Gordon Sondland, U.S. ambassador to the European Union, has emerged as a pivotal link between the president and a shadow foreign policy led by Rudolph W. Giuliani.

WASHINGTON — 

Gordon Sondland, U.S. ambassador to the European Union, has emerged as a pivotal link between the president and a shadow foreign policy led by Rudolph W. Giuliani, who was urging the Ukrainians to conduct investigations into former Vice President Joe Biden and his son as military aid to Ukraine was being held up.

Sondland will be the first of three witnesses to testify Wednesday. In the afternoon, lawmakers will hear testimony from Laura Cooper, a deputy assistant secretary at the Department of Defense who specialized in Ukraine issues, and David Hale, the undersecretary of State for political affairs who was stationed in Kyiv.

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MEXICO CITY — 

Coming off the most interception-filled back-to-back games of his 16-year career, Philip Rivers remains the Chargers’ starting quarterback.

Coach Anthony Lynn indicated he wasn’t going to make a switch during the team’s week off but said every position will be re-evaluated given the team’s 4-7 record.

“I’m not going to entertain that right now,” Lynn said of possibly replacing Rivers. “I’m evaluating everything. Right now, Philip Rivers is our starting quarterback.”

Rivers threw four interceptions Monday in a 24-17 loss to Kansas City at Aztec Stadium, a home game for the Chargers as part of the NFL’s annual international schedule. He has been picked off seven times over the last two games, his highest total in consecutive weeks.

“I’m not going to single one position out,” Lynn said. “I’m looking at everybody. You know, we’re sitting here 4-7. Everybody could be doing something better.”

Tyrod Taylor is the Chargers’ backup. Rivers has been the team’s No. 1 quarterback since 2006 and Monday started his 230th consecutive game, including the playoffs.

With 14 interceptions, Rivers already has topped his totals from each of the last two seasons. He has been picked off on 3.4% of his attempts this year, matching the second-highest rate since he became a starter, and with just 15 touchdown passes, he’s on pace for his fewest since 2007.

The Chargers’ offense has struggled with turnovers and reaching the end zone, the main reasons the team’s seven losses have come by one score.

Those issues were most glaring over the last two games, in which the Chargers outgained Oakland and Kansas City but lost to both after they turned the ball over seven times and managed one takeaway.

“I like the way the offense has been moving the ball…” Lynn said. “We have to stop turning it over.”

Rivers was intercepted seven times on his first 333 attempts this season. He has been intercepted seven times on 83 passes since.

And those numbers could be worse. Against the Raiders, two other Rivers interceptions where nullified by defensive penalties. Also, Kansas City safety Tyrann Mathieu dropped a deflected ball that floated into his hands Monday.

“I know he would like to have those interceptions back,” Lynn said. “I mean, hell, who wouldn’t? But it’s got to get better. He knows that. … He understands where we’re at right now and how we’ve got to win.”

Against the Chiefs, Rivers was picked off by two safeties, a cornerback and a defensive tackle.

One of the interceptions led to a Kansas City touchdown on the subsequent play. The loss was sealed when Rivers threw short trying to pass to Austin Ekeler in the end zone in the final 25 seconds. Free safety Daniel Sorensen easily grabbed the underthrow, leaving Rivers face down on the turf as his teammates trudged off the field and the Chiefs celebrated.

Rivers’ second interception came when Mathieu read the situation perfectly and cut in front of Keenan Allen just as the ball was arriving. Mathieu’s 35-yard return set up Kansas City’s first touchdown.

“‘Honey Badger’ did a good job of reading his eyes and picking him off in the middle of the field,” Lynn said. “Give Kansas City some credit. They forced some of those plays.”

Lynn particularly referenced defensive end Frank Clark, who continually pressured Rivers, often at the expense of Chargers rookie left tackle Trey Pipkins. Clark finished with five tackles, a sack, two other quarterback hits, a pass knocked down and a forced fumble. His hit on Rivers led to one interception as the ball fell right to teammate Derrick Nnadi.

