Dorcas Shola Fapson vs Taxify: Why we need to have uncomfortable conversations about gender politics

Posted on by The Native

Fairness can be achieved in one of two ways: Equity and Equality. Although both seem to have the same goal, they are different in practice. Equality requires us to blur the lines of our differences while equity requires that differences are acknowledged, and we provide everyone with the specific tools they need in order to reach overall fairness. Since even biology doesn’t promote equality, fairness will only be achieved if the privileged are willing to admit the elements that tip the scale. That’s why movements like the #MeToo are important, and why Dorcas Shola Fapson’s Taxify experience needs to be taken as an opportunity to discuss fairness in gender politics.

If you were on social media last week, you may have seen Dorcas Shola Fapson’s video recording of her alleged assault by Taxify driver, Henry Nnaemeka. But here’s a quick summary in case you missed it: Shuga actor, Fapson ordered a Taxify but didn’t have the best ride because she wanted to pay via her card while the drive insisted on cash payment. According to her, despite the disagreement on payment mode, she was subsequently prevented from getting out of his car and driven to a location unknown to her.

Nnaemeka’s story was slightly different though. In his statement, there was no destination on her ride, Fapson refused to alight from his vehicle and he had driven her to an unknown destination (close to his own home) because he was afraid of what she might do. What both parties don’t deny however is that Dorcas was grabbed by the waist and Henry Nnaemka, the Taxify driver was pepper sprayed in the eyes.

Social media’s response to Dorcas’ ordeal is a sharp reminder there are still people on the other side of the fence when it comes to equal rights. A considerable amount of people dismissed her story because they couldn’t figure why a ‘respectable’ woman will have pepper spray on her. But given how unsafe it could be for a woman (or anyone really) out that late, the pepper spray ensures her safety and shouldn’t discredit her virtue or story.

People also argued that ‘if she was in any danger’, she would not have been able to make a video’. These views are problematic for many reasons, but most especially because they discredit the problems with our current gender dynamics and how it has spurred women to learn to create our own safety in a male-dominated world. Even men ought to have these protective measures. Her sin, according to the internet, was to document what she genuinely felt was a dangerous situation so she could have evidence of the potential assault should she get an unfair judge trying to discredit her testament. And given the reactions towards her video, her fear seems justified.

Issues like this where the masses seem to be in the wrong hardly ever get attention from celebrities who have to be careful not to get ostracized. But when the socialites speak up on these things, it creates a possibility of some form of public attention and education. Simi may have had the right ideas when she decided to speak on the matter, but ultimately, her actions were a bit disappointing to say the least. The singer posted a tweet expressing her discontent with people who had criticized Dorcas, but after backlash from fans on twitter, she took down her post. In a sense, she would have been better off saying nothing at all on the matter as detractors will most likely miscontrue Simi’s tweet deletion as an admission her stand on gender politics is also problematic.  She ruined an opportunity to use her popularity as a means of creating a platform for discussion outside of the internet’s echo chambers.

It’s no excuse, but it’s worth acknowledging that Simi’s backlash and her response shows how easily echo chambers and the illusion of confidence they create within themselves often bully people out of their views—whether wrong or right. Of course, there are people within these bubbles that have different views, but fear of being ostracized keeps them from speaking up.

If the people who have taken sides against Sola Fapson were to acknowledge how power dynamics affect the interpretation of situations, they may find that acknowledging his faults and how her fear of the situation was justified doesn’t necessarily translate a biased judgement of the matter. After all, a similar situation with the same sex parties involved would most likely have a different outcome because the sense of the power dynamics would have been equal. And perhaps things wouldn’t have escalated as they did.

In our fight for fairness, a way to move forward would be to pause the unending conversations and have some more uncomfortable ones. It requires that we acknowledge our privilege, and since it is impossible to know all of our daily privileges, it requires that we listen to the people on the other side of the coin and understand how best we can all be decent people moving forward. 

 

“Tomiwa is figuring it out…” Tweet at her @fauxbella

About that problematic line from Kiss Daniels “Yeba”

NATIVELAND headliner, Yxng Bane releases new video, “Corner”

Posted on by The Native

Yxng Bane has dropped a new track with Maleek Berry but nothing new there. About a month ago, both artist were on our stage at NATIVELAND’17. His new video features cuts from how all of that went down. There are other shots documenting his trips around Nigeria going to clubs, and having a good time backed by security. We wish he left out that cringe scene where he was handing out watermelon to the kid in the street though, high chance the metaphor looked different from where he stood but where he’s standing is why it’s problematic in the first place.

Nonetheless, you can see the full video for “Corner” by yourself.

Featured Image Credits: YouTube

You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him @debola_abimbolu

ICYMI: Slow wine to Burna Boy and J Hus’ “Sekkle Down”

Djinee doubles back with “Find You”

Posted on by The Native

After scoring an unapologetic hit with “Ego”, a powerful yet emotion laden single in 2004, Djinee faded into obscurity, returning only occasionally to reclaim his place with singles like “Lade” in 2008. His latest release, “Find You” is an oddly optimistic number to start the year with. As he revives his vocal cords for yet another romantic piece.

“Find You” is a five minute long confessional of unconditional and timeless love over piano chords, guitar strums and soft drum beats. The soft, melodic tune will resonate with everyone who needs reassurance of their lovers commitment to them.  In line with the romantic theme, the beats take a slow, seductive turn at the start before picking up pace to relay the sense of urgency the artist feels trying to get his message across.

“Find You” might be intended for a lover but Djinee is the one who’s found his sound again. Listen below.

Featured Image credit: Instagram/Djinee

Mariam is not a cat person. Tweet at her @MA_Y_M

Essentials: Blue is the warmest colour of Maleek Berry’s “First Daze of Winter” EP

Tay’s new song “Video Star” is 80s nostalgia

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When Tay Iwar announced that he would be opening for Asa at her Lagos concert, fans were pretty excited because it proved that Tay’s neo-soul sound was finally getting him recognition in the mainstream. The performance was eventually followed by the announcement of his deal with Universal Studios, hinting at the potentially big plans he has in store for the coming year. His first single for the year, “Video Star” is the first release under the label and it fans will be pleased to know that he stays true to his original sound.

https://www.instagram.com/p/BeiA-nThOy_/?hl=en&taken-by=tayiwar

“Video Star” features synthesizer melody, drum machine rhythms, and a percussion sound that reminds of 80s RnB. Tay’s vocals surf through the self-produced beat as he sings “You’re Moving Too Fast, Like A Video Star” about a woman he can’t keep up with.

Listen below.

Featured Image Credits: Instagram/tayiwar

You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him @debola_abimbolu

ICYMI: Slow wine to Burna Boy and J Hus’ “Sekkle Down”

It’s YCee’s birthday but his new video for “I Wish” is dark and broody

Posted on by The Native

When “I Wish” was released in November last year, YCee’s emo most resembled a solo cavalry charge with his hard hitting, rapid-fire bars aimed at the critics of his pop sensibilities. Coming at the tail of MI’s similarly charged “You Rappers Should Fix Up Your Lives”, YCee’s energetic performance coupled with specific lyrics like “A Flow Like This, I Swear Your Faves Never Heard/I Know Why They Mad/ Chics Digging Me”, the context for “I Wish” remains intact even when played on radio or on DJ sets.

https://www.instagram.com/p/BecvCtwHMJT/?hl=en&taken-by=iam_ycee

Visionniare Pictures Film directs the video for “I Wish” in a minimalist set that captures YCee performing his lines with only the camera as witness. The filters, lighting and smoke effects give the images a psychedelic hue as YCee changes from a white top to an all black get up before he’s seen bare-chested. Though AT makes an appearance in the video, for the most part, YCee is shown by himself while a samurai practices some kicks as if to emphasis the underlying rap battle theme.

Watch the video below.

Featured Image Credits: YouTube/YCeeVEVO

You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him @debola_abimbolu

ICYMI: YCee hits back at critics with “I Wish”

Here is an important but fake-deep story on Rihanna’s ‘Gwara-Grawa’ at the GRAMMYs

Posted on by The Native

There were a lot of great performances at the just concluded 60th annual Grammys. But one of the big highlights was Rihanna’s performance for “Wild Thoughts” with DJ Khaled and Bryson Tiller. Robyn stole the show with her stunning dance moves, one of which was the South African ‘Gwara Gwara’ dance step that has been making rounds on the internet since last year.

South Africans were ecstatic, the entire continent was united. Africa was being represented on the Grammys stage by none other than Rihanna, one of the biggest pop stars in the world. But sadly, the joy was short-lived. Someone at Vulture unwittingly tweeted that the ‘Gwara Gwara’ steps Fenty and her choreographers closed their set with was the ‘Stanky Leg’.

Perhaps the mistake would have been forgivable if both dance moves looked more alike, or if New York magazine hadn’t been able to tell the difference or if Vulture would even bother to apologize, fix the error or just delete the flipping tweet.

But so far, the tweet still remains, a testament of the under-representation of African culture in international media. Dancers and musicians have borrowed from various art forms for as long as we can remember. Rihanna hitting the ‘Gwara Gwara’ isn’t culture appropriation in itself, but the media refusing to acknowledge the inspiration and origin of the dance is a tough pill to swallow. Vulture turned what could have been an opportunity to merge cultures and represent Africa in a good light into yet another case of cultural appropriation.

The media’s failure to acknowledge the African dance is the general problem with cultural appropriation. Both dance steps focus on leg movement as most dance-steps do, but by clamping the South African dance ‘Gwara Gwara’, and GS Boyz’s 2008 classic, ‘Stanky Leg’ together as the same, they are suggesting that the African culture doesn’t deserve due credit. 

The mislabeling is problematic because it is similar to practices during colonialism where colonial powers obtained materials, people, and cultural practices as their own. While these colonial powers are still enjoying the benefits of the extracted materials and cultures, many colonized nations are still suffering from the effects of the colonialism. There’s nothing wrong with seeking inspiration from other cultures—Africans probably do it as much as anyone else—but it’s not too much to ask for due credit to be given to the originators. Nor is it too much to ask for proper representation from the international media. 

