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45th Annual Grammy Awards

The 45th Annual Grammy Awards were held on February 23, 2003, at Madison Square Garden in New York City honoring the best in music for the recording of the year beginning from October 1, 2001, through September 30, 2002. Musicians' accomplishments from the previous year were recognized. Norah Jones and her song "Don't Know Why" were the main recipients of the night, garnering six Grammys, including four major awards: Record of the Year, Album of the Year, Song of the Year and Best New Artist, plus Best Female Pop Vocal Performance and Best Pop Vocal Album. Songwriter Jesse Harris received the Song of the Year award for his work on "Don't Know Why." Simon and Garfunkel reunited to open the show performing "The Sound of Silence".

The Bee Gees were presented with the "Legend Award", only 42 days after the sudden death of Maurice Gibb. The award was received by the surviving brothers, Barry and Robin. During Barry's speech, he made mention of Maurice's widow Yvonne and their children Adam and Sami, and in a heartfelt, gracious and tearful moment announced that he and Robin were presenting the award to Maurice. It was then accepted by Adam, at Barry's request, on behalf of his late father, his mother and his sister.

Performers

 * Bruce Springsteen & The E Street Band - The Rising
 * No Doubt - Underneath It All/Hella Good
 * Eminem - Lose Yourself
 * Faith Hill - Cry
 * Dixie Chicks - Landslide
 * Nelly & Kelly Rowland - Hot In Herre/Dilemma
 * Ashanti - Dreams
 * N'Sync - Tribute to Bee Gees
 * James Taylor
 * Coldplay - Politik
 * Sheryl Crow & Kid Rock
 * John Mayer - Your Body Is A Wonderland
 * Vanessa Carlton - A Thousand Miles
 * Norah Jones - Don't Know Why
 * Avril Lavigne - Sk8er Boi
 * Elvis Costello, Dave Grohl, Tony Kanal, Little Steven, Bruce Springsteen, Pete Thomas - London Calling (tribute to Joe Strummer)

Presenters

 * Dustin Hoffman - Introduces Simon & Garfunkel
 * Lou Reed & Dave Grohl - Best Pop Performance by a Duo or Group with Vocals
 * Tony Bennett & Joe Pantoliano - Introduces Norah Jones
 * Kylie Minogue & Justin Timberlake - Best Pop Vocal Album
 * Marc Anthony - Pays tribute to Tito Puente, a Lifetime Award recipient, and introduces Faith Hill
 * Paul Shaffer - Introduces Vanessa Carlton
 * Herbie Hancock, Martina McBride & Raphael Saadiq - Best Country Album
 * Kim Cattrall & P. Diddy - Best Male Pop Vocal Performance & Best Rap Album
 * Queen Latifah - Introduces the Dixie Chicks
 * John Leguizamo - Pays tribute to Glenn Miller, a Lifetime Achievement Award recipient, an introduced the New York Philharmonic Orchestra
 * Harvey Fierstein & Rod Stewart - Best Comedy Album
 * Busta Rhymes & Jamie-Lynn Sigler - Pays tribute to Johnny Mathis, a Lifetime Achievement Award recipient, and introduces Avril Lavigne.
 * Queen Latifah - Introduces Nelly and Kelly Rowland
 * Eve & Fred Durst - Best Hard Rock Performance
 * Robin Williams - Introduces Bruce Springsteen and the E Street Band
 * Alicia Keys & Cyndi Lauper - Best New Artist
 * Pat Monahan, Erykah Badu & B.B. King - Song of the Year
 * Ja Rule and Kevin James - Introduces Ashanti
 * Ed Bradley - Introduced the Bee Gees tribute
 * Willem Dafoe - Introduced Eminem
 * Bonnie Raitt & Aretha Franklin - Record of the Year
 * Vince Vaughn - Pays tribute to Trustee Award Royal Blakeman and introduced Kid Rock and Sheryl Crow
 * Elvis Costello, Michelle Branch & Peter Gabriel - Album of the Year

General

 * Record of the Year
 * "Don't Know Why" – Norah Jones
 * Norah Jones, Arif Mardin & Jay Newland, producers; Arif Mardin & Jay Newland, engineers/mixers
 * "A Thousand Miles" – Vanessa Carlton
 * Ron Fair, producer; Tal Herzberg, Jack Joseph Puig & Michael C. Ross, engineers/mixers
 * "Without Me" – Eminem
 * Jeff Bass & Eminem, producers; Steve King, engineer/mixer
 * "Dilemma" – Nelly & Kelly Rowland
 * Bam & Ryan Bowser, producers; Brian Garten, engineer/mixer
 * "How You Remind Me" – Nickelback
 * Nickelback & Rick Parashar, producers; Joey Moi & Randy Staub, engineers/mixers

 * Album of the Year
 * Come Away With Me – Norah Jones
 * Norah Jones, Arif Mardin, Jay Newland & Craig Street, producers; Husky Huskolds, Arif Mardin & Jay Newland, engineers/mixers; Ted Jensen, mastering engineer
 * Home – Dixie Chicks
 * Dixie Chicks & Lloyd Maines, producers; Gary Paczosa, engineer/mixer; Robert Hadley & Doug Sax, mastering engineers
 * The Eminem Show – Eminem
 * Jeff Bass, Dr. Dre, Eminem & Denaun Porter, producers; Steve Baughman, Mauricio "Veto" Iragorri & Steve King, engineers/mixers; Brian "Big Bass" Gardner, mastering engineer
 * Nellyville – Nelly
 * Jason "Jay E" Epperson, Just Blaze, The Neptunes, The Trackboyz & Waiel "Wally" Yaghnam, producers; Steve Eigner, Brian Garten, Russ Giraud, Gimel "Young Guru" Keaton, Greg Morgenstein, Matt Still & Rich Travali, engineers/mixers; Herb Powers, mastering engineer
 * The Rising – Bruce Springsteen
 * Brendan O'Brien, producer; Nick DiDia & Brendan O'Brien, engineers/mixers; Bob Ludwig, mastering engineer

 * Song of the Year
 * "Don't Know Why"
 * Jesse Harris, songwriter (Norah Jones)
 * "Complicated"
 * Avril Lavigne, & The Matrix, songwriters (Avril Lavigne)
 * "The Rising"
 * Bruce Springsteen, songwriter (Bruce Springsteen)
 * "A Thousand Miles"
 * Vanessa Carlton, songwriter, (Vanessa Carlton)
 * "Where Were You (When the World Stopped Turning)"
 * Alan Jackson, songwriter (Alan Jackson)

 * Best New Artist
 * Norah Jones
 * Ashanti
 * Michelle Branch
 * Avril Lavigne
 * John Mayer

Pop

 * Best Female Pop Vocal Performance
 * "Don't Know Why" – Norah Jones
 * "Soak Up the Sun" – Sheryl Crow
 * "Complicated" – Avril Lavigne
 * "Get the Party Started" – Pink
 * "Overprotected" – Britney Spears

 * Best Male Pop Vocal Performance
 * "Your Body Is a Wonderland" – John Mayer
 * "7 Days" – Craig David
 * "Original Sin" – Elton John
 * "Fragile (Live)" – Sting
 * "October Road" – James Taylor

 * Best Pop Performance by a Duo or Group with Vocal
 * "Hey Baby" – No Doubt
 * "Everyday" – Bon Jovi
 * "Girl All the Bad Guys Want" – Bowling for Soup
 * "Where Are You Going" – Dave Matthews Band
 * "Girlfriend" – *NSYNC

 * Best Pop Collaboration with Vocals
 * Santana & Michelle Branch for "The Game of Love"
 * Christina Aguilera and Redman – "Dirrty"
 * India.Arie and Stevie Wonder – "The Christmas Song"
 * Tony Bennett and k.d. lang – "What a Wonderful World"
 * Sheryl Crow and Don Henley – "It's So Easy"
 * Natalie Cole and Diana Krall – "Better Than Anything"

 * Best Pop Instrumental Performance
 * B.B. King for "Auld Lang Syne"

 * Best Pop Vocal Album
 * Norah Jones - Come Away with Me
 * Avril Lavigne - Let Go
 * Pink - Missundaztood
 * Britney Spears - Britney
 * No Doubt - Rock Steady

 * Best Pop Instrumental Album
 * Norman Brown for Just Chillin'

Alternative

 * Best Alternative Music Album
 * A Rush of Blood to the Head – Coldplay
 * Sea Change – Beck
 * Walking with Thee – Clinic
 * Cruel Smile – Elvis Costello & The Imposters
 * Behind the Music – The Soundtrack of Our Lives

Blues

 * Best Traditional Blues Album
 * Anthony Daigle, John Holbrock (engineers/mixers) & B. B. King (producer & artist) for A Christmas Celebration of Hope
 * Best Contemporary Blues Album
 * Joe Henry (producer), S. Husky Höskulds (engineer/mixer) & Solomon Burke for Don't Give Up on Me

Children's

 * Best Musical Album for Children
 * Joseph Miskulin (producer), Dan Rudin, Brent Truitt (engineers/mixers) & Riders in the Sky for Monsters, Inc. Scream Factory Favorites

 * Best Spoken Word Album for Children
 * Tom Chapin for There Was an Old Lady Who Swallowed a Fly

Comedy

 * From 1994 through 2003, see "Best Spoken Comedy Album" under the "Spoken" field, below.

Classical

 * Best Orchestral Performance
 * Andreas Neubronner (producer), Peter Laenger (engineer), Michael Tilson Thomas (conductor) & the San Francisco Symphony Orchestra for Mahler: Symphony No. 6
 * Best Classical Vocal Performance
 * Erik Smith (producer), Jonathan Stokes, Neil Hutchinson, Tom Lazarus (engineers), Patrick Summers (conductor), Renée Fleming & Coro del Maggio Musicale Fiorentino for Bel Canto (Bellini, Donizetti, Rossini, etc.)
 * Best Opera Recording
 * Christoph Classen (producer), Tobias Lehmann, Eberhard Sengpiel (engineers), Daniel Barenboim (conductor), Jane Eaglen, Thomas Hampson, Waltraud Meier, René Pape, the Chor der Deutschen Staatsoper Berlin & the Staatskapelle Berlinfor Wagner: Tannhäuser
 * Best Choral Performance
 * Thomas Moore (producer), Michael J. Bishop (engineer), Robert Spano (conductor), Norman Mackenzie (chorus director), Christine Goerke, Brett Polegato & the Atlanta Symphony Orchestra & Chorus for Vaughan Williams: A Sea Symphony (Sym. No. 1)
 * Best Instrumental Soloist(s) Performance (with orchestra)
 * Thomas Frost (producer), Richard King (engineer), Neville Marriner (conductor), Hilary Hahn & the Academy of St. Martin in the Fields for Brahms/Stravinsky: Violin Concertos
 * Best Instrumental Soloist Performance (without orchestra)
 * Andreas Neubronner (producer & engineer) & Murray Perahia for Chopin: Études, Op. 10 & Op. 25
 * Best Small Ensemble Performance (with or without conductor)
 * Steve Barnett (producer), Preston Smith (engineer), Joseph Jennings (conductor), Chanticleer & the Handel & Haydn Society of Boston for Tavener: Lamentations and Praises
 * Best Chamber Music Performance
 * Andrew Keener (producer), Simon Dominic Eadon (engineer) & the Takács Quartet for Beethoven: String Quartets ("Razumovsky" Op. 59, 1-3; "Harp" Op. 74)
 * Best Classical Contemporary Composition
 * Steve Barnett (producer), Preston Smith (engineer), John Tavener (composer), Joseph Jennings (conductor), Chanticleer & the Handel & Haydn Society of Boston for Tavener: Lamentations and Praises
 * Best Classical Album
 * Thomas Moore (producer), Michael J. Bishop (engineer), Robert Spano (conductor), Norman Mackenzie (chorus director), Christine Goerke, Brett Polegato & the Atlanta Symphony Orchestra & Chorus for Vaughan Williams: A Sea Symphony (Sym. No. 1)
 * Best Classical Crossover Album
 * Sid McLauchlan (producer), Richard Lancaster, Ulrich Vette (engineers), André Previn (conductor) & the London Symphony Orchestra for Previn Conducts Korngold (Sea Hawk; Captain Blood, etc.)