“Kansas City forced some of that,” Lynn said. “We’ve just got to do a better job making decisions with the football, period.”

Rivers’ recent struggles also include a failed final drive in Oakland when he threw eight consecutive incompletions — one of which was wiped out by a defensive penalty — to kill the Chargers’ last hope.

In that sequence, and again Monday night, Rivers was victimized by throwing deep instead of taking safer, shorter routes that appeared to be open.

“If he feels like someone drops coverage and he has a chance to go deep, that’s where the ball may go,” Lynn said. “But, for the most part overall, he’s been pretty intelligent with where he’s going with the football.”

James nearing return?

All-Pro safety Derwin James appears to be close to returning and could rejoin the Chargers in practice after the week off.

Lynn said James will continue to rehabilitate at the team’s Costa Mesa facility while most teammates receive a break. He has been on injured reserve all season because of a stress fracture in his right foot that required surgery in August.

Despite the Chargers’ record and third-place standing in the AFC West, Lynn said James won’t remain sidelined just to further protect a player who emerged as a rookie in 2018.

“Why would we do that?” Lynn said. “If we’ve got a healthy player as good as D.J., if he can play, he’s going to play. But we’re definitely not going to put him out there until he’s ready.

“We’re not tanking, guys. We’re 4-7. Last time I checked, we got five games left. We still have a chance to have a winning record here and maybe get some help. Who knows?”

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SOUTHERN CALIFORNIA REGIONAL

Regional championships, Tuesday

Open Division: San Diego Torrey Pines d. Mater Dei, 25-17, 25-23, 23-25, 25-20

Division I: Vista Murrieta d. Carlsbad La Costa Canyon, 25-20, 21-25, 32-30, 23-25, 15-9

Division II: Ontario Christian d. Carlsbad, 25-23, 21-25, 25-23, 16-25, 16-14

Division III: South Pasadena d. Palm Desert, 25-10, 25-18, 16-25, 25-22

Division IV: Nordhoff d. St. Bonaventure, 25-18, 25-16, 29-31, 25-14

Division V: Los Angeles University d. Mammoth Lakes Mammoth, 15-25, 25-23, 23-25, 25-21, 15-13

NORTHERN CALIFORNIA REGIONAL

Regional championships, Tuesday

Open Division: Kentfield Marin Catholic d. Oakland Bishop O’Dowd, 25-17, 25-15, 25-23

Division I: Moraga Campolindo d. Atherton Menlo-Atherton, 25-14, 25-19, 20-25, 25-14

Division II: Los Gatos d. Modesto Central Catholic, 25-17, 27-25, 25-13

Division III: San Francisco Lowell d. Atherton Sacred Heart Prep, 27-29, 21-25, 25-20, 25-22, 15-11

Division IV: Aptos d. Mill Valley Tamalpais, 25-22, 25-17, 25-22

Division V: Watsonville Mount Madonna d. San Mateo Nueva, 18-25, 25-22, 25-18, 25-23

STATE CHAMPIONSHIPS

at Santiago Canyon College (Orange)

Friday

Division V: Los Angeles University vs. Watsonville Mount Madonna, 4 p.m.

Division I: Vista Murrieta vs. Moraga Campolindo, 6:30 p.m.

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Saturday

Division IV: Nordhoff vs. Aptos, 11 a.m.

Division III: South Pasadena vs. San Francisco Lowell, 1:30 p.m.

Division II: Ontario Christian vs. Los Gatos, 4 p.m.

Open Division: San Diego Torrey Pines vs. Kentfield Marin Catholic, 6:30 p.m.

A magnitude 3.5 earthquake was reported Tuesday evening at 10:42 p.m., seven miles from Palm Springs, according to the U.S. Geological Survey.

The earthquake occurred 3.5 miles east-southeast of Anza, 11 miles from La Quinta, 11 miles from Palm Desert, 14 miles from Rancho Mirage and 16 miles from Indio.