Regardless, Rihanna’s interpolation of the South African ‘Gwara Gwara’ dance step into her performance will not be forgotten in a hurry. Even in the mist of all the misrepresentation and culture appropriation conversations, she continues to prove it’s impossible for her to do any wrong. Watch her Grammy 2018 performance for “Wild Thoughts” below.

https://www.youtube.com/watch?v=ZxyKYqnhF4g

Featured Image Credits: Instagram/thefader

Bella Alubo and YCee release joint EP, Late Night Vibrations

Posted on by The Native

Fusing R&B-pop and hip-hop have grown increasingly normal these last few years. Despite the initial bias against it, a few artists have stood out from the bunch and earned the respect of purists from both genres. Last year, YCee’s hit record, “Juice” saw him switch from rap to pop but Bella Alubo already did an impressive job of that on her debut EP, Bella, The EP. Both artists have now teamed up for a joint EP after becoming label mates last year.

https://www.instagram.com/p/Behx028Frbk/?hl=en&taken-by=bellaalubo

Late Night Vibration is a 6 track offering building off the chemistry YCee and Bella shared on “Radio”.  There is a lot of romance heard across the project, just in time for the Valentine season.

You can stream YCee and Bella’s Late Night Vibrations below.

Featured Image Credits: Instagram/bellaalubo

You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him @debola_abimbolu

ICYMI: Slow wine to Burna Boy and J Hus’ “Sekkle Down”

Grammys 2018: Full list of nominees and winners

Posted on by The Native

The Grammys held last night in New York. It’s the first time it’s holding outside of Los Angeles since 2003. And unsurprisingly, one of the biggest stories is Kendrick robbing Jay Z in his own hometown. You can see the full list of Grammy nominees below.

Record of the Year:
“Redbone” — Childish Gambino
“Despacito” — Luis Fonsi & Daddy Yankee featuring Justin Bieber
“The Story Of O.J.” — Jay-Z
“HUMBLE.” — Kendrick Lamar
WINNER: “24K Magic” — Bruno Mars

Album of the Year:
“Awaken, My Love!” — Childish Gambino
4:44 — Jay-Z
DAMN. — Kendrick Lamar
Melodrama — Lorde
WINNER: 24K Magic

Song of the Year:
“Despacito” — Ramón Ayala, Justin Bieber, Jason “Poo Bear” Boyd, Erika Ender, Luis Fonsi & Marty James Garton, songwriters (Luis Fonsi & Daddy Yankee Featuring Justin Bieber)
“4:44” — Shawn Carter & Dion Wilson, songwriters (Jay-Z)
“Issues” — Benny Blanco, Mikkel Storleer Eriksen, Tor Erik Hermansen, Julia Michaels & Justin Drew Tranter, songwriters (Julia Michaels)
“1-800-273-8255” — Alessia Caracciolo, Sir Robert Bryson Hall II, Arjun Ivatury & Khalid Robinson, songwriters (Logic Featuring Alessia Cara & Khalid)
WINNER: “That’s What I Like” — Christopher Brody Brown, James Fauntleroy, Philip Lawrence, Bruno Mars, Ray Charles McCullough II, Jeremy Reeves, Ray Romulus & Jonathan Yip, songwriters (Bruno Mars)

Best New Artist:
WINNER: Alessia Cara
Khalid
Lil Uzi Vert
Julia Michaels
SZA

Best Pop Solo Performance:
“Love So Soft” — Kelly Clarkson
“Praying” — Kesha
“Million Reasons” — Lady Gaga
“What About Us” — P!nk
WINNER: “Shape Of You” — Ed Sheeran

Best Pop Duo/Group Performance:
“Something Just Like This” — The Chainsmokers & Coldplay
“Despacito” — Luis Fonsi & Daddy Yankee Featuring Justin Bieber
“Thunder” — Imagine Dragons
WINNER: “Feel It Still” — Portugal. The Man
“Stay” — Zedd & Alessia Cara

Best Traditional Pop Vocal Album:
Nobody But Me (Deluxe Version) — Michael Bublé
Triplicate — Bob Dylan
In Full Swing — Seth MacFarlane
Wonderland — Sarah McLachlan
WINNER: Tony Bennett Celebrates 90 — (Various Artists) Dae Bennett, Producer

Best Pop Vocal Album:
Kaleidoscope EP — Coldplay
Lust for Life — Lana Del Rey
Evolve — Imagine Dragons
Rainbow — Kesha
Joanne — Lady Gaga
WINNER: ÷ (Divide) — Ed Sheeran

Best Dance Recording:
“Bambro Koyo Ganda” — Bonobo Featuring Innov Gnawa
“Cola” — Camelphat & Elderbrook
“Andromeda” — Gorillaz Featuring DRAM
WINNER: “Tonite” — LCD Soundsystem
“Line Of Sight” — Odesza Featuring WYNNE & Mansionair

Best Dance/Electronic Album:
Migration — Bonobo
WINNER: 3-D The Catalogue — Kraftwerk
Mura Masa — Mura Masa
A Moment Apart — Odesza
What Now — Sylvan Esso

Best Contemporary Instrumental Album:
What If — The Jerry Douglas Band
Spirit — Alex Han
Mount Royal — Julian Lage & Chris Eldridge
WINNER: Prototype — Jeff Lorber Fusion
Bad Hombre — Antonio Sanchez

Best Rock Performance:
WINNER: “You Want It Darker” — Leonard Cohen
“The Promise” — Chris Cornell
“Run” — Foo Fighters
“No Good” — Kaleo
“Go To War” — Nothing More

Best Metal Performance:
“Invisible Enemy” — August Burns Red
“Black Hoodie” — Body Count
“Forever” — Code Orange
WINNER: “Sultan’s Curse” — Mastodon
“Clockworks” — Meshuggah

Best Rock Song:
“Atlas, Rise!” — James Hetfield & Lars Ulrich, songwriters (Metallica)
“Blood In The Cut” — JT Daly & Kristine Flaherty, songwriters (K.Flay)
“Go To War” — Ben Anderson, Jonny Hawkins, Will Hoffman, Daniel Oliver, David Pramik & Mark Vollelunga, songwriters (Nothing More)
WINNER: “Run” — Foo Fighters, songwriters (Foo Fighters)
“The Stage” — Zachary Baker, Brian Haner, Matthew Sanders, Jonathan Seward & Brooks Wackerman, songwriters (Avenged Sevenfold)

Best Rock Album:
Emperor Of Sand — Mastodon
Hardwired…To Self-Destruct — Metallica
The Stories We Tell Ourselves — Nothing More
Villains — Queens Of the Stone Age
WINNER: A Deeper Understanding — The War On Drugs

Best Alternative Music Album:
Everything Now — Arcade Fire
Humanz — Gorillaz
American Dream — LCD Soundsystem
Pure Comedy — Father John Misty
WINNER: Sleep Well Beast — The National

Best R&B Performance:
“Get You” — Daniel Caesar Featuring Kali Uchis
“Distraction” — Kehlani
“High” — Ledisi
WINNER: “That’s What I Like” — Bruno Mars
“The Weekend” — SZA

Best Traditional R&B Performance:
“Laugh And Move On” — The Baylor Project
WINNER: “Redbone” — Childish Gambino
“What I’m Feelin'” — Anthony Hamilton Featuring The Hamiltones|
“All The Way” — Ledisi
“Still” — Mali Music

Best R&B Song:
“First Began” — PJ Morton, songwriter (PJ Morton)
“Location” — Alfredo Gonzalez, Olatunji Ige, Samuel David Jiminez, Christopher McClenney, Khalid Robinson & Joshua Scruggs, songwriters (Khalid)
“Redbone” — Donald Glover & Ludwig Goransson, songwriters (Childish Gambino)
“Supermodel” — Tyran Donaldson, Terrence Henderson, Greg Landfair Jr., Solana Rowe & Pharrell Williams, songwriters (SZA)
WINNER: “That’s What I Like” — Christopher Brody Brown, James Fauntleroy, Philip Lawrence, Bruno Mars, Ray Charles McCullough II, Jeremy Reeves, Ray Romulus & Jonathan Yip, songwriters (Bruno Mars)

Best Urban Contemporary Album:
Free 6LACK — 6LACK
“Awaken, My Love!” — Childish Gambino
American Teen — Khalid
Ctrl — SZA
WINNER: Starboy — The Weeknd

Best R&B Album:
Freudian — Daniel Caesar
Let Love Rule — Ledisi
WINNER: 24K Magic — Bruno Mars
Gumbo — PJ Morton
Feel the Real –Musiq Soulchild

Best Rap Performance:
“Bounce Back” — Big Sean
“Bodak Yellow” — Cardi B
“4:44” — Jay-Z
WINNER: “HUMBLE.” — Kendrick Lamar
“Bad And Boujee” — Migos Featuring Lil Uzi Vert

Best Rap/Sung Performance:
“PRBLMS” — 6LACK
“Crew” — Goldlink Featuring Brent Faiyaz & Shy Glizzy
“Family Feud” — Jay-Z Featuring Beyoncé
“LOYALTY.” — Kendrick Lamar Featuring Rihanna
“Love Galore” — SZA Featuring Travis Scott

Best Rap Song:
“Bodak Yellow” — Dieuson Octave, Klenord Raphael, Shaftizm, Jordan Thorpe, Washpoppin & J White, songwriters (Cardi B)
“Chase Me” — Judah Bauer, Brian Burton, Hector Delgado, Jaime Meline, Antwan Patton, Michael Render, Russell Simins & Jon Spencer,
songwriters (Danger Mouse Featuring Run The Jewels & Big Boi)
WINNER: “HUMBLE.” — Duckworth, Asheton Hogan & M. Williams II, songwriters (Kendrick Lamar)
“Sassy” — Gabouer & M. Evans, songwriters (Rapsody)
“The Story Of O.J.” — Shawn Carter & Dion Wilson, songwriters (Jay-Z)

Best Rap Album:
4:44 — Jay-Z
WINNER: DAMN. — Kendrick Lamar
Culture — Migos
Laila’s Wisdom — Rapsody
Flower Boy — Tyler, The Creator