Composing and arranging

 * Best Instrumental Composition
 * Thomas Newman (composer) for "Six Feet Under Title Theme"

 * Best Instrumental Arrangement
 * Thomas Newman (arranger) for "Six Feet Under Title Theme"

 * Best Instrumental Arrangement Accompanying Vocalist(s)
 * Dave Grusin (arranger) for "Mean Old Man" performed by James Taylor

Country

 * Best Female Country Vocal Performance
 * Faith Hill for "Cry"
 * Best Male Country Vocal Performance
 * Johnny Cash for "Give My Love to Rose"
 * Best Country Performance by a Duo or Group with Vocal
 * Dixie Chicks for "Long Time Gone"
 * Best Country Collaboration with Vocals
 * Willie Nelson & Lee Ann Womack for "Mendocino County Line"
 * Best Country Instrumental Performance
 * Dixie Chicks for "Lil' Jack Slade"
 * Best Country Song
 * Alan Jackson (songwriter) for "Where Were You (When the World Stopped Turning)"
 * Best Country Album
 * Lloyd Maines (producer), Gary Paczosa (engineer/mixer) & the Dixie Chicks (producers & artists) for Home
 * Best Bluegrass Album
 * David Castle (engineer/mixer), the Clinch Mountain Boys, Jim Lauderdale (producers & artists) & Ralph Stanley for Lost in the Lonesome Pines

Dance

 * Best Dance Recording
 * Dirty Vegas (producers & artists) for "Days Go By"

Film/TV/media

 * Best Compilation Soundtrack Album for a Motion Picture, Television or Other Visual Media
 * Allan Slutsky, Harry Weinger (producers), Ted Greenberg (producer & engineer/mixer), Kooster McAllister (engineer/mixer) & The Funk Brothers for Standing in the Shadows of Motown performed by The Funk Brothers & various artists

 * Best Song Written for a Motion Picture, Television or Other Visual Media
 * Randy Newman (songwriter) for "If I Didn't Have You" (from Monsters, Inc.) performed by John Goodman & Billy Crystal

 * Best Score Soundtrack Album for a Motion Picture, Television or Other Visual Media
 * John J. Kurlander (engineer/mixer) & Howard Shore (producer & composer) for The Lord of the Rings - The Fellowship of the Ring

Folk

 * Best Traditional Folk Album
 * Steven Heller (producer), Steven Heller (engineer/mixer), David Holt (producer & artist) & Doc Watson & for Legacy
 * Best Contemporary Folk Album
 * Alison Krauss (producer), Gary Paczosa (engineer/mixer) & Nickel Creek for This Side
 * Best Native American Music Album
 * Thomas A. Wasinger (producer) & Mary Youngblood (producer & artist) for Beneath the Raven Moon

Gospel

 * Best Pop/Contemporary Gospel Album
 * Vance Powell, Jack Joseph Puig (engineers/mixers) & Jars of Clay (producers & artist) for The Eleventh Hour
 * Best Rock Gospel Album
 * Monroe Jones (producer), James J Dineen III (engineer/mixer) & Third Day for Come Together
 * Best Traditional Soul Gospel Album
 * John Chelew (producer), Jimmy Hoyson (engineer/mixer) & the Blind Boys of Alabama for Higher Ground
 * Best Contemporary Soul Gospel Album
 * Glaurys Ariass, Helsa Ariass (producers & engineers/mixers), Chris Puram (engineer/mixer) & Eartha (producer & artist) for Sidebars
 * Best Southern, Country or Bluegrass Gospel Album
 * Art Greenhaw (producer & engineer/mixer), Tim Cooper, Chuck Ebert, Art Greenhaw, Adrian Payne, Robb Tripp & Philip W. York (engineers/mixers), The Jordanaires, Larry Ford & The Light Crust Doughboys for We Called Him Mr. Gospel Music: The James Blackwood Tribute Album
 * Best Gospel Choir or Chorus Album
 * B.J. Goss (engineer/mixer) & Carol Cymbala (producer & choir director) for Be Glad performed by the Brooklyn Tabernacle Choir

Historical

 * Best Historical Album
 * Dean Blackwood (producer), David Glasser, Christopher King & Matt Sandoski (engineers) for Screamin' and Hollerin' the Blues: The Worlds of Charley Patton

Jazz

 * Best Jazz Instrumental Solo
 * Herbie Hancock for My Ship
 * Best Jazz Instrumental Album, Individual or Group
 * Doug Doctor, Jay Newland, Rob Griffin (engineers/mixers), Jason Olaine (producer), Michael Brecker (producer & artist), Herbie Hancock & Roy Hargrove for Directions in Music: Live at Massey Hall
 * Best Large Jazz Ensemble Album
 * James Farber (engineer/mixer), Dave Holland, Louise Holland (producers) & the Dave Holland Big Band for What Goes Around
 * Best Jazz Vocal Album
 * Al Schmitt (engineer/mixer), Tommy LiPuma (producer) & Diana Krall for Live in Paris
 * Best Contemporary Jazz Album
 * Rob Eaton (engineer/mixer), Lyle Mays, Pat Metheny, Steven Rodby (producers) & the Pat Metheny Group for Speaking of Now
 * Best Latin Jazz Album
 * Phil Magnotti (engineer/mixer), Dave Samuels (producer) & the Caribbean Jazz Project for The Gathering

Latin

 * Best Latin Pop Album
 * Bob St. John, Eric Schilling, Gustavo Afont, Iker Gastraminsa, Jaime Lagueruela, Jon Fausty (engineers/mixers), Gonzalo Vasquez (engineer/mixer & producer) Luis Ochoa (producer) & Bacilos (producers and artists) for Caraluna
 * Best Traditional Tropical Latin Album
 * Catherine Miller (engineer/mixer), Nat Chediak (producer) & the Bebo Valdés Trio for El Arte del Sabor performed by the Bebo Valdés Trio with Israel López "Cachao" & Carlos "Patato" Valdés
 * Best Mexican/Mexican-American Album
 * Benny Faccone (engineer/mixer). Franco Giordani, John Karpowich & Dennis Parker (engineers) & Joan Sebastian (producer & artist) for Lo Dijo El Corazón
 * Best Latin Rock/Alternative Album
 * Benny Faccone (engineer/mixer) Alex González, Fher Olvera (producers) & Maná for Revolución de Amor
 * Best Tejano Album
 * Gustavo Alphonso Miranda (engineer/mixer), Manuel Herrera Maldonado (producer) & Emilio Navaira for Acuérdate
 * Best Salsa Album
 * Jon Fausty, Maria DeJesus (engineers/mixers), Sergio George (producer) & Celia Cruz for La Negra Tiene Tumbao
 * Best Merengue Album
 * Manuel Antonio Tejada Tabar, Raphael Peña, Rolando Alejandro (engineers/mixers), Jose Lugo (producer) & Grupo Mania for Latino

Musical show

 * Best Musical Show Album
 * Peter Karam (engineer/mixer), Marc Shaiman (producer, composer & lyricist) & Scott Wittman (lyricist) & the original Broadway cast including Marissa Jaret Winokur & Harvey Fierstein, for Hairspray

Music video

 * Best Short Form Music Video
 * Greg Tharp (video producer), Joseph Kahn (video director) & Eminem for "Without Me"
 * Best Long Form Music Video
 * Don Letts (video director) & The Clash for Westway to the World

New Age

 * Best New Age Album
 * Eric Tingstad & Nancy Rumbel for Acoustic Garden

Packaging and notes

 * Best Recording Package
 * Kevin Reagan (art director) for Home performed by the Dixie Chicks

 * Best Boxed or Special Limited Edition Package
 * Susan Archie (art director) for Screamin' and Hollerin' the Blues: The Worlds of Charley Patton performed by Charley Patton

 * Best Album Notes
 * David H. Evans Jr. (notes writer) for Screamin' and Hollerin' the Blues: The Worlds of Charley Patton performed by Charley Patton

Polka

 * Best Polka Album
 * Jimmy Sturr for Top of the World

Production and engineering

 * Best Engineered Album, Non-Classical
 * Jay Newland & S. Husky Höskulds (engineers) for Come Away with Me performed by Norah Jones
 * Best Engineered Album, Classical
 * Michael J. Bishop (engineer), Robert Spano, Norman Mackenzie (conductor), the Atlanta Symphony Orchestra & Chorus for Vaughan Williams: A Sea Symphony (Sym. No. 1)
 * Best Remixed Recording, Non-Classical
 * Roger Sanchez (remixer) for "Hella Good (Roger Sanchez Remix Main)" performed by No Doubt
 * Producer of the Year, Non-Classical
 * Arif Mardin
 * Producer of the Year, Classical
 * Robert Woods

R&B

 * Best Female R&B Vocal Performance
 * Mary J. Blige for "He Think I Don't Know"
 * Best Male R&B Vocal Performance
 * Usher for "U Don't Have to Call"
 * Best R&B Performance by a Duo or Group with Vocal
 * Stevie Wonder & Take 6 for "Love's in Need of Love Today" (Live)
 * Best Traditional R&B Vocal Performance
 * Chaka Khan & The Funk Brothers for "What's Going On"
 * Best Urban/Alternative Performance
 * India.Arie for "Little Things"
 * Best R&B Song
 * Erykah Badu, Madukwu Chinwah, Rashid Lonnie Lynn (Common), Robert Ozuna, James Poyser, Raphael Saadiq & Glen Standridge (songwriters) for "Love of My Life (An Ode to Hip-Hop)" performed by Erykah Badu featuring Common
 * Michael Archer, Bobby Ozuna, Raphael Saadiq, & Glenn Standridge for "Be Here" (Raphael Saadiq featuring D'Angelo)
 * Marsha Ambrosius, Darren "Limitless" Henson, Keith "Keshon" Pelzer, & Natalie Stewart for "Floetic" (Floetry)
 * Will Baker, Andrew Ramsey, Shannon Sanders, & India Simpson for "Good Man" (India.Arie)
 * Remy Shand for "Take a Message" (Remy Shand)
 * Best R&B Album
 * Alvin Speights (engineer/mixer), Shannon Sanders (producer) & India.Arie (producer & artist) for Voyage to India
 * Best Contemporary R&B Album
 * Brian Springer, Milwaukee Buck aka Buck 3000 (producer/engineers/mixers), 7 Aurelius (engineer/mixer & producer), Irv Gotti (producer) & Ashanti for Ashanti

Rap

 * Best Female Rap Solo Performance
 * "Scream a.k.a. Itchin'" – Missy Elliott
 * "Diary..." – Charli Baltimore
 * "Satisfaction" – Eve
 * "Na Na Be Like" – Foxy Brown
 * "Mystery of Iniquity" – Lauryn Hill

 * Best Male Rap Solo Performance
 * "Hot in Herre" – Nelly
 * "Without Me" – Eminem
 * "Song Cry" – Jay-Z
 * "Rollout (My Business)" – Ludacris
 * "Bouncin' Back (Bumpin' Me Against the Wall)" – Mystikal

 * Best Rap Performance by a Duo or Group
 * "The Whole World" – OutKast featuring Killer Mike
 * "The Essence" – AZ featuring Nas
 * "Still Fly" – Big Tymers
 * "Pass the Courvoisier, Part II" – Busta Rhymes featuring P. Diddy & Pharrell
 * "Oh Boy" – Cam'ron featuring Juelz Santana

 * Best Rap/Sung Collaboration
 * "Dilemma" – Nelly featuring Kelly Rowland
 * "What's Luv?" – Fat Joe featuring Ashanti
 * "Always on Time" – Ja Rule featuring Ashanti
 * "Po' Folks" – Nappy Roots featuring Anthony Hamilton
 * "Like I Love You" – Justin Timberlake featuring Clipse

 * Best Rap Album
 * The Eminem Show – Eminem
 * Word of Mouf – Ludacris
 * Tarantula – Mystikal
 * Nellyville – Nelly
 * Diary of a Sinner: 1st Entry – Petey Pablo

Reggae

 * Best Reggae Album
 * Lee 'Scratch' Perry for Jamaican E.T.

