakes”] Daniel Nigro & Olivia Rodrigo, songwriters (Olivia Rodrigo)
It Never Went Away [From “American Symphony”] Jon Batiste & Dan Wilson, songwriters (Jon Batiste)
Love Will Survive [From “The Tattooist of Auschwitz”] Walter Afanasieff, Charlie Midnight, Kara Talve & Hans Zimmer, songwriters (Barbra Streisand)
Tailor Swif A$AP Rocky Vania Heymann & Gal Muggia, video directors
360 Charli XCX Aidan Zamiri, video director; Jami Arceo & Evan Thicke, video producers
Houdini Eminem Rich Lee, video director; Kathy Angstadt, Lisa Arianna & Justin Diener, video producers
Not Like Us Kendrick Lamar Dave Free & Kendrick Lamar, video directors; Jack Begert, Sam Canter & Jamie Rabineau, video producers
Fortnight Taylor Swift Featuring Post Malone Taylor Swift, video director; Jil Hardin, video producer
American Symphony Jon Batiste Matthew Heineman, video director; Lauren Domino, Matthew Heineman & Joedan Okun, video producers
June (June Carter Cash) Kristen Vaurio, video director; Josh Matas, Sarah Olson, Jason Owen, Mary Robertson & Kristen Vaurio, video producers
Kings From Queens Run DMC Kirk Fraser, video director; William H. Masterson III, video producer
Stevie Van Zandt: Disciple Steven Van Zandt Bill Teck, video director; Robert Cotto, David Fisher & Bill Teck, video producers
The Greatest Night In Pop (Various Artists) Bao Nguyen, video director; Bruce Eskowitz, George Hencken, Larry Klein, Julia Nottingham, Lionel Richie & Harriet Sternberg, video producers
Plot Armor Taylor Eigsti
Rhapsody In Blue Béla Fleck
Orchestras (Live) Bill Frisell Featuring Alexander Hanson, Brussels Philharmonic, Rudy Royston & Thomas Morgan
Mark Mark Guiliana
Speak To Me Julian Lage
“Walk With Me, Lord (SOUND | SPIRIT)” The Baylor Project
“Phoenix Reimagined (Live)” Lakecia Benjamin Featuring Randy Brecker, Jeff “Tain” Watts & John Scofield
“Juno” Chick Corea & Béla Fleck
“Twinkle Twinkle Little Me” Samara Joy Featuring Sullivan Fortner
“Little Fears” Dan Pugach Big Band Featuring Nicole Zuraitis & Troy Roberts
Journey In Black Christie Dashiell
Wildflowers Vol. 1 Kurt Elling & Sullivan Fortner
A Joyful Holiday Samara Joy
Milton + Esperanza Milton Nascimento & Esperanza Spalding
My Ideal Catherine Russell & Sean Mason
Owl Song Ambrose Akinmusire Featuring Bill Frisell & Herlin Riley
Beyond This Place Kenny Barron Featuring Kiyoshi Kitagawa, Johnathan Blake, Immanuel Wilkins & Steve Nelson
Phoenix Reimagined (Live) Lakecia Benjamin
Remembrance Chick Corea & Béla Fleck
Solo Game Sullivan Fortner
Returning To Forever John Beasley & Frankfurt Radio Big Band
And So It Goes The Clayton-Hamilton Jazz Orchestra
Walk A Mile In My Shoe Orrin Evans & The Captain Black Big Band
Bianca Reimagined: Music For Paws And Persistence Dan Pugach Big Band
Golden City Miguel Zenón
Spain Forever Again Michel Camilo & Tomatito
Cubop Lives! Zaccai Curtis
COLLAB Hamilton de Holanda & Gonzalo Rubalcaba
Time And Again Eliane Elias
El Trio: Live in Italy Horacio ‘El Negro’ Hernández, John Beasley & José Gola
Cuba And Beyond Chucho Valdés & Royal Quartet
As I Travel Donald Vega Featuring Lewis Nash, John Patitucci & Luisito Quintero
Night Reign Arooj Aftab
New Blue Sun André 3000
Code Derivation Robert Glasper
Foreverland Keyon Harrold
No More Water: The Gospel Of James Baldwin Meshell Ndegeocello
Raat Ki Rani Arooj Aftab
A Rock Somewhere Jacob Collier Featuring Anoushka Shankar & Varijashree Venugopal
Rise Rocky Dawuni
Bemba Colorá Sheila E. Featuring Gloria Estefan & Mimy Succar
Sunlight To My Soul Angélique Kidjo Featuring Soweto Gospel Choir
Kashira Masa Takumi Featuring Ron Korb, Noshir Mody & Dale Edward Chung
Tomorrow Yemi Alade
MMS Asake & Wizkid
Sensational Chris Brown Featuring Davido & Lojay
Higher Burna Boy
Love Me JeJe Tems
Alkebulan II Matt B Featuring Royal Philharmonic Orchestra
Paisajes Ciro Hurtado
Heis Rema
Historias De Un Flamenco Antonio Rey
Born In The Wild Tems
Take It Easy Collie Buddz
Party With Me Vybz Kartel
Never Gets Late Here Shenseea
Bob Marley: One Love – Music Inspired By The Film (Deluxe) (Various Artists)
Evolution The Wailers
Break Of Daw Ricky Kej
Triveni Wouter Kellerman, Éru Matsumoto & Chandrika Tandon
Visions Of Sounds De Luxe Chris Redding
Opus Ryuichi Sakamoto
Chapter II: How Dark It Is Before Dawn Anoushka Shankar
Warriors Of Light Radhika Vekaria
The Avett Brothers Jonny Black & Giorgia Sage, art directors (The Avett Brothers)
Baker Hotel Sarah Dodds & Shauna Dodds, art directors (William Clark Green)
BRAT Brent David Freaney & Imogene Strauss, art directors (Charli XCX)
F-1 Trillion Archie Lee Coates IV, Jeffrey Franklin, Blossom Liu, Kylie McMahon & Ana Cecilia Thompson Motta, art directors (Post Malone)
Hounds Of Love The Baskerville Edition Kate Bush & Albert McIntosh, art directors (Kate Bush)
Jug Band Millionaire Andrew Wong & Julie Yeh, art directors (The Muddy Basin Ramblers)
Pregnancy, Breakdown, And Disease Lee Pei-Tzu, art director (iWhoiWhoo)
Half Living Things Patrick Galvin, art director (Alpha Wolf)
Hounds Of Love The Boxes Of Lost At Sea Kate Bush & Albert McIntosh, art directors (Kate Bush)
In Utero Doug Cunningham & Jason Noto, art directors (Nirvana)
Mind Games Simon Hilton & Sean Ono Lennon, art directors (John Lennon)
Unsuk Chin Takahiro Kurashima & Marek Polewski, art directors (Unsuk Chin & Berliner Philharmoniker)
We Blame Chicago Rebeka Arce & Farbod Kokabi, art directors (90 Day Men)
After Midnight Tim Brooks, album notes writer (Ford Dabney’s Syncopated Orchestras)