Best Country Solo Performance:
“Body Like A Back Road” — Sam Hunt
“Losing You: –Alison Krauss
“Tin Man” — Miranda Lambert
“I Could Use A Love Song” — Maren Morris
WINNER: “Either Way” — Chris Stapleton

Best Country Duo/Group Performance:
“It Ain’t My Fault” — Brothers Osborne
“My Old Man” — Zac Brown Band
“You Look Good” — Lady Antebellum
WINNER: “Better Man” — Little Big Town
“Drinkin’ Problem” — Midland

Best Country Song:
“Better Man” — Taylor Swift, songwriter (Little Big Town)
“Body Like A Back Road” — Zach Crowell, Sam Hunt, Shane McAnally & Josh Osborne, songwriters (Sam Hunt)
WINNER: “Broken Halos” — Mike Henderson & Chris Stapleton, songwriters (Chris Stapleton)
“Drinkin’ Problem” — Jess Carson, Cameron Duddy, Shane McAnally, Josh Osborne & Mark Wystrach, songwriters (Midland)
“Tin Man” — Jack Ingram, Miranda Lambert & Jon Randall, songwriters (Miranda Lambert)

Best Country Album:
Cosmic Hallelujah — Kenny Chesney
Heart Break — Lady Antebellum
The Breaker — Little Big Town
Life Changes — Thomas Rhett
WINNER: From a Room: Volume 1 — Chris Stapleton

Best New Age Album:
Reflection — Brian Eno
SongVersation: Medicine — India.Arie
WINNER: Dancing On Water — Peter Kater 
Sacred Journey Of Ku-Kai, Volume 5 — Kitaro
Spiral Revelation — Steve Roach

Best Improvised Jazz Solo:
“Can’t Remember Why” — Sara Caswell, soloist
“Dance Of Shiva” — Billy Childs, soloist
“Whisper Not” — Fred Hersch, soloist
WINNER: “Miles Beyond” — John McLaughlin, soloist
“Ilimba” — Chris Potter, soloist

Best Jazz Vocal Album:
The Journey — The Baylor Project
A Social Call — Jazzmeia Horn
Bad Ass and Blind — Raul Midón
Porter Plays Porter — Randy Porter Trio With Nancy King
WINNER: Dreams and Daggers — Cécile McLorin Salvant

Best Jazz Instrumental Album:
Uptown, Downtown — Bill Charlap Trio
WINNER: Rebirth — Billy Childs
Project Freedom –Joey DeFrancesco & The People
Open Book — Fred Hersch
The Dreamer Is the Dream — Chris Potter

Best Large Jazz Ensemble Album:
MONK’estra Vol. 2 — John Beasley
Jigsaw — Alan Ferber Big Band
WINNER: Bringin’ It — Christian McBride Big Band
Homecoming — Vince Mendoza & WDR Big Band Cologne
Whispers on the Wind — Chuck Owen And The Jazz Surge

Best Latin Jazz Album:
Hybrido – From Rio To Wayne Shorter — Antonio Adolfo
Oddara — Jane Bunnett & Maqueque
Outra Coisa – The Music Of Moacir Santos — Anat Cohen & Marcello Gonçalves
Típico — Miguel Zenón
WINNER: Jazz Tango — Pablo Ziegler Trio

Best Gospel Performance/Song:
“Too Hard Not To” — Tina Campbell
“You Deserve It” — JJ Hairston & Youthful Praise Featuring Bishop Cortez Vaughn
“Better Days” — Le’Andria
“My Life” — The Walls Group
WINNER: “Never Have To Be Alone” — CeCe Winans

Best Contemporary Christian Music Performance/Song:
“Oh My Soul” — Casting Crowns
“Clean” — Natalie Grant
WINNER: “What A Beautiful Name” — Hillsong Worship
“Even If” — MercyMe
“Hills And Valleys” — Tauren Wells

Best Gospel Album:
Crossover: Live From Music City — Travis Greene
Bigger Than Me — Le’Andria
Close — Marvin Sapp
Sunday Song — Anita Wilson
WINNER: Let Them Fall in Love — CeCe Winans

Best Contemporary Christian Music Album:
Rise — Danny Gokey
Echoes (Deluxe Edition) — Matt Maher
Lifer — MercyMe
Hills and Valleys — Tauren Wells
WINNER: Chain Breaker — Zach Williams

Best Roots Gospel Album:
The Best Of the Collingsworth Family – Volume 1 — The Collingsworth Family
Give Me Jesus — Larry Cordle
Resurrection — Joseph Habedank
WINNER: Sing It Now: Songs of Faith & Hope — Reba McEntire
Hope for All Nations — Karen Peck & New River

Best Latin Pop Album:
Lo Único Constante — Alex Cuba
Mis Planes Son Amarte — Juanes
Amar Y Vivir En Vivo Desde La Ciudad De México, 2017 — La Santa Cecilia
Musas (Un Homenaje Al Folclore Latinoamericano En Manos De Los Macorinos) — Natalia Lafourcade
WINNER: El Dorado — Shakira

Best Latin Rock, Urban or Alternative Album:
Ayo — Bomba Estéreo
Pa’ Fuera — C4 Trío & Desorden Público
Salvavidas De Hielo — Jorge Drexler
El Paradise — Los Amigos Invisibles
WINNER: Residente — Residente

Best Regional Mexican Music Album (Including Tejano):
Ni Diablo Ni Santo — Julión Álvarez Y Su Norteño Banda
Ayer Y Hoy — Banda El Recodo De Cruz Lizárraga
Momentos — Alex Campos
WINNER: Arriero Somos Versiones Acústicas — Aida Cuevas
Zapateando En El Norte — Humberto Novoa, producer (Various Artists)

Best Tropical Latin Album:
Albita — Albita
Art of the Arrangement — Doug Beavers
WINNER: Salsa Big Band — Rubén Blades Con Roberto Delgado & Orquesta
Gente Valiente — Silvestre Dangond
Indestructible — Diego El Cigala

Best American Roots Performance:
WINNER: Killer Diller Blues — Alabama Shakes
Let My Mother Live — Blind Boys Of Alabama
Arkansas Farmboy — Glen Campbell
Steer Your Way — Leonard Cohen
I Never Cared For You — Alison Krauss

Best American Roots Song:
“Cumberland Gap” — David Rawlings
“I Wish You Well” — The Mavericks
WINNER: “If We Were Vampires” — Jason Isbell And The 400 Unit
“It Ain’t Over Yet” — Rodney Crowell Featuring Rosanne Cash & John Paul White
“My Only True Friend” –Gregg Allman

Best Americana Album:
Southern Blood — Gregg Allman
Shine On Rainy Day — Brent Cobb
Beast Epic — Iron & Wine
WINNER: The Nashville Sound — Jason Isbell And The 400 Unit
Brand New Day — The Mavericks

Best Bluegrass Album:
Fiddler’s Dream — Michael Cleveland
WINNER (TIE) : Laws Of Gravity — The Infamous Stringdusters
Original — Bobby Osborne
Universal Favorite — Noam Pikelny
WINNER (TIE): All The Rage – In Concert Volume One [Live] — Rhonda Vincent And The Rage

Best Traditional Blues Album:
Migration Blues — Eric Bibb
Elvin Bishop’s Big Fun Trio — Elvin Bishop’s Big Fun Trio
Roll And Tumble — R.L. Boyce
Sonny & Brownie’s Last Train — Guy Davis & Fabrizio Poggi
WINNER: Blue & Lonesome — The Rolling Stones

Best Contemporary Blues Album:
Robert Cray & Hi Rhythm — Robert Cray & Hi Rhythm
Recorded Live In Lafayette — Sonny Landreth
WINNER: TajMo — Taj Mahal & Keb’ Mo’
Got Soul — Robert Randolph & The Family Band
Live From The Fox Oakland — Tedeschi Trucks Band

Best Folk Album:
Mental Illness — Aimee Mann
Semper Femina — Laura Marling
The Queen Of Hearts — Offa Rex
You Don’t Own Me Anymore — The Secret Sisters
The Laughing Apple — Yusuf / Cat Stevens

Best Regional Roots Music Album:
Top Of the Mountain — Dwayne Dopsie And The Zydeco Hellraisers
Ho’okena 3.0 — Ho’okena
WINNER: Kalenda — Lost Bayou Ramblers
Miyo Kekisepa, Make A Stand [Live] — Northern Cree
Pua Kiele — Josh Tatofi

Best Reggae Album:
Chronology — Chronixx
Lost In Paradise — Common Kings
Wash House Ting — J Boog
WINNER: Stony Hill — Damian “Jr. Gong” Marley
Avrakedabra — Morgan Heritage

Best World Music Album:
Memoria De Los Sentidos — Vicente Amigo
Para Mi — Buika
Rosa Dos Ventos — Anat Cohen & Trio Brasileiro
WINNER: Shaka Zulu Revisited: 30th Anniversary Celebration — Ladysmith Black Mambazo
Elwan — Tinariwen

Best Children’s Album:
Brighter Side — Gustafer Yellowgold
WINNER: Feel What U Feel — Lisa Loeb
Lemonade — Justin Roberts
Rise Shine #Woke — Alphabet Rockers
Songs Of Peace & Love For Kids & Parents Around The World — Ladysmith Black Mambazo

Best Spoken Word Album (Includes Poetry, Audio Books & Storytelling):
Astrophysics For People In A Hurry — Neil Degrasse Tyson
Born To Run — Bruce Springsteen
Confessions Of A Serial Songwriter — Shelly Peiken
Our Revolution: A Future to Believe In (Bernie Sanders) — Bernie Sanders And Mark Ruffalo
WINNER: The Princess Diarist — Carrie Fisher

Best Comedy Album:
WINNER: The Age Of Spin & Deep In The Heart Of Texas — Dave Chappelle
Cinco — Jim Gaffigan
Jerry Before Seinfeld — Jerry Seinfeld
A Speck Of Dust — Sarah Silverman
What Now? — Kevin Hart