Rock

 * Best Female Rock Vocal Performance
 * Sheryl Crow for "Steve McQueen"
 * Best Male Rock Vocal Performance
 * Bruce Springsteen for "The Rising"
 * Best Rock Performance by a Duo or Group with Vocal
 * Coldplay for "In My Place"
 * Best Rock Instrumental Performance
 * The Flaming Lips for "Approaching Pavonis Mons By Balloon (Utopia Planitia)"
 * Best Hard Rock Performance
 * Foo Fighters for "All My Life"
 * Best Metal Performance
 * Korn for "Here to Stay"
 * Best Rock Song
 * Bruce Springsteen (songwriter) for "The Rising"
 * Best Rock Album
 * Nick Didia (engineer/mixer), Brendan O'Brien (engineer/mixer & producer) & Bruce Springsteen for The Rising

Spoken

 * Best Spoken Word Album
 * Charles B. Potter (producer) & Maya Angelou for A Song Flung Up to Heaven
 * Best Spoken Word Comedy Album
 * Nathaniel Kunkel (engineer/mixer), Peter Asher (producer) & Robin Williams for Robin Williams - Live 2002

Traditional pop

 * Best Traditional Pop Vocal Album
 * Joel Moss, Tom Young (engineers/mixers), Phil Ramone (producer) & Tony Bennett for Playin' with My Friends: Bennett Sings the Blues

World

 * Best World Music Album
 * Oscar Marin (engineer/mixer), Walter Flores (engineer/mixer & producer) & Rubén Blades (producer & artist) for Mundo

In memoriam

 * Derek Bell
 * Bill Berry
 * Otis Blackwell
 * Hadda Brooks
 * Ray Brown (musician)
 * Rosemary Clooney
 * Ray Conniff
 * Tom Dowd
 * Gus Dudgeon
 * John Entwistle
 * Erma Franklin
 * Adolph Green
 * Billy Guy
 * Lionel Hampton
 * Harlan Howard
 * Jam Master Jay
 * Peggy Lee
 * Alan Lomax
 * Lisa Lopes
 * Arthur Lyman
 * Peter Matz
 * Jim McReynolds
 * Mickey Newbury
 * Dee Dee Ramone
 * Mongo Santamaría
 * Layne Staley
 * Dave Van Ronk
 * Timothy White
 * Zal Yanovsky
 * Joe Strummer

Lifetime Achievement Award

 * Etta James
 * Johnny Mathis
 * Glenn Miller
 * Tito Puente
 * Simon & Garfunkel

Trustees Award

 * Alan Lomax
 * The New York Philharmonic

Legend Award

 * Bee Gees

Technical Grammy

 * Individual Contributions
 * Geoff Emerick
 * Company Contributions
 * Shure Incorporated

MusiCares Person of the Year

 * Bono

Grammy Hall of Fame Award

 * Aja (ABC, 1977) performed by Steely Dan
 * "Blowin' in the Wind" (Warner Bros., 1963) performed by Peter, Paul and Mary
 * Born to Run (Columbia, 1975) performed by Bruce Springsteen
 * "Both Sides, Now" (Elektra, 1968) performed by Judy Collins
 * "Days of Wine and Roses" (RCA, 1962) performed by Henry Mancini
 * "Downtown" (Warner Bros., 1964) performed by Petula Clark
 * Genius of Modern Music: Volume 1 (Blue Note, 1951) performed by Thelonious Monk
 * Genius of Modern Music: Volume 2 (Blue Note, 1952) performed by Thelonious Monk
 * Goodbye Yellow Brick Road (DJM, 1973) performed by Elton John
 * "Hotel California" (Asylum, 1977) performed by Eagles
 * "I Only Have Eyes for You" (End, 1959) performed by The Flamingos
 * "I Shot the Sheriff" (RSO, 1974) performed by Eric Clapton
 * "It's Too Late" (Ode, 1971) performed by Carole King
 * "Lady Marmalade" (Epic, 1974) performed by Labelle worked from the album Nightbirds
 * "Proud Mary" (Liberty, 1970) performed by Ike & Tina Turner worked from the album Workin' Together.
 * Rumors (Warner Bros., 1977) performed by Fleetwood Mac
 * Shostakovich: Violin Concerto No. 1 in A Minor Op. 99 (Sony Classical, 1956) performed by David Oistrakh with New York Philharmonic conducted by Dimitri Mitropoulos
 * "Stairway to Heaven" (Atlantic, 1971) performed by Led Zeppelin
 * Still Crazy After All These Years (Columbia Records, 1975) performed by Paul Simon
 * "Stormy Weather" (Brunswick, 1933) performed by Ethel Waters
 * "Up, Up and Away" (Soul City, 1967) performed by The 5th Dimension

title: 45th Annual Grammy Awards


text:
Olanzapine

Olanzapine, sold under the brand name Zyprexa among others, is an atypical antipsychotic primarily used to treat schizophrenia and bipolar disorder. For schizophrenia, it can be used for both new-onset disease and long-term maintenance. It is taken by mouth or by injection into a muscle.

Common side effects include weight gain, movement disorders, dizziness, feeling tired, constipation, and dry mouth. Other side effects include low blood pressure with standing, allergic reactions, neuroleptic malignant syndrome, high blood sugar, seizures, and tardive dyskinesia. In older people with dementia, its use increases the risk of death. Use in the later part of pregnancy may result in a movement disorder in the baby for some time after birth. Although how it works is not entirely clear, it blocks dopamine and serotonin receptors.

Olanzapine was patented in 1991 and approved for medical use in the United States in 1996. It is available as a generic medication. In 2021, it was the 164th most commonly prescribed medication in the United States, with more than 3million prescriptions. Eli Lilly also markets olanzapine in a fixed-dose combination with fluoxetine as olanzapine/fluoxetine (Symbyax). It is on the World Health Organization's List of Essential Medicines.

Medical uses
It is approved by FDA for the following indications:

 * schizophrenia.
 * acute treatment of manic or mixed episodes associated with bipolar I disorder and maintenance treatment of bipolar I disorder.
 * adjunct to valproate, carbamazepine or lithium in the treatment of manic or mixed episodes associated with bipolar I disorder.
 * combination olanzapine/fluoxetine for the treatment of depressive episodes associated with bipolar I disorder.

In the United Kingdom and Australia, it is approved for schizophrenia, moderate to severe manic episodes, alone, or in combination with lithium or valproate and the short-term treatment of acute manic episodes associated with Bipolar I Disorder.

Schizophrenia
The first-line psychiatric treatment for schizophrenia is antipsychotic medication. Olanzapine appears to be effective in reducing symptoms of schizophrenia, treating acute exacerbations, and treating early-onset schizophrenia. The usefulness of maintenance therapy, however, is difficult to determine, as more than half of people in trials quit before the 6-week completion date. Treatment with olanzapine (like clozapine) may result in increased weight gain and increased glucose and cholesterol levels when compared to most other second-generation antipsychotic drugs used to treat schizophrenia.

Bipolar disorder
Olanzapine is recommended by the National Institute for Health and Care Excellence as a first-line therapy for the treatment of acute mania in bipolar disorder. Other recommended first-line treatments are aripiprazole, haloperidol, quetiapine, and risperidone. It is recommended in combination with fluoxetine as a first-line therapy for acute bipolar depression, and as a second-line treatment by itself for the maintenance treatment of bipolar disorder.

The Network for Mood and Anxiety Treatments recommends olanzapine as a first-line maintenance treatment in bipolar disorder and the combination of olanzapine with fluoxetine as second-line treatment for bipolar depression.

A review on the efficacy of olanzapine as maintenance therapy in people with bipolar disorder was published by in 2006. A 2014 meta-analysis concluded that olanzapine with fluoxetine was the most effective among nine treatments for bipolar depression included in the analysis.

Pregnancy and lactation
Olanzapine is associated with the highest placental exposure of any atypical antipsychotic. Despite this, the available evidence suggests it is safe during pregnancy, although the evidence is insufficiently strong to say anything with a high degree of confidence. Olanzapine is associated with weight gain, which according to recent studies, may put olanzapine-treated patients' offspring at a heightened risk for neural tube defects (e.g. spina bifida). Breastfeeding in women taking olanzapine is advised against because olanzapine is secreted in breast milk, with one study finding that the exposure to the infant is about 1.8% that of the mother.

Elderly
Citing an increased risk of stroke, in 2004, the Committee on the Safety of Medicines in the UK issued a warning that olanzapine and risperidone, both atypical antipsychotic medications, should not be given to elderly patients with dementia. In the U.S., olanzapine comes with a black box warning for increased risk of death in elderly patients. It is not approved for use in patients with dementia-related psychosis. A BBC investigation in June 2008 found that this advice was being widely ignored by British doctors. Evidence suggested that the elderly are more likely to experience weight gain on olanzapine compared to aripiprazole and risperidone.

Adverse effects
The principal side effect of olanzapine is weight gain, which may be profound in some cases and/or associated with derangement in blood-lipid and blood-sugar profiles (see section metabolic effects). A 2013 meta-analysis of the efficacy and tolerance of 15 antipsychotic drugs (APDs) found that it had the highest propensity for causing weight gain out of the 15 APDs compared with an SMD of 0.74. Extrapyramidal side effects, although potentially serious, are infrequent to rare from olanzapine, but may include tremors and muscle rigidity.

Aripiprazole, asenapine, clozapine, quetiapine and olanzapine, in comparison to other antipsychotic drugs, are less frequently associated with hyperprolactinaemia. Although these drugs can cause transient or sustained hyperprolactinaemia, the risk is much lower. Owing to its partial dopaminergic agonist effect, aripiprazole is likely to reduce prolactin levels and, in some patients, can cause hypoprolactinaemia. Although olanzapine causes an early dose-related rise in prolactin, this is less frequent and less marked than that seen with haloperidol, and is usually transient. A rise in prolactin is seen in about half of patients on olanzapine compared to over 90% of those taking risperidone, and enduring increases were less frequent in those taking olanzapine.

It is not recommended to be used by IM injection in acute myocardial infarction, bradycardia, recent heart surgery, severe hypotension, sick sinus syndrome, and unstable angina.

Several patient groups are at a heightened risk of side effects from olanzapine and antipsychotics in general. Olanzapine may produce nontrivial high blood sugar in people with diabetes mellitus. Likewise, the elderly are at a greater risk of falls and accidental injury. Young males appear to be at heightened risk of dystonic reactions, although these are relatively rare with olanzapine. Most antipsychotics, including olanzapine, may disrupt the body's natural thermoregulatory systems, thus permitting excursions to dangerous levels when situations (exposure to heat, strenuous exercise) occur.

Other side effects include galactorrhea, amenorrhea, gynecomastia, and erectile dysfunction (impotence).

Drug-induced OCD
Many different types of medication can create or induce pure obsessive-compulsive disorder (OCD) in patients who have never had symptoms before. A new chapter about OCD in the Diagnostic and Statistical Manual of Mental Disorders, Fifth Edition (2013) now specifically includes drug-induced OCD.