The Carnegie Hall Concert Lauren Du Graf, album notes writer (Alice Coltrane)
Centennial Ricky Riccardi, album notes writer (King Oliver’s Creole Jazz Band & Various Artists)
John Culshaw – The Art Of The Producer – The Early Years 1948-55 Dominic Fyfe, album notes writer (John Culshaw)
SONtrack Original De La Película “Al Son De Beno” Josh Kun, album notes writer (Various Artists)
Centennial Meagan Hennessey & Richard Martin, compilation producers; Richard Martin, mastering engineer (King Oliver’s Creole Jazz Band And Various Artists)
Diamonds And Pearls: Super Deluxe Edition Charles F. Spicer, Jr. & Duane Tudahl, compilation producers; Brad Blackwood & Bernie Grundman,
mastering engineers (Prince & The New Power Generation)
Paul Robeson – Voice of Freedom: His Complete Columbia, RCA, HMV, and Victor Recordings Tom Laskey & Robert Russ, compilation producers; Nancy Conforti & Andreas K. Meyer, mastering engineers (Paul Robeson)
Pepito Y Paquito Pepe De Lucía & Javier Doria, compilation producers; Jesús Bola, mastering engineer (Pepe De Lucía And Paco De Lucía)
The Sound Of Music (Original Soundtrack Recording – Super Deluxe Edition) Mike Matessino & Mark Piro, compilation producers; Steve Genewick & Mike Matessino, mastering engineers (Rodgers & Hammerstein & Julie Andrews)
Algorithm Dernst Emile II, Michael B. Hunter, Stephan Johnson, Rachel Keen, John Kercy, Charles Moniz & Todd Robinson, engineers; Colin Leonard, mastering engineer (Lucky Daye)
Cyan Blue Jack Emblem, Jack Rochon & Charlotte Day Wilson, engineers; Chris Gehringer, mastering engineer (Charlotte Day Wilson)
Deeper Well Craig Alvin, Shawn Everett, Mai Leisz, Todd Lombardo, John Rooney, Konrad Snyder & Daniel Tashian, engineers; Greg Calbi, mastering engineer (Kacey Musgraves)
empathogen Beatriz Artola, Zach Brown, Oscar Cornejo, Chris Greatti & Mitch McCarthy, engineers; Joe La Porta, mastering engineer (WILLOW)
i/o Tchad Blake, Oli Jacobs, Katie May & Dom Shaw, engineers; Matt Colton, mastering engineer (Peter Gabriel)
Short n’ Sweet Bryce Bordone, Julian Bunetta, Serban Ghenea, Jeff Gunnell, Oli Jacobs, Ian Kirkpatrick, Jack Manning, Manny Marroquin, John Ryan & Laura Sisk, engineers; Nathan Dantzler & Ruairi O’Flaherty, mastering engineers (Sabrina Carpenter)
Adams: Girls Of The Golden West Alexander Lipay & Dmitriy Lipay, engineers; Alexander Lipay & Dmitriy Lipay, mastering engineers (John Adams, Daniela Mack, Ryan McKinny, Paul Appleby, Hye Jung Lee, Elliot Madore, Julia Bullock, Davóne Tines, Los Angeles Philharmonic & Los Angeles Master Chorale)
Andres: The Blind Banister Silas Brown, Doron Schachter & Michael Schwartz, engineers; Matt Colton, mastering engineer (Andrew Cyr, Inbal Segev & Metropolis Ensemble)
Bruckner: Symphony No. 7; Bates: Resurrexit Mark Donahue & John Newton, engineers; Mark Donahue, mastering engineer (Manfred Honeck & Pittsburgh Symphony Orchestra)
Clear Voices In The Dark Daniel Shores, engineer; Daniel Shores, mastering engineer (Matthew Guard & Skylark Vocal Ensemble)
Ortiz: Revolución Diamantina Alexander Lipay & Dmitriy Lipay, engineers; Alexander Lipay & Dmitriy Lipay, mastering engineers (Gustavo Dudamel, María Dueñas, Los Angeles Philharmonic & Los Angeles Master Chorale)
Erica Brenner
Christoph Franke
Morten Lindberg
Dmitriy Lipay
Elaine Martone
Dirk Sobotka
Avalon Bob Clearmountain, immersive mix engineer; Rhett Davies & Bryan Ferry, immersive producers (Roxy Music)
Genius Loves Company Michael Romanowski, Eric Schilling & Herbert Waltl, immersive mix engineers; Michael Romanowski,
immersive mastering engineer; John Burk, immersive producer (Ray Charles With Various Artists)
Henning Sommerro: Borders Morten Lindberg, immersive mix engineer; Morten Lindberg, immersive mastering engineer; Morten
Lindberg, immersive producer (Trondheim Symphony Orchestra)
i/o (In-Side Mix) Hans-Martin Buff, immersive mix engineer; Brian Eno, Peter Gabriel & Richard Russell, immersive producers (Peter Gabriel)
Pax Morten Lindberg, immersive mix engineer; Morten Lindberg, immersive mastering engineer; Morten
Lindberg, immersive producer (Ensemble 96 & Current Saxophone Quartet)
At Last Shelton G. Berg, composer (Shelly Berg)
Communion Christopher Zuar, composer (Christopher Zuar Orchestra)
I Swear, I Really Wanted To Make A “Rap” Album But This Is Literally The Way The Wind Blew Me This Time André 3000, Surya Botofasina, Nate Mercereau & Carlos Niño, composers (André 3000)
Remembrance Chick Corea, composer (Chick Corea & Béla Fleck)
Strands Pascal Le Boeuf, composer (Akropolis Reed Quintet, Pascal Le Boeuf & Christian Euman)
Baby Elephant Walk – Encore Michael League, arranger (Snarky Puppy)
Bridge Over Troubled Water Jacob Collier, Tori Kelly & John Legend, arrangers (Jacob Collier Featuring John Legend & Tori Kelly)
Rhapsody In Blue(Grass) Béla Fleck & Ferde Grofé, arrangers (Béla Fleck Featuring Michael Cleveland, Sierra Hull, Justin
Moses, Mark Schatz & Bryan Sutton)
Rose Without The Thorns Erin Bentlage, Alexander Lloyd Blake, Scott Hoying, A.J. Sealy & Amanda Taylor, arrangers (Scott Hoying Featuring säje & Tonality)
Silent Night Erin Bentlage, Sara Gazarek, Johnaye Kendrick & Amanda Taylor, arrangers (säje)
Alma Erin Bentlage, Sara Gazarek, Johanye Kendrick & Amanda Taylor, arrangers (säje Featuring Regina Carter)
Always Come Back Matt Jones, arranger (John Legend)
b i g f e e l i n g s Willow, arranger (WILLOW)
