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Republicans have been tearing into Joe Biden over the alleged Chinese spy balloon that spent the last week sailing over the U.S. Even after he had it (safely) shot down on Saturday, they still moaned, claiming nothing like this would have happened under his predecessor’s watch. Well, it did. Thrice. Donald Trump claimed that wasn’t true — and perhaps to him it isn’t, but only because the Pentagon may have never told him about it.

Mike Waltz, a GOP representative from Florida, took to Twitter Sunday, claiming he’d heard from the office of the Defense Secretary that “several Chinese balloon incidents have happened in the past few years – including over FLorida [sic].” Waltz also spoke to Trump’s national security officials, who told him “they were never informed of these intrusions by the Pentagon.”

If all this is true, that means the Pentagon simply never informed Trump of the spy balloons. No civilian ever spotted them either, so they never made news. No reason has been given for why Pentagon officials would keep this a secret from the then-president. But given what a loose cannon the guy can be — prone to random acts like making stuff up about the dearly departed Manhattan institution the 21 Club while ranting madly at generals — it’s not hard to see why.

(Via Raw Story)

The 65th Annual Grammy Awards could prove to be historical, with a number of firsts for the award show. The Album Of The Year category has its first Spanish-language album nomination in Bad Bunny’s Un Verano Sin Ti, while the BTS song “Yet To Come” is the first Korean-language song to be nominated for a Grammy (it’s up for Best Music Video).

Meanwhile, Beyoncé — the most-nominated artist at this year’s Grammys with nine nods — has matched her husband Jay-Z for most nominations ever, as well as the opportunity to become the most-awarded artist ever with just four wins.

Check out our predictions for who we think will win (and should win) in both the Big Four and Rap categories, as this list will be updated as winners are announced.

Album Of The Year

ABBA — Voyage
Adele — 30
Bad Bunny — Un Verano Sin Ti
Beyoncé — Renaissance
Brandi Carlile — In These Silent Days
Coldplay — Music Of The Spheres
Harry Styles — Harry’s House
Kendrick Lamar — Mr. Morale & The Big Steppers
Lizzo — Special
Mary J. Blige — Good Morning Gorgeous (Deluxe)

Best New Artist

Anitta
Domi & JD Beck
Latto
Måneskin
Molly Tuttle
Muni Long
Omar Apollo
Samara Joy
Tobe Nwigwe
Wet Leg

Record of the Year

ABBA — “Don’t Shut Me Down”
Adele — “Easy on Me”
Beyoncé — “Break My Soul”
Brandi Carlile Featuring Lucius — “You and Me on the Rock”
Doja Cat — “Woman”
Harry Styles — “As It Was”
Kendrick Lamar — “The Heart Part 5”
Lizzo — “About Damn Time”
Mary J. Blige — “Good Morning Gorgeous”
Steve Lacy — “Bad Habit”

Song of the Year

Adele — “Easy on Me”
Beyoncé — “Break My Soul”
Bonnie Raitt — “Just Like That”
DJ Khaled — “God Did” Feat. Rick Ross, Lil Wayne, Jay-Z, John Legend & Fridayy
Gayle — “ABCDEFU”
Harry Styles — “As It Was”
Kendrick Lamar — “The Heart Part 5”
Lizzo — “About Damn Time”
Steve Lacy — “Bad Habit”
Taylor Swift — “All Too Well (10 Minute Version) (The Short Film)”

Best Pop Solo Performance

Adele — “Easy on Me”
Bad Bunny — “Moscow Mule”
Doja Cat — “Woman”
Harry Styles — “As It Was”
Lizzo — “About Damn Time”
Steve Lacy — “Bad Habit”

Best Pop Duo/Group Performance

ABBA — “Don’t Shut Me Down”
Camila Cabello Featuring Ed Sheeran — “Bam Bam”
Coldplay & BTS — “My Universe”
Post Malone & Doja Cat — “I Like You (A Happier Song)”
Sam Smith & Kim Petras — “Unholy”

Best Traditional Pop Vocal Album

Diana Ross — Thank You
Kelly Clarkson — When Christmas Comes Around…
Michael Bublé — Higher
Norah Jones — I Dream of Christmas (Extended)
Pentatonix — Evergreen

Best Pop Vocal Album

ABBA — Voyage
Adele — 30
Coldplay — Music of the Spheres
Harry Styles — Harry’s House
Lizzo — Special

Best Rap Performance

DJ Khaled Featuring Rick Ross, Lil Wayne, Jay-Z, John Legend & Fridayy — “God Did”
Doja Cat — “Vegas”
Gunna & Future Featuring Young Thug — “Pushin P”
Hitkidd & Glorilla — “F.N.F. (Let’s Go)”
Kendrick Lamar — “The Heart Part 5”

Best Melodic Rap Performance

DJ Khaled Featuring Future & SZA — “Beautiful”
Future Featuring Drake & Tems — “Wait for U”
Jack Harlow — “First Class”
Kendrick Lamar Featuring Blxst & Amanda Reifer — “Die Hard”
Latto — “Big Energy (Live)”

Best Rap Song

DJ Khaled — “God Did” Feat. Rick Ross, Lil Wayne, Jay-Z, John Legend & Fridayy
Future Featuring Drake & Tems — “Wait for U”
Gunna & Future Featuring Young Thug — “Pushin P”
Jack Harlow Featuring Drake — “Churchill Downs”
Kendrick Lamar — “The Heart Part 5”

Best Rap Album

DJ Khaled — God Did
Future — I Never Liked You
Jack Harlow — Come Home The Kids Miss You
Kendrick Lamar — Mr. Morale & The Big Steppers
Pusha T — It’s Almost Dry

Best Dance/Electronic Recording

Beyoncé — “Break My Soul”
Bonobo — “Rosewood”
David Guetta & Bebe Rexha — “I’m Good (Blue)”
Diplo & Miguel — “Don’t Forget My Love”
Kaytranada Featuring H.E.R. — “Intimidated”
Rüfüs Du Sol — “On My Knees”