Metabolic effects
The US Food and Drug Administration (FDA) requires all atypical antipsychotics to include a warning about the risk of developing hyperglycemia and diabetes, both of which are factors in the metabolic syndrome. These effects may be related to the drugs' ability to induce weight gain, although some reports have been made of metabolic changes in the absence of weight gain. Studies have indicated that olanzapine carries a greater risk of causing and exacerbating diabetes than another commonly prescribed atypical antipsychotic, risperidone. Of all the atypical antipsychotics, olanzapine is one of the most likely to induce weight gain based on various measures. The effect is dose dependent in humans and animal models of olanzapine-induced metabolic side effects. There are some case reports of olanzapine-induced diabetic ketoacidosis. Olanzapine may decrease insulin sensitivity, though one 3-week study seems to refute this. It may also increase triglyceride levels.

Despite weight gain, a large multicenter, randomized National Institute of Mental Health study found that olanzapine was better at controlling symptoms because patients were more likely to remain on olanzapine than the other drugs. One small, open-label, nonrandomized study suggests that taking olanzapine by orally dissolving tablets may induce less weight gain, but this has not been substantiated in a blinded experimental setting.

Post-injection delirium/sedation syndrome
Postinjection delirium/sedation syndrome (PDSS) is a rare syndrome that is specific to the long-acting injectable formulation of olanzapine, olanzapine pamoate. The incidence of PDSS with olanzapine pamoate is estimated to be 0.07% of administrations, and is unique among other second-generation, long-acting antipsychotics (e.g. paliperidone palmitate), which do not appear to carry the same risk. PDSS is characterized by symptoms of delirium (e.g. confusion, difficulty speaking, and uncoordinated movements) and sedation. Most people with PDSS exhibit both delirium and sedation (83%). Although less specific to PDSS, a majority of cases (67%) involved a feeling of general discomfort. PDSS may occur due to accidental injection and absorption of olanzapine pamoate into the bloodstream, where it can act more rapidly, as opposed to slowly distributing out from muscle tissue. Using the proper, intramuscular-injection technique for olanzapine pamoate helps to decrease the risk of PDSS, though it does not eliminate it entirely. This is why the FDA advises that people who are injected with olanzapine pamoate be watched for 3 hours after administration, in the event that PDSS occurs.

Animal toxicology
Olanzapine has demonstrated carcinogenic effects in multiple studies when exposed chronically to female mice and rats, but not male mice and rats. The tumors found were in either the liver or mammary glands of the animals.

Discontinuation
The British National Formulary recommends a gradual withdrawal when discontinuing antipsychotics to avoid acute withdrawal syndrome or rapid relapse. Symptoms of withdrawal commonly include nausea, vomiting, and loss of appetite. Other symptoms may include restlessness, increased sweating, and trouble sleeping. Less commonly, vertigo, numbness, or muscle pains may occur. Symptoms generally resolve after a short time.

Tentative evidence indicates that discontinuation of antipsychotics can result in psychosis, as a temporary withdrawal symptom. It may also result in reoccurrence of the condition that is being treated. Rarely, tardive dyskinesia can occur when the medication is stopped.

Overdose
Symptoms of an overdose include tachycardia, agitation, dysarthria, decreased consciousness, and coma. Death has been reported after an acute overdose of 450 mg, but also survival after an acute overdose of 2000 mg. Fatalities generally have occurred with olanzapine plasma concentrations greater than 1000 ng/mL post mortem, with concentrations up to 5200 ng/mL recorded (though this might represent confounding by dead tissue, which may release olanzapine into the blood upon death). No specific antidote for olanzapine overdose is known, and even physicians are recommended to call a certified poison control center for information on the treatment of such a case. Olanzapine is considered moderately toxic in overdose, more toxic than quetiapine, aripiprazole, and the SSRIs, and less toxic than the monoamine oxidase inhibitors and tricyclic antidepressants.

Interactions
Drugs or agents that increase the activity of the enzyme CYP1A2, notably tobacco smoke, may significantly increase hepatic first-pass clearance of olanzapine; conversely, drugs that inhibit CYP1A2 activity (examples: ciprofloxacin, fluvoxamine) may reduce olanzapine clearance. Carbamazepine, a known enzyme inducer, has decreased the concentration/dose ratio of olanzapine by 33% compared to olanzapine alone. Another enzyme inducer, ritonavir, has also been shown to decrease the body's exposure to olanzapine, due to its induction of the enzymes CYP1A2 and uridine 5'-diphospho-glucuronosyltransferase (UGT). Probenecid increases the total exposure (area under the curve) and maximum plasma concentration of olanzapine. Although olanzapine's metabolism includes the minor metabolic pathway of CYP2D6, the presence of the CYP2D6 inhibitor fluoxetine does not have a clinically significant effect on olanzapine's clearance.

Pharmacodynamics
Olanzapine was first discovered while searching for a chemical analog of clozapine that would not require hematological monitoring. Investigation on a series of thiophene isosteres on 1 of the phenyl rings in clozapine, a thienobenzodiazepine analog (olanzapine) was discovered.

Olanzapine has a higher affinity for 5-HT2A serotonin receptors than D2 dopamine receptors, which is a common property of most atypical antipsychotics, aside from the benzamide antipsychotics such as amisulpride along with the nonbenzamides aripiprazole, brexpiprazole, blonanserin, cariprazine, melperone, and perospirone.

In one study D2 receptor occupancy was 60% with low-dose olanzapine (5 mg/day) and occupancy with high dose at 83% (20 mg/day). In the usual clinical dose range of 10–20 mg/day, D2 receptor occupancy varied from 71% to 80%.

Olanzapine occupancy at 5-HT2A receptor are high at all doses (5 mg to 20 mg). It is reported that 5 mg dose of olanzapine produced a mean occupancy of 85% at 5 mg, 88% at 10 mg, and 93% at 20 mg dose.

Olanzapine had the highest affinity of any second-generation antipsychotic towards the P-glycoprotein in one in vitro study. P-glycoprotein transports a myriad of drugs across a number of different biological membranes (found in numerous body systems) including the blood–brain barrier (a semipermeable membrane that filters the contents of blood prior to it reaching the brain); P-GP inhibition could mean that less brain exposure to olanzapine results from this interaction with the P-glycoprotein. A relatively large quantity of commonly encountered foods and medications inhibit P-GP, and pharmaceuticals fairly commonly are either substrates of P-GP, or inhibit its action; both substrates and inhibitors of P-GP effectively increase the permeability of the blood–brain barrier to P-GP substrates and subsequently increase the central activity of the substrate, while reducing the local effects on the GI tract. The mediation of olanzapine in the central nervous system by P-GP means that any other substance or drug that interacts with P-GP increases the risk for toxic accumulations of both olanzapine and the other drug.

Olanzapine is a potent antagonist of the muscarinic M3 receptor, which may underlie its diabetogenic side effects. Additionally, it also exhibits a relatively low affinity for serotonin 5-HT1, GABAA, β-adrenergic receptors, and benzodiazepine binding sites.

Although antagonistic effects of olanzapine at 5-HT2C alone is not associated with weight gain, olanzapine antagonism at histaminergic H1, and muscarinic M3 receptors have been implicated in weight gain.

The mode of action of olanzapine's antipsychotic activity is unknown. It may involve antagonism of dopamine and serotonin receptors. Antagonism of dopamine receptors is associated with extrapyramidal effects such as tardive dyskinesia (TD), and with therapeutic effects. Antagonism of muscarinic acetylcholine receptors is associated with anticholinergic side effects such as dry mouth and constipation; in addition, it may suppress or reduce the emergence of extrapyramidal effects for the duration of treatment, but it offers no protection against the development of TD. In common with other second-generation (atypical) antipsychotics, olanzapine poses a relatively low risk of extrapyramidal side effects including TD, due to its higher affinity for the 5HT2A receptor over the D2 receptor.

Antagonizing H1 histamine receptors causes sedation and may cause weight gain, although antagonistic actions at serotonin 5-HT2C and dopamine D2 receptors have also been associated with weight gain and appetite stimulation.

Metabolism
Olanzapine is metabolized by the cytochrome P450 (CYP) system; principally by isozyme 1A2 (CYP1A2) and to a lesser extent by CYP2D6. By these mechanisms, more than 40% of the oral dose, on average, is removed by the hepatic first-pass effect. Clearance of olanzapine appears to vary by sex; women have roughly 25% lower clearance than men. Clearance of olanzapine also varies by race; in self-identified African Americans or Blacks, olanzapine's clearance was 26% higher. A difference in the clearance is not apparent between individuals identifying as Caucasian, Chinese, or Japanese. Routine, pharmacokinetic monitoring of olanzapine plasma levels is generally unwarranted, though unusual circumstances (e.g. the presence of drug–drug interactions) or a desire to determine if patients are taking their medicine may prompt its use.

Chemistry
Olanzapine is unusual in having four well-characterised crystalline polymorphs and many hydrated forms.

Chemical synthesis
The preparation of olanzapine was first disclosed in a series of patents from Eli Lilly & Co. in the 1990s. In the final two steps, 5-methyl-2-[(2-nitrophenyl)amino]-3-thiophenecarbonitrile was reduced with stannous chloride in ethanol to give the substituted thienobenzodiazepine ring system, and this was treated with methylpiperazine in a mixture of dimethyl sulfoxide and toluene as solvent to produce the drug.

 * Olanzapine synthesis.svg

Legal status
Olanzapine is approved by the US FDA for:

 * Treatment—in combination with fluoxetine—of depressive episodes associated with bipolar disorder (December 2003).

 * Long-term treatment of bipolar I disorder (January 2004).
 * Long-term treatment—in combination with fluoxetine—of resistant depression (March 2009)
 * Oral formulation: acute and maintenance treatment of schizophrenia in adults, acute treatment of manic or mixed episodes associated with bipolar I disorder (monotherapy and in combination with lithium or sodium valproate)
 * Intramuscular formulation: acute agitation associated with schizophrenia and bipolar I mania in adults
 * Oral formulation combined with fluoxetine: treatment of acute depressive episodes associated with bipolar I disorder in adults, or treatment of acute, resistant depression in adults
 * Treatment of the manifestations of psychotic disorders (September 1996 – March 2000).

 * Short-term treatment of acute manic episodes associated with bipolar I disorder (March 2000)
 * Short-term treatment of schizophrenia instead of the management of the manifestations of psychotic disorders (March 2000)
 * Maintaining treatment response in schizophrenic patients who had been stable for about eight weeks and were then followed for a period of up to eight months (November 2000)

The drug became generic in 2011. Sales of Zyprexa in 2008 were $2.2 billion in the US and $4.7 billion worldwide.

Controversy and litigation
Eli Lilly has faced many lawsuits from people who claimed they developed diabetes or other diseases after taking Zyprexa, as well as by various governmental entities, insurance companies, and others. Lilly produced a large number of documents as part of the discovery phase of this litigation, which started in 2004; the documents were ruled to be confidential by a judge and placed under seal, and later themselves became the subject of litigation.

In 2006, Lilly paid $700 million to settle around 8,000 of these lawsuits, and in early 2007, Lilly settled around 18,000 suits for $500 million, which brought the total Lilly had paid to settle suits related to the drug to $1.2 billion.