Last Surprise (From “Persona 5”) Charlie Rosen & Jake Silverman, arrangers (The 8-Bit Big Band Featuring Jonah Nilsson & Button Masher)
The Sound Of Silence Cody Fry, arranger (Cody Fry Featuring Sleeping At Last)
Adams: City Noir, Fearful Symmetries & Lola Montez Does The Spider Dance Marin Alsop, conductor (ORF Vienna Radio Symphony Orchestra)
Kodály: Háry János Suite; Summer Evening & Symphony In C Major JoAnn Falletta, conductor (Buffalo Philharmonic Orchestra)
Ortiz: Revolución Diamantina Gustavo Dudamel, conductor (Los Angeles Philharmonic)
Sibelius: Karelia Suite, Rakastava, & Lemminkäinen Susanna Mälkki, conductor (Helsinki Philharmonic Orchestra)
Stravinsky: The Firebird Esa-Pekka Salonen, conductor (San Francisco Symphony)
Adams: Girls Of The Golden West John Adams, conductor; Paul Appleby, Julia Bullock, Hye Jung Lee, Daniela Mack, Elliot Madore, Ryan McKinny & Davóne Tines; Dmitriy Lipay, producer (Los Angeles Philharmonic; Los Angeles Master Chorale)
Catán: Florencia En El Amazonas Yannick Nézet-Séguin, conductor; Mario Chang, Michael Chioldi, Greer Grimsley, Nancy Fabiola
Herrera, Mattia Olivieri, Ailyn Pérez & Gabriella Reyes; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)
Moravec: The Shining Gerard Schwarz, conductor; Tristan Hallett, Kelly Kaduce & Edward Parks; Blanton Alspaugh, producer (Kansas City Symphony; Lyric Opera Of Kansas City Chorus)
Puts: The Hours Yannick Nézet-Séguin, conductor; Joyce DiDonato, Renée Fleming & Kelli O’Hara; David Frost, producer (Metropolitan Opera Orchestra; Metropolitan Opera Chorus)
Saariaho: Adriana Mater Esa-Pekka Salonen, conductor; Fleur Barron, Axelle Fanyo, Nicholas Phan & Christopher Purves; Jason O’Connell, producer (San Francisco Symphony; San Francisco Symphony Chorus; Timo Kurkikangas)
Clear Voices In The Dark Matthew Guard, conductor (Carrie Cheron, Nathan Hodgson, Helen Karloski & Clare McNamara; Skylark Vocal Ensemble)
A Dream So Bright – Choral Music Of Jake Runestad Eric Holtan, conductor (Jeffrey Biegel; True Concord Orchestra; True Concord Voices)
Handel: Israel In Egypt Jeannette Sorrell, conductor (Margaret Carpenter Haigh, Daniel Moody, Molly Netter, Jacob Perry &
Edward Vogel; Apollo’s Fire; Apollo’s Singers)
Ochre Donald Nally, conductor (The Crossing)
Sheehan: Akathist Elaine Kelly, conductor; Melissa Attebury, Stephen Sands & Benedict Sheehan, chorus masters (Elizabeth Bates, Paul D’Arcy, Tynan Davis, Aine Hakamatsuka, Steven Hrycelak, Helen Karloski, Enrico Lagasca, Edmund Milly, Fotina Naumenko, Neil Netherly, Timothy Parsons, Stephen Sands, Miriam Sheehan & Pamela Terry; Novus NY; Artefact Ensemble, The Choir Of Trinity Wall Street, Downtown Voices & Trinity Youth Chorus)
BEST CHAMBER MUSIC/SMALL ENSEMBLE PERFORMANCE
Adams, J.L.: Waves & Particles JACK Quartet
Beethoven For Three: Symphony No. 4 And Op. 97, ‘Archduke’ Yo-Yo Ma, Leonidas Kavakos & Emanuel Ax
Cerrone: Beaufort Scales Beth Willer, Christopher Cerrone & Lorelei Ensemble
Home Miró Quartet
Rectangles And Circumstance Caroline Shaw & Sō Percussion
Akiho: Longing Andy Akiho
Bach: Goldberg Variations Víkingur Ólafsson
Eastman: The Holy Presence Of Joan D’Arc Seth Parker Woods; Christopher Rountree, conductor (Wild Up)
Entourer Mak Grgić (Ensemble Dissonance)
Perry: Concerto For Violin & Orchestra Curtis Stewart; James Blachly, conductor (Experiential Orchestra)
Beyond The Years – Unpublished Songs Of Florence Price Karen Slack, soloist; Michelle Cann, pianist
A Change Is Gonna Come Nicholas Phan, soloist; Palaver Strings, ensembles
Newman: Bespoke Songs Fotina Naumenko, soloist; Marika Bournaki, pianist (Nadège Foofat; Julietta Curenton, Colin Davin, Mark Edwards, Nadia Pessoa, Timothy Roberts, Ryan Romine, Akemi Takayama, Karlyn Viña & Garrick Zoeter)
Show Me The Way Will Liverman, soloist; Jonathan King, pianist
Wagner: Wesendonck Lieder Joyce DiDonato, soloist; Maxim Emelyanychev, conductor (Il Pomo d’Oro)
Akiho: BeLonging Andy Akiho & Imani Winds; Andy Akiho, Sean Dixon & Mark Dover, producers
American Counterpoints Curtis Stewart; James Blachly, conductor; Blanton Alspaugh, producer
Foss: Symphony No. 1; Renaissance Concerto; Three American Pieces; Ode JoAnn Falletta, conductor; Bernd Gottinger, producer
Mythologies II Sangeeta Kaur, Omar Najmi, Hilá Plitmann, Robert Thies & Danaë Xanthe Vlasse; Michael Shapiro,
conductor; Jeff Atmajian, Emilio D. Miler, Hai Nguyen, Robert Thies, Danaë Xanthe Vlasse & Kitt Wakeley, Producers
Ortiz: Revolución Diamantina Gustavo Dudamel, conductor; Dmitriy Lipay, producer
Casarrubios: Seven For Solo Cello Andrea Casarrubios, composer (Andrea Casarrubios)
Coleman: Revelry Valerie Coleman, composer (Decoda)
Lang: Composition As Explanation David Lang, composer (Eighth Blackbird)
Ortiz: Revolución Diamantina Gabriela Ortiz, composer (Gustavo Dudamel, Los Angeles Philharmonic & Los Angeles Master Chorale)
Saariaho: Adriana Mater Kaija Saariaho, composer (Esa-Pekka Salonen, Fleur Barron, Nicholas Phan, Christopher Purves, Axelle Fanyo, San Francisco Symphony Chorus & Orchestra)
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One of the best things in life is to re-discover, deep dive, and better connect with things long-admired, and cherished. Bob Marley’s music lies at the top of my must-haves – many tracks and live albums suiting best for joyous and sad moments, and all in between, as well as adventuring outdoors, smoking sessions, studying, romance and more.