Best Dance/Electronic Music Album

Beyoncé — Renaissance
Bonobo — Fragments
Diplo — Diplo
Odesza — The Last Goodbye
Rüfüs Du Sol — Surrender

Best Instrumental Composition

Danilo Pérez Featuring The Global Messengers — “Fronteras (Borders) Suite: Al-Musafir Blues”
Geoffrey Keezer — “Refuge”
Miguel Zenón, José Antonio Zayas Cabán, Ryan Smith & Casey Rafn — “El País Invisible”
Tasha Warren & Dave Eggar — “African Tales”
Tasha Warren & Dave Eggar — “Snapshots”

Best Arrangement, Instrumental or A Cappella

Armand Hutton Featuring Terrell Hunt & Just 6 — “As Days Go By (An Arrangement of the Family Matters Theme Song)”
Danny Elfman — “Main Titles”
Kings Return — “How Deep Is Your Love”
Magnus Lindgren, John Beasley & The SWR Big Band Featuring Martin Auer — “Scrapple From the Apple”
Remy Le Boeuf — “Minnesota, WI”

Best Arrangement, Instruments and Vocals

Becca Stevens & Attacca Quartet — “2 + 2 = 5 (Arr. Nathan Schram)”
Cécile McLorin Salvant — “Optimistic Voices / No Love Dying”
Christine McVie — “Songbird (Orchestral Version)”
Jacob Collier Featuring Lizzy McAlpine & John Mayer — “Never Gonna Be Alone”
Louis Cole — “Let It Happen”

Songwriter of the Year, Non-Classical

Amy Allen
Laura Veltz
Nija Charles
The-Dream
Tobias Jesso Jr.

Best Latin Pop Album

Camilo — De Adentro Pa Afuera
Christina Aguilera — Aguilera
Fonseca — Viajante
Rubén Blades & Boca Livre — Pasieros
Sebastián Yatra — Dharma +

Best Música Urbana Album

Bad Bunny — Un Verano Sin Ti
Daddy Yankee — Legendaddy
Farruko — La 167
Maluma — The Love & Sex Tape
Rauw Alejandro — Trap Cake, Vol. 2

Best Latin Rock or Alternative Album

Cimafunk — El Alimento
Fito Paez — Los Años Salvajes
Gaby Moreno — Alegoría
Jorge Drexler — Tinta y Tiempo
Mon Laferte — 1940 Carmen
Rosalía — Motomami

Best Regional Mexican Music Album (Including Tejano)

Chiquis — Abeja Reina
Christian Nodal — EP #1 Forajido
Marco Antonio Solís — Qué Ganas de Verte (Deluxe)
Natalia Lafourcade — Un Canto por México — El Musical
Los Tigres del Norte — La Reunión (Deluxe)

Best Tropical Latin Album

Carlos Vives — Cumbiana II
Marc Anthony — Pa’lla Voy
La Santa Cecilia — Quiero Verte Feliz
Spanish Harlem Orchestra — Imágenes Latinas
Tito Nieves — Legendario

Best Compilation Soundtrack for Visual Media

Various Artists — Elvis
Various Artists — Encanto
Various Artists — Stranger Things: Soundtrack From the Netflix Series, Season 4
Lorne Balfe, Harold Faltermeyer, Lady Gaga & Hans Zimmer — Top Gun: Maverick
Various Artists — West Side Story

Best Score Soundtrack for Visual Media (Includes Film and Television)

Germaine Franco — Encanto
Hans Zimmer — No Time to Die
Jonny Greenwood — The Power of the Dog
Michael Giacchino — The Batman
Nicholas Britell — Succession: Season 3

Best Score Soundtrack for Video Games and Other Interactive Media

Austin Wintory — Aliens: Fireteam Elite
Bear McCreary — Call of Duty: Vanguard
Christopher Tin — Old World
Richard Jacques — Marvel’s Guardians of the Galaxy
Stephanie Economou — Assassin’s Creed Valhalla: Dawn of Ragnarök

Best Song Written for Visual Media

Beyoncé — “Be Alive”
Carolina Gaitán, La Gaita, Mauro Castillo, Adassa, Rhenzy Feliz, Diane Guerrero, Stephanie Beatriz & Encanto, Cast — “We Don’t Talk About Bruno”
Jessy Wilson Featuring Angélique Kidjo — “Keep Rising (The Woman King)”
Lady Gaga — “Hold My Hand”
Taylor Swift — “Carolina”
4*Town, Jordan Fisher, Finneas O’Connell, Josh Levi, Topher Ngo & Grayson Villanueva — “Nobody Like U”

Best Comedy Album

Dave Chappelle — “The Closer”
Jim Gaffigan — “Comedy Monster”
Louis C.K. — “Sorry”
Patton Oswalt — “We All Scream”
Randy Rainbow — “A Little Brains, a Little Talent”

Best R&B Performance

Beyoncé — “Virgo’s Groove”
Jazmine Sullivan — “Hurt Me So Good”
Lucky Daye — “Over”
Mary J. Blige Featuring Anderson .Paak — “Here With Me”
Muni Long — “Hrs & Hrs”

Best Traditional R&B Performance

Adam Blackstone Featuring Jazmine Sullivan — “’Round Midnight”
Babyface Featuring Ella Mai — “Keeps on Fallin’”
Beyoncé — “Plastic Off the Sofa”
Mary J. Blige — “Good Morning Gorgeous”
Snoh Aalegra — “Do 4 Love”

Best R&B Song

Beyoncé — “Cuff It”
Jazmine Sullivan — “Hurt Me So Good”
Mary J. Blige — “Good Morning Gorgeous”
Muni Long — “Hrs & Hrs”
PJ Morton — “Please Don’t Walk Away”

Best Progressive R&B Album

Cory Henry — Operation Funk
Moonchild — Starfuit
Steve Lacy — Gemini Rights
Tank and the Bangas — Red Balloon
Terrace Martin — Drones

