Arts & Entertainment

JAY-Z, Kendrick Lamar lead diverse 2018 Grammy nominations

Bruno Mars, Lady Gaga also land nominations

Published

8 years ago

November 28, 2017

Mariah Cooper

(Screenshot via YouTube.)

The 60th Annual Grammys Awards announced its 2018 nominees with rap and R&B artists making their mark on the top four major categories.

Singer Audra Day announced the nominations for the four major categories of record of the year, song of the year, best new artist and album of the year.

JAY-Z leads this year’s nominations with a total of eight nominations including album, song, and record of the year. His album “4:44,” which includes his mother’s coming out, will battle against Bruno Mars’ “24K Magic, “Damn” by Kendrick Lamar,” “Melodrama” by Lorde and “Awaken My Love!” by Childish Gambino.

Kendrick Lamar is close behind with a total of seven nominations for his album “Damn.” Lady Gaga also scored nominations for Best Pop Solo Performance for “Million Reasons” and Best Pop Vocal Album for “Joanne.”

The 60th Annual Grammy Awards will air from Madison Square Garden in New York City on Sunday Jan. 28 on CBS.

Album of the Year

“Awaken My Love!,” Childish Gambino

“4:44,” JAY-Z

“Damn,” Kendrick Lamar

“Melodrama,” Lorde

“24K Magic,” Bruno Mars

Song of the Year

“Despacito” Ramón Ayala, Justin Bieber, Jason “Poo Bear” Boyd, Erika Ender, Luis Fonsi and Marty James Garton, songwriters (Luis Fonsi & Daddy Yankee Featuring Justin Bieber)

“4:44” Shawn Carter and Dion Wilson, songwriters (JAY-Z)

“Issues” Benny Blanco, Mikkel Storleer Eriksen and Tor Erik Hermansen, songwriters (Julia Michaels)

“1-800-273-8255” Sir Robert Hall II, Arjun Ivatury, Alessia Caracciolo, Khalid Robinson, Drew Taggart, songwriters (Logic featuring Alessia Cara and Khalid)

“That’s What I Like” Christopher Brody Brown, James Fauntleroy, Philip Lawrence, Bruno Mars, Ray Charles McCullough II, Jeremy Reeves, Ray Romulus and Jonathan Yip, songwriters (Bruno Mars

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

“24K Magic,” Bruno Mars

Best New Artist

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

“Shape Of You,” Ed Sheeran

Best Pop Vocal Album

“Kaleidoscope EP,” Coldplay

“Lust For Life,” Lana Del Rey

“Evolve,” Imagine Dragons

“Rainbow,” Kesha

“Joanne,” Lady Gaga

“÷ (Divide),” 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

“Feel It Still,” Portugal. The Man

“Stay,” Zedd & Alessia Cara

Traditional Vocal Album

“Nobody But Me (Deluxe Version),” Michael Bublé

“Triplicate,” Bob Dylan

“In Full Swing,” Seth MacFarlane

“Wonderland,” Sarah McLachlan

“Tony Bennett Celebrates 90,” Various Artists

Best Rap Album

“4:44,” JAY-Z

“Damn,” Kendrick Lamar

“Culture,” Migos

“Laila’s Wisdom,” Rapsody

“Flower Boy,” Tyler, the Creator

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 Country Album

“Cosmic Hallelujah,” Kenny Chesney

“Heart Break,” Lady Antebellum

“The Breaker,” Little Big Town

“Life Changes,” Thomas Rhett

“From a Room: Volume 1,” 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

“Better Man,” Little Big Town

“Drinkin’ Problem,” Midland

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

“Either Way,” Chris Stapleton

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

“A Deeper Understanding,” The War on Drugs

Best Rock Performance

“You Want It Darker,” Leonard Cohen

“The Promise,” Chris Cornell

“Run,” Foo Fighters

“No Good,” Kaleo

“Go to War,” Nothing More

Best R&B Performance

“Get You,” Daniel Caesar featuring Kali Uchis

“Distraction,” Kehlani

“High,” Ledisi

“That’s What I Like,” Bruno Mars

“The Weekend,” SZA

Best R&B Urban Contemporary Album

“Free 6lack,” 6lack

“Awaken, My Love!,” Childish Gambino

“American Teen,” Khalid

“Ctrl,” SZA

“Starboy,” the Weeknd

Best Dance Electronic Album

“Migration,” Bonobo

“3-D the Catalogue,” Kraftwerk

“Mura Masa,” Mura Masa

“A Moment Apart,” Odesza

“What Now,” Sylvan Esso

Best Dance Recording

“Bambro Koyo Ganda,” Bonobo featuring Innov Gnawa

“Cola,” Camelphat & Elderbrook

“Andromeda,” Gorillaz featuring Dram

“Tonite,” LCD Soundsystem

“Line of Sight,” Odesza featuring Wynne & Mansionair

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)

“La La Land,” (Various Artists)