Upon reading Bob Marley and The Wailers: The Ultimate Illustrated History by Richie Unterberger, it was quickly apparent that it was time to dust off those old soundboard recording treasures and look to the music, life and culture that has served as such stong guidance over the years.
We put together an expanded 9PLAYLIST STORI3S to explore and ponder more about the man, his music, and the times for then and now, along a series of our favorite song selections: Sun Is Shining, Positive Vibration, Roots Rock Reggae, Downpressor Man, One Love, Zimbabwe, And I Love Her, High Tide or Low Tide, and Redemption Song.
We also note that Former President Barack Obama, has also previously shared strong memories and feelings with Bob Marley’s music, particularly in his school years and the Survival album. His visit to the Bob Marley Museum was said have Jamming, playing upon his entering, and One Love, when departing. He also reminisced about keeping his record and tape collection.
Ultimately, with questions or thoughts of art and nature; good and tough times; peace and strife; love, respect and kindness, we ask along this and our musical journey - What Would Marley Do (WWMD)?
And I Love Her (Alternate Take)
ATHLEISURE MAG: I stumbled upon this ballad mid-college and was floored. It felt immediately intimate and special, loved sharing it at parties as friends generally loved it.
RICHIE UNTERBERGER: Most of the attention on Marley's career goes to the last seven or so years of his life when he was becoming an International star, first with the original Wailers and then with other Wailers. But there was a lot of good music that he made, often with the original Wailers, in the first 10 years of his recording career, which isn't very well known because it was primarily heard in Jamaica and not elsewhere.
And the earliest years of those are like from 1962-63 to 1966. That's when he had his debut single with Studio One. And the records are a lot more ska influenced than what he did after 1966 - [ska as] the precursor to reggae music. It's a lot faster and it's sort of a combination of Jamaican folk music with early American soul music.
Like they did a Curtis Mayfield song and he was maybe their biggest early influence. That's not a surprise. But them doing a Beatles song is not something that you would necessarily expect. And the version that they do, it is more imaginative than you would think, even if you know a fair amount about reggae and the Wailers. I'm a big Beatles fan. I love the original version, but they give it more of a wilting, early reggae cast and they also add, 'and I love her, yes, indeed,' after like every chorus. So it sounds more like a soul, early reggae hybrid sort of yearning quality that's not in the Beatles original, which makes it an interesting variation. And that's how they kind of varied soul music in general, when they were doing their first records in the mid '60s.
AM: At this time, were they doing covers towards getting acceptance or was that honoring their influences, or both?
RU: It's kind of all the above, but I think even though the majority of the material from the get go was original, I think there were a lot of songs they just liked that they wanted to do. It's just it's like when the Beatles started, they were already great songwriters on their first album, but the first few albums all have a good number of cover versions, which they did really well. They didn't just imitate Chuck Berry or Little Richard. They put their own personality on it very strongly. But also, I think they, and a lot of early reggae acts or ska acts, were just putting out tons of records, even though Jamaica was a pretty small market. And to fill out all these singles coming out and the one album that they did in the mid 60s, they needed to have more songs probably than they had already written. So they opted for songs that they really liked and maybe songs that when they performed live would get a good reaction to sort of vary their repertoire if they were playing long concerts.
AM: Yeah. I always liked the Bob Dylan one, Like A Rolling Stone.
RU: And another example, they did a Temptations song, Don't Look Back, an earlier version than the one that Peter Tosh did where Mick Jagger duetted with him in the late 60s. But he was aware of that song by the Temptations, which isn't one of their big hits, even when he was pretty early in his recording career.
AM: You know, I love that part of your book when you showed the Rolling Stones imprints, didn't know much about that, and definitely that whole part about Mick Jagger and the Stones backing Peter Tosh and all that.. That was terrific!
RU: Thanks. Yeah. It's really interesting because I think when the Rolling Stones set up their own label, their ambition was to have it be a sort of Apple Records, the way that Beatles ran Apple Records for the first couple of years, where it would be their label, but they would sign a lot of other artists and not just sign them, but often produce them or help them hands on, like they did with Badfinger and Mary Hopkin. And for various reasons, that aren't clear to me, they signed very few people, like less than five. And the only significant one they signed to put out a reasonable number of records was Peter Tosh. And I think that although the Stones didn't do many reggae songs, whether it was covers or they wrote their reggae style songs, they really liked the music.