Best R&B Album

Chris Brown — Breezy (Deluxe)
Lucky Daye — Candy Drip
Mary J. Blige — Good Morning Gorgeous (Deluxe)
PJ Morton — Watch the Sun
Robert Glasper — Black Radio III

Best Music Video

Adele — “Easy on Me”
BTS — “Yet to Come”
Doja Cat — “Woman”
Harry Styles — “As It Was”
Kendrick Lamar — “The Heart Part 5”
Taylor Swift — “All Too Well: The Short Film”

Best Music Film

Adele — Adele One Night Only
Billie Eilish — Billie Eilish Live at the O2
Justin Bieber — Our World
Neil Young & Crazy Horse — A Band a Brotherhood a Barn
Rosalía — Motomami (Rosalía TikTok Live Performance)
Various Artists — Jazz Fest: A New Orleans Story

Best Alternative Music Performance

Arctic Monkeys — “There’d Better Be a Mirrorball”
Big Thief — “Certainty”
Florence and the Machine — “King”
Wet Leg — “Chaise Longue”
Yeah Yeah Yeahs Featuring Perfume Genius — “Spitting Off the Edge of the World”

Best Alternative Music Album

Arcade Fire — We
Big Thief — Dragon New Warm Mountain I Believe in You
Björk — Fossora
Wet Leg — Wet Leg
Yeah Yeah Yeahs — Cool It Down

Best New Age, Ambient, or Chant Album

Cheryl B. Engelhardt — The Passenger
Madi Das, Dave Stringer & Bhakti Without Borders — Mantra Americana
Mystic Mirror — White Sun
Paul Avgerinos — Joy
Will Ackerman — Positano Songs

Best Children’s Music Album

Alphabet Rockers — The Movement
Divinity Roxx — Ready Set Go!
Justin Roberts — Space Cadet
Lucky Diaz and the Family Jam Band — Los Fabulosos
Wendy and DB — Into the Little Blue House

Best Recording Package

Fann — Telos
Soporus — Divers
Spiritualized — Everything Was Beautiful
Tamsui-Kavalan Chinese Orchestra — Beginningless Beginning
Underoath — Voyeurist

Best Boxed or Special Limited Edition Package

Black Pumas — Black Pumas (Collector’s Edition Box Set)
Danny Elfman — Big Mess
The Grateful Dead — In and Out of the Garden: Madison Square Garden ’81, ’82, ’83
They Might Be Giants — Book
Various Artists — Artists Inspired by Music: Interscope Reimagined

Best Album Notes

Andy Irvine & Paul Brady — Andy Irvine / Paul Brady
Astor Piazzolla — The American Clavé Recordings
Doc Watson — Life’s Work: A Retrospective
Harry Partch — Harry Partch, 1942
Wilco — Yankee Hotel Foxtrot (20th Anniversary Super Deluxe Edition)

Best Historical Album

Blondie — Against the Odds: 1974 — 1982
Doc Watson — Life’s Work: A Retrospective
Freestyle Fellowship — To Whom It May Concern…
Glenn Gould — The Goldberg Variations: The Complete Unreleased 1981 Studio Sessions
Wilco — Yankee Hotel Foxtrot (20th Anniversary Super Deluxe Edition)

Best Improvised Jazz Solo

Ambrose Akinmusire — “Rounds (Live)”
Gerald Albright — “Keep Holding On”
John Beasley — “Cherokee/Koko”
Marcus Baylor — “Call of the Drum”
Melissa Aldana — “Falling”
Wayne Shorter & Leo Genovese — “Endangered Species”

Best Jazz Vocal Album

The Baylor Project — The Evening : Live at Apparatus
Carmen Lundy — Fade to Black
Cécile McLorin Salvant — Ghost Song
The Manhattan Transfer & The WDR Funkhausorchester — Fifty
Samara Joy — Linger Awhile

Best Jazz Instrumental Album

Joshua Redman, Brad Mehldau, Christian McBride & Brian Blade — LongGone
Peter Erskine Trio — Live in Italy
Terri Lyne Carrington, Kris Davis, Linda May Han Oh, Nicholas Payton & Matthew Stevens — New Standards, Vol. 1
Wayne Shorter, Terri Lyne Carrington, Leo Genovese & Esperanza Spalding — Live at the Detroit Jazz Festival
Yellowjackets — Parallel Motion

Best Large Jazz Ensemble Album

John Beasley, Magnus Lindgren & SWR Big Band — Bird Lives
Remy Le Boeuf’s Assembly of Shadows — Architecture of Storms
Ron Carter & The Jazzaar Festival Big Band Directed by Christian Jacob — Remembering Bob Freedman
Steve Gadd, Eddie Gomez, Ronnie Cuber & WDR Big Band Conducted by Michael Abene — Center Stage
Steven Feifke, Bijon Watson & Generation Gap Jazz Orchestra — Generation Gap Jazz Orchestra

Best Latin Jazz Album

Arturo O’Farrill & The Afro Latin Jazz Orchestra Featuring The Congra Patria Son Jarocho Collective — Fandango at the Wall in New York
Arturo Sandoval — Rhythm & Soul
Danilo Pérez Featuring The Global Messengers — Crisálida
Flora Purim — If You Will
Miguel Zenón — Música de las Américas

Best Reggae Album

Kabaka Pyramid — The Kalling
Koffee — Gifted
Protoje — Third Time’s the Charm
Sean Paul — Scorcha
Shaggy — Com Fly Wid Mi

Best Global Music Performance

Arooj Aftab & Anoushka Shankar — “Udhero Na”
Burna Boy — “Last Last”
Matt B & Eddy Kenzo — “Gimme Love”
Rocky Dawuni Featuring Blvk H3ro — “Neva Bow Down”
Wouter Kellerman, Zakes Bantwini & Nomcebo Zikode — “Bayethe”

Best Global Music Album

Angélique Kidjo & Ibrahim Maalouf — Queen of Sheba
Anoushka Shankar, Metropole Orkest & Jules Buckley Featuring Manu Delago — Between Us… (Live)
Berklee Indian Ensemble — Shuruaat
Burna Boy — Love, Damini
Masa Takumi — Sakura

