At Cardinal Keyboard day a few weeks ago I had the opportunity to observe a masterclass and lecture by Elizabeth Grace, M.M. Ms. Grace is an expert in the Taubman Approach, a holistic method of movement that attempts to eliminate tension that could cause injury, specifically for pianists. Dorothy Taubman (1917-2013) believed that “if playing the piano doesn’t feel delicious and euphoric, you’re doing something wrong,” and she studied anatomy thoroughly to develop a system of coordinate motion that would prevent injury before it began.

Ms. Grace discussed the principle of alignment (joints moving naturally as opposed to straining or moving in unhealthy ways) as well as stability vs. mobility (joints as systems of leverage that should be powerful and properly balanced but still able to move quickly) in her lecture, as well as addressing troublesome habits such as curling the fingers, twisting at the wrist, collapsing knuckle joints, stretching in unnatural ways, and isolating digits from the palm when playing the piano. Instead, she suggested some good methods for maintaining proper alignment, like sitting at the proper height and distance from the piano, using whole-body movement, and ensuring the torso, forearm, hand and fingers, and thumb remain aligned but not tense when practicing. She also recommended that pianists utilize techniques such as horizontal movement into the keys, confirming correct fingering, and taking mid-range notes with different hands, all of which should be noted on the score as best practice. 

If you or someone you know experiences pain or tension when playing piano or any instrument, please research the Taubman Approach for a helpful and holistic set of techniques to eliminate misalignment that could cause injury. We are often told as musicians that pain is just something that happens when you practice for long periods of time and should be ignored as a sign that your muscles are underdeveloped, and this is why many musicians suffer injury or near-injury before realizing that it’s not a lack of physical strength, but a lack of knowledge and technique causing the issue.

For Keeping Up With the World

The Daily and Today Explained

• What they are: Both are daily news podcasts that break down current events in a way that’s easy to follow.
• My take: I listen to these pretty interchangeably. On a good day, I’ll listen to both, but if I don’t have time I just pick whichever episode sounds more interesting. For me, they’re less about enjoyment and more about making sure I know what’s happening.
• Who will like it:  Anyone who wants to stay informed without constantly scrolling the news. Especially good if you’re busy and just want a quick, clear breakdown of one major story.
• Where to start: Just start with today’s episode—that’s the whole point.

For Politics, Culture, and Strong Opinions

In Bed with the Right

• What it is: A podcast analyzing right-wing ideas about gender, sex, and sexuality, and how they still shape politics today.
• My take: This one feels really thoughtful but still engaging. It helps you see how certain ideas have evolved.
• Who will like it: People interested in feminist theory, political ideology or understanding the cultural roots behind modern politics.
• Where to start: The two-part series on Phyllis Schlafly.

5-4

• What it is: A podcast about the Supreme Court of the United States and how political its decisions really are.
• My take: This is basically anger and sarcasm in podcast form. It’s very snarky and opinionated, but also really effective at explaining complicated legal cases.
• Who will like it: Anyone who enjoys political commentary with personality, especially if you like podcasts that are a little blunt.
• Where to start: “Bush v. Gore” – you’ll immediately get the tone.

Diabolical Lies

• What it is: A long-form culture and politics podcast that digs into media, power and the stories we believe.
• My take: This is my favorite podcast right now but it’s definitely not for everyone. It’s slower and really focused on unpacking ideas.
• Who will like it: People who like deep dives into culture and politics, and don’t mind something more thoughtful and less fast-paced with a little (or a lot) of snark. 
• Where to start: If you are more interested in culture I would recommend “Is There a ‘Skinny Apocalypse’ in Hollywood?” If you want more political analyses try  “Why America Can’t See Gaza”

For True Crime 

Crime Junkie

• What it is: A weekly true crime podcast covering everything from missing persons to major cases.
• My take: I think it deserves the hype; it’s easy to follow and consistently interesting. But if you’re only picking one Ashley Flowers podcast, I wouldn’t start here. As much as I love this podcast, International Infamy, is an even better introduction to the world of true crime.
• Who will like it: Anyone new to true crime (or podcasts in general) and are looking for something straightforward and consistently engaging.
• Where to start:  “Infamous: Darlie Routier part 1”

International Infamy

• What it is: Also hosted by Ashley Flowers, this podcast explores infamous crimes from around the world.
• My take: I binged this one. I really enjoyed the global scope, and the fact that it’s short (only 15 episodes) makes it feel very manageable and easy to get.
• Where to start: Honestly, any of the 15 episodes. Since it’s a short series, it’s easy to jump in anywhere and just go from there.

Final Thoughts

If you’re trying to get into podcasts, don’t try to listen to everything at once. Pick based on your mood. The hardest part is just starting—but once you find the right episode, it’s easy to get hooked.

The 2026 Grammys are easiest to understand if you follow five artists. Between them, they basically tell the story of the entire night.

Bad Bunny

Bad Bunny defined the ceremony. His album Debí Tirar Más Fotos won Album of the Year, making history as the first Spanish-language album ever to take the Grammys’ top prize and beating out nominees like Kendrick Lamar, Lady Gaga, and Tyler, the Creator. The win marked his first time taking home a “Big Four” (Album of the Year, Record of the Year, Song of the Year, and Best New Artist) category and underscored the global dominance of Latin music. He also won Best Música Urbana Album and Best Global Music Performance, making it clear that his impact wasn’t limited to one category.

Kendrick Lamar

If Bad Bunny had the biggest single win, Kendrick Lamar had the biggest overall night. He won Record of the Year for “Luther” with SZA and Best Rap Album for “GNX”. Those victories pushed him past Jay-Z to become the most-awarded rapper in Grammy history, with 27 career wins. Kendrick opened the televised awards with his rap album win and kept returning to the stage. His speech emphasized hip-hop’s cultural longevity, reinforcing his position as one of the genre’s defining artists.

Billie Eilish

Billie Eilish took home Song of the Year for “Wildflower,” adding another major Grammy to her already stacked résumé. The category included heavy competition from Lady Gaga, Kendrick Lamar, and Bad Bunny, but Eilish’s songwriting secured the win. She also appeared throughout the night wearing an “ICE OUT” pin alongside other artists, reflecting the subtle but noticeable political messaging that threaded through the ceremony.

Olivia Dean

British singer Olivia Dean won Best New Artist, one of the most anticipated categories each year. While not the most commercially dominant nominee, her win signals that the industry sees her long-term potential. Best New Artist often predicts future headliners, and the Grammys clearly positioned Dean as someone to watch moving forward.

Lady Gaga

Lady Gaga didn’t sweep the night, but she remained a constant presence. She won Best Pop Vocal Album for Mayhem and was nominated across multiple major categories, including Song and Album of the Year. Her continued success highlights her staying power: nearly two decades into her career, she is still competing with and winning against a new generation of artists.

The 2026 Grammys weren’t chaotic or shocking. Through those five artists, the night felt less like a turning point and more like a confirmation of where music already is.