They did some recording in Jamaica, like Goats Head Soup, the 1973 album, and they saw the connection between reggae and the American rhythm and blues and soul music that they loved and wanted to promote it with one of the leading artists who was available because he had left the Wailers for various complicated reasons, right after the Wailers started to get a big International audience on Island Records. So I'm not saying they were the most altruistic group of people in the world, the Rolling Stones, but they really wanted to promote a form of Black music, not Black American as it happens, but still from near North America.
It didn't work out indefinitely because Peter Tosh had a fallout with Keith Richards. This is like a few albums into his career with Rolling Stones records. But it was an alliance that made a lot of sense. It's the only such alliance the Stones made for their own record label, but it was the one solid indication of what they could do to help another artist. Not that Tosh needed so much help for his art, but his promotion to an International audience, which also Mick Jagger, of course, helped by actually singing on Don't Look Back, and also appearing in the official promotional video that Peter Tosh did, and also they sang it together on Saturday Night Live.
Sun is Shining
AM: This song increasingly became one of my favorites throughout my life. It’s always something that gets to me right away and the right ways, just find it so magnificent – it's sexy and inspirational!
RU: A lot of the attention given to Marley as a songwriter or for his protest songs are the ones championing social justice. And that's very important, arguably the most important part of his songwriting. But it should never be overlooked, that like almost all great songwriters, he could write about social issues, but also just write songs that were feel good songs, like ‘Positive Vibration,’ it was a great example, I think.
Also really good love songs - and although a lot of his songs, like Get Up, Stand Up is a great example, are about self-empowerment, a lot are sort of anthems just to make people feel more positive about what they are experiencing, what they hope to experience. And Sun Is Shining is an early example of that.
And I think it's interesting that throughout his career, Marley and Tosh would sometimes remake songs from pretty early in their career, like One Love is another great example, when they realized we're getting a much bigger audience and a lot of those people around the world never heard these records, which were primarily or only distributed in Jamaica. It was time to make those songs, which still have a universal message, something that everybody can hear on records, not just in their concerts. So Sun Is Shining is an example of that, where it was revisited and remade as well.
AM: Near the end of the song, he's talking about how he's 'a rainbow, too.' And it made me really reflect, wondering if this was him rescuing us as the unifier, and if also he was encouraging us that we all could all be rainbows, too?
RU: I would say like not just a lot of songwriters, but a lot of artists, his messages can be validly interpreted in different ways. So you might say he's talking about himself or that he's talking about everybody, all of his listeners and himself, or he's talking about both himself and his listeners. One of his great strengths was that as a songwriter, he could deliver very clear, yet easily understood messages that were inspiring. When you hear his spoken interviews, he's often a little vague. And it's interesting that it's not like his songwriting, which is very clear and direct. Get Up, Stand Up - I mean, how can you misinterpret that? I Shot the Sheriff - but I swear it was self-defense..; it's very lucid.
And it's unknown how precise his lyrics were explicitly stating. Yeah, meaning that it's hard to say whether his lyrics were meant for this is how I'm feeling, or this is how humans as a whole feel, or it could be both. His clear, direct messages were that in the lyrics, whether it's interpreted, however it's interpreted to apply to, they are very easily understood and they hit very directly [and across the world]. And it's unlike his spoken interviews, the last quote before my epilogue, somebody who was talking to the New York Times right after he died, just a fan, not someone who knew him, she said, ‘as an orator, he wasn't much, but his music said it all.’ It's almost like his music was his great expression of communication.
He also traveled and did concerts in Japan and other countries where knowledge of English was appreciably lower then, like a couple generations ago. A lot of people probably, if they read the lyrics on the page, they might have had a hard time understanding them, but when they heard them, they were geared around choruses which were easy to remember and sort of sink in. I think a lot of those messages did get through, both in the words, but also the way that they were sung.
High Tide or Low Tide
AM: So let's talk about High Tide or Low Tide and the Catch a Fire sessions in general? This track is so delicate and haunting, really enjoy it chilling with my girlfriend for sure.
RU: Yeah, Catch a Fire [sessions] - made really good music. I think in Britain a few people had heard them because there was such a big Jamaican population there, Jamaica, and they, Marley and Tosh, liked to have an International audience. They had gone to London in part to not just get a bigger audience or whatever concerts they could do, but try to find a record label. I think the feeling was it's going to be easier in Britain than in the U.S. because of that Jamaican population, Jamaica being a former British population in Britain, there was a much wider knowledge of reggae, even among non-Jamaicans, and his record labels were distribution, business distribution, primarily to serve the British Jamaican audience.
To bring reggae music itself to a wider audience, the goal was to give them more of a luster of a rock group, not so much in changing their music, but in marketing the album design, how it's distributed, it's on Island records, which a lot of people associated with those big British rock groups, and only subtly adding some rock instrumentation to their sound without diluting it.
Their appeal then, it was slightly earlier, but still very good records, music was slowing down into reggae and the lyrics were becoming a lot more socially conscious. Even though Catch a Fire is a very well-known album now, when it first came out it, it was primarily an underground hit, but that was very important, because that's where Marley's huge following could grow. When people saw the Wailers when they made their first American tours, they really stood out, in part because most white rock listeners had not heard reggae before, but also because the stage presence and the concerts were so good, and they got a lot of FM radio. I've talked to the leading FM radio disc jockey in the city in which I grew up, Philadelphia, and he said, 'oh yeah, when that record came out we leapt on it, we played it a lot, both because we loved it, but also we knew that our listeners who were maybe more used to Pink Floyd or Sticky Fingers, or something like that would love it too!'
But it should not be lost sight of that the biggest reason was that the material was very strong. You can't sell a record with that sort of marketing if the songs aren't really strong. In retrospect I kind of wish that it could have been a double album, not just Marley but also Tosh and Two, a lesser but significant degree by Quayler. Part of the reason I think that they did not stay together long on Island Records, after being together for a long time, was that Marley was getting so much of the songwriting, and that's one of the reasons he got more attention than anywhere else, although I emphasize they were a group at that time, it wasn't as what it became. They were a group in the sense that all of them have the impact that the act has.
AM: I was honored to see the Wailers after Bob Marley had passed, they were terrific.