Best American Roots Performance

Aaron Neville & The Dirty Dozen Brass Band — “Stompin’ Ground”
Aoife O’Donovan & Allison Russell — “Prodigal Daughter”
Bill Anderson Featuring Dolly Parton — “Someday It’ll All Make Sense (Bluegrass Version)”
Fantastic Negrito — “Oh Betty”
Madison Cunningham — “Life According to Raechel”

Best Americana Performance

Asleep at the Wheel Featuring Lyle Lovett — “There You Go Again”
Blind Boys of Alabama Featuring Black Violin — “The Message”
Bonnie Raitt — “Made Up Mind”
Brandi Carlile Featuring Lucius — “You and Me on the Rock”
Eric Alexandrakis — “Silver Moon [A Tribute to Michael Nesmith]”

Best American Roots Song

Anaïs Mitchell — “Bright Star”
Aoife O’Donovan & Allison Russell — “Prodigal Daughter”
Bonnie Raitt — “Just Like That”
Brandi Carlile Featuring Lucius — “You and Me on the Rock”
Robert Plant & Alison Krauss — “High and Lonesome”
Sheryl Crow — “Forever”

Best Americana Album

Bonnie Raitt — Just Like That…
Brandi Carlile — In These Silent Days
Dr. John — Things Happen That Way
Keb’ Mo’ — Good to Be…
Robert Plant & Alison Krauss — Raise the Roof

Best Bluegrass Album

The Del McCoury Band — Almost Proud
The Infamous Stringdusters — Toward the Fray
Molly Tuttle & Golden Highway — Crooked Tree
Peter Rowan — Calling You From My Mountain
Yonder Mountain String Band — Get Yourself Outside

Best Traditional Blues Album

Buddy Guy — The Blues Don’t Lie
Charlie Musselwhite — Mississippi Son
Gov’t Mule — Heavy Load Blues
John Mayall — The Sun Is Shining Down
Taj Mahal & Ry Cooder — Get on Board

Best Contemporary Blues Album

Ben Harper — Bloodline Maintenance
Edgar Winter — Brother Johnny
Eric Gales — Crown
North Mississippi Allstars — Set Sail
Shemekia Copeland — Done Come Too Far

Best Folk Album

Aoife O’Donovan — Age of Apathy
Janis Ian — The Light at the End of the Line
Judy Collins — Spellbound
Madison Cunningham — Revealer
Punch Brothers — Hell on Church Street

Best Regional Roots Music Album

Halau Hula Keali’i o Nalani — Halau Hula Keali’i o Nalani (Live at the Getty Center)
Natalie Ai Kamauu — Natalie Noelani
Nathan & The Zydeco Cha-Chas — Lucky Man
Ranky Tanky — Live at the 2022 New Orleans Jazz & Heritage Festival
Sean Ardoin & Kreole Rock and Soul Featuring The Golden Band From Tigerland — Full Circle

Best Orchestral Performance

Berlin Philharmonic & John Williams — “John Williams: The Berlin Concert”
Los Angeles Philharmonic & Gustavo Dudamel — “Dvořák: Symphonies Nos. 7-9”
New York Youth Symphony — “Works by Florence Price, Jessie Montgomery, Valerie Coleman”
Various Artists — “Sila: The Breath of the World”
Wild Up & Christopher Rountree — “Stay on It”

Best Opera Recording

Boston Modern Orchestra Project & Odyssey Opera Chorus — Anthony Davis: X: The Life and Times of Malcolm X
The Metropolitan Opera Orchestra & The Metropolitan Opera Chorus — Blanchard: Fire Shut Up in My Bones
The Metropolitan Opera Orchestra & The Metropolitan Opera Chorus — Eurydice

Best Choral Performance

The Crossing — “Born”
English Baroque Soloists & Monteverdi Choir — “J.S. Bach: St. John Passion, BWV 245”
The Metropolitan Opera Orchestra, The Metropolitan Opera Chorus, Yannick Nézet-Séguin, Ailyn Pérez, Michelle DeYoung, Matthew Polenzani & Eric Owens — “Verdi’s Requiem: The Met Remembers 9/11”

Best Chamber Music/Small Ensemble Performance

Attacca Quartet — “Caroline Shaw: Evergreen”
Dover Quartet — “Beethoven: Complete String Quartets, Vol. 2 – The Middle Quartets”
Neave Trio — “Musical Remembrances”
Publiquartet — “What Is American”
Third Coast Percussion — “Perspectives”

Best Classical Instrumental Solo

Daniil Trifonov — “Bach: The Art of Life”
Hilary Hahn — “Abels: Isolation Variation”
Mak Grgić — “A Night in Upper Town — The Music of Zoran Krajacic”
Mitsuko Uchida — “Beethoven: Diabelli Variations”
Time for Three, The Philadelphia Orchestra & Xian Zhang — “Letters for the Future”

Best Classical Solo Vocal Album

Il Pomo d’Oro — Eden
Nicholas Phan, Brooklyn Rider, The Knights & Eric Jacobsen — Stranger — Works for Tenor by Nico Muhly
Renée Fleming & Yannick Nézet-Séguin — Voice of Nature: The Anthropocene
Sasha Cooke & Kirill Kuzmin — How Do I Find You
Will Liverman, Paul Sánchez & J’Nai Bridges — Shawn E. Okpebholo: Lord, How Come Me Here?