Best Musical Theater Album:
Come From Away — Ian Eisendrath, August Eriksmoen, David Hein, David Lai & Irene Sankoff, producers; David Hein & Irene Sankoff, composers/lyricists (Original Broadway Cast Recording)
WINNER: Dear Evan Hansen — Ben Platt, principal soloist; Alex Lacamoire, Stacey Mindich, Benj Pasek & Justin Paul, producers; Benj Pasek & Justin Paul, composers/lyricists (Original Broadway Cast Recording) 
Hello, Dolly! — Bette Midler, principal soloist; Steven Epstein, producer (Jerry Herman, composer & lyricist) (New Broadway Cast Recording)

Best Compilation Soundtrack For Visual Media:
Baby Driver — (Various Artists)
Guardians Of the Galaxy Vol. 2: Awesome Mix Vol. 2 — (Various Artists)
Hidden Figures: The Album — (Various Artists)
WINNER: La La Land — (Various Artists)
Moana: The Songs — (Various Artists)

Best Score Soundtrack For Visual Media:
Arrival — Jóhann Jóhannsson, composer
Dunkirk — Hans Zimmer, composer
Game Of Thrones: Season 7 — Ramin Djawadi, composer
Hidden Figures — Benjamin Wallfisch, Pharrell Williams & Hans Zimmer, composers
WINNER: La La Land — Justin Hurwitz, composer

Best Song Written For Visual Media:
“City Of Stars” — Justin Hurwitz, Benj Pasek & Justin Paul, songwriters (Ryan Gosling & Emma Stone)
WINNER: “How Far I’ll Go” — Lin-Manuel Miranda, songwriter (Auli’i Cravalho)
“I Don’t Wanna Live Forever (‘Fifty Shades Darker’)” — Jack Antonoff, Sam Dew & Taylor Swift, songwriters (Zayn & Taylor Swift)
“Never Give Up” — Sia Furler & Greg Kurstin, songwriters (Sia)
“Stand Up For Something” — Common & Diane Warren, songwriters (Andra Day Featuring Common)

Best Instrumental Composition:
“Alkaline” — Pascal Le Boeuf, composer (Le Boeuf Brothers & JACK Quartet)
“Choros #3” — Vince Mendoza, composer (Vince Mendoza & WDR Big Band Cologne)
“Home Free (For Peter Joe)” — Nate Smith, composer (Nate Smith)
WINNER: “Three Revolutions” — Arturo O’Farrill, composer (Arturo O’Farrill & Chucho Valdés)
“Warped Cowboy” — Chuck Owen, composer (Chuck Owen And The Jazz Surge)

Best Arrangement, Instrumental or A Cappella:
“All Hat, No Saddle” — Chuck Owen, arranger (Chuck Owen And The Jazz Surge)
WINNER: “Escapades For Alto Saxophone And Orchestra From Catch Me If You Can” — John Williams, arranger (John Williams)
“Home Free (For Peter Joe)” — Nate Smith, arranger (Nate Smith)
“Ugly Beauty/Pannonica” — John Beasley, arranger (John Beasley)
“White Christmas” — Chris Walden, arranger (Herb Alpert)

Best Arrangement, Instruments and Vocals:
“Another Day Of Sun” — Justin Hurwitz, arranger (La La Land Cast)
“Every Time We Say Goodbye” — Jorge Calandrelli, arranger (Clint Holmes Featuring Jane Monheit)
“I Like Myself” — Joel McNeely, arranger (Seth MacFarlane)
“I Loves You Porgy/There’s A Boat That’s Leavin’ Soon For New York” — Shelly Berg, Gregg Field, Gordon Goodwin & Clint Holmes, arrangers (Clint Holmes Featuring Dee Dee Bridgewater And The Count Basie Orchestra)
WINNER: “Putin” — Randy Newman, arranger (Randy Newman)

Best Recording Package:
WINNER (TIE): El Orisha De La Rosa — Claudio Roncoli & Cactus Taller, art directors (Magín Díaz) 
Mura Masa — Alex Crossan & Matt De Jong, art directors (Mura Masa)
WINNER (TIE) Pure Comedy (Deluxe Edition) — Sasha Barr, Ed Steed & Josh Tillman, art directors (Father John Misty)
Sleep Well Beast — Elyanna Blaser-Gould, Luke Hayman & Andrea Trabucco-Campos, art directors (The National)
Solid State — Gail Marowitz, art director (Jonathan Coulton)

Best Boxed Or Special Limited Edition Package:
Bobo Yeye: Belle Epoque In Upper Volta — Tim Breen, art director (Various Artists)
Lovely Creatures: The Best Of Nick Cave And The Bad Seeds (1984 – 2014) — Tom Hingston, art director (Nick Cave And The Bad Seeds)
May 1977: Get Shown The Light — Masaki Koike, art director (Grateful Dead)
WINNER: The Voyager Golden Record: 40th Anniversary Edition — Lawrence Azerrad, Timothy Daly & David Pescovitz, art directors (Various Artists) 
Warfaring Strangers: Acid Nightmares — Tim Breen, Benjamin Marra & Ken Shipley, art directors (Various Artists)

Best Album Notes:
Arthur Q. Smith: The Trouble With The Truth — Wayne Bledsoe & Bradley Reeves, album notes writers (Various Artists)
Big Bend Killing: The Appalachian Ballad Tradition — Ted Olson, album notes writer (Various Artists)
The Complete Piano Works Of Scott Joplin — Bryan S. Wright, album notes writer (Richard Dowling)
Edouard-Léon Scott De Martinville, Inventor Of Sound Recording: A Bicentennial Tribute— David Giovannoni, album notes writer (Various Artists)
 WINNER: Live At The Whisky A Go Go: The Complete Recordings — Lynell George, album notes writer (Otis Redding)
Washington Phillips And His Manzarene Dreams — Michael Corcoran, album notes writer (Washington Phillips)

Best Historical Album:
Bobo Yeye: Belle Epoque In Upper Volta — Jon Kirby, Florent Mazzoleni, Rob Sevier & Ken Shipley, compilation producers; Jeff Lipton & Maria Rice, mastering engineers (Various Artists)
The Goldberg Variations – The Complete Unreleased Recording Sessions June 1955 — Robert Russ, compilation producer; Matthias Erb, Martin Kistner & Andreas K. Meyer, mastering engineers (Glenn Gould)
WINNER: Leonard Bernstein – The Composer — Robert Russ, compilation producer; Martin Kistner & Andreas K. Meyer, mastering engineers (Leonard Bernstein)
Sweet As Broken Dates: Lost Somali Tapes From The Horn Of Africa — Nicolas Sheikholeslami & Vik Sohonie, compilation producers; Michael Graves, mastering engineer (Various Artists)
Washington Phillips And His Manzarene Dreams — Michael Corcoran, April G. Ledbetter & Steven Lance Ledbetter, compilation producers; Michael Graves, mastering engineer (Washington Phillips)

Best Engineered Album, Non-Classical:
Every Where Is Some Where — Brent Arrowood, Miles Comaskey, JT Daly, Tommy English, Kristine Flaherty, Adam Hawkins, Chad Howat & Tony Maserati, engineers; Joe LaPorta, mastering engineer (K.Flay)
Is This The Life We Really Want? — Nigel Godrich, Sam Petts-Davies & Darrell Thorp, engineers; Bob Ludwig, mastering engineer (Roger Waters)
Natural Conclusion — Ryan Freeland, engineer; Joao Carvalho, mastering engineer (Rose Cousins)
No Shape — Shawn Everett & Joseph Lorge, engineers; Patricia Sullivan, mastering engineer (Perfume Genius)
WINNER: 24K Magic — Serban Ghenea, John Hanes & Charles Moniz, engineers; Tom Coyne, mastering engineer (Bruno Mars)

Producer Of the Year, Non-Classical:
Calvin Harris
WINNER: Greg Kurstin
Blake Mills
No I.D.
The Stereotypes

Best Remixed Recording:
“Can’t Let You Go (Louie Vega Roots Mix)” — Louie Vega, remixer (Loleatta Holloway)
“Funk O’ De Funk (SMLE Remix)” — SMLE, remixers (Bobby Rush)
“Undercover (Adventure Club Remix)” — Leighton James & Christian Srigley, remixers (Kehlani)
“A Violent Noise (Four Tet Remix)” — Four Tet, remixer (The xx)
WINNER: “You Move (Latroit Remix)” — Dennis White, remixer (Depeche Mode)

Best Surround Sound Album:
WINNER: Early Americans — Jim Anderson, surround mix engineer; Darcy Proper, surround mastering engineer; Jim Anderson & Jane Ira Bloom, surround producers (Jane Ira Bloom)
Kleiberg: Mass For Modern Man — Morten Lindberg, surround mix engineer; Morten Lindberg, surround mastering engineer; Morten Lindberg, surround producer (Eivind Gullberg Jensen & Trondheim Symphony Orchestra And Choir)
So Is My Love — Morten Lindberg, surround mix engineer; Morten Lindberg, surround mastering engineer; Morten Lindberg, surround producer (Nina T. Karlsen & Ensemble 96)
3-D The Catalogue — Fritz Hilpert, surround mix engineer; Tom Ammermann, surround mastering engineer; Fritz Hilpert, surround producer (Kraftwerk)
Tyberg: Masses — Jesse Brayman, surround mix engineer; Jesse Brayman, surround mastering engineer; Blanton Alspaugh, surround producer (Brian A. Schmidt, Christopher Jacobson & South Dakota Chorale)

Best Engineered Album, Classical:
Danielpour: Songs Of Solitude & War Songs — Gary Call, engineer (Thomas Hampson, Giancarlo Guerrero & Nashville Symphony)
Kleiberg: Mass For Modern Man — Morten Lindberg, engineer (Eivind Gullberg Jensen, Trondheim Vokalensemble & Trondheim Symphony Orchestra)
Schoenberg, Adam: American Symphony; Finding Rothko; Picture Studies — Keith O. Johnson & Sean Royce Martin, engineers (Michael Stern & Kansas City Symphony)
WINNER: Shostakovich: Symphony No. 5; Barber: Adagio — Mark Donahue, engineer (Manfred Honeck & Pittsburgh Symphony Orchestra)
Tyberg: Masses — John Newton, engineer; Jesse Brayman, mastering engineer (Brian A. Schmidt, Christopher Jacobson & South Dakota Chorale)