Positive Vibration and Roots Rock Reggae
AM: This pair were often musts for outdoor adventures.
RU: With Positive Vibrations, it's like some of Bob Marley's song titles, you get the idea very quickly before even hearing the song. That's a really good example of, yeah we're going to dig into the lyrics.
We're all going to have a much better life here if we can all learn to groove together, which to some degree his concerts enable many people to do that together. But also, even if you don't think about the lyrics, it captures in a way that few reggae songs have done and reggae's been around now for 60 years or so.
Downpressor Man
AM: I first encountered Downpressor Man at an outside cafe in Miami. I had heard the cover rendition of Sinner Man before and loved it, but this magical slowed down version just hit so hard. Of course, a big fan of and feel it gives justice to Nina Simone’s tough bar to meet.
RU: I think that Peter Tosh shared with Marley as a songwriter, where he's documenting the injustices done to the underprivileged - which in Jamaica, most of the people considered underprivileged would have been. And in this instance, he adopted almost like spiritual, but made it particular, or more particular to the circumstances, not just of the oppressed in Jamaica, but the oppressed anywhere. I think that's a big part of not just Marley and Tosh's appeal, but reggae's appeal, especially in Africa, places which don't enjoy, in some cases, not as many human rights. Him changing the focus of the song and championing the downtrodden was something that made people feel that he had a lot of empathy for his audience and was able to express that well.
One Love
AM: With One Love, it's definitely something that became a huge country anthem, it always gives me a smile, and like a hug and form of encouragement – it's inviting..
RU: When preaching unity, [it's] hard to do.. without sounding sappy or sounding, just to get together, to find some common ground. This song had those kinds of sentiments, but did it in a humbler way than a lot of such songs do, but also should not be overestimated. The Beatles had a lot of great lyrics, but maybe the biggest reason they became the biggest group ever was that the songs were so melodic. Marley and the Wailers had a lot of such songs, which were very catchy, easy to hum. One Love is maybe his greatest expression of his hopes for a universal common ground between people of all geography and make inroads toward making the world a more peaceful place. Like I said earlier, he'd done that song, it caught on a lot more when it was remade in his solo career in the 70s. It was more updated, it sounds very contemporary.
Zimbabwe
AM: With Survival, it was very interesting to read your commentary because there came across with fierce lyrics and anthems.
RU: It might seem more tilted toward that on his album, but it seems like he always had a wide range of songs that he emphasized the most, but on others, that was because he was one of the first reggae artists, maybe the first, to recognize that an album should have, even if it's not like a story album or not all the songs, a theme. So maybe with Survival, he focused more on a full statement than like a romantic album that he did, but it's something that will vary on what was put out there that'll keep people interested.
I'm kind of speculating because, in part, Marley's life was short.. he didn't go through all of the phases of his career and explain them in ways like John Lennon did in his numerous interviews before he died. So it's a little bit of projection on my part.
AM: With Zimbabwe, having such significance, and the way it was performed so beautifully at legendary concerts, but how was that received globally?
RU: I do think that it meant a lot that Marley was sort of voicing his support for people's independence and self-determination in a country. It's often asked, and it's a very logical question, what would Marley have done had he not died so young in his later years? He was only - I think, although it's not certain, he definitely would have performed a lot more in Africa. He'd only perform there a bit toward the end of his career, both because he got a really great reception there, but also he saw that, as universal as his music was, it had some particular parts of meaning for people in Africa, where a number of countries - maybe South Africa got more attention in more attention in the United States for that than anywhere else, but a number of countries there - I think he would have performed there as much as he could have, maybe written more songs that were directly applicable to Africa. And possibly, it would seem like a logical step to me, maybe incorporating some elements of African music as he became more exposed to them, whether through touring or just listening more, because in the early 80s, that was the point where artists like Fela were starting to get a much bigger audience in the United States, and I could see Marley being very interested in someone like Fela, not just musically, but also lyrically, and also as a cultural figure in Nigeria.
Redemption Song
AM: Redemption Song, a lot of people's top favorite, and it is very reflective and boldy highlights the past and gives deep lessons. I’ve always held it in a different way, like a supercharged guide to fall back to when happy and chill or lost and sad. It says so much about the past, present and future of humanity, extremely prophetic!
RU: It's interesting to me for a few reasons. One is that unlike maybe all of his other really well-known - it could in some ways be heard not even as a reggae song, more as like folk. And that, it actually relates to something I was riffing on a couple minutes ago, [the] direction that he might have changed his style to that style that he would have done. Maybe he would have been thinking, yeah, I'm a reggae artist, I'm never going to abandon reggae, but I want to explore different styles that might not be dominantly reggae. Other artists have done that. Joni Mitchell started as a folk singer, then she admitted some rock influences, then she went into jazz. Paul Simon started, but then he incorporated reggae and gospel. He eventually got to African music, of course. I think he knew this when he was writing it, that he could do several different styles of music well - and when I hear it, because he didn't die that much long afterward, it's like he also had some sort of awareness that his time is not going to be long, whether he dies or not. it's almost like a Martin Luther King song. It's almost like Martin Luther King's final speeches, where he feels like, I might not have much time, but his urgency to get a message across.
AM: A hypothetical, because I've enjoyed some bubblegum gelato vape during our interview, what did he say about technology? Would he e-vape today or be comfortable his audience did?
RU: About his drug use, which is mostly cannabis, in the book or elsewhere, because there is music, but specifically as far as people using that sort of stimulation for recreational purposes, I don't think he ever would have minded whether it was with a religious dimension, as it was with a lot of prostitutes, or you just wanted to use it, at least in your ability of function and people around you. [Be sure to] be kind to your neighbors, right?
Yeah, and musically, maybe what he would have done. It's hard to project, like, if he was still making music in 2020, what he would have done. What he would have done, at least if he had lived another 10 or 20 years, if he wasn't ill. Technology, I think that would have been one of the things that he would have been wary about in some of his songs. The adverse effects of technology, not just AI, but climate change, which, when he died, that was his concern.
PHOTOGRAPHY CREDITS | PG 27, 38 - 57 Quarto Publishing/Bob Marley and The Wailers: The Ultimate Illustrated History | PG 58 GM/Current Affairs/Alamy Stock Photo | PG 60 Deposit Photos |
Read the JUL ISSUE #103 of Athleisure Mag and see BOB MARLEY AND THE WAILERS in mag.