Best Classical Compendium

Christopher Tin, Voces8, Royal Philharmonic Orchestra & Barnaby Smith — The Lost Birds
Kitt Wakeley — An Adoption Story
The Metropolitan Opera Orchestra & Yannick Nézet-Séguin — A Concert for Ukraine
Seunghee Lee, JP Jofre & London Symphony Orchestra — Aspire

Best Contemporary Classical Composition

Andris Nelsons & Gewandhausorchester — Gubaidulina: The Wrath of God
Carlos Simon, MK Zulu, Marco Pavé & Hub New Music — Simon: Requiem for the Enslaved
Ian Rosenbaum & Dover Quartet — Akiho: Ligneous Suite
Jack Quartet — Bermel: Intonations
Time for Three, The Philadelphia Orchestra & Xian Zhang — Puts: Contact

Best Country Solo Performance

Kelsea Ballerini — “Heartfirst”
Maren Morris — “Circles Around This Town”
Miranda Lambert — “In His Arms”
Willie Nelson — “Live Forever”
Zach Bryan — “Something in the Orange”

Best Country Duo/Group Performance

Brothers Osborne — “Midnight Rider’s Prayer”
Carly Pearce & Ashley McBryde — “Never Wanted to Be That Girl”
Ingrid Andress & Sam Hunt — “Wishful Drinking”
Luke Combs & Miranda Lambert — “Outrunnin’ Your Memory”
Reba McEntire & Dolly Parton — “Does He Love You (Revisited)”
Robert Plant & Alison Krauss — “Gonig Where the Lonely Go”

Best Country Song

Cody Johnson — ’Til You Can’t”
Luke Combs — “Doin’ This”
Maren Morris — “Circles Around This Town”
Miranda Lambert — “If I Was a Cowboy”
Taylor Swift — “I Bet You Think About Me (Taylor’s Version) (From the Vault)”
Willie Nelson — “I’ll Love You Till the Day I Die”

Best Country Album

Ashley McBryde — Ashley McBryde Presents: Lindeville
Luke Combs — Growin’ Up
Maren Morris — Humble Quest
Miranda Lambert — Palomino
Willie Nelson — A Beautiful Time

Best Rock Performance

Beck — “Old Man”
The Black Keys — “Wild Child”
Brandi Carlile — “Broken Horses”
Bryan Adams — “So Happy It Hurts”
Idles — “Crawl!”
Ozzy Osbourne Featuring Jeff Beck — “Patient Number 9”
Turnstile — “Holiday”

Best Metal Performance

Ghost — “Call Me Little Sunshine”
Megadeth — “We’ll Be Back”
Muse — “Kill or Be Killed”
Ozzy Osbourne Featuring Tony Iommi — “Degradation Rules”
Turnstile — “Blackout”

Best Rock Song

Brandi Carlile — “Broken Horses”
Ozzy Osbourne Featuring Jeff Beck — “Patient Number 9”
Red Hot Chili Peppers — “Black Summer”
Turnstile — “Blackout”
The War on Drugs — “Harmonia’s Dream”

Best Rock Album

The Black Keys — Dropout Boogie
Elvis Costello & The Imposters — The Boy Named If
Idles — Crawler
Machine Gun Kelly — Mainstream Sellout
Ozzy Osbourne — Patient Number 9
Spoon — Lucifer on the Sofa

Best Contemporary Instrumental Album

Brad Mehldau — Jacob’s Ladder
Domi & JD Beck — Not Tight
Grant Geissman — Blooz
Jeff Coffin — Between Dreaming and Joy
Snarky Puppy — Empire Central

Best Gospel Performance/Song

Doe — “When I Pray”
Erica Campbell — “Positive”
Maverick City Music & Kirk Franklin — “Kingdom”
PJ Morton Featuring Zacardi Cortez, Gene Moore, Samoht, Tim Rogers & Darrel Walls — “The Better Benediction”
Tye Tribbett — Get Up”

Best Contemporary Christian Music Performance/Song

Chris Tomlin — “Holy Forever”
Crowder & Dante Bowe Featuring Maverick City Music — “God Really Loves Us (Radio Version)”
Doe — “So Good”
For King & Country & Hillary Scott — “For God Is With Us”
Maverick City Music & Kirk Franklin — “Fear Is Not My Future”
Phil Wickham — “Hymn of Heaven (Radio Version)”

Best Gospel Album

Doe — Clarity
Maranda Curtis — Die to Live
Maverick City Music & Kirk Franklin — Kingdom Book One (Deluxe)
Ricky Dillard — Breakthrough: The Exodus (Live)
Tye Tribbett — All Things New

Best Contemporary Christian Music Album

Anne Wilson — My Jesus
Chris Tomlin — Always
Elevation Worship — Lion
Maverick City Music — Breathe
TobyMac — Life After Death

Best Roots Gospel Album

Gaither Vocal Band — Let’s Just Praise the Lord
Karen Peck & New River — 2:22
Keith & Kristyn Getty — Confessio — Irish American Roots
Tennessee State University — The Urban Hymnal
Willie Nelson — The Willie Nelson Family

Best Engineered Album, Non-Classical

Baynk — Adolescence
Father John Misty — Chloë and the Next 20th Century
Harry Styles — Harry’s House
Robert Glasper — Black Radio III
Wet Leg — Wet Leg

Producer of the Year, Non-Classical

Boi-1da
Dahi
Dan Auerbach
Dernst “D’Mile” Emile II
Jack Antonoff

Best Remixed Recording

Beyoncé — “Break My Soul (Terry Hunter Remix)”
Ellie Goulding — “Easy Lover (Four Tet Remix)”
The Knocks & Dragonette — “Slow Song (Paul Woolford Remix)”
Lizzo — “About Damn Time (Purple Disco Machine Remix)”
Wet Leg — “Too Late Now (Soulwax Remix)”

Best Immersive Audio Album

Anita Brevik, Nidarosdomens Jentekor & Trondheimsolistene — Tuvayhun — Beatitudes for a Wounded World
The Chainsmokers — Memories…Do Not Open
Christina Aguilera — Aguilera
Jane Ira Bloom — Picturing the Invisible: Focus 1
Stewart Copeland & Ricky Kej — Divine Tides

Best Engineered Album, Classical

Anita Brevik, Nidarosdomens Jentekor & Trondheimsolistene — Tuvayhun — Beatitudes for a Wounded World
Anne-Sophie Mutter, Boston Symphony Orchestra & John Williams — Williams: Violin Concerto No. 2 & Selected Film Themes
Edwin Outwater & Chicago Symphony Orchestra — Mason Bates: Philharmonia Fantastique: The Making of the Orchestra
Pittsburgh Symphony Orchestra & Manfred Honeck — Beethoven & Stucky: Orchestral Works
Third Coast Percussion — Perspectives