Producer Of the Year, Classical:
Blanton Alspaugh
Manfred Eicher
WINNER: David Frost
Morten Lindberg
Judith Sherman

Best Orchestral Performance:
Concertos For Orchestra — Louis Langrée, conductor (Cincinnati Symphony Orchestra)
Copland: Symphony No. 3; Three Latin American Sketches — Leonard Slatkin, conductor (Detroit Symphony Orchestra)
Debussy: Images; Jeux & La Plus Que Lente — Michael Tilson Thomas, conductor (San Francisco Symphony)
Mahler: Symphony No. 5 — Osmo Vänskä, conductor (Minnesota Orchestra)
WINNER: Shostakovich: Symphony No. 5; Barber: Adagio — Manfred Honeck, conductor (Pittsburgh Symphony Orchestra)

Best Opera Recording:
Berg: Lulu — Lothar Koenigs, conductor; Daniel Brenna, Marlis Petersen & Johan Reuter; Jay David Saks, producer (The Metropolitan Opera Orchestra)
WINNER: Berg: Wozzeck — Hans Graf, conductor; Anne Schwanewilms & Roman Trekel; Hans Graf, producer (Houston Symphony; Chorus Of Students And Alumni, Shepherd School Of Music, Rice University & Houston Grand Opera Children’s Chorus)
Bizet: Les Pêcheurs De Perles — Gianandrea Noseda, conductor; Diana Damrau, Mariusz Kwiecień, Matthew Polenzani & Nicolas Testé; Jay David Saks, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)
Handel: Ottone — George Petrou, conductor; Max Emanuel Cencic & Lauren Snouffer; Jacob Händel, producer (Il Pomo D’Oro)
Rimsky-Korsakov: The Golden Cockerel — Valery Gergiev, conductor; Vladimir Feliauer, Aida Garifullina & Kira Loginova; Ilya Petrov, producer (Mariinsky Orchestra; Mariinsky Chorus)

Best Choral Performance:
WINNER: Bryars: The Fifth Century — Donald Nally, conductor (PRISM Quartet; The Crossing)
Handel: Messiah — Andrew Davis, conductor; Noel Edison, chorus master (Elizabeth DeShong, John Relyea, Andrew Staples & Erin Wall; Toronto Symphony Orchestra; Toronto Mendelssohn Choir)
Mansurian: Requiem — Alexander Liebreich, conductor; Florian Helgath, chorus master (Anja Petersen & Andrew Redmond; Münchener Kammerorchester; RIAS Kammerchor)
Music Of the Spheres — Nigel Short, conductor (Tenebrae)
Tyberg: Masses — Brian A. Schmidt, conductor (Christopher Jacobson; South Dakota Chorale)

Best Chamber Music/Small Ensemble Performance:
Buxtehude: Trio Sonatas, Op. 1 — Arcangelo
Death & The Maiden — Patricia Kopatchinskaja & The Saint Paul Chamber Orchestra
Divine Theatre – Sacred Motets By Giaches De Wert — Stile Antico
Franck, Kurtág, Previn & Schumann — Joyce Yang & Augustin Hadelich
Martha Argerich & Friends – Live From Lugano 2016 — Martha Argerich & Various Artists

Best Classical Instrumental Solo:
Bach: The French Suites — Murray Perahia
Haydn: Cello Concertos — Steven Isserlis; Florian Donderer, conductor (The Deutsch Kammerphilharmonie Bremen)
Levina: The Piano Concertos — Maria Lettberg; Ariane Matiakh, conductor (Rundfunk-Sinfonieorchester Berlin)
Shostakovich: Violin Concertos Nos. 1 & 2 — Frank Peter Zimmermann; Alan Gilbert, conductor (NDR Elbphilharmonie Orchester)
WINNER: Transcendental — Daniil Trifonov 

Best Classical Solo Vocal Album:
Bach & Telemann: Sacred Cantatas — Philippe Jaroussky; Petra Müllejans, conductor (Ann-Kathrin Brüggemann & Juan de la Rubia; Freiburger Barockorchester)
WINNER: Crazy Girl Crazy – Music By Gershwin, Berg & Berio — Barbara Hannigan (Orchestra Ludwig)
Gods & Monsters — Nicholas Phan; Myra Huang, accompanist
In War & Peace – Harmony Through Music — Joyce DiDonato; Maxim Emelyanychev, conductor (Il Pomo D’Oro)
Sviridov: Russia Cast Adrift — Dmitri Hvorostovsky; Constantine Orbelian, conductor (St. Petersburg State Symphony Orchestra & Style Of Five Ensemble)

Best Classical Compendium:
Barbara — Alexandre Tharaud; Cécile Lenoir, producer
WINNER: Higdon: All Things Majestic, Viola Concerto & Oboe Concerto — Giancarlo Guerrero, conductor; Tim Handley, producer 
Kurtág: Complete Works For Ensemble & Choir — Reinbert de Leeuw, conductor; Guido Tichelman, producer
Les Routes De L’Esclavage — Jordi Savall, conductor; Benjamin Bleton, producer
Mademoiselle: Première Audience – Unknown Music Of Nadia Boulanger — Lucy Mauro; Lucy Mauro, producer

Best Contemporary Classical Composition:
Danielpour: Songs Of Solitude — Richard Danielpour, composer (Thomas Hampson, Giancarlo Guerrero & Nashville Symphony)
WINNER: Higdon: Viola Concerto — Jennifer Higdon, composer (Roberto Díaz, Giancarlo Guerrero & Nashville Symphony) 
Mansurian: Requiem — Tigran Mansurian, composer (Alexander Liebreich, Florian Helgath, RIAS Kammerchor & Münchener Kammerorchester)
Schoenberg, Adam: Picture Studies — Adam Schoenberg, composer (Michael Stern & Kansas City Symphony)
Zhou Tian: Concerto For Orchestra — Zhou Tian, composer (Louis Langrée & Cincinnati Symphony Orchestra)

Best Music Video:
“Up All Night” — Beck
“Makeba” — Jain
“The Story Of O.J.” — Jay-Z
WINNER: “Humble.” — Kendrick Lamar
“1-800-273-8255” — Logic Featuring Alessia Cara & Khalid

Best Music Film:
One More Time With Feeling — Nick Cave & The Bad Seeds
Long Strange Trip — (The Grateful Dead)
WINNER: The Defiant Ones — (Various Artists) 
Soundbreaking — (Various Artists)
Two Trains Runnin’ — (Various Artists)

Featured Image Credits: Instagram/recordingacademy

“Tomiwa is figuring it out…” Tweet at her @Tomiiwaa_i

ICYMI: Listen to Davido sprinkle Afropop glitz over LaSauce’s “Shine”

Maleek Berry does videos right and “Pon My Mind” is not an exception

Posted on by The Native

Maleek Berry always tries to push creative boundaries and set new precedents with his videos. After releasing an announcement post for the sold out UK leg of his First Daze Of Winter Tour via his Instagram page, Maleek Berry has put out a video for “Pon My Mind”, the first single off the project. And it doesn’t disappoint.

https://www.instagram.com/p/BeXlLCxlzdB/?hl=en&taken-by=maleekberry

The video director, Meji Alabi puts together crisp shots of Maleek Berry singing about love, relationship and obsession. The though the casts and sets for the video, we are able to see Maleek Berry act out the lines from his song. He performs the song with a sombre demeanour as we watch the sun rising and setting while Maleek thinks about his lover—“You Dey Pon My Mind/ Like All The Time”—day and night.

The total earworm architect that Maleek Berry is and this pleasing video, you can bet this song will be playing on speakers for a while.

Watch Maleek Berry’s “Pon My Mind” video below.

Featured Image Credit: Instagram/maleekberry

Mariam is not a cat person. Tweet at her @MA_Y_M

Essentials: Blue is the warmest colour of Maleek Berry’s “First Daze of Winter” EP

Skepta’s Homecoming was the return the people deserved

Posted on by The Native

When Skepta tweeted that he’d bought a one-way ticket to Nigeria at the beginning of December with no return date to the UK, a lot of people thought he was joking. But the rapper had that and more planned. After initially announcing a homecoming concert during his surprise set at NATIVELAND ’17, Skepta pulled the plug on the idea, altogether opting for an intimate evening with fans instead at the African Artists Foundation space in Victoria Island, Lagos.

Amongst the performers of the night, Not3s took the stage to perform his second show ever in Lagos, fresh off his debut at The Land II.  While supporting performances from newcomer Santi and DJ Obi kept the rest of the night active. The defining moment was his performance with Wizkid, re-igniting their bromance, dating back to that Drake alley hoop with Skeppy and Wizkid on “Ojuelegba”. Wizkid’s presence was particularly special because of the Starboy’s year, touring the rest of the world. To see him in such an intimate setting was a rare sight, and he seemed to enjoy it as much as the crowd did.

Skepta’s relationship with Nigeria has been wholly organic, and more-so than anything, this is what endears him to the people. Amidst the ongoing “Africa To The World” movement, and diaspora artists seemingly getting more in touch with their homegrown roots, it’s refreshing to see a relationship so natural. Fresh off Konnichiwa, his award-winning seminal album, it was asked everywhere “What next for Skepta?”. Sometimes you have to go home to truly find yourself again.

A homecoming concert for a man like Skepta would have been expected to usher in big-budget marketing and perhaps expensive fees for the gate, but that night, Skepta seemed most satisfied about being amongst friends and family: who needs VIP seats when the star of the night is literally performing at an arm’s length from you?

Catch some more glimpse of Skepta’s Homecoming below.