Many of us are finding that we're traveling all over the world to see our favorite artists and music festivals! It's a great way to travel to a different locale and to see our artists to carry out there sets! We caught up with Puerto Rican rapper and singer, Dei V who is currently on tour to talk about his passion for music, his latest single off his recent album Quién es Dei V?, those he has collaborated with and more!
ATHLEISURE MAG: When did you first fall in love with music?
DEI V: I think I fell in love with music at a very young age. I used to watch my pops play guitar, my sisters used to sing and I don't know I've just had love for music since I was young. I didn't want to be an artist till I was like 20 years old and I moved to New York. That's when I started to have more love for being an artist, a rapper, a trap or a reggaeton artist. That's when all that started when I moved to New York. I loved the vibe, the old school artists I used to collab with, the Puertorican ones so I think the move to New York, that's when the love for being an artist started.
AM: When did you realize that you wanted to be a rapper and singer?
DV: I realized I wanted to be a rapper and a singer when I tried it for the first time, when I tried to write a song for the first time. I noticed that I was very very good. Everyone used to tell me “you should do it, you should do it, you should do it” and like, that's when I started. I started writing for one of my friends and everything I wrote sounded good so I wanted to do music myself you know and bring my own sound.
AM: How would you describe the Dei V sound?
DV: I would describe my sound as different and unique. I feel like I’m bringing to the table and nowadays doing what I’m doing. I feel like I’m in my own lane and I’m bringing a flow and a style that nobody’s bringing out there.
AM: In terms of your creative process, where do you like to start when it comes to putting together a song.
DV: There's not really a process, I just put a beat, I call the best producers or I look through beats and the feeling that the beat gives me, I go for that. I just go with the flow. I don't really have a process, I just put a beat and go with the flow and vibe. I sit with the people that are in the studio and just make it fun, you know, there's not really a process it’s just having fun and doing what I know how to do.
AM: You have collaborated with a number of artists including Karol G, Myke Towers, and Bryant Myers. What do you look for when it comes to collaborating with artists?
DV: I really just like to work with people that do genuine stuff and humble people, people that like my music and people that have the same love as me for music. I don't really look for artists who have big numbers. If they're good and I like it I’ll probably collaborate.
AM: We've been enjoying your latest single, Clima with Foreign Teck what was the inspiration behind this song?
DV: I would say rainy days when the weather is kind of chilly. People just kind of want to be with somebody inside, stay inside with somebody, watch Netflix, eat munchies and stuff like that's where the inspiration for the song came about. I think the weather and rainy days, you just want to chill with somebody.
AM: We know this time of year the schedule is hectic with touring, are there any upcoming dates that we should know about?
DV: Actually, I’m on tour right now. I already did the Dominican Republic, Colombia, Bolivia... but now I'm about to fly to Spain and I’m going to be out there for 2 months touring and I finish the tour in Mexico so those are upcoming dates that I have, Spain and Mexico.
AM: When you're not recording music or hitting the stage, how do you take time for yourself?
DV: I just really like to spend time with my family and have fun, catch up on everything that I couldn't do and just spend time with my family. I like to cook, I like to be in the house playing video games. I like to play basketball. I do exercise once in a while. That's basically it.
IG @deivpr
PHOTOS COURTESY | PG 151 + PG 154 for 9PLAYLIST Kidd Camara | PG 153 Album Cover |
Read the JUN ISSUE #102 of Athleisure Mag and see TUNE INTO | Dei V in mag.
In last month's issue we looped you in on a fun music festival that kicks off the Summer season in NY. From Jun 7th - Jun 9th Governors Ball kicked off with 3 days of music across genres at Flushing Meadows in Queens. We enjoyed being able to hear from our favorite acts across 3 stages throughout the days on an endless sunny weekend. Nestled in the park, attendees had the ability to feel like they left the city to be transformed into a musical oasis with sets filled with their favorite songs.
With acts that included The Killers, Post Malone, SZA, Peso Pluma, Sabrina Carpenter, and Reneé Rapp to name a few. While we hung out at the festival we took in the sets from our VIP that also included food and beverage vendors that kept our taste buds engaged and our energy up.
The last day defintiely included our favorites and with good vibes flowing throughout the weekend, we were transfixed all the way to the last song played by SZA who closed out a successful weekend. We're already looking forward to next year's lineup although we're months away from knowing who will perform, but if this year was any indication, we can't wait to see who it will be!
IG @govballnyc
PHOTOGRAPHY CREDITS | PG 137 Phelphs | PG 138 Paigge Wharton | PG 139 N Bradley | PG 140 Charles Reagan | PG 141 Sambalaban |
Read the JUN ISSUE #102 of Athleisure Mag and see GOV BALL 2024 in mag.
Read the JUN ISSUE #102 of Athleisure Mag and see 9PLAYLIST | Kygo in mag.
Read the JUN ISSUE #102 of Athleisure Mag and see 9PLAYLIST | Dei V in mag.
Next month, we're looking forward to making our way back to Queens to take in great performances, activations, food/beverages and the experiences that we enjoy when we're at one of our favorite music festivals that kick off the season here in NY for this year's Gov Ball taking place Jun 7-9th! Last year we had the pleasure to chat with Co-Founder, Tom Russell (MAY ISSUE #89 in 2023) about this music festival which includes an array of genres. They kicked off their newest home at Flushing Meadows in Queen which is an immersive park setting.
This year, with headlines that include: Post Malone and Rauw Alejandro on Fri, The Killers and 21 Savage on Sat, and ending with Sza and Peso Pluma on Sun, there is something for everyone with 60+ artists across the weekend and 3 stages and a number of acts from Sabrina Carpenter, Sexyy Red, Doechii, Reneé Rapp, and more!
With all of the music that you'll get to enjoy, you want to ensure that you have a number of options for you and your friends who will be attending. From an array of wine and spirit brands, Luke's Lobster, Sweet Chick, Magnolia Bakery, Stella X Hot Ones - there is something that reflects diverse culinary interests that will keep you going!