A December 2006 New York Times article based on leaked company documents concluded that the company had engaged in a deliberate effort to downplay olanzapine's side effects. The company denied these allegations and stated that the article had been based on cherry-picked documents. The documents were provided to the Times by Jim Gottstein, a lawyer who represented mentally ill patients, who obtained them from a doctor, David Egilman, who was serving as an expert consultant on the case. After the documents were leaked to online peer-to-peer, file-sharing networks by Will Hall and others in the psychiatric survivors movement, who obtained copies, in 2007 Lilly filed a protection order to stop the dissemination of some of the documents, which Judge Jack B. Weinstein of the Brooklyn Federal District Court granted. Judge Weinstein also criticized the New York Times reporter, Gottstein, and Egilman in the ruling. The Times of London also received the documents and reported that as early as 1998, Lilly considered the risk of drug-induced obesity to be a "top threat" to Zyprexa sales. On 9 October 2000, senior Lilly research physician Robert Baker noted that an academic advisory board to which he belonged was "quite impressed by the magnitude of weight gain on olanzapine and implications for glucose."

Lilly had threatened Egilman with criminal contempt charges regarding the documents he took and provided to reporters; in September 2007, he agreed to pay Lilly $100,000 in return for the company's agreement to drop the threat of charges.

In September 2008, Judge Weinstein issued an order to make public Lilly's internal documents about the drug in a different suit brought by insurance companies, pension funds, and other payors.

In March 2008, Lilly settled a suit with the state of Alaska, and in October 2008, Lilly agreed to pay $62 million to 32 states and the District of Columbia to settle suits brought under state consumer protection laws.

In 2009, Eli Lilly pleaded guilty to a US federal criminal misdemeanor charge of illegally marketing Zyprexa for off-label use and agreed to pay $1.4 billion. The settlement announcement stated "Eli Lilly admits that between September 1999 and March 31, 2001, the company promoted Zyprexa in elderly populations as treatment for dementia, including Alzheimer's dementia. Eli Lilly has agreed to pay a $515 million criminal fine and to forfeit an additional $100 million in assets."

The outcomes described here, and their legal ramifications, were fueled by motions and appeals that were not resolved until 2010. In 2021, Gottstein summarized this tangle of legal activities, and their impact on the political landscape of psychiatry and antipsychiatry in the US, in The Zyprexa Papers.

Brand names
Olanzapine is generic and available under many brand names worldwide.

Dosage forms
Olanzapine is marketed in a number of countries, with tablets ranging from 2.5 to 20 mg. Zyprexa (and generic olanzapine) is available as an orally disintegrating "wafer", which rapidly dissolves in saliva. It is also available in 10-mg vials for intramuscular injection.

Research
Olanzapine may be useful in promoting weight gain in underweight adult outpatients with anorexia nervosa. However, no improvement of psychological symptoms was noted.

Olanzapine has been shown to be helpful in addressing a range of anxiety and depressive symptoms in individuals with schizophrenia and schizoaffective disorders, and has since been used in the treatment of a range of mood and anxiety disorders. Olanzapine is no less effective than lithium or valproate and more effective than placebo in treating bipolar disorder. It has also been used for Tourette syndrome and stuttering.

Olanzapine has been studied for the treatment of hyperactivity, aggressive behavior, and repetitive behaviors in autism.

Olanzapine is frequently prescribed off-label for the treatment of insomnia, including difficulty falling asleep and staying asleep, even though such use is not recommended. The daytime sedation experienced with olanzapine is generally comparable to quetiapine and lurasidone, which is a frequent complaint in clinical trials. In some cases, the sedation due to olanzapine impaired the ability of people to wake up at a consistent time every day. Some evidence of efficacy for treating insomnia is seen; however, side effects such as dyslipidemia and neutropenia, which may possibly be observed even at low doses, outweigh any potential benefits for insomnia that is not due to an underlying mental health condition.

Olanzapine has been recommended to be used in antiemetic regimens in people receiving chemotherapy that has a high risk for vomiting.

Olanzapine has been studied as an antiemetic, particularly for the control of chemotherapy-induced nausea and vomiting (CINV).

In general, olanzapine appears to be about as effective as aprepitant for the prevention of CINV, though some concerns remain for its use in this population. For example, concomitant use of metoclopramide or haloperidol increases the risk for extrapyramidal symptoms. Otherwise, olanzapine appears to be fairly well tolerated for this indication, with somnolence being the most common side effect.

Olanzapine has been considered as part of an early psychosis approach for schizophrenia. The Prevention through Risk Identification, Management, and Education study, funded by the National Institute of Mental Health and Eli Lilly, tested the hypothesis that olanzapine might prevent the onset of psychosis in people at very high risk for schizophrenia. The study examined 60 patients with prodromal schizophrenia, who were at an estimated risk of 36–54% of developing schizophrenia within a year, and treated half with olanzapine and half with placebo. In this study, patients receiving olanzapine did not have a significantly lower risk of progressing to psychosis (16.1% vs 37.9%). Olanzapine was effective for treating the prodromal symptoms, but was associated with significant weight gain.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Olanzapine


text:
Talk:Grammy Award for Song of the Year

Comment
I think this should be at Grammy Award for Best Song to remain consistent with the Academy Awards and leave room for future additions of other awards for "Best Song". Also, why are only some of the artists linked? Many of the ones that aren't already have articles and/or will get one soon/eventually. Tuf-Kat

 * Agreed. Or perhaps, consistent with the Grammy name scheme, Grammy for Song of the Year? Atorpen 22:54 Feb 19, 2003 (UTC)
 * You're right, it's "Song of the Year", but I prefer Grammy Award for Song of the Year. It doesn't sound right without the "Award" IMO. Tuf-Kat
 * This lists composers, which is good, but the performer should be given too. Tuf-Kat

Anybody know the reason behind the random stars? —Preceding unsigned comment added by 18.111.111.24 (talk) 13:04, 13 January 2011 (UTC)

 * Please see the footnote below the table which reads: ^[II] The performing artist is only listed but does not receive the award. Sheepeeshaun

Writer credits for group compositions
Please comment at Talk:Grammy_Award.--TonyTheTiger (T/C/BIO/WP:CHICAGO/WP:FOUR) 05:46, 8 May 2011 (UTC)

This article needs a major overhaul
Song of the Year is an award presented to songwriters, without any reference at all to performing artists. The emphasis on performers in this article is overstated and irrelevant. The column of nationality (complete with flag) refers to the performing artists (who, remember, are irrelevant to the award) and is distracting from the songwriters, who are the winners of the award. If I have my way with the article, the nationality and performers columns will go. At most, the rightmost column might say something like ("performed most famously by ____"). Bellczar (talk) 04:58, 13 February 2017 (UTC)

External links modified
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 * Added archive https://web.archive.org/web/20081106040823/http://archives.cnn.com/2001/SHOWBIZ/Music/02/21/grammy.winners/ to http://archives.cnn.com/2001/SHOWBIZ/Music/02/21/grammy.winners/
 * Added archive https://web.archive.org/web/20120426041954/http://www.mlscmusic.com/Content/Charts%20Awards/45Grammy%20Nom%20List.pdf to http://www.mlscmusic.com/Content/Charts%20Awards/45Grammy%20Nom%20List.pdf
 * Added tag to http://www2.grammy.com/GRAMMY_Awards/49th_show/list.aspx
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title: Talk:Grammy Award for Song of the Year


text: User talk:152.163.188.66

title: User talk:152.163.188.66


text:
Oblast

An oblast (, ; plural oblasts, oblasti, or rarely oblasty; Russian and область; вобласць; област; облыс; облус) is a type of administrative division in Bulgaria and several post-Soviet states, including Belarus, Russia and Ukraine. Historically, it was used in the Russian Empire and the Soviet Union. The term oblast is often translated into English as region or province. In some countries, oblasts are also known by cognates of the Russian term.

Etymology
The English term oblast is borrowed from область, where it is inherited from Old East Slavic, in turn borrowed from область, formed from the prefix oб- (cognate with Classical ob and ἐπί, ἔπι) and власть. In Old East Slavic it was used alongside оболость, equivalent of об- and волость, cognate with English wield; see volost.

Russian Empire
In the Russian Empire, oblasts were considered to be administrative units and were included as parts of Governorates General or krais. The majority of then-existing oblasts were on the periphery of the country (e.g. Kars Oblast or Transcaspian Oblast) or covered the areas where Cossacks lived.

Soviet Union
In the Soviet Union, oblasts were one of the types of administrative divisions of the union republics. As any administrative units of this level, oblasts were composed of districts (raions) and cities/towns directly under oblasts' jurisdiction. Some oblasts also included autonomous entities called autonomous okrugs. Because of the Soviet Union electrification program under the GOELRO plan, Ivan Alexandrov, as director of the Regionalisation Committee of Gosplan, divided the Soviet Union into thirteen European and eight Asiatic oblasts, using rational economic planning rather than "the vestiges of lost sovereign rights".

The names of oblasts did not usually correspond to the names of the respective historical regions, as they were created as purely administrative units. With a few exceptions, Soviet oblasts were named after their administrative centers.

Yugoslavia
In 1922, the Kingdom of Serbs, Croats and Slovenes was divided into 33 administrative divisions also called oblasts. In 1929, oblasts were replaced with larger administrative units known as banovinas.

During the Yugoslav Wars, several Serb Autonomous Oblasts were formed in Bosnia and Herzegovina and Croatia. These oblasts were later merged into the Republic of Serbian Krajina and the Republika Srpska.

Bulgaria
Since 1999, Bulgaria has been divided into 28 oblasts, usually translated as "provinces". Before, the country was divided into just nine units, also called oblasts.

Post-Soviet states
Viloyat and welaýat are derived from the Turkish language term vilayet, itself derived from the Arabic language term wilāya (ولاية).

title: Oblast


text:
Jini

Jini, also called Apache River, is a network architecture for the construction of distributed systems in the form of modular co-operating services. JavaSpaces is a part of the Jini.

Originally developed by Sun Microsystems, Jini was released under the Apache License 2.0. Responsibility for Jini has been transferred to Apache under the project name "River".

History
Sun Microsystems introduced Jini in July 1998. In November 1998, Sun announced that there were some firms supporting Jini.

The Jini team at Sun has always stated that Jini is not an acronym. Ken Arnold has joked that it means "Jini Is Not Initials", making it a recursive anti-acronym, but it has always been just Jini. The word 'jini' means "the devil" in Swahili; this is borrowed from the Arabic word for a mythological spirit, originated from the Latin genius, which is also the origin of the English word 'genie'.

Jini provides the infrastructure for the Service-object-oriented architecture (SOOA).

Using a service
Locating services is done through a lookup service. Services try to contact a lookup service (LUS), either by unicast interaction, when it knows the actual location of the lookup service, or by dynamic multicast discovery. The lookup service returns an object called the service registrar that can be used by services to register themselves so they can be found by clients. Clients can use the lookup service to retrieve a proxy object to the service; calls to the proxy translate the call to a service request, performs this request on the service, and returns the result to the client. This strategy is more convenient than Java remote method invocation, which requires the client to know the location of the remote service in advance.

Limitations
Jini uses a lookup service to broker communication between the client and service. This appears to be a centralized model (though the communication between client and service can be seen as decentralized) that does not scale well to very large systems. However, the lookup service can be horizontally scaled by running multiple instances that listen to the same multicast group.

title: Jini


text:
Wayson Choy

Wayson Choy (崔維新 Pinyin: Cuī Wéixīn; Jyutping: Ceoi1 Wai4-san1) (April 20, 1939 – April 28, 2019) was a Canadian novelist. Publishing two novels and two memoirs in his lifetime, he is considered one of the most important pioneers of Asian Canadian literature in Canada, and as an important figure in LGBT literature as one of Canada's first openly gay writers of colour to achieve widespread mainstream success.

Personal life and education
Choy, whose birth name was Choy Way Sun, was born in Vancouver on April 20, 1939 and was adopted by parents Toy and Lilly. A Chinese Canadian, he spent his childhood in the city's Chinatown.