How surprise performances made NATIVELAND ’17 our most memorable one yet

Listen to Bio and Ree create nostalgic music experience with new single, “.indigo”

Posted on by The Native

Resisting the heavy electronic influences that characterize music in 010’s, Bio’s latest single, “.indigo” most resembles music from the early 2000, complete with a generous auto-tune gloss, strategically placed Yoruba lyrics, a guest verse from a rapper and some of that disco funk that we all secretly miss—think Lagbaja.

https://www.instagram.com/p/BdXzWR5gq-V/?taken-by=bigdaddybio

But it’s the wide-eyed innocence of Bio’s romantic confessional that firmly places “.indigo” in a time where things were simpler. While he sings about the trials of figuring out if his love interest feels the same way about him, the music zooms careens down a chillwave highway, occasionally branching out into electro, G-funk, and hip-hop. He sings about the most youthful feeling of all: “Baby Come Alive/ Baby Catch A Vibe/ We Could Start A Fire.” It is celebratory, yearning, triumphant, and sad all at once. It will sound as good on the day you get rejected as the day you get the girl of your dreams.

Ree’s verse keeps the flame alive asking “You Should Get With The Team”. His mellow rap bars aren’t too ambitious, but it gives an honest feel to the emotion in his lyrics. While “.indigo” would still have been a great song sang solo, the rap verse is an ideal partnership and gives the perfect balance. You can stream “.indigo” below.

Featured Image Credits: Instagram/bigdaddybio

You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him @debola_abimbolu

ICYMI: Bio, Cheeso and Mockingbird prove that men get lonely too on “Flowers I Sent”

You should get in on the positive energy beaming from Omawumi’s “Somtin” video

Posted on by The Native

Omawumi starts the year with “Somtin”, the video for the 7th track on her Timeless album, released a few months ago. Contentment and unbiased love are Omawumi’s inspiration for the motivational number that finds her singing about the freedom that comes with contentment.

https://www.instagram.com/p/BeXY_vcDEwY/?hl=en&taken-by=omawonder

Omawumi’s  style hasn’t exactly changed since her introduction as a dazzling vocalist on 2007’s West African Idols, but with time has come some maturity and control. Not to mention hit singles like “In The Music”. There aren’t a lot of other Nigerian artists who do what Omawumi does with her music. On “Somtin”, she makes her soulful jazz sound work with a contemporary African sound.

Though the video for “Somtin” is set at a house party with celebrity guest cameos from Kate Henshaw, Cobhams Asuquo, Darey Art Alade, MI, Yemi Alade, DJ Spinall, Adekunle Gold and a few others, Omawumi makes sure that the visuals don’t distract you from the message she’s passing. “Gotta Love Who You Love/ Life Is Too Short To Do Anything Else/ That’s Basically What I’m Trying To Say”, she says all matter-of-fact like before going on to party with the stars. We also see shots of her singing bathed in lights that make her skin glow. The entire video is rendered in vibrant colors that portray the positive vibes heard on the song. You’ll wish had gotten invited to the party with them, but at least you can catchy some of the positive energy through the screens of your devices. Watch Omawumi’s video for “Somtin” below.

Featured Image Credit: YouTube/Official Omawumi

Mariam is not a cat person. Tweet at her @MA_Y_M

Dj Tiz taps Minz and David Meli for new single

“End of the F**king World” is the newest Netflix show you should absolutely watch

Posted on by The Native

For fans of the twisted gory-crime, romantic-comedy dramas, Netflix’s “End of the F**king World” miniseries is a really-really late Christmas gift from us at NATIVE. The eight-episode long UK series is adapted from a graphic novel by Charles Forsman with the same name. And it displays all of the fascinations of indie movie buffs; Quirky characters, cool shots and a pretty impressive soundtrack

The three-hours-long series follows James (Alex Lawther) and Alyssa (Jessica Barden), two dysfunctional 17-year-olds in a small English town. James is a self-diagnosed psychopath trying to move up from killing animals to killing humans. He meets Alyssa, a seemingly angry teenager who is attracted to him for his overall weirdness, and he thinks she might be perfect for his first murder. Both form an unlikely pair and eventually skip town together. The decision marks the beginning of a pretty scary journey for the teenagers as they encounter dreadfully circumstances showing how unsafe the real world is for teenagers.

Alyssa and James’ similarities are revealed as the show progresses. The series is interspersed with internal monologues and what may seem like a mutual dismay for mankind is slowly revealed to be fears and repressed childhood trauma. The fact that the episodes are less than 20 minutes long keeps the show engaging and it does not get tiresome to watch.

Watch“End of the F**king World” trailer here

https://youtu.be/vbiiik_T3Bo

Featured Image Credit: YouTube/Netflix

“Tomiwa is figuring it out…” Tweet at her @Tomiiwaa_i

ICYMI: Check out tracks of the week on Native’s weekly Bumplist

Watch Riky Rick’s link up with Davido and Gemini Major for “Murdah”

Posted on by The Native

From rock music down to party driven Afropop sounds, sometimes, the different styles of pop music could seem like night and day. But strictly speaking, as long as the music is smooth enough to be popular within certain demographics they all fall into the pop music category. While most hip-hop fans would kick against the conventional pop tag, Riky Rick’s “Murdah” shows he has no qualms fusing the rhythm-based lyricism of hip-hop music with pop music.

https://www.instagram.com/p/BeVySlbAKgV/?hl=en&taken-by=rikyrickworld

With a verse from Gemini Major and a hook from Davido, Riky Rick seems to be looking to broaden his mainstream popularity with “Murdah”. And what better way to do that than to ditch his brash bars for easy-listening lyrics; “I Was Thinking Bout It Right Now/ Maybe We Should Slow It Down/ I Need You Around”.

The love song also comes with an adjoining video Unclescrooch directs with Black Mirror-esque filters. But beyond the unnecessary sci-fi glitch edits, the party set for the video is in line with the song’s Afropop sound. Davido sings the hook seated in a chair, Gemini Major sings surrounded by girls and Riky Rick performs his verses next to one of the models.

You can watch the video for “Murdah” below.

Featured Image Credits: YouTube/RikyRickVEVO

You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him @debola_abimbolu

ICYMI: Listen to Davido sprinkle Afropop glitz over LaSauce’s “Shine”

Olamide’s “Science Student” is not the problem

Posted on by The Native

Healthy socio-political discourse in Nigeria is often skewered by how we choose complete denial instead of rooting for cause when issues arise. We panic when the image of our morally perfect community is threatened, and blame the most conveniently unsociable target. 

Drug abuse is a reality around the world. But while more developed societies are constantly developing measures to educate young people against drug abuse while also helping to rehabilitate addicts, in Nigeria, users are instantly condemned—expelled from schools, cast away by families and abandoned by society—with such disdain that the necessary treatment to help get their life back on track seems like an afterthought. Ignoring the problem and alienating the people most affected is much easier than solving the root causes. In recent times, Olamide’s latest hit single, “Science Student” has made that a glaring characteristic of our ‘modern’ society.

Last week, a rant video posted by Don Pedro Obaseki surfaced on the Internet. In this video, he appealed to the public to demand a ban on Olamide’s “Science Student” by the National Broadcasting Commission,  because, in his opinion, the song teaches children to do drugs and “mix harmful chemicals”.

Hip-hop all over the world has always explored such themes, so it’s not unlikely to see reason in Don Obaseki’s ban campaign, after all, this is Nigeria, we’re ‘decent’ people, and all other related fake news. However, while hip-hop also initially carried the stereotype for peddling illicit behaviour, sociological findings have also revealed that more often than not, rappers only talk about realities they have experienced. The problem with Don Obaseki’s video is not condemning drug use or drug culture, it is that he is asking that the nationwide drug problem Olamide highlighted with “Science Student”, be removed from public consciousness, instead of using it as a touchstone for the beginning of a discussion for a social change.

His misstep looks even more flagrant when Olamide released a statement to recall some of the initial narrative in the press, saying “Science Student” is an anti-drug abuse song. This basically means Don Obaseki’s anti-drug abuse campaign is to ban an anti-drug abuse song. Don Obaseki’s inability to look beyond his disdain for Olamide’s comical spin on the matter, shows how elitist the moralised perception of the average Nigerian is. Perhaps if Don Obaseki had bothered to listen to Olamide with a more rounded worldview his video would have held some significant messages to help perhaps encourage the government to take drug abuse more seriously. Or at least get young people off the streets where they could be exposed to such realities because these things are happening, whether we want to admit it or not. 

The subliminal message and reaction to Olamide’s “Science Student” can be akin to Vince Staple’s “Norf Norf”. In a similarly Obaseki-esque reaction, a Christian mum cried hot white tears on camera while calling for Staple’s “Norf Norf” to be pulled from the radio because she feared the consequences of her children listening to the song on the radio. In a statement released in response, Vince said he was speaking on his experiences to invoke the opposite form of outrage (on the neglect of a demographic in America), a sharp contrast to the fear of people like the white mother whose major concern is popping the idealistic moral bubble their children are enclosed within.

People around the world have always used art, especially comedy as a way to deal with socio-political injustice. Comedians and satirists have made jokes about social issues, and these jokes have sometimes been the beginning of social discussions. Olamide’s chosen gimmick is poking fun at things to raise awareness. And lets face it, if Olamide had taken a ‘conscious rap’ route, like say, dropping some Kendrick Lamar-type, “Art of Peer Pressure” type single on drug use, it most likely won’t have received as much notice as a dance inclined single like “Science Student”.

At its worst, Olamide’s song is merely mirroring his reality in the worst way possible: He has relied on gimmicks for so long that when he discusses a serious problem, he fails to make enough emphasis on the real-life threat that inspired the song. However, this is no premise to ban the song that has now started conversations about what’s happening in our nation. The question should not be why did Olamide make a song about mixing drugs for the radio, we should be asking what experiences, or whose experiences inspired the song.

Because people like Don Obaseki would rather make moralised arguments posing decency as some sort of social currency to exchange for general acceptance, the actual issues are ignored. The ‘ban’ position Obaseki takes is the type of elitist mindset that offers obliviousness by removing certain topics—like poverty, unemployment and economic inequality—from general conversations on drug abuse, under the pretext that it solves the real-life threats like overdosing and addictions caused by an actively on-going social ill. 