Make sure to visit the website to see what tickets are still available and to see how you can elevate your experience if you're interested in VIP options. For those that want to keep the party going, there are After Dark shows taking place throughout the city with artists you'll want to hear. Each of these performances have separate tickets and will allow you to truly get an immersive experience.
In the JUN ISSUE #102, we'll share more interviews and experiences from Gov Ball.
IG @govballnyc
PHOTOGRAPHY CREDITS | PG 140 Henry HWU | PG 142 Roger Ho | PG 144 Charles Reagan |
Read the MAY ISSUE #101 of Athleisure Mag and see PRE-COVERAGE | Governors Ball in mag.
Read the MAY ISSUE #101 of Athleisure Mag and see 9PLAYLIST MULTI | Curtiss Cook in mag.
Read the MAY ISSUE #101 of Athleisure Mag and see 9PLAYLIST | Swedish House Mafia in mag.
We're always looking to our playlists to set the mood and even more so when we continue to transition from the Spring to the Summer! We're excited that our 100th issue is covered by Singer/songwriter, rapper, and record producer, Jeremih. This musician also is well versed in playing the saxaphone, several percussion instruments such as congas and timbales, and piano/keyboards.
In 2009, his debut single Birthday Sex dropped and in addition to being a song that we enjoyed hearing, it came to #4 on Billboard's Hot 100 chart. After its release he continued to create hits with his 2010 single, Down on Me (featuring 50 Cent), and this single enjoyed successes that included sextuple platinum certification by the Recording Industry Association of America (RIAA). Don't Tell 'Em (featuring YG) was a 2014 single that was his 3rd top-ten hit on the Billboard Hot 100. He also continued releasing more singles with Oui and Planez (featuring J. Cole) with both receiving quintuple platinum certification by RIAA.
He also formed the duo MihTy with Ty Dolla Sign in 2018 where they had a collaborative album that was released in 2018. He has worked with a number of artists including 50 Cent, DJ Khaled, Ty Dolla Sign, YG, J. Cole, Flo Rida, Big Sean, Future, Lil Wayne, Fabolous, Chris Brown, French Montana, Wiz Khalifa, and more. He has also written songs for Kanye West, and Nicki Minaj.
His work has received additional recognition from winning an iHeartRadio Music Awards in 2015 for Hip Hop/R&B Song of the Year, 2X Nominee for Billboard Music Awards for Top R&B Song, Grammy Nominated for Best R&B Performance, and being Nominated for the American Music Awards R&B Breakout Artist to name a few.
We have enjoyed listening to Late Nights: The Album (Slowed Down) as well as seeing him on 50 Cent's The Final Lap Tour and as he is always working on projects, collaborations, features, we enjoyed seeing him play Elijah Linden in S1 of Power Book IV: Force.
We wanted to know more about how he was introduced to music, talking about the success of his single Birthday Sex, how he became involved in Birthday Sex Wine, and more.
ATHELEISURE MAG: From a young age you cultivated being a musician by learning how to play the drums, saxophone, percussion instruments, and piano/keyboards! What is it that you love about playing those instruments and incorporating them into your music?
JEREMIH: My primary choice of instruments currently is playing the keys and drums. Playing instruments is like speaking a different language of emotion. Each instrument carries its own unique tone and character, allowing me to express myself in diverse ways. Incorporating them into my music adds layers of richness and authenticity, creating a deeper connection with the audience.
AM: Your debut single, Birthday Sex, peaked at #4 on Billboard's Hot 100. What did it feel like to have all the successes that were associated with that song?
J: It was an incredible moment of validation and gratitude. Birthday Sex continues to resonate with so many people, and seeing it climb the charts was surreal. It was a testament to the hard work and dedication I had put into my craft.
AM: How did Birthday Sex Wine come about and why did you want to get into the wine industry?
J: For the past few years, white wine has been my drink of choice. Birthday Sex Wine was born out of a desire to create something special that would enhance celebrations and memorable moments. I've always been intrigued by the wine industry and saw an opportunity to blend my passion for music with the art of winemaking. It's a way to share joy and elevate experiences through a unique product that reflects my personality and style.
AM: In creating this wine, how much was your involvement?
J: I was all in on the process, from choosing the perfect blend of grapes to the look and feel of the label. My respect for winemaking came from hanging with winemaker Russell Bevan, who is known for an impressive collection of over fifteen 100-point wines. We spent time together in Napa developing the taste profile and educating me on the process of winemaking.
We wanted to know more about Birthday Sex Wine as Russell Bevan who is known as one of Nappa Valley's most acclaimed winemakers. We wanted to find out where his passion for wine came from, his successful wine company, how he came to Birthday Sex Wine and more.
ATHLEISURE MAG: When did you realize that you had a passion for wine?
RUSSELL BEVAN: I have had an intimate relationship with wine most of my life. Even as a child, I asked if I could go back for seconds during mass. For my whole life, wine has captivated my pallet and mind.
AM: Prior to launching your own wine companies, can you tell us about your background in this industry?
RB: I wrote a wine column through the Minneapolis Star Tribune and worked for the Gallo Winery doing sales while in college.
AM: How did Birthday Sex Wine come about?
RB: Jeremih and I met at a friend's house (Rob Ellin) and started talking about our mutual love affair with wine and that seed has grown into Birthday Sex.
AM: Can you walk us through the process of what it is like to create a wine? Where do you start?
RB: Everything starts with mother nature -- the soil microclimate we grow the grapes in and the growing season. We are the caretakers of what she gives us with this project. Our goal is to craft something that has delicious, pure flavors and a seductive mouthfeel.
AM: This wine is a Naked Chardonnay, do you foresee that there will be other varieties under this brand?
RB: The door is always open, Jeremih and I just have to find enough time together to taste wines that inspire us.
AM: Outside of Birthday Sex Wine, are there other wines that you're creating that will be launching that we should keep an eye out for?
RB: Adversity Cellars! Massively concentrated Cabernets with lush textures and pure fruit flavors.
IG @jeremih
PHOTOGRAPHY COURTESY | PG 16 - 21, 9PLAYLIST PG 22 + 23, 9DRIP PG 24 - 27 | Jeremih
Read the APR ISSUE #100 of Athleisure Mag and see TELL ‘EM | Jeremih in mag.
Read the APR ISSUE #100 of Athleisure Mag and see 9DRIP | Jeremih in mag.