In the past 10 days, there have been seven earthquakes of magnitude 3.0 or greater centered nearby.

An average of 234 earthquakes with magnitudes between 3.0 and 4.0 occur per year in California and Nevada, according to a recent three year data sample.

The earthquake occurred at a depth of 3.2 miles. Did you feel this earthquake? Consider reporting what you felt to the USGS.

Even if you didn’t feel this small earthquake, you never know when the Big One is going to strike. Ready yourself by following our five-step earthquake preparedness guide and building your own emergency kit.

This story was automatically generated by Quakebot, a computer application that monitors the latest earthquakes detected by the USGS. A Times editor reviewed the post before it was published. If you’re interested in learning more about the system, visit our list of frequently asked questions.

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I used to look askance at Angelyne. In the 1990s and early aughts, I’d see her around town, on one of the now-iconic billboards (image, name and nothing more) or driving her Pepto-Bismol pink Corvette like Barbie brought to life, and I would think: This is everything I like least about Los Angeles.

What I’ve come to understand, however, is that Angelyne was nothing if not ahead of her time. In the era before social media, she operated as a first-generation influencer, famous for being famous, using the mechanisms of celebrity to become a celebrity.

At the same time, unlike the influencers of the present, Angelyne has a kind of purity: Her product is herself. Not for her, Instagram photos of her college room outfitted with free items from an online retailer. Not for her, a reality TV show that helps promote a fragrance or a clothing line.

No, Angelyne’s designs on us are simpler. She has never wanted much more than to be recognized. She is paid for personal appearances and sells T-shirts from a website and the trunk of her car, but her self-construction is more existential than commercial, less a matter of campy notoriety (although that too) than something I now see as a deeply rendered and admirable act of will.

In 2017, an article in the Hollywood Reporter revealed her back story: She was born in 1950, the daughter of Polish Jews who’d survived the Holocaust. After attending high school in the San Fernando Valley, she decided — as people have been known to do in Los Angeles — to set her past aside.

Angelyne’s representatives disputed the accuracy of the Reporter’s account, but that hasn’t stopped NBCUniversal from putting it into development as a limited series. A few weeks ago the company announced that Emmy Rossum, late of “Shameless,” would be starring as Angelyne on Peacock, NBC’s new streaming service, in the spring.

If truth be told, Angelyne’s biography, and her day to day life, doesn’t interest me particularly; I read the Reporter story, but I doubt I’ll watch the show. What I find compelling is something more elusive: that Angelyne represents the psyche of this city, in which reinvention can often seem a strand of our collective DNA.

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Whoever Angelyne is and wherever she came from, it is the becoming that is her legacy. She’s an icon not because of her persona exactly, but rather because she has made us pay attention in spite of ourselves.

She’s also a Los Angeles original, a vivid signifier of the place and how it operates. Image, her presence tells us, isn’t frivolous; it has substance, especially here. Angelyne may get a bad rap, regarded as trivial with her sunglasses and wedgies, her pile of platinum locks, her Barbie silhouette: a fantasy built on a cliché. But I’d suggest the truth is just the opposite. She is as serious as it gets.

It’s unclear what, if anything, Angelyne has to do with the Peacock series, or what she might get out of it. If nothing else, it could introduce her to a new generation, and in any case, an unauthorized biopic would be oddly fitting: a simulacrum based on a simulacrum based on the original simulacrum — image taken to an extreme. At the same time, I’m not sure we need a re-creation when the real person, the living, breathing Angelyne, can still be found driving the city’s boulevards.

After all, Angelyne needs to be encountered in the flesh, or at least as a larger-than-life billboard image, an element in the landscape, in three dimensions. As much as she may have prefigured the role of influencer, Angelyne is not very present on the two-dimensional internet, despite her website and a not especially well-tended Instagram feed. The digital realm is not her medium. That’s why the Corvette has always been essential — when we catch a glimpse of her, on the same streets we traverse, we are reminded of what reality is here: a complicated dance in a city that remains suspended between artifice and authenticity.