He graduated from Gladstone Secondary School and went on to attend the University of British Columbia, where he studied creative writing. He was the first Chinese-Canadian student accepted into the program.

He learned later in life that he had been adopted, which formed part of the basis for his memoir Paper Shadows.

In 2001, Choy suffered an asthma attack, which led to him being placed in a medically induced coma for 11 days during which he also suffered cardiac arrest. He remained in hospital for four months to recuperate and recover with physiotherapy. In 2005, he had a second heart attack, and underwent quadruple bypass surgery.

In 2010, Wilfrid Laurier University presented Choy with an honorary Doctorate of Literature.

Career
Choy published a number of short stories while studying creative writing at the University of British Columbia, with one of his stories appearing in the annual Best American Short Stories anthology, but after graduating he devoted himself primarily to teaching, resuming writing only later in life. Choy moved to Toronto in 1962, where he taught English at Burnhamthorpe Collegiate (1966–1967), then at Humber College from 1967 to 2004. He continued to teach at the Humber School for Writers, and served as president of the Cahoots Theatre Company.

Choy published his first novel, The Jade Peony in 1995. It won the Trillium Book Award and the City of Vancouver Book Award. In 2010, it was selected as one of five books for the CBC's annual Canada Reads competition, where it was defended by physician Samantha Nutt.

His first memoir, Paper Shadows: A Chinatown Childhood, was published in 1999. Written about his childhood within the Chinese Canadian community in Vancouver, the book explores both his discovery that he was adopted and his process of coming to terms with being gay. It won the Edna Staebler Award for Creative Non-Fiction, and was shortlisted for the Governor General's Award for English-language non-fiction at the 1999 Governor General's Awards.

His second novel, All That Matters, was published in 2004 and was nominated for the Scotiabank Giller Prize. All That Matters won Choy's second Trillium Book Award in 2004.

In 2005, he was named a member of the Order of Canada.

In 2009 Choy published Not Yet: A Memoir of Living and Almost Dying, his second and final memoir about dealing with the life-threatening health challenges.

In 2015, he received the George Woodcock Award, the lifetime achievement award for writers from British Columbia presented by the Writers' Trust of Canada and the Vancouver Public Library.

Three recently published monographs have featured chapters on Choy's publications up to Not Yet; these are: John Z. Ming Chen's The Influence of Daoism on Asian-Canadian Writers (Mellen, 2008), John Z. Ming Chen and Wei Li's A Study of Canadian Social Realist Literature: Neo-Marxist, Confucian, and Daoist Approaches (Inner Mongolia University Press, 2011), John Z. Ming Chen and Yuhua Ji's Canadian-Daoist Poetics, Ethics, and Aesthetics (Springer, 2015).

Awards and honours
Choy was named a Member of the Order of Canada in 2005. In 2015, he received the George Woodcock Award, a lifetime achievement award for writers from British Columbia presented by the Writers' Trust of Canada and the Vancouver Public Library. Three years later, the City of Vancouver recognized him with their Civic Merit Award.

In 1999, The Globe and Mail named Paper Shadows among the year's noteworthy books.

In 2010, The Jade Peony was selected as one of five books for the CBC's annual Canada Reads competition, where it was defended by physician Samantha Nutt, founder of War Child.

In 2012, Project Bookmark Canada presented two plaques in Vancouver's Chinatown with excepts from The Jade Peony written in both English and Mandarin.

Novels

 * The Jade Peony – 1995
 * All That Matters – 2004

Memoirs

 * Paper Shadows: A Chinatown Childhood – 1999
 * Not Yet: A Memoir of Living and Almost Dying – 2009 ISBN 978-0-385-66310-6

title: Wayson Choy


text:
TM

TM or Tm and variants may refer to:
 * Trademark, often indicated with the symbol ™
 * Trademark symbol

Businesses and organizations

 * TM Forum, telecommunications and entertainment industry association
 * TM Supermarket, a chain of supermarkets in Zimbabwe
 * LAM Mozambique Airlines (IATA airline designator TM)
 * Telekom Malaysia, telecommunications company
 * Texas Mexican Railway (reporting mark TM)
 * TM (cellular service), a telecommunications brand in the Philippines
 * Toastmasters International, an international public speaking organization
 * Toyota Motor Corporation (NYSE symbol TM)
 * Tokyo Metro, one of the major subway systems of Tokyo

Biology and medicine

 * Melting temperature (Tm) in nucleic acid thermodynamics, at which half of DNA strands are in the ssDNA state
 * Transport maximum, where concentration increase does not speed membrane traversal
 * Transverse myelitis, a neurological condition in which the spinal cord is inflamed
 * Translational medicine

Computing

 * .tm, the Internet domain code for Turkmenistan
 * Struct tm, calendar time type in the C and C++ programming languages
 * Traceability matrix, in software development
 * Translation memory
 * Turing machine, a hypothetical universal computing machine

Physics and chemistry

 * Tm ligands, a tridentate ligand used in coordination chemistry
 * Melting point (abbreviated Tm), in physics and materials science
 * Thulium, symbol Tm, a chemical element
 * Transition metal
 * Transverse Magnetic modes, in optics and wave theory

Weapons

 * TM 65 mine, a Finnish anti-tank mine
 * TM series of Soviet and Russian anti-tank mines
 * TM-41 mine, a Soviet World War II mine
 * TM-46 mine, a Soviet post-war mine
 * TM-57 mine, a Soviet Cold War mine
 * TM-62 series of mines, a series of Soviet Cold War blast mines
 * TM-83 mine, a 1990s Russian mine
 * TM-89 mine, a 1990s Russian mine

Other uses in science and technology

 * Thematic Mapper, an Earth-observing sensor on a Landsat satellite
 * Terametre (Tm), equal to 1012 metres
 * TM (triode) (from French Telegraphie Militaire), standard small-signal vacuum tube of the Allies of World War I

People

 * Theresa May is sometimes referred to as TM

Other uses

 * Taskmaster (TV series), a British TV comedy show adapted in several other countries.
 * Thames Measurement, a shipping tonnage measure
 * Their Majesties, for multiple monarchs each styled "His/Her Majesty"
 * Torpedoman's mate, a former rank of the U.S. Navy
 * Transcendental Meditation, a specific form of mantra meditation
 * Trans-Manhattan Expressway, a highway in New York City
 * Turkmenistan (ISO country code TM)
 * TrackMania, a Nadeo game
 * TM (album), an album by Brockhampton

title: TM


text:
Talk:Top Cat

Archive 2003-2009

No summary of the main character
In the Characters section, there is no information given on the main character, Top Cat. Somebody might want to add a character summary for T.C. Safiel (talk) 03:49, 24 January 2010 (UTC)

It makes no sense for there not to be a character description of the main character, Top Cat. --Hoppybunny (talk) 18:56, 3 February 2011 (UTC)

'Film' section unsourced
While I'd be delighted if there are solid plans to 'reboot' Top Cat as a feature film, Wikipedia is not a blog and therefore requires reliable sources (see WP:RS) for this information. If none are forthcoming I'll see what I can come up with, and if I can't the section will have to go per WP:CRYSTAL. Thanks. Jusdafax  15:45, 19 May 2010 (UTC)

New Film in this 2011
A new film version of Top Cat is in post-production of a Mexico-Argentina co-production slated for release in September 2011. http://www.imdb.com/title/tt1821680/ ZirKarloz — Preceding unsigned comment added by 189.129.118.140 (talk) 08:22, 9 June 2011 (UTC)

Analysis section removed - NPOV violation
A few weeks ago I happened upon an 'Analysis' section in the Yogi Bear article which struck me as being out of place given that it contained an application of Critical Theory to a subject not related to this field. Since Critical Theory is a decidedly non-neutral paradigm this was very much out of place in the article on a cartoon bear. I also noticed the section had been removed and re-instated several times with justifications which themselves violated NPOV by claiming that the material was relevant to the subject. I therefore added a note to the talk page for the article and removed the section with the admonition to justify a re-instatement in some way. The section was re-instated without justification so I removed it a second time, again asking for a justification why this clear NPOV violation should be upheld. Given the strange combination of subject matter - critical theory applied to cartoon figures - I decided to check whether this NPOV violation occurred in other articles, which it turned out it does. Since Wikipedia is not a political action platform these sections have no place here. I will therefore remove the 'Analysis' section with the stated justification. If another editor wants to revert this removal he or she should justify this in some way by explaining why an expression of political activism has a place in a Wikipedia entry on a cartoon figure. — Preceding unsigned comment added by Yetanwiki (talk • contribs) 23:43, 6 July 2020 (UTC)

Wiki has a POV...what's the point in fighting it?71.162.113.226 (talk) 11:46, 12 December 2020 (UTC)

End production
shouldnt this article have a secton about it's ending and or cancellation?

69.236.176.15 (talk) 05:42, 16 June 2011 (UTC)

A Commons file used on this page or its Wikidata item has been nominated for deletion
The following Wikimedia Commons file used on this page or its Wikidata item has been nominated for deletion: Participate in the deletion discussion at the. —Community Tech bot (talk) 11:15, 4 April 2021 (UTC)
 * Top Cat Kellogg's commercial 1 (c. 1961).webm

title: Talk:Top Cat


text:
Talk:Turnip

Turnips?

I moved the grocery store image here, because I believe those are beets.

copywrite
copied a small section off my site http://selfsufficientish.com for the origin so the copywirte belongs to me, referenced it by adding an external link at the end. Regards, Pekinensis 19:29, 11 Mar 2005 (UTC)

 * Good! I thought they were very red turnips, but I also thought of the possibility they were a particular cultivar, or that my colour-blindess was worse than usual.  --PJF (talk) 01:13, 12 Mar 2005 (UTC)

 * No, I'm just had some neurons cross wires up there somewhere. Not sure what I was thinking. Anyway, thanks for cleaning that up. – Quadell (talk) (sleuth) 01:44, Mar 12, 2005 (UTC)

title: Talk:Turnip


text:
Yellow Magic Orchestra

Yellow Magic Orchestra (abbreviated to YMO) was a Japanese electronic music band formed in Tokyo in 1978 by Haruomi Hosono (bass, keyboards, vocals), Yukihiro Takahashi (drums, lead vocals, occasional keyboards) and Ryuichi Sakamoto (keyboards, vocals). The group is considered influential and innovative in the field of popular electronic music. They were pioneers in their use of synthesizers, samplers, sequencers, drum machines, computers, and digital recording technology, and effectively anticipated the "electropop boom" of the 1980s. They are credited with playing a key role in the development of several electronic genres, including synthpop, J-pop, electro, and techno, while exploring subversive sociopolitical themes throughout their career.

The three members were veterans of the music industry before coming together as YMO, and were inspired by eclectic sources, including the electronic music of Isao Tomita and Kraftwerk, Japanese traditional music, arcade games, funk music, and the disco productions of Giorgio Moroder. They released the surprise global hit "Computer Game" in 1978, reaching the UK Top 20 and selling 400,000 copies in the U.S. For their early recordings and performances, the band was often accompanied by programmer Hideki Matsutake. The group released several albums before pausing their activity in 1984. They briefly reunited several times in subsequent decades before Takahashi and Sakamoto's deaths in 2023.

1976–1978: early years and formation
Prior to the group's formation, Sakamoto had been experimenting with electronic music equipment at the Tokyo National University of Fine Arts and Music, which he entered in 1970, including synthesizers such as the Buchla, Moog, and ARP. The group leader Haruomi Hosono had been using an Ace Tone rhythm machine since early in his career in the early 1970s. Following the break-up of his band Happy End in 1972, Hosono became involved in the recording of several early electronic rock records, including Yōsui Inoue's folk pop rock album Kōri no Sekai (1973) and Osamu Kitajima's progressive psychedelic rock album Benzaiten (1974), both of which utilized synthesizers, electric guitars, electric bass, and in the latter, electronic drums, and rhythm machines. Also around the same time, the band's future "fourth member" Hideki Matsutake was the assistant for the internationally successful electronic musician Isao Tomita. Much of the methods and techniques developed by both Tomita and Matsutake during the early 1970s would later be employed by Yellow Magic Orchestra.