“Moana: The Songs,” (Various Artists)

Best Song Written For Visual Media

“City of Stars,” Justin Hurwitz, Benj Pasek & Justin Paul, songwriters (Ryan Gosling & Emma Stone)

“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 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

“La La Land,” Justin Hurwitz, composer

Best Music Video

“Up All Night,” (Beck) Canada, video director; Laura Serra Estorch & Oscar Romagosa, video producers

“Makeba” — (Jain) Lionel Hirle & Gregory Ohrel, video directors; Yodelice, video producer

“The Story of O.J.” — (Jay-Z) Shawn Carter & Mark Romanek, video directors; Daniel Midgley, video producer

“Humble.” — (Kendrick Lamar) The Little Homies & Dave Meyers, video directors; Jason Baum, Dave Free, Jamie Rabineau, Nathan K. Scherrer & Anthony Tiffith, video producers

“1-800-273-8255″ — (Logic featuring Alessia Cara & Khalid) Andy Hines, video director; Andrew Lerios, video producer

Best Music Film

“One More Time With Feeling” (Nick Cave & the Bad Seeds) Andrew Dominik, video director; Dulcie Kellett & James Wilson, video producers

“Long Strange Trip” (The Grateful Dead) Amir Bar-Lev, video director; Alex Blavatnik, Ken Dornstein, Eric Eisner, Nick Koskoff & Justin Kreutzmann, video producers

“The Defiant Ones” (Various Artists) Allen Hughes, video director; Sarah Anthony, Fritzi Horstman, Broderick Johnson, Gene Kirkwood, Andrew Kosove, Laura Lancaster, Michael Lombardo, Jerry Longarzo, Doug Pray & Steven Williams, video producers

“Soundbreaking” (Various Artists) Maro Chermayeff & Jeff Dupre, video directors; Joshua Bennett, Julia Marchesi, Sam Pollard, Sally Rosenthal, Amy Schewel & Warren Zanes, video producers

Best Spoken Word Album

“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

“The Princess Diarist,” Carrie Fisher

Best Comedy Album

“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)

“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)

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Photos

PHOTOS: The Bonnet Ball

Published

1 hour ago

April 5, 2026

Michael Key

Sirene Noir Sidora Jackson dances at The Bonnet Ball at JR.'s Bar on Sunday, April 5. (Washington Blade photo by Michael Key)

The Bonnet Ball was held at JR.’s Bar (1519 17th St., N.W.) on Sunday.

(Washington Blade photos and video by Michael Key)

Books

Risking it all for love during World War II

New book follows story of Black, gay expat in Paris

Published

4 hours ago

April 5, 2026

Terri Schlichenmeyer

(Book cover image courtesy Viking)

‘The Remarkable Life of Reed Peggram’
By Ethelene Whitmire
c.2026, Viking
$30/308 pages

You couldn’t escape it.

When you fell in love, that was it: you were there for good. Leaving your amour’s side was unthinkable, turning away was impossible. You’d do anything for that person you loved – even, as in the new biography, “The Remarkable Life of Reed Peggram” by Ethelene Whitmire, you’d escape toward danger.

On Aug. 28, 1938, Reed Peggram boarded a ship from Hoboken, N.J., hoping to “become a proper gentleman” and fulfill his dreams. A prolific writer and Harvard scholar of comparative literature, he’d recently been awarded the Rosenwald Fellowship, which put him in the company of literary stars like Du Bois, Hurston, and Hughes.

Both Peggram’s mother and grandmother were then domestic workers, and they had big expectations for him. Reed himself was eager to study abroad, for professional and personal reasons; he was “determined to become a French professor and an accomplished linguist” and “He also hoped to find love.”

What better place to do it than in Paris?

Outgoing and confident, Peggram made friends easily and had no trouble moving “through the world of his white male peers.” Where he faltered was in his lack of funds. He relied on the kindness of his many friends – one of whom introduced Peggram to a “man who would become so pivotal in his life,” a Danish man named Arne.

Peggram and Arne had a lot in common, and they began to enmesh their lives and dreams of living in the United States. But there were complications: homosexuality was largely forbidden, World War II was in its early stages, and it quickly became apparent that it was dangerous to stay in Europe.

And yet, Peggram loved Arne. He refused to leave without him and so, while most visiting Black Americans fled the war in Europe, “Reed was trying to stay.”

There’s so much more to the story inside “The Remarkable Life of Reed Peggram,” so much to know about Reed himself. Problem is, it’s a long haul to get to the good stuff.

In her introduction, author Ethelene Whitmire explains how she came to this tale and yes, it needs telling but probably not with the staggering number of inconsequential details here. Peggram moved homes a lot, and many people were involved in keeping him in Europe. That alone can be overwhelming; add the fact that costs and other monetary issues are mentioned in what seems like nearly every page, and you may wonder if you’ll ever find the reason for the book’s subtitle.