Producer of the Year, Classical

Christoph Franke
Elaine Martone
James Ginsburg
Jonathan Allen
Judith Sherman

Best Musical Theater Album

Original Broadway Cast — A Strange Loop
New Broadway Cast — Caroline, or Change
Into the Woods 2022 Broadway Cast — Into the Woods (2022 Broadway Cast Recording)
Original Broadway Cast — MJ the Musical
Mr. Saturday Night Original Cast — Mr. Saturday Night
Original Broadway Cast — Six: Live on Opening Night

Best Audio Book, Narration, and Storytelling Recording

Jamie Foxx — Act Like You Got Some Sense
Lin-Manuel Miranda — Aristotle and Dante Dive Into the Waters of the World
Mel Brooks — All About Me!: My Remarkable Life in Show Business
Questlove — Music Is History
Viola Davis — Finding Me

Best Spoken Word Poetry Album

Amanda Gorman — Call Us What We Carry: Poems
Amir Sulaiman — You Will Be Someone’s Ancestor. Act Accordingly
Ethelbert Miller — Black Men Are Precious
J. Ivy — The Poet Who Sat by the Door
Malcolm-Jamal Warner — Hiding in Plain View

Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.

Kyrie Irving is leaving the Brooklyn Nets. According to Shams Charania and Adrian Wojnarowski, the Nets have decided to honor Irving’s trade request by sending him to the Dallas Mavericks in exchange for Spencer Dinwiddie, Dorian Finney-Smith, a first round pick, and second round picks.

The picks going Brooklyn’s way are a 2029 first rounder and 2027 and 2029 second round picks, while Markieff Morris is also part of the trade going to Dallas.

While many assumed the Lakers would be the frontrunners for Irving, Dallas had plenty of reason to want to add some firepower to their lineup to provide some help for Luka Doncic. They were apparently willing to meet the Nets demands by sending Dinwiddie back to Brooklyn, alongside another 3-and-D wing in Finney-Smith, allowing the Nets to do their best to keep Kevin Durant happy this year and try to compete, while also adding some picks for the future.

Irving requested a trade on the Friday before the trade deadline, with reports indicating that he was not happy with the way discussions regarding a contract extension went with the Nets. Per reports, Brooklyn would not offer Irving a guaranteed contract, while Irving was strongly against signing a deal that included stipulations. As a result, the belief was that Brooklyn either had to trade Irving, or he would leave the team after hitting unrestricted free agency during the summer of 2023.

Irving has been productive when he has played this season, averaging 27.1 points, 5.3 assists, and 5.1 rebounds in 37 minutes a night while hitting 48.6 percent of his attempts from the field and 37.4 percent of his threes. His campaign has been mired in controversy, however, and while he has largely managed to stay healthy, the Nets suspended Irving for eight games after he shared an antisemitic film to his Twitter account and refused to denounce antisemitism.

Jack Harlow’s aspirations to become a beloved industry baby is underway. As the “First Class” prepares for tonight’s Grammy Awards, where hopes to win big, Hulu just released the first look at its upcoming film White Men Can’t Jump remake starring the musician.

Despite appearing in several commercials and documentaries, this film marks Harlow’s acting debut. He has big shoes to fill stepping into the role of quirky street basketball player Billy Hoyle. While Harlow certainly has the charisma of the character nailed, he still needs to showcase another side playing off his co-star actor Sinqua Walls (Teen Wolf, Power, The Breaks), who plays his athletic partner in crime, Sidney Deane.

The original beloved 1992 film starred actors Woody Harrelson (who originally played Billy Hoyle) and Wesley Snipes (who originally played Sidney Deane) quickly became a cultural fixture. But, even though this is Harlow’s first significant role, director Charles Kidd II, professionally known as Calmatic, who has worked with Harlow in the past, isn’t worried.

In an interview with Esquire, Calmatic confidently said, “Man, listen, after this film, I don’t think Jack Harlow is going to be a rapper.”

Calmatic later clarified his statement to say, “I mean, I’m sure he is not going to give up rap, but he’s definitely going to be a Mark Wahlberg—where I think people are going to know him more for acting than his music,” adding, “And so I’m happy that he got his feet wet with White Men Can’t Jump so I can take a little responsibility for that. I’m excited for the world to see him and get the full scope of him as an artist.”

The original film, written and directed by Ron Shelton, came out in 1992. The film starred Woody Harrelson as basketball player Billy Hoyle, who teams up with Wesley Snipes’ Sidney Deane to make money by hustling people on the court. The first-look trailer immerses viewers into the world of recreational basketful and is filled with professional references.

Watch the full teaser clip above.

Jack Harlow is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

starring Sinqua Walls and Jack Harlow, streaming May 19 on Hulu.

The Beyhive is feverously counting down the days until their queen, Beyoncé’s Renaissance World Tour tickets, go on sale.

Ticketmaster has taken a few steps to ensure a smooth transaction process in the hopes of avoiding a repeat of Taylor Swift’s The Eras Tour debacle. Also, Ticketmaster has reportedly updated its resale policy to deter scalpers from spiking the cost of tickets. Although these measures could certainly help the average fan, Swedish pop singer Zara Larsson has her own safety net.

During a recent visit to Z100’s afternoon show, Maxwell and Crystal, Larsson spoke about how she admires Beyoncé and can’t wait to see her perform live when the Renaissance World Tour makes a stop in Stockholm.

“I’m so excited! I’m so excited! Premiere night [of the tour’s European wing]? In Stockholm? Stop,” Larsson tells co-host, Crystal Rosas.

Larsson then revealed that being an artist and superfan comes with its perks or, as she says, “Top two things about being an artist is that you meet people throughout your life that can secure you Beyoncé tickets. And it’s not number two.”