Once, back in her heyday, I attended a party in Hollywood where Angelyne had been hired to make an appearance. Up close, she looked a little peaked, pancake makeup on a tired face. But why not? She was working. It requires effort to bring illusion to life.

This is the narrative Angelyne embodies. She’s made herself a part of the city’s fabric, a monument as much as a human being. In the process, she has taught us something about what it means to live here, about the drive (yes) that it requires. She is the definition of self-made, from the persona she inhabits to the history she obfuscates. Everything I like least about Los Angeles? I don’t see it that way now. Angelyne defies both her own limits and our expectations. Like the city, her presence is a function of her resolve.

David L. Ulin is a contributing writer to Opinion.

Good morning, and welcome to the Essential California newsletter. It’s Wednesday, Nov. 20, and I’m writing from Los Angeles.

My colleague Christopher Goffard has spent years finding the darkest corners of a place where the sun shines approximately 278 days a year. Goffard is the reporter bard of Orange County crime, crafting explosive narratives that unfold like fiction.

In 2016, his six-part series “Framed” unpacked what happened after drugs were planted in an innocent PTA mom’s car, amid cutthroat suburban power dynamics in master-planned Irvine.

The next year, he brought us “Dirty John” — a narrative series, podcast and pop culture sensation of a story about a lonely woman, a con man’s web of deceit and a possible murder in Newport Beach. (If you saw the Bravo show starring Connie Britton, that was based on Goffard’s story.)

Now, Goffard is back with “Detective Trapp” a podcast and series that takes us to a part of Anaheim where the Happiest Place on Earth gives way to shadow economies fueled by drugs and sex, and the wide boulevards are lined with pay-in-cash motels with cages on the night windows. These streets are where Det. Julissa Trapp, the only woman on the Anaheim homicide squad, cut her teeth.

When a young woman’s body was found at a trash-sorting plant, the scene was so brutal that it gave even veteran detectives pause. The case went to Trapp, who promised the victim’s mother she would find the killer.

“As I got to know Trapp over the course of many interviews over the next three years, I came to realize the terrible burden she would have carried if she hadn’t been able to make good on the promise,” Goffard writes in an essay about the series. “She knew too, but she’d done it anyway.”

A few months earlier, three women had gone missing in nearby Santa Ana. Trapp did not know if, or how, the cases were related. She didn’t know how large the investigation would become, or how it would consume her for years.

These killings and Trapp’s quest to solve them are the subject of “Detective Trapp.”

[Read “Detective Trapp: A cop’s quest for the mothers who lost their daughters” in the Los Angeles Times]

[Listen to “Detective Trapp,” a podcast from the Los Angeles Times and Wondery]

And now, here’s what’s happening across California:

TOP STORIES

More than two years after a gunman opened fire at a country music festival on the Las Vegas Strip, a California woman who was paralyzed in the attack has died, raising the death toll of the deadliest mass shooting in modern U.S. history to 59. Kimberly Gervais, 57, died Friday evening at Redlands Community Hospital, according to San Bernardino County coroner’s officials. Los Angeles Times

In a victory for critics of California’s oil drilling industry, Gov. Gavin Newsom on Tuesday stopped the approval of new hydraulic fracturing in the state until the permits for those projects can be reviewed by an independent panel of scientists. Newsom also imposed a moratorium on new permits for steam-injected oil drilling in California, another extraction method opposed by environmentalists that was linked to a massive petroleum spill in Kern County over the summer. Los Angeles Times

PG&E has reduced the scope of Wednesday’s potential power outage. Improved weather conditions now mean much of the Bay Area will be spared, although the North Bay counties of Sonoma, Solano and Napa could experience planned outages. The shut-offs are still likely to affect 181,000 customers in 16 counties — or roughly 543,000 people without power. San Francisco Chronicle

L.A. STORIES

How long will it rain? Here’s what to expect from Southern California’s first storm of the season. (Spoiler: It should clear up by the weekend.) Los Angeles Times

There has been an uptick in school threats in Southern California reported since the Saugus High School shooting in Santa Clarita. Los Angeles Daily News

The best Armenian restaurant in L.A. is this tiny family-run kebab joint in Glendale, at least according to Lucas Peterson in this week’s episode of “Off Menu.” Los Angeles Times

Your support helps us deliver the news that matters most. Subscribe to the Los Angeles Times.