It’s there, nearly halfway through the book, which is when the tale takes a tender, urgent turn — albeit one with determination, rashness, and a dash of faux nonchalance. Also, if you’re expecting an unhappily-ever-after because, after all, it’s a World War II tale, don’t assume anything.

Reading this book will take a certain amount of patience, so skip it if you don’t have that fortitude. If you’re OK with minuscule details and want a heart-pounder, though, “The Remarkable Life of Reed Peggram” might be a good escape.

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Theater

Iconic Eddie Izzard takes on 23 characters in ‘Hamlet’

Energized take on role offers accessible way to enjoy Shakespeare

Published

1 day ago

April 4, 2026

Patrick Folliard

Eddie Izzard in ‘The Tragedy of Hamlet.’ (Photo by Carol Rosegg)

‘The Tragedy of Hamlet’
Through April 11
Shakespeare Theatre Company’s Klein Theatre
450 7th St., N.W.
Tickets start at $90
Shakespearetheatre.org

Eddie Izzard is an icon.

Best known for her innovative standup and film roles, the famed British performer is also a queer activist who over the years has good-naturedly shared details from her decades long trans journey. What’s more, Izzard has remarkably run 43 marathons in 51 days for charity.

And now, Izzard finds a towering new challenge with the worldwide tour of “The Tragedy of Hamlet” (at Shakespeare Theatre Company’s Klein Theatre through April 11), in which she plays 23 characters (Hamlet, King Claudius, Queen Gertrude, the ghost, etc.) in a solo performance running just over two hours.

At a recent performance, Izzard, before slipping into character, appeared on the unadorned stage to say that though infused with comedy, “Hamlet” is definitely a tragedy, a story of a family and country both tearing themselves apart. She also warns that there’ll be a lot of breaking the fourth wall. After all, it didn’t exist in 1600 around the time when “Hamlet” was written.

The play unfolds in flurry of movement and scandal as the Danish prince begins to plot revenge after learning that his father, the old king was conspired against and murdered.

While some of Izzard’s character shifts are shown only by a subtle change in stance or modulation of voice, others are more obviously displayed like court sycophant Polonius walking with a stiff leg and mimed cane, or his ill-fated daughter Ophelia trotting girlishly across the upstage platform.

Delivered downstage at the intimate Klein venue, Izzard’s Hamlet soliloquies are performed with striking clarity. The one actor play is adapted and edited by Mark Izzard (the star’s older brother) and directed by Selina Cadell who successfully fosters the visceral connection between the actor and the house. Directly addressing an audience is something Izzard does exceedingly well. You feel as if she’s looking at/speaking to only you.

Cuts and choices are made that might not please traditionalists. The stabbing of eavesdropping Polonius might prove disappointingly underplayed to some. Whereas, the subsequent satisfying dual/death scene is long and precisely choreographed. Fear not, Izzard doesn’t flag a bit, not even when battling a cough (as was the case on the night of No Kings Day).

Not surprisingly, Izzard leans into the comedy. Her deliciously placed pauses, lines read ironically, and double takes, all gifts of comedy sharpened to perfection over a long career that kicked off as a street performer in the early eighties in London’s Covent Garden.

The play within a play scene finds Hamlet slyly rattling the conscience of King Claudius. As played by Izzard, it’s wickedly delightful and especially good. And the back and forth between the grave diggers done as a clever Cockney and his green assistant is a master class in how to play a Shakespearean clown.

Kitted out in a black peplum jacket over leather leggings and boots, Izzard gives gender fluid shades of contemporary diehard scenester and a Renaissance courtier. (Design and styling by Tom Piper and Libby DaCosta)

Attention has been paid to the blonde high ponytail, crimson lips and matching lacquered nails. The hands are important. Whether balled into fists or fingers fluttering, they’re in use, especially when playing Hamlet’s ex-friends Rosencrantz and Guildenstern (a clever surprise that can’t be spoiled).

Tom Piper’s set is wonderfully minimal. It’s an empty white walled space with three narrow windows that appear cut deeply into stone like those of a castle. These white flats serve as the ideal canvas for lighting designer Tyler Elich’s looming shadows, ghostly green light, and other unexpected flourishes of drama.

Izzard fills the stage. Her presence is huge, and her acting first-rate. At times, you forget it’s a one-person show.

I’d like to say, prior knowledge of the Bard’s best tragedy isn’t necessary to enjoy this fast-paced production. Despite a halved runtime and obscure words replaced with modern equivalents (“tedious old git” Hamlet says of Polonius), familiarity with the play is helpful.

With “The Tragedy of Hamlet,” Izzard secures a place among fellow queer Brits like Miriam Margolyes (“Dickens’ Women”), Sir Ian Mckellan (“Ian McKellen on Stage”), and more recently Andrew Scott (“Vanya”) in the solo players’ pantheon.

Izzard’s energized take on Hamlet is terrific. The way her powerful public persona bleeds into the work without taking over is exciting, and a uniquely accessible way to enjoy Shakespeare.