Our blame culture protects our morally high notions of society even when the vulgar faults are glaring; you see this in how society chalk up police brutality and sexual assaults to bad appearance instead of simply addressing the humanitarian injustice. Olamide’s Science student is not the problem. In fact, It brings our awareness to how the lack of choice due to the government’s negligence has forced people to sell drugs and concoctions on street corners. If anything, Obaseki’s video depicts how those of us who supposedly know better would rather cast away the actual victims for orchestrating their own circumstance instead of holding those responsible for not doing enough for them accountable.

Stream Olamide’s “Science Student” via Apple Music below

“Tomiwa is figuring it out…” Tweet at her @Tomiiwaa_i

Listen to Olamide deliver his local element on DJ Consequence’s single, “Assignment”

Jay Newton and Nonso Amadi catch the love bug on new single, “Falling”

Posted on by The Native

Collaborations almost always show a different side to the artist. We are mostly familiar with Nonso Amadi’s somber lyrics about heartbreak and women playing games with him, and the melancholic vocals usually set the mood for these lyrics. But Jay Newton’s “Falling” shows a side of Nonso we are mostly familiar with from his collaboration project with Odunsi on “War”; upbeat and optimistic about new love, with cheery vocals to match.

“Falling” starts with a skeletal harmony that is layered by synth drums and auto-tuned vocals. While Jay Newton’s sweet praise for a love interest’s attributes, “I’m In Love With Your Mind”, Nonso Amadi thinks he “Might Need A Medic”  because he has slipped and fallen in love. They’re clearly very expressive and aren’t too shy to be vocal about their feelings—if only they didn’t sound so corny. Fortunately, they aren’t too lost in their feeling to impede on the party-inclined beat.

Hear Jay Newton’s “Falling” here.

https://soundcloud.com/ejaynewton/fallingwithnonsoamadi 

Featured Image Credits: Instagram/ejaynewton

“Tomiwa is figuring it out…” Tweet at her @Tomiiwaa_i

Check out Nonso Amadi’s on “War”

Listen to BeatsbyKarma’s new lo-fi trap single, “YAPA”

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People are slowly starting to realize that conversations around culture appropriation aren’t always as progressive as they seem at first glance. Especially when the realization dawns on them that history is sensitive and susceptible to manipulation. Atlanta might be the hip-hop capital and the birth place of trap music, but their synth heavy influence is felt in every hip-hop listening country around the world. BeatsbyKarma, the producer behind a number of YCee’s singles like “I Wish” just released “YAPA”, a clinic in the intricacies of culture fusion as he abstracts the Nigerian trap scene into Atlanta’s hazy soundscape.

https://www.instagram.com/p/BeTnjVYBglL/?taken-by=beatsbykarma

“YAPA” has everything trap music needs; Somber synths, crime-fueled lyrics, giant TR-808 kicks, subdued-stoner vocals and ad-libs. But it’s the coldblooded directness of BeatsbyKarma’s lyrics that give it the authenticity a lot of hip-hop songs in Nigeria lack. Though he raps in English, he uses Yoruba phrases to properly situate “YAPA” in the streets of Nigeria striding between local culture and commercialized hip-hop. And he does all of these without biting flows or lyrics.

Olamide might have the local aesthetic on lock with singles like “Science Student” making rounds on the street, but his biggest criticism has always been his inability to keep up with the hip-hop scene where he originally found fame. “Letter To Milli” tanked with one too many English lines for local fans and unimpressive lyrics for the more hip-hop driven listeners. BeatsbyKarma’s “YAPA” is however proof that a sweet spot where both audiences meet isn’t such a lofty dream.

You can stream BeatsbyKarma’s “YAPA” below.

Featured Image Credits: Instagram/beatsbykarma

You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him @debola_abimbolu

ICYMI: Listen to YCee’s vengeful bars on “I Wish”, produced by BeatsbyKarma

The ‘Outside’ Story: On Burna Boy’s rebirth and his ascension to immortality

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The birth of all things is weak and tender; and therefore we should have our eyes intent on beginnings – MICHEL DE MONTAIGNE.

Of all the narratives that will trail Burna Boy’s Outside album, the most important will be his rebirth story. A calendar cross-reference places the beginning of the rebirth in the summer of 2014.

Upon expiration of his contract with Aristokrat records, the label that brought him into the limelight, Burna took a sharp detour. First, he let go of his perfectly working relationship with Leriq, who produced all the tracks on his acclaimed debut project, L.I.F.E (Leaving an Impact For Eternity) and fired his mom who doubled as his manager. Burna Boy floated his own label, Spaceship Entertainment, and not long after, released his sophomore On a Spaceship under the imprint. Bolstered by a distribution deal with Universal Music South Africa, and a tracklist chock-full with A-list features, Burna appeared to be finding his way. The result, however, was a lot of experimenting packed into a lengthy project with a pop sound that didn’t exactly deliver the elite-class performance often proudly marketed by Burna.

Burna Boy was haunted by bad press in this period. There was constant talk of him being difficult to work with, rumours of a criminal record barring his entry into the UK and the constant comparison with contemporaries who seemed to be outperforming him (Wizkid, Davido et al). Much like a man who knows his own path, he didn’t make light of the slump. While conversations continued to rate him underrated on social media, and defaming headlines continued to roll out across the internet, Burna was making moves to quell naysayers once and for all.

Burna Boy, Lily Allen - Heaven's Gate (Best New Music)

The first hint of a Burna Boy switch-up came from the press. First, there was his infamous Noisey interview that became a meme and viral delight after Burna refused to make a choice between  “Wizkid or Fela” because he considered it a “stupid question”. The clip showed a calmer human side to Burna Boy, a sharp contrast to his villainous public image. He also featured on Tim Westwood a few weeks later, before going on to end all rumours surrounding his alleged UK ban by selling out a ‘homecoming concert’ in London towards the end of 2016.

In the space between chaos and shape, Burna Boy released his Redemption EP, fixing some of the flaws of his sophomore project. The EP was about long contemplation of self, gratitude and forging ahead against all odds. But it wasn’t just another body of work by Burna Boy, it showed him going back to basics—working with his old-time producer Leriq and reviving his partnership with his mom. From his Redemption EP it became apparent that Burna Boy was edging towards three things; making good music, getting bigger and being immortalized.

Taking the bad publicity and his new found lock on his artistic sound together, Burna Boy has come of age in the most organic way possible.

In the past year, there has been a popular saying on social media that Burna Boy doesn’t make sub-par music no matter how seemingly little attention the song gets. In truth, even his weakest link project, On a Spaceship housed gems like “Jealousy”, “Gone” and “Soke”. “Mandem Anthem”, his first single after the Redemption EP, confirmed earlier suspicions that Burna Boy had taken control of his own narrative, recreating the Afro-Caribbean aesthetic he was initially known for. 

Taking the bad publicity and his new found lock on his artistic sound together, Burna Boy has come of age in the most organic way possible. At a time when international collaborations have become a trend and the industry is still rife with politicking, Burna Boy has remained on the outside of it all, making major moves, but keeping it all under wraps. For a hint, all of his international collaborations have come without the fanfare or hype usually built around such partnerships in this part of the world. Even better, “Sekkle Down” with JHus, “Heavens Gate” with Lily Allen and his feature on Fall Out Boy’s M A N I A are so diverse, it is evident that he has smoothened out all the edges and creases in his music well enough to make it work anywhere.

At the listening party for Outside, his third album due for release in a few days (26th of January), Burna Boy gave some inside scoops on the project. To the shock of everyone in the room, he revealed that “More Life”, the opening track on the album is produced by Drake’s longtime producer, Noah James Shebib (a.k.a 40). The track is a product of one of many recordings Burna Boy did while working on Drake’s More Life. Though the song was among the four tracks that didn’t make the full cut for the project, fans will get a chance to experience Burna’s version of the collaboration when the album drops.

Judging from the tracks heard at Burna Boy’s Outside listening party and the flock of singles he has been rolling out lately, it’s clear that while the music is finally coming full-circle in terms of global appeal, the sounds are still very much from this side. The Port Harcourt boys’ vision with his first album, Living an Impact For Eternity is finally coming to fruition; he’s at that point in his career where he is associated with authenticity while making a mark that will be remembered for a long time. Burna’s sound may be progressive,  but it stays true to his African roots. He has mastered the percussive electronic sound that has influenced Ghanaian music for a while now and with Leriq, Chopstix, Juls and others working with him on production, the African-ness is even more highlighted by their able hands.

Between an artist’s current form and the personal legend they’ve always imagined for themselves, is the grey area for self-acceptance, growth and development and widening personal perspective. Against odds of bad press and a few misinformed decisions, Burna can now fully leverage his potential as the outsider who belongs at home as much as he’ll be accepted elsewhere. Controversy might always circle Burna Boy but right now, he’s exactly where he needs to be, doing exactly what he should be doing. This climax may have come later than it did for others but because the ascension isn’t based off some sort of popular vote, it’s far more fulfilling to see his stars aligned as they have now.

Burna Boy is finally at that place where its impossible to hold him up to anyone else for comparison. ‘You is either a believer or you isn’t.’

Mariam is not a cat person. Tweet at her @MA_Y_M

Listen to Burna Boy’s new single with Lily Allen, Heaven’s Gate

Listen to Nonso Amadi’s “Marry you” featuring Tomi Owo

Posted on by The Native

Despite the bad press that trailed Nonso Amadi’s first live concert on home soil, the singer is forging ahead where it matters the most nonetheless: material release.

The self-taught producer and songwriter draws his lyrical inspiration from emotional phases such as heartbreak, and sensual pleasures. And his latest single, “Marry You” is just the type of emotiveness the Canadian-based Nigerian singer always put on wax.

But for all his emphasis on love, Nonso still doesn’t seem to have romance figured out yet. His latest single, “Marry You” however shows a commitment to work on himself. While “Tonight” was about a fraught love affair and Eugy assisted “Kwasia” found him questioning a cheating lover, his collaboration with Tomi Owo seems a step closer towards finding the fulfillment that comes with romance; “One of These Days I Can Marry You Errr…”

Over a cool palette of muffled percussion, mid-tempo bass thumps and layered synths, they profess commitment to go the extra mile for their love interest.

“Marry You” is neither Nonso or Tomi Owo’s strongest effort though. The track feels like a left-field release given we’ve seen better performances from both artists in recent times.