IMMIGRATION AND THE BORDER

After child deaths, doctors are pressuring the Border Patrol to let them administer flu vaccines. The agency has yet to respond to an offer this week to vaccinate 100 migrant parents and children in detention in San Ysidro. Los Angeles Times

POLITICS AND GOVERNMENT

Here’s what to expect from tonight’s Democratic presidential debate. At two hours, Wednesday’s event will be mercifully shorter than previous marathon debates. Los Angeles Times

These are the organizers and officials behind San Francisco’s push for a public bank. A landmark bill passed earlier this year in the state Legislature created a legal pathway for the formation of public banks owned by city and county governments. Next City

Riding an e-scooter on the sidewalk in Sacramento could now cost you $207. The city will begin ticketing users of shared rideables for the first time, after months of public outreach and education. Sacramento Bee

HEALTH AND THE ENVIRONMENT

Bottom-trawling fishing will soon be severely restricted off the West Coast. The new regulations will take effect Jan. 1. San Francisco Chronicle

CALIFORNIA CULTURE

Fodor’s has put Big Sur on its “do not travel” list for 2020. Locals have been complaining about the effects of “overtourism” on the coastal town. SF Gate

[See also: Our earlier newsletter coverage of overtourism in Big Sur]

SAT prep for the children of the ruling class: In the two-Tesla homes of the L.A. suburbs, Mighty Prep offers tutoring, pep talks and a special peppermint tea that the tutor refers to as “nature’s Adderall.” New Yorker

Electric bus workers in L.A. have unionized — with the support of their Silicon Valley CEO. Los Angeles Times

Two homeless mothers in Oakland have taken over a vacant house. They hope the move will be part of a larger movement to take back vacant, investor-owned homes in neighborhoods that working mothers like themselves grew up in but can no longer afford. Mercury News

CALIFORNIA ALMANAC

Los Angeles: rain, 62. San Diego: thunderstorms, 63. San Francisco: sunny, 67. San Jose: sunny, 67. Sacramento: windy, 70. More weather is here.

AND FINALLY

— Ronan Farrow

If you have a memory or story about the Golden State, share it with us. (Please keep your story to 100 words.)

Please let us know what we can do to make this newsletter more useful to you. Send comments, complaints, ideas and unrelated book recommendations to Julia Wick. Follow her on Twitter @Sherlyholmes.

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About 450,000 people will be without power starting at 7 a.m. Wednesday as dry weather and strong winds roll through Northern California, increasing the risk of fires.

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The number of affected customers was cut in half from Pacific Gas & Electric’s original estimates, affecting 18 counties. The shutoffs will begin with Lake, Mendocino, Napa, Solano and portions of Sonoma and Yolo counties, the utility giant said.

North valleys, including Shasta and portions of Tehema counties, will see shutoffs starting at 8 a.m. The northern Sierra foothills, including Butte and Plumas counties, may experience shutoffs as late as 4 p.m.

Customers can learn when they are expected to lose power on PG&E’s website. The utility said it expects to restore electricity by the end of the day Thursday.

Fire danger across the region is expected through Thursday morning, with a red flag warning in place, as a low-pressure system descends into Southern California, bringing the first rain and snow of the season.

Wind gusts in Northern California may reach 55 mph, with humidity levels in the teens, according to the National Weather Service. Overnight conditions aren’t expected to lessen fire risks, forecasters said.