As the room laughed, Larsson doubled down, “It’s true! The fact that I’m signed to LiveNation as an artist I’m like, ‘hey, hey, hey,’ I know who to call,” later adding, “even if they make me pay for the tickets I know I can secure them which is the important part. I will be there!”

Now, if only we were all budding international pop stars.

Watch the full interview above.

Stephen Curry left in the third quarter of the Warriors’ win over the Mavericks on Sunday night after suffering an apparent knee injury in a collision with McKinley Wright IV while defending a drive.

Wright’s knee hit the side of Curry’s knee, and the All-Star starter limped off the floor and to the locker room. An X-ray at the arena came back negative, but Sunday brought an MRI to determine the severity of the injury and provide a timetable for how long Curry figures to be out. Unfortunately for those hoping it would just be a brief absence, word broke from Shams Charania on Sunday afternoon that Curry’s leg injury would keep him out for “multiple weeks,” while a firm diagnosis on the specifics of the injury Curry is dealing with were not part of the report.

This would certainly seem to suggest Curry will be out through the All-Star break, which would mean he will miss the next five games — against the Thunder, Blazers, Lakers, Wizards, and Clippers — with a return after All-Star giving him just under three weeks from the injury to recover before the Warriors tip-off their second half against the Lakers. At 27-26, the Warriors are already perilously close to being on the outside of the play-in picture, as they sit in seventh currently but are just one game ahead of Portland in 11th. This immediate stretch against OKC, Portland, and L.A., three teams they’re ahead of right now, will be particularly important to navigate with Curry out.

From a league-wide perspective, Curry’s absence for multiple weeks also means Adam Silver will have to select a replacement for Curry from the list of West snubs, with Anthony Edwards and De’Aaron Fox figuring to be the two most likely selections — with the possibility of both making it as Zion Williamson’s All-Star status remains in question.

Before it came out, people were worried Avatar: The Way of Water wouldn’t make all the money. Even its maker wasn’t so sure about it. Then it started making all the money. But now all good things have to come to an end: After seven weekends at the top of the box office charts, the belated sequel has been felled and by another film from a hitmaking filmmaker.

As per Deadline, Knock at the Cabin, the latest from M. Night Shyamalan, opened to $14.2 million. By contrast, Avatar 2 “only” added another $10.8 million to its sizable haul, which now stands at $636.4 million domestic and a whopping $2.17 billion worldwide. That puts it just shy of the $2.18 billion made by another Cameron mega-blockbuster, Titanic, although that’s about to get a splashy reissue for Valentine’s Day, meaning the two films by the same guy can duke it out some more.

Knock at the Cabin wasn’t the only film to outgross Avatar in its eighth weekend. 80 for Brady, in which Jane Fonda, Sally Field, Rita Moreno, and Lily Tomlin play fans of footballer Tom Brady, opened to $12.5 million.

Still, seven weekends at the top is pretty good. Indeed, it’s the exact number of weekends the original Avatar held the top spot some 13 years ago. And it’s still raking in the bucks.

(Via Deadline)

On Saturday, President Joe Biden had the mysterious, marauding Chinese balloon — which may or may not have been spying on Americans — shot down. The incident inspired lots of far right attacks on the sitting commander-in-chief, who they claimed was weak. Trump would have never let this kind of thing happen, they said. Then the Pentagon revealed he did. Thrice. So the former president did what he always does when news makes him and his cronies look bad: He simply denied it.

“The Chinese Balloon situation is a disgrace, just like the Afghanistan horror show, and everything else surrounding the grossly incompetent Biden Administration,” Trump railed on his rinky-dink Twitter clone. “They are only good at cheating in elections, and disinformation — and now they are putting out that a Balloon was put up by China during the Trump Administration, in order to take the ‘heat’ off the slow moving Biden fools. China had too much respect for ‘TRUMP’ for this to have happened, and it NEVER did. JUST FAKE DISINFORMATION!”

Elsewhere in Republican Land, Marco Rubio went on ABC’s This Week to rant about Biden’s balloon weakness — only to seemingly learn on the air that the same thing happened to Trump on multiple occasions. His face was priceless.

Over the last week, a lot of Republicans lost their marbles over the balloon. Some even offered reckless advice on how to destroy it. Not everyone thought it was the end of the world. SNL used it as fodder for its latest Cold Open sketch.

(Via Mediaite)

What’s the weirder George Santos lie? That he’s Jewish. (He’s not.) That his mother died in 9/11. (She wasn’t even in New York at the time.) What about that he produced Spider-Man: Turn Off the Dark? That’s the claim made recently, and if you’re scratching your head over why anyone, even the guy who lied about being a volleyball champ, would purport that he was involved in one of the biggest flops in Broadway history, so is Weekend Update co-anchor Colin Jost.

On the most recent SNL, Jost and Michael Che took some time to pounce on the latest round of news about the freshman GOP representative. Che took on the fact that Santos recused himself from the committee positions “to avoid distraction,” joking, “He added, ‘The last thing I want is attention,’ then he sashayed away in a feather boa,” over an image of heSantos as a drag queen (which he claims he only did briefly).

Jost, however, zeroed in on the alleged Broadway producer’s credit, which the team behind the infamous show denied was real. Jost said, “Though he did end up working with the Green Goblin,” prompting an image of Marjorie Taylor Greene in a green dress.

Jost also took on the Chinese balloon, which may or may not have been surveilling Americans and was shot down by the Air Force earlier in the day. He joked that it was “history’s most complicated gender reveal party.” He added, “Bad news for China: It’s a girl.”

As for Che, he addressed Florida’s AP African American history class, which had to be revised under orders from anti-woke crusader/governor Ron DeSantis, removing Black authors officials deemed “problematic.” Che cracked, “Instead they’ve been replaced with authors they call ‘one of the good ones.’”

You can watch the latest Weekend Update in the videos above and below.

The undefeated, top-ranked South Carolina Gamecocks are seeking to repeat as national champions. Spearheaded by the stingiest defense in college basketball by a country mile, Carolina enters Sunday’s rematch of the national title game against UConn looking to make a statement. Their defense is historically good: According to Her Hoop Stats, the Gamecocks are on track to set the second-best defensive efficiency registered by a team since the database first started (2009-10), allowing only 67.1 points per 100 possessions.