Sakamoto first worked with Hosono as a member of his live band in 1976, while Yukihiro Takahashi recruited Sakamoto to produce his debut solo recording in 1977 following the split of the Sadistic Mika Band. Hosono invited both to work on his exotica-flavoured album Paraiso, which included electronic songs produced using various electronic equipment. The band was named "Harry Hosono and the Yellow Magic Band" as a satire of the idyllic perception of pacific and Hawaiian music America had been obsessed with and in late 1977 they began recording Paraiso, which was released in 1978. The three worked together again for the 1978 album Pacific, which included an early version of the song "Cosmic Surfin".

Hosono and Sakamoto also worked together alongside Hideki Matsutake in early 1978 for Hosono's experimental "electro-exotica" fusion album Cochin Moon, which fused electronic music with Indian music, including an early "synth raga" song "Hum Ghar Sajan". The same year, Sakamoto released his own solo album, The Thousand Knives of Ryuichi Sakamoto, experimenting with a similar fusion between electronic music and traditional Japanese music in early 1978. Hosono also contributed to one of Sakamoto's songs, "Thousand Knives", in the album. Thousand Knives was also notable for its early use of the microprocessor-based Roland MC-8 Microcomposer music sequencer, with Matsutake as its music programmer for the album.

While Sakamoto was working on Thousand Knives, Hosono began formulating the idea of an instrumental disco band which could have the potential to reach success in non-Japanese-language territories, and invited Tasuo Hayashi of Tin Pan Alley and Hiroshi Sato of Huckleback as participants, but they declined. Hosono, Sakamoto and Takahashi eventually collaborated again to form the Yellow Magic Orchestra and they began recording their self-titled album at a Shibaura studio in July 1978.

1978–1983: National and international success
The band's 1978 self-titled album Yellow Magic Orchestra was successful and the studio project grew into a fully fledged touring band and career for its three members. The album featured the use of computer technology (along with synthesizers) which, according to Billboard, allowed the group to create a new sound that was not possible until then. Following the release of the album Yellow Magic Orchestra, a live date at the Roppongi Pit Inn was seen by executives of A&M Records of the USA who were in the process of setting up a partnership deal with Alfa Records. This led to the YMO being offered an international deal, at which point (early 1979) the three members decided the group would be given priority over their solo careers. The most popular international hit from the album was "Firecracker", which would be released as a single the following year and again as "Computer Game", which became a success in the United States and Europe.

Following an advertising deal with Fuji Cassette, the group sparked a boom in the popularity of electronic pop music, called "technopop" in Japan, where they had an effect similar to that of the Beatles and Merseybeat in 1960s Britain. For some time, YMO was the most popular band in Japan. Successful solo act Akiko Yano (later married to Sakamoto) joined the band for its live performances in the late 1970s and early 1980s, but did not participate in the studio recordings. On the other hand, the YMO trio contributed to her own albums and became part of her live band, during these same years. Legendary English guitarist Bill Nelson, who had disbanded Be-Bop Deluxe and Red Noise to more recently explore Electropop himself, likewise played on YMO's Naughty Boys (1983), its non-vocals variant Naughty Boys Instrumental (1984) and subsequent solo Yukihiro Takahashi projects, before featuring the latter on two of Nelson's own UK based releases.

Making abundant use of new synthesizers, samplers, sequencers, drum machines, computers and digital recording technology as it became available, as well as utilizing cyberpunk-ish lyrics sung mostly in English, they extended their popularity and influence beyond Japan.

Their second album, Solid State Survivor, released in 1979, was YMO's pinnacle recording in Japan, winning the 1980 Best Album Award in the Japan Record Awards. It featured English lyrics by Chris Mosdell, whose sci-fi themes often depicted a human condition alienated by dystopic futures, much like the emerging cyberpunk movement in fiction at that time. One of the album's major singles, and one of the band's biggest international hits, was "Behind the Mask", which YMO had first produced in 1978 for a Seiko quartz wristwatch commercial, and then for Solid State Survivor with lyrics penned by Chris Mosdell. The song was later revised by Michael Jackson, who added new lyrics and had intended to include it in his album Thriller. Despite the approval of songwriter Sakamoto and lyricist Chris Mosdell, it was eventually removed from the album due to legal issues with YMO's management. Jackson's version was never released until his first posthumous album, Michael, though his additional lyrics were included in later cover versions of the song by Greg Phillinganes, Eric Clapton, and Ryuichi Sakamoto himself in his 1986 solo release Media Bahn Live. Solid State Survivor included several early computerized synth rock songs, including a mechanized cover version of "Day Tripper" by the Beatles.

Solid State Survivor went on to sell over 2 million records worldwide. By 1980, YMO had become the most popular group in Japan, where they were performing to sold-out crowds. Their first live album Public Pressure set a record in Japan, topping the charts and selling 250,000 copies within two weeks, while their next studio album X∞Multiplies had 200,000 pre-orders before release. The same year, their albums Solid State Survivor and X∞Multiplies held the top two spots on the Oricon charts for seven consecutive weeks, making YMO the only band in Japanese chart history to achieve this feat.

The 1980 song "Multiplies" was an early experiment in electronic ska. X∞Multiplies was followed up with the 1981 album BGM. "Rap Phenomena" from the album was an early attempt at electronic rap.

They also had similar success abroad, performing to sold-out crowds during tours in the United States and Europe. The single "Computer Game" had sold 400,000 copies in the United States and reached No. 17 in the UK Charts. The group also performed "Firecracker" and "Tighten Up" live on the Soul Train television show. At around the same time, the 1980 song "Riot in Lagos" by YMO member Sakamoto pioneered the beats and sounds of electro music. The band was particularly popular with the emerging hip hop community, which appreciated the group's electronic sounds, and in the Bronx where "Firecracker" was a success and sampled in the famous Death Mix (1983) by Afrika Bambaataa. Meanwhile, in Japan, YMO remained the best-selling music act there up until 1982.

1984–1993: breakup and brief reunion
The band had paused their group activities by 1984. After the release of their musical motion picture Propaganda, the three members had returned to their solo careers. They were careful to avoid saying they had "split up", preferring to use the Japanese phrase meaning "spreading out" (散開), and the trio continued to play on each other's recordings and made guest appearances at live shows. Takahashi, in particular, would play the band's material in his concerts. Meanwhile, Sakamoto would gain international success for his work as a solo artist, actor, and film composer, winning Grammy, Oscar, and Golden Globe awards.

Yellow Magic Orchestra released a one-off reunion album, Technodon, and credited it to 'NOT YMO' (YMO crossed out with a calligraphy X) or YMO in 1993. Instead of traditional vocals, about half of it features field audio recordings and samples of authors and scientists reading their work. During their brief reunion in the early 1990s, they continued to experiment with new styles of electronic music, playing an instrumental role in the techno and acid house movements of the era.

2002–2023: post-breakup and reformation
The early 2000s saw Hosono and Takahashi reunited in a project called Sketch Show. On a number of occasions Ryuichi Sakamoto has joined in on Sketch Show performances and recording sessions. He later proposed they rename the group Human Audio Sponge when he participates. Barcelona performance at Sonar festival and Wild Sketch Show DVDs chronicle these reunions, and include a tongue-in-cheek Japanese text-only history of the group that spans to 2036.

The band have reunited in 2007 for an advertising campaign for Kirin Lager which lampooned their longevity and charted No.1 on various Japanese digital download charts (including iTunes Store chart) with the song "Rydeen 79/07", released on Sakamoto's new label commmons. Recently performing live as Human Audio Sponge; Hosono, Sakamoto, and Takahashi did a live performance together as Yellow Magic Orchestra for the Live Earth, Kyoto, event on July 7, 2007, which raised money and awareness of a "climate in crisis".

In August 2007, the band once again reformed, taking the name HASYMO or HAS/YMO, combining the names of Human Audio Sponge and Yellow Magic Orchestra. Their first single under this name, "Rescue", was written for the film Appleseed EX Machina. They released a new two song single titled "The City of Light/Tokyo Town Pages" on August 6, 2008. HASYMO played two live concerts in Europe in the summer of 2008, one at the Royal Festival Hall, London on June 15, as part of the Meltdown festival of music curated by Massive Attack and another in Gijón, Spain, on the 19th. Although the primary YMO members (Yukihiro Takahashi, Haruomi Hosono, and Ryuichi Sakamoto) were effectively known as HASYMO and played both these concerts, these concerts were billed simply as "YMO" but featured only 4 YMO songs in each concert while the rest of the concert featured Sketch Show, HASYMO music and members' solo works.

In August 2009, the band played the World Happiness festival in Japan, featuring many Japanese artists. The band closed the night, and confirmed that "Yellow Magic Orchestra" was their official name, dropping the HASYMO title. They opened with a cover of "Hello, Goodbye" and performed old YMO songs along with their newer songs.

In August 2010, YMO once again closed their World Happiness festival. They added classic songs from their back catalog into their set list. They also covered "Hello, Goodbye" and "Thank You (Falettinme Be Mice Elf Agin)". In January 2011, KCRW announced for their World Festival concert series that Yellow Magic Orchestra will perform at the Hollywood Bowl on June 26, 2011. Not long after, a concert for June 27, 2011, at The Warfield was added. It was announced in February that YMO would perform at the Fuji Rock festival in July and the World Happiness festival 2011 on August 7.

In 2012, Sakamoto helped organize the No Nukes 2012 festival held in the Makuhari Messe hall in Chiba, Japan, on July 7 and 8, 2012. Among the many artists performing, Kraftwerk closed the July 7 concert, with YMO performing on both days, closing the July 8 concert. YMO also headlined their World Happiness festival on August 12, 2012. After these performances, the band once again went quiet; though no formal announcement was made of a hiatus or breakup, the band ultimately did not reconvene for further recordings or headlining concerts.

On June 23, 2018, Hosono played his debut UK solo concert at the Barbican Centre in London; Takahashi and Sakamoto joined him on stage to perform "Absolute Ego Dance", marking the final time that the three would appear together in public. (The band featured in Hosono's second and third "Yellow Magic Show" on Japanese TV, both recorded in 2019; their appearance in the third was in front of a live audience, but Sakamoto appeared via prerecorded video.)

2023: Takahashi and Sakamoto's deaths
On January 11, 2023, Takahashi died at the age of 70, following a case of pneumonia. He had undergone surgery to remove a brain tumor in 2020 but continued to have health troubles that interfered with his musical activities in the intervening years. That same year, Sakamoto died on March 28 at the age of 71, following a lengthy battle with cancer; leaving Hosono as the last surviving member of the group.

Musical style and development
While their contemporaries in Düsseldorf, and later Detroit, were using synthesizer technology to create bleak dystopian music, YMO introduced a more "joyous and liberating" approach to electronic music. According to Sakamoto, they were "tired" of Japanese musicians imitating Western and American music at the time and so they wanted to "make something very original from Japan." Kraftwerk was particularly an influence on Sakamoto, who heard the band in the mid-1970s and later introduced them to his fellow band members. They were impressed with Kraftwerk's "very formalized" style but wanted to avoid imitating their "very German" approach. He described Kraftwerk's music as "theoretical, very focused, simple and minimal and strong". Their alternative template for electronic pop was less minimalistic, made more varying use of synthesizer lines, introduced "fun-loving and breezy" sounds, and placed a strong emphasis on melody in contrast to Kraftwerk's statuesque "robot pop".