PG&E said in a statement late Tuesday there has been more uncertainty with the strength, timing and humidity levels of this weather system, but peak winds should subside by mid-morning Thursday.

The same low-pressure system’s movement is causing the opposite problem in Southern California. Though meteorologists say the risk is low, rain always brings a potential for devastating mudslides in recently burned areas.

Flash flood watches are in place in the mountains, coast and valleys of San Diego County, as well as large parts of the Inland Empire, the weather service said.

The Times called Andrew Norman’s “Sustain” the best piece of new music in 2018, and on Wednesday the Grammy Awards nominators hinted they just might agree.

“Sustain” earned Grammy nominations in two key categories: contemporary classical composition, where composer Norman will square off against Julia Wolfe, Caroline Shaw and Wynton Marsalis, among others; and orchestral performance, where the nomination went to the Los Angeles Philharmonic and conductor Gustavo Dudamel, who performed “Sustain” as part of the orchestra’s landmark centennial season.

In reviewing that live premiere, Times critic Mark Swed called Norman’s piece a breakthrough for the composer, “a near out of body acoustic experience.” When the L.A. Phil performed “Sustain” again this month, Swed noted how well the piece held up, “a riot of intersecting patterns that look like ant colonies on the move or seeds scattering in the wind.”

Los Angeles artists popped up elsewhere in the Grammys’ classical nominations. In the opera recording category, L.A. director Yuval Sharon’s Bayreuth Festival production of Wagner’s “Lohengrin” earned a nomination for conductor Christian Thielemann, producer Eckhard Glauche and soloists Piotr Beczala, Anja Harteros, Tomasz Konieczny, Waltraud Meier and Georg Zeppenfeld.

In the category of chamber music and small ensemble performance, L.A. new music guru Christopher Rountree and his ensemble Wild Up earned a nomination for their recording of Christopher Cerrone’s “The Pieces That Fall to the Earth.”

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The full list of Grammy nominations in classical categories:

Orchestral performance

Award to the conductor and orchestra.

Bruckner: Symphony No. 9. Manfred Honeck, conductor. Pittsburgh Symphony Orchestra

Copland: Billy the Kid; Grohg. Leonard Slatkin, conductor. Detroit Symphony Orchestra

Norman: Sustain. Gustavo Dudamel, conductor. Los Angeles Philharmonic

Transatlantic. Louis Langrée, conductor. Cincinnati Symphony Orchestra

Weinberg: Symphonies Nos. 2 & 21. Mirga Grazinyte-Tyla, conductor. City of Birmingham Symphony Orchestra & Kremerata Baltica

Opera recording

Award to the conductor, album producers and principal soloists

Benjamin: Lessons in Love & Violence. George Benjamin, conductor. Stéphane Degout, Barbara Hannigan, Peter Hoare and Gyula Orendt, soloists. James Whitbourn, producer. Orchestra of the Royal Opera House

Berg: Wozzeck. Marc Albrecht, conductor. Christopher Maltman and Eva-Maria Westbroek, soloists. François Roussillon, producer. Netherlands Philharmonic Orchestra; Chorus of Dutch National Opera

Charpentier: Les Arts Florissants; Les Plaisirs De Versailles. Paul O’Dette & Stephen Stubbs, conductors. Jesse Blumberg, Teresa Wakim and Virginia Warnken, soloists. Renate Wolter-Seevers, producer. Boston Early Music Festival Chamber Ensemble; Boston Early Music Festival Vocal Ensemble

Picker: Fantastic Mr. Fox. Gil Rose, conductor. John Brancy, Andrew Craig Brown, Gabriel Preisser, Krista River and Edwin Vega, soloists. Gil Rose, producer. Boston Modern Orchestra Project. Boston Children’s Chorus

Wagner: Lohengrin. Christian Thielemann, conductor. Piotr Beczała, Anja Harteros, Tomasz Konieczny, Waltraud Meier and Georg Zeppenfeld, soloists. Eckhard Glauche, producer. Festspielorchester Bayreuth. Festspielchor Bayreuth

Choral performance

Award to the conductor and to the choral director and/or chorus master where applicable and to the choral organization/ensemble.