Carolina is deep, routinely running 11 players out during a game at minimum. They’re big and long across the board at every position. More importantly, they’re disciplined — while they are aggressive on that end of the floor, they can only get away with that due to how smart and communicative they are as a unit.

Brea Beal, a 6’1 senior wing and four-year starter, is central to Dawn Staley’s defense, even when the opposition tries their best to remove her from the equation. Recently named to the Naismith Women’s Defensive Player of the Year Award watch list alongside teammate Aliyah Boston, Beal has repeatedly made her case as the most impactful defender in the nation.

“You’ve got to watch games,” Beal tells Dime on how she’s able to take over games on defense. “Not just the opponent you’re about to play, you’ve gotta watch tons of games. You’ve got to see basketball, how it works, how people, teams play. You need to watch it and then understand what you’re watching, what you’re looking for.”

Every game, Beal is tasked with guarding the opposing team’s most dynamic offensive wing or guard. She has the strength and lateral quickness to contain drivers of all varieties. She’s adept at using her length and chest to ward off ball-handlers and bump them out of their comfort zone.

Watching Beal size up her assignment is akin to watching the opening rounds of a title fight. Beal paws, prods, and gauges what this particular matchup will entail to find the sweet spot of where she can cause the most discomfort as the game progresses. If she’s going up against someone smaller, for instance, she’s getting a grasp of her opponent’s speed. If they’re faster, she explains, “that gives me the idea that I need to give them more space so I’m not getting blown past.”

“I trust in myself,” she says, “and know that I can play defense and not get beat.”

Her on-ball exploits pop off the screen, particularly considering how stifling she can be in the most eye-catching actions, but the work she puts in before the stop is made sets her apart. Few players at any size or position can blow up screens and navigate through traffic off of the ball quite like Beal. The purpose of a ball screen is to create space for a ball-handler or shooter, or to cause a defense to overcommit and open up either the screener on the roll or an outlet shooter after help commits to tag the roll.

In response, Beal squeezes the space that screening actions can create.

“For me being a bigger guard, I have to get low and create my space (against a screener), because if I create my space, a post can’t just come and do whatever they want,” she says. “It comes back to realizing that if you’re not seeing the screen or the whole play, you can mess up the entire defense. So it ties back into watching film: Which way can someone get over a screen the best?”

As Beal mentioned with creating her own space, think of her attacking a screening action like a vacuum seal.

Watch how Beal sinks her shoulder and body into the oncoming screener while also keeping an arm out, warding off the guard. This makes a screen rejection more difficult, which matters considering this is an empty corner. There is no help until the rim if the guard drives baseline. By staying low and eating up as much space as possible, Beal constricts the space, contains the drive herself, and the defense is largely unaffected.

Notice again how Beal dips her shoulder and shimmies around the screen.

Boston shows and recovers to her assignment, the screener, as Beal catches and halts the drive with her length and composure, again preventing defensive shift.

She’s fully weaponized her mind and approach to film to create controlled havoc for offenses. Beal has her assignment’s shooting motion figured out so she can time up their shots. If she senses hesitancy, she’ll take advantage. Beal doesn’t half-step, she fully commits. If there is an opening to be aggressive, she seizes the opportunity and blows up plays with good positioning and swift hands.

Watch in the first clip how Beal has her eyes on the ball-handler the entire play. The moment they bobble their dribble and look at the ball, she pounces and forces a turnover. These are the plays that go outside scheme, and it’s these moments that make her so great as a defender.

Beal’s awareness stands out in-game. She has an innate sense and understanding of where her teammates and opponents are, mapping out all the players on the floor with her head ever-moving to remain aware of her shifting surroundings. More and more teams have attempted early actions this season to keep Beal off the ball. Instead, because of how good Beal is, they’ve just created another problem for themselves.

“I feel that’s the easiest position for me to be in,” she says. “If I’m on the strong side, a little jab or hand in there could mess up the whole play. If she bobbles the ball and my teammate picks it up, we’re going the other way.”

Note how the moment UConn’s Evina Westbrook looks down and hits a push dribble to get a step on Victaria Saxton, Beal comes flying in to knock the ball off Westbrook’s knee for a turnover.

“When you’re off the ball, you can see everything, you can point out things, you can direct or push people to where they need to be and you can be there for help if people need it,” Beal says.

Beal feels she’s grown as a communicator over the past year as well. She didn’t used to be vocal, but laughs at how she’s now “yelling and screaming” on the court. Carolina starts every practice off with film, which sets the tone for focus and discipline. Beal’s taken it upon herself to bring along the underclassmen and show them the ropes within the defensive system, like the upperclassmen who did the same for her.

She relishes the opportunities to match-up with great players. Her match-ups with Atlanta Dream All-Star Rhyne Howard during her time at Kentucky were appointment viewing last season. The two are friends, and Beal has the goal of playing alongside or against Howard in the WNBA after her senior season, although she is focused on the present.

Beal has an all-around game. She’s grown as a shooter in her time at Carolina, is one of the better passers and playmakers on the team, and has blossomed into a leader while starting for a squad that has made two straight Final Fours with an opportunity to reach a third this March in Dallas.

She isn’t advocating for herself to win the Defensive Player of the Year award, she’d rather do it with her play. She wants to win and compete. She’s quick to point out that she’s just one of five defenders on the best defense in the nation. Beal is sure of herself but isn’t cocky. She gives off the air of someone who has put countless hours of work into her craft and has found confidence within the hours of toiling, watching, learning.

“It took me a few years to get back to the calm Brea,” she says, reminiscing on starting for the Gamecocks as a freshman.

There were real nerves at first, understandably, with playing big minutes for arguably the top program in the country fresh out of high school. Significant games, tournament runs, and top-25 matchups refined Beal’s calm demeanor into one that can’t be rattled.

“When you’re calm and you just play relaxed,” she says, “that’s when good things happen.”