The band also drew from a wider range of influences than had been employed by Kraftwerk. These influences on YMO included Japanese electronic music (such as Isao Tomita), traditional Japanese music, experimental Chinese music (of the Cultural Revolution era), Indian music (such as Ravi Shankar and Bollywood music), arcade game samples, American rap, exotica, Caribbean ska, Giorgio Moroder's disco work, the Beatles, the Beach Boys and their leader Brian Wilson, Van Dyke Parks, classical music, animal sounds, and noise. Sakamoto has expressed that his "concept when making music is that there is no border between music and noise."

Sampling
Their approach to sampling music was a precursor to the contemporary approach of constructing music by cutting fragments of sounds and looping them using computer technology. Their 1978 hit "Computer Game / Firecracker", for example, sampled Martin Denny's 1959 exotica melody "Firecracker" and arcade game sounds from Space Invaders and Circus. According to The Vinyl District magazine, they also released the first album to feature mostly samples and loops (1981's Technodelic). The pace at which the band's music evolved has been acknowledged by critics. According to SF Weekly, YMO's musical timeline has gone from "zany exotica-disco spoofs" and "bleeps and blips" in the 1970s to "sensuous musique concrète perfected" in their 1983 albums Naughty Boys and Service.

Technodelic (1981) was produced using the LMD-649, a PCM digital sampler that Toshiba-EMI sound engineer Kenji Murata custom-built for YMO. Soon after Technodelic, the LMD-649 was used by YMO-associated acts such as Chiemi Manabe and Logic System.

Instruments

The band often utilized a wide variety of state-of-the-art electronic music equipment immediately as they were made available. The group leader Haruomi Hosono had already been using an Ace Tone rhythm machine since early in his career in the early 1970s. Yellow Magic Orchestra and Ryuichi Sakamoto's Thousand Knives were one of the earliest popular music albums to utilize the Roland MC-8 Microcomposer, which was programmed by Hideki Matsutake during recording sessions. Roland called the MC-8 a "computer music composer" and it was the first stand-alone microprocessor-based music sequencer. It also introduced features such as a keypad to enter note information and 16 KB of RAM which allowed a maximum sequence length of 5200 notes, a huge step forward from the 8–16 step sequencers of the era. While it was commercially unsuccessful due to its high price, the band were among the few bands at the time to utilize the MC-8, which they described as, along with its music programmer Hideki Matsutake, an "inevitable factor" in both their music production and live performances. "Behind the Mask" (1979) made use of synthesizers for the melodies and digital gated reverb for the snare drums.

They were also the very first band to utilize the Roland TR-808 Rhythm Composer, one of the first and most influential programmable drum machines, as soon as it was released in 1980. While the machine was initially unsuccessful due to its lack of digital sampling that the rival Linn LM-1 offered, the TR-808 featured various unique artificial percussion sounds, including a deep bass kick drum, "tinny handclap sounds", "the ticky snare, the tishy hi-hats (open and closed)", and "the spacey cowbell", which YMO utilized and demonstrated in their music, as early as its year of release in 1980, paving the way for the TR-808's mainstream popularity several years later,  after which it would be used for more hit records than any other drum machine and continue to be widely used through to the present day.

At the time, Billboard noted that the use of such computer-based technology in conjunction with synthesizers allowed YMO to create new sounds that were not possible until then. Yellow Magic Orchestra was also the first computer-themed music album, coming before Kraftwerk's Computer World (1981) by several years. As a result of such innovations, YMO were credited at the time for having "ushered in the age of the computer programmer as rock star."

Other electronic equipment used by the group included the LMD-649 sampler (see Sampling above), Roland MC-4 Microcomposer sequencer, Pollard Syndrum electronic drums, Roland VP-330 and Korg VC-10 vocoders, Yamaha CS-80 and DX7 synthesizers, Korg PS-3100 and PS-3300 synthesizers, Moog III-C and Polymoog synthesizers, and ARP Odyssey, Oberheim 8 Voice, and E-mu Emulator synthesizers. Electric instruments were also used, the Fender Rhodes piano and Fender Jazz Bass.

Legacy
The band has been described as "the original cyberpunks" and their early work has been described as "proto-techno" music. By the 1990s, YMO were also frequently cited as pioneers of ambient house music. YMO also popularized a style of live performance that eschewed human movement in favour of electronics such as rhythm boxes and samplers. They also influenced the New Romantic movement, including British bands Duran Duran and Japan, whose member Steve Jansen was influenced by drummer Takahashi, while lead member David Sylvian was influenced by Sakamoto, who would later collaborate with Sylvian.

Various cover versions of "Kimi ni Mune Kyun" (1983) have also been produced by other artists, including The Human League in 1993 ("YMO Versus The Human League") and Asako Toki in 2006. In 2009, a cover of "Kimi ni Mune Kyun" was used as the ending theme song for the anime adaptation of Maria Holic, sung by Asami Sanada, Marina Inoue, and Yū Kobayashi, the voice actresses of the main characters. In 2015, in the anime Sound! Euphonium, episode 5, the song "Rydeen" is played by Kitauji highschool's orchestra. The popular anime series Dragon Ball Z also paid homage to the band with the song "Solid State Scouter" as the theme song of the 1990 TV special Dragon Ball Z: Bardock – The Father of Goku.

In HMV Japan's list of top 100 Japanese musicians of all time, YMO were voted second place, behind only Southern All Stars, a pop-rock band who remain largely unknown outside Japan. In 2006, Senor Coconut paid tribute to the band with his Yellow Fever! album.

Electronic music
YMO were pioneers of synthpop, a genre which emerged at the start of the 1980s. In 1993, Johnny Black of Hi-Fi News, in a review for the record Hi-Tech/No Crime, described YMO as "the most adventurous and influential electro-techno-dance technicians the world has produced" and further argued that "without them (and Kraftwerk) today's music would still sound like yesterday's music." In 2001, Jason Ankeny of the Allmusic Guide to Electronica described YMO as "a seminal influence on contemporary electronic music – hugely popular both at home and abroad" and placed them "second only to Kraftwerk as innovators of today's electronic culture."

YMO are considered pioneers in the field of popular electronic music, and continue to be remixed or sampled by modern artists, including experimental artist Yamantaka Eye, electronica group LFO, jungle band 4hero, electrolatino artist Senor Coconut, ambient house pioneers The Orb and 808 State, electronic music groups Orbital and The Human League, hip hop pioneer Afrika Bambaataa, and mainstream pop musicians such as Michael Jackson, Quincy Jones, Greg Phillinganes, Eric Clapton, Mariah Carey, and Jennifer Lopez.

YMO also influenced techno music, including its pioneers Juan Atkins, Kevin Saunderson, and Derrick May, who cited YMO as an important influence on their work alongside Kraftwerk. YMO continued to influence later techno musicians such as Surgeon, μ-Ziq, and Cosmic Baby. "Technopolis" (1979) in particular is considered an "interesting contribution" to the development of Detroit techno and the group Cybotron. "Computer Game" (1978) also influenced Sheffield's bleep techno music; the Warp record, Sweet Exorcist's "Testone" (1990), defined Sheffield's techno sound by making playful use of sampled sounds from "Computer Game" along with dialogues from the film Close Encounters of the Third Kind (1977). "Computer Game" (1978) was later included in Carl Craig's compilation album Kings of Techno (2006).

In the 1990s, YMO influenced ambient house pioneers such as The Orb and 808 State, as well as Ultramarine and other ambient/house artists. This resulted in the release of the tribute remix album Yellow Magic Orchestra: Hi-Tech/No Crime in 1993, by leading ambient, house and techno musicians at the time, including The Orb, 808 State, and Orbital. The music YMO produced during their comeback in the early 1990s also played an instrumental role in the techno and acid house movements towards the end of the 20th century. The band's use of oriental musical scales and video game sounds has continued to be an influence on 21st-century electronica acts such as Dizzee Rascal, Kieran Hebden, and Ikonika.

YMO's success with music technology encouraged many others, with their influence strongly felt in the British electronic scene of the early 1980s in particular. They influenced many early British synthpop acts, including Ultravox, John Foxx, Gary Numan, Duran Duran, Depeche Mode, Camouflage, OMD, The Human League, Visage, and Art of Noise, as well as American rock musicians such as Todd Rundgren.

"Technopolis", a tribute to Tokyo as an electronic mecca that used the term "techno" in its title, foreshadowed concepts that Juan Atkins and Rick Davis would later have with Cybotron.

Hip hop
The band was popular with the emerging hip hop community, which appreciated the group's new electronic sounds, and in the Bronx where Firecracker was a success and sampled in the famous Death Mix by Afrika Bambaataa. Afrika Bambaataa's influential song "Planet Rock" was partly inspired by YMO. The "terse videogame-funk" sounds of YMO's "Computer Game" would have a strong influence on the emerging electro and hip hop genres. Sakamoto's "Riot in Lagos" was cited by Kurtis Mantronik as a major influence on his early electro hip hop group Mantronix; he included both "Computer Game" and "Riot in Lagos" in his compilation album That's My Beat (2002) which consists of the songs that influenced his early career. The song was also later included in Playgroup's compilation album Kings of Electro (2007), alongside later electro classics such as Hashim's "Al-Nafyish" (1983). The 1980 release of "Riot in Lagos" was also listed by The Guardian in 2011 as one of the 50 key events in the history of dance music.

YMO's use of video game sounds and bleeps also had a particularly big influence on 1980s hip hop and pop music. Beyond electro acts, "Computer Game / Firecracker" was also sampled by a number of other later artists, including 2 Live Crew's "Mega-Mixx II" (1987), De La Soul's "Funky Towel" (for the 1996 film Joe's Apartment), Jennifer Lopez's "I'm Real" (2001), and the original unreleased version of Mariah Carey's "Loverboy" (2001).

Japan
The band has also been very influential in its homeland Japan, where they had become the most popular group during the late 1970s and 1980s. Their albums Solid State Survivor and X∞Multiplies held the top two spots on the Oricon charts for seven consecutive weeks in 1980, making YMO the only band in Japanese chart history to achieve this feat. Young fans of their music during this period became known as the "YMO Generation" (YMO世代).

The band significantly affected Japanese pop music, which started becoming increasingly dominated by electronic and computer music due to YMO's influence. YMO were one of the most important acts in Japan's "New Music" movement and paved the way for the emergence of contemporary J-pop in the 1980s. They also inspired early ambient techno artists such as Tetsu Inoue, and the classical music composer Joe Hisaishi. The manga author Akira Toriyama, creator of Dragon Ball and Dr. Slump, cited Yellow Magic Orchestra as his favorite music band in a 1980 interview.

Video games
YMO also influenced many video game composers and significantly affected the sounds used in much of the chiptune and video game music produced during the 8-bit and 16-bit eras. In 1994, four video game composers employed at Namco formed a parody band called Oriental Magnetic Yellow (OMY), producing parody cover versions of various YMO records, consisting of Shinji Hosoe as Haruomi Hosonoe, Nobuyoshi Sano as Ryuichi Sanomoto, Takayuki Aihara as Takayukihiro Aihara, and Hiroto Sasaki as Hideki Sasatake.

Discography

 * Yellow Magic Orchestra (1978)
 * Solid State Survivor (1979)
 * ×∞ Multiplies (also known as Zoshoku, 1980)
 * BGM (1981)
 * Technodelic (1981)
 * Naughty Boys (1983)
 * Service (1983)
 * Technodon (credited to YMO, 1993)

title: Yellow Magic Orchestra


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Talk:Best Alternative Music Album

According to the Grammy.com website, this information, except essentially for the Coldplay entry, is just plain wrong. Is this supposed to be best rock album, or best alternative album? Atorpen 23:35 Feb 19, 2003 (UTC)

title: Talk:Best Alternative Music Album