Listen to Nonso Amadi and Tomi Owo’s “Marry You” below.

 

Featured Image Credits: Instagram/nonsoamadi

 

Mariam is not a cat person. Tweet at her @MA_Y_M

Interview: Nonso Amadi talks his influences, his muse and what brings him the most joy

Nigeria’s Simidele will be the first black female Skeleton athlete at the Winter Olympics

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Here’s something even T. B Joshua didn’t see coming: Nigeria’s participation at the 2018 Winter Olympics next month.

Not too long ago, Seun Adigun, Ngozi Onwumere and Akuoma Omeoga were celebrated for being the first Nigerians to ever qualify for Bobsleigh at the Olympics. Today, Nigerian athlete, Simidele Adeagbo is being recognized as the first black woman to compete in the Skeleton at the Winter Olympics.

Though sports in Nigeria has a bad reputation especially for being neglected by the government, these women have broken new barriers. The skeleton is a single rider winter sport in which an athlete rides a skeleton sled down a frozen track at high speeds while lying face down. Simidele has managed to successfully work as a Marketing Manager at Nike in Johannesburg for over a decade while pursuing her athletic career, which we can agree exhibits excellent time management and self motivation skills. All skills that will serve her well as she takes on the winding snow tracks.

Formally a track and field champion, Simidele came out of a nine-year retirement to try out for the Nigerian Skeleton Sleigh team. She said in a statement that she wants to open doors and unlock potentials for future athletes, considering that September 2017 was the first time she touched a Skeleton Sled, and she’s already competing on a global level.

Simidele will represent Nigeria along with Seun Adigun, Ngozi Onwumere and Akuoma Omeoga in the February Winter Olympics set in South Korea. You can watch the promo video her sponsors, Nike made for her below.

Check out Simidele’s Nike ad here:

Featured Image Credits: Instagram/SimiSleighs

“Tomiwa is figuring it out…” Tweet at her @Tomiiwaa_i

ICYMI: Check out black panther first look trailer

Daniel Kaluuya, Jordan Peele and others nominated for 2018 Oscars

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Oscar nominations were announced on Monday by Tiffany Haddish and Black Panther star Andy Serkis.

Amongst this year’s nominees is Mary J Blige who is up for Best Supporting Actress and Best Original Song for her acting role in Mudbound, and performance of the movie’s theme song, Mighty River.

Director and comedian, Jordan Peele was nominated for Best Director for his directorial debut for black comedy flick, “Get Out”. The film also earned the lead actor, Daniel Kaluuya a nomination for Best Actor in a Leading Role, and is in the running against “Lady Bird” and “Shape of Water” for Best Picture, Best Original Screen Play respectively.

Kenyan Short film “Watu Wote: All of us” is in the running for best short film.

The Winners are to be announced at the Academy Awards ceremony, which will be held on the 4th Of March.

Other notable nominations are Denzel Washington for Best Actor in a Leading Role for “Marshall”, and Octavia Spencer for Best Actress in a Supporting Role for “Shape of Water”.

Full list below

Best Picture:

“Call Me by Your Name”
“Darkest Hour”
“Dunkirk”
“Get Out”
“Lady Bird”
“Phantom Thread”
“The Post”
“The Shape of Water”
“Three Billboards Outside Ebbing, Missouri”

Lead Actor:

Timothée Chalamet, “Call Me by Your Name”
Daniel Day-Lewis, “Phantom Thread”
Daniel Kaluuya, “Get Out”
Gary Oldman, “Darkest Hour”
Denzel Washington, “Roman J. Israel, Esq.”

Lead Actress:

Sally Hawkins, “The Shape of Water”
Frances McDormand, “Three Billboards Outside Ebbing, Missouri”
Margot Robbie, “I, Tonya”
Saoirse Ronan, “Lady Bird”
Meryl Streep, “The Post”

Supporting Actor:

Willem Dafoe, “The Florida Project”
Woody Harrelson, “Three Billboards Outside Ebbing, Missouri”
Richard Jenkins, “The Shape of Water”
Christopher Plummer, “All the Money in the World”
Sam Rockwell, “Three Billboards Outside Ebbing, Missouri”

Supporting Actress:

Mary J. Blige, “Mudbound”
Allison Janney, “I, Tonya”
Lesley Manville, “Phantom Thread”
Laurie Metcalf, “Lady Bird”
Octavia Spencer, “The Shape of Water”

Director:

“Dunkirk,” Christopher Nolan
“Get Out,” Jordan Peele
“Lady Bird,” Greta Gerwig
“Phantom Thread,” Paul Thomas Anderson
“The Shape of Water,” Guillermo del Toro

Animated Feature:

“The Boss Baby,” Tom McGrath, Ramsey Ann Naito
“The Breadwinner,” Nora Twomey, Anthony Leo
“Coco,” Lee Unkrich, Darla K. Anderson
“Ferdinand,” Carlos Saldanha
“Loving Vincent,” Dorota Kobiela, Hugh Welchman, Sean Bobbitt, Ivan Mactaggart, Hugh Welchman

Animated Short:

“Dear Basketball,” Glen Keane, Kobe Bryant
“Garden Party,” Victor Caire, Gabriel Grapperon
“Lou,” Dave Mullins, Dana Murray
“Negative Space,” Max Porter, Ru Kuwahata
“Revolting Rhymes,” Jakob Schuh, Jan Lachauer

Adapted Screenplay:

“Call Me by Your Name,” James Ivory
“The Disaster Artist,” Scott Neustadter & Michael H. Weber
“Logan,” Scott Frank & James Mangold and Michael Green
“Molly’s Game,” Aaron Sorkin
“Mudbound,” Virgil Williams and Dee Rees

Original Screenplay:

“The Big Sick,” Emily V. Gordon & Kumail Nanjiani
“Get Out,” Jordan Peele
“Lady Bird,” Greta Gerwig
“The Shape of Water,” Guillermo del Toro, Vanessa Taylor
“Three Billboards Outside Ebbing, Missouri,” Martin McDonagh

Cinematography:

“Blade Runner 2049,” Roger Deakins
“Darkest Hour,” Bruno Delbonnel
“Dunkirk,” Hoyte van Hoytema
“Mudbound,” Rachel Morrison
“The Shape of Water,” Dan Laustsen

Best Documentary Feature:

Best Documentary Short Subject:

“Edith+Eddie,” Laura Checkoway, Thomas Lee Wright
“Heaven is a Traffic Jam on the 405,” Frank Stiefel
“Heroin(e),” Elaine McMillion Sheldon, Kerrin Sheldon
“Knife Skills,” Thomas Lennon
“Traffic Stop,” Kate Davis, David Heilbroner

Best Live Action Short Film:

“DeKalb Elementary,” Reed Van Dyk
“The Eleven O’Clock,” Derin Seale, Josh Lawson
“My Nephew Emmett,” Kevin Wilson, Jr.
“The Silent Child,” Chris Overton, Rachel Shenton
“Watu Wote/All of Us,” Katja Benrath, Tobias Rosen

Best Foreign Language Film:

“A Fantastic Woman” (Chile)
“The Insult” (Lebanon)
“Loveless” (Russia)
“On Body and Soul (Hungary)
“The Square” (Sweden)

Film Editing:

“Baby Driver,” Jonathan Amos, Paul Machliss
“Dunkirk,” Lee Smith
“I, Tonya,” Tatiana S. Riegel
“The Shape of Water,” Sidney Wolinsky
“Three Billboards Outside Ebbing, Missouri,” Jon Gregory

Sound Editing:

“Baby Driver,” Julian Slater
“Blade Runner 2049,” Mark Mangini, Theo Green
“Dunkirk,” Alex Gibson, Richard King
“The Shape of Water,” Nathan Robitaille, Nelson Ferreira
“Star Wars: The Last Jedi,” Ren Klyce, Matthew Wood

Sound Mixing:

“Baby Driver,” Mary H. Ellis, Julian Slater, Tim Cavagin
“Blade Runner 2049,” Mac Ruth, Ron Bartlett, Doug Hephill
“Dunkirk,” Mark Weingarten, Gregg Landaker, Gary A. Rizzo
“The Shape of Water,” Glen Gauthier, Christian Cooke, Brad Zoern
“Star Wars: The Last Jedi,” Stuart Wilson, Ren Klyce, David Parker, Michael Semanick

Production Design:

“Beauty and the Beast,” Sarah Greenwood; Katie Spencer
“Blade Runner 2049,” Dennis Gassner, Alessandra Querzola
“Darkest Hour,” Sarah Greenwood, Katie Spencer
“Dunkirk,” Nathan Crowley, Gary Fettis
“The Shape of Water,” Paul D. Austerberry, Jeffrey A. Melvin, Shane Vieau

Original Score:

“Dunkirk,” Hans Zimmer
“Phantom Thread,” Jonny Greenwood
“The Shape of Water,” Alexandre Desplat
“Star Wars: The Last Jedi,” John Williams
“Three Billboards Outside Ebbing, Missouri,” Carter Burwell

Original Song:

“Mighty River” from “Mudbound,” Mary J. Blige
“Mystery of Love” from “Call Me by Your Name,” Sufjan Stevens
“Remember Me” from “Coco,” Kristen Anderson-Lopez, Robert Lopez
“Stand Up for Something” from “Marshall,” Diane Warren, Common
“This Is Me” from “The Greatest Showman,” Benj Pasek, Justin Paul

Makeup and Hair:

“Darkest Hour,” Kazuhiro Tsuji, David Malinowski, Lucy Sibbick
“Victoria and Abdul,” Daniel Phillips and Lou Sheppard
“Wonder,” Arjen Tuiten

Costume Design:

“Beauty and the Beast,” Jacqueline Durran
“Darkest Hour,” Jacqueline Durran
“Phantom Thread,” Mark Bridges
“The Shape of Water,” Luis Sequeira
“Victoria and Abdul,” Consolata Boyle

Visual Effects:

“Tomiwa is figuring it out…” Tweet at her @Tomiiwaa_i

Jhus,not3s booked for Wireless Uk Music festival