Boyle: Voyages. Donald Nally, conductor. The Crossing

Duruflé: Complete Choral Works. Robert Simpson, conductor. Ken Cowan; Houston Chamber Choir

The Hope of Loving. Craig Hella Johnson, conductor. Conspirare

Sander: The Divine Liturgy of St. John Chrysostom. Peter Jermihov, conductor. Evan Bravos, Vadim Gan, Kevin Keys, Glenn Miller and Daniel Shirley. PaTRAM Institute Singers

Smith, K.: The Arc in the Sky. Donald Nally, conductor. The Crossing

Chamber music/small ensemble performance

For new recordings of works by ensembles of 24 or fewer members, not including the conductor. One award to the ensemble and one award to the conductor, if applicable.

Cerrone: The Pieces That Fall to Earth. Christopher Rountree & Wild Up

Freedom & Faith. PUBLIQuartet

Perpetulum. Third Coast Percussion

Rachmaninoff – Hermitage Piano Trio. Hermitage Piano Trio

Shaw: Orange. Attacca Quartet

Classical instrumental solo

Award to the instrumental soloists and to the conductor when applicable.

The Berlin Recital. Yuja Wang

Higdon: Harp Concerto. Yolanda Kondonassis. Ward Stare, conductor. The Rochester Philharmonic Orchestra

Marsalis: Violin Concerto; Fiddle Dance Suite. Nicola Benedetti. Cristian Macelaru, conductor. Philadelphia Orchestra

The Orchestral Organ. Jan Kraybill

Torke: Sky, Concerto for Violin. Tessa Lark. David Alan Miller, conductor. Albany Symphony

Classical solo vocal album

Award to vocalists, collaborative artists, producers, recording engineers/mixers with 51% or more playing time of new material

The Edge of Silence – Works for Voice by Gyorgy Kurtag. Susan Narucki. Donald Berman, Curtis Macomber, Kathryn Schulmeister and Nicholas Tolle

Himmelsmusik. Philippe Jaroussky and Celine Scheen. Christina Pluhar, conductor. L’Arpeggiata, ensemble. Jesús Rodil & Dingle Yandell

Schumann: Liederkreis Op. 24, Kerner-Lieder Op. 35. Matthias Goerne. Leif Ove Andsnes, accompanist

Songplay. Joyce DiDonato. Chuck Israels, Jimmy Madison, Charlie Porter and Craig Terry, accompanists. Steve Barnett and Lautaro Greco

A Te, O Cara. Stephen Costello. Constantine Orbelian, conductor. Kaunas City Symphony Orchestra

Classical compendium

Award to the artists and to the album producers and engineers of over 51% playing time of the album, if other than the artist.

American Originals 1918. John Morris Russell, conductor. Elaine Martone, producer

Leshnoff: Symphony No. 4 ‘Heichalos’; Guitar Concerto; Starburst. Giancarlo Guerrero, conductor. Tim Handley, producer

Meltzer: Songs and Structures. Paul Appleby and Natalia Katyukova. Silas Brown and Harold Meltzer, producers

The Poetry of Places. Nadia Shpachenko. Marina A. Ledin and Victor Ledin, producers

Saariaho: True Fire; Trans; Ciel d’Hiver. Hannu Lintu, conductor. Laura Heikinheimo, producer

Contemporary classical composition

A composer’s award for work composed within the last 25 years and released for the first time. Award to the librettist, if applicable.

Bermel: Migration Series For Jazz Ensemble & Orchestra. Derek Bermel, composer. Derek Bermel, Ted Nash, David Alan Miller, Juilliard Jazz Orchestra & Albany Symphony Orchestra

Higdon: Harp Concerto. Jennifer Higdon, composer. Yolanda Kondonassis, Ward Stare & the Rochester Philharmonic Orchestra.

Marsalis: Violin Concerto In D Major. Wynton Marsalis, composer. Nicola Benedetti, Cristian Macelaru & Philadelphia Orchestra

Norman: Sustain. Andrew Norman, composer. Gustavo Dudamel and Los Angeles Philharmonic.

Shaw: Orange. Caroline Shaw, composer. Attacca Quartet

Wolfe: Fire in My Mouth. Julia Wolfe, composer. Jaap Van Zweden, Francisco J. Núñez, Donald Nally, the Crossing, Young People’s Chorus of NY City and New York Philharmonic

Best engineered album, classical

An Engineer’s Award. (Artists in parentheses.)

Aequa – Anna Thorvaldsdóttir. Daniel Shores, engineer. Daniel Shores, mastering engineer (International Contemporary Ensemble)

Bruckner: Symphony No. 9. Mark Donahue, engineer. Mark Donahue, mastering engineer (Manfred Honeck & Pittsburgh Symphony Orchestra)

Rachmaninoff – Hermitage Piano Trio. Keith O. Johnson & Sean Royce Martin, engineers. Keith O. Johnson, mastering engineer (Hermitage Piano Trio)

Riley: Sun Rings. Leslie Ann Jones, engineer; Robert C. Ludwig, mastering engineer (Kronos Quartet)

Wolfe: Fire in My Mouth. Bob Hanlon & Lawrence Rock, engineers. Ian Good & Lawrence Rock, mastering engineers (Jaap Van Zweden, Francisco J. Núñez, Donald Nally, the Crossing, Young People’s Chorus of NY City and New York Philharmonic)

Producer of the Year, Classical

Blanton Alspaugh

James Ginsburg

Marina A. Ledin, Victor Ledin

Morten Lindberg

Dirk Sobotka

Lana Del Rey’s “Norman F—ing Rockwell!” didn’t shy away from expletives, but the 2020 Grammy nominations announcers sure did.

The first test arrived when singer-songwriter Bebe Rexha read the list of nominees Wednesday for song of the year. “Always Remember Us This Way,” “Bad Guy,” “Bring My Flowers Now,” “Hard Place” and “Lover” came and went smoothly, and then came the moment of truth: “Norman Effin’ Rockwell.”

“I was wondering if you were going to say that,” host Gayle King said with an anxious laugh, referring to the song title’s F-bomb. “Thank you for not.”

“I got yelled at backstage already,” Rexha joked. “They’re like, ‘Don’t you dare!’”

Behind the pair, the provocative title track on Del Rey’s latest album appeared on the screen: “Norman F***ing Rockwell.”

The announcement occurs around the 27-minute mark in the video below.

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Del Rey’s fellow nominees for song of the year include Lady Gaga, Billie Eilish, Tanya Tucker, H.E.R., Taylor Swift, Lewis Capaldi and Lizzo. Del Rey also nabbed a nod for album of the year.

The Grammy Awards will air live from Staples Center in Los Angeles on Jan. 26. Alicia Keys will return as host.

Every few years at the Grammys, the country community rallies around an older, critically beloved but commercially marginal artist. In 2005, it was Loretta Lynn for “Van Lear Rose,” her collaboration with Jack White. In 2017, it was psychedelic roughneck Sturgill Simpson, whose album of the year nod was no less surprising to him than anyone.

And in 2020, it will be the return of Tanya Tucker.

Tucker, the 61-year-old hard-living, sexually provocative and narratively gifted singer, won four nominations including song of the year and country song for “Bring My Flowers Now,” off her album “While I’m Livin’.” It’s not quite a comeback LP — she released a lovely album of standards in 2009. But her nods affirm the influence she’s had over a generation of spiky, defiant Grammy favorites like Miranda Lambert, Kacey Musgraves and the Dixie Chicks.

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Tucker, in her early career, was an instant star but often portrayed as redneck jailbait (note the uncomfortably leering undertones of a Rolling Stone cover profile from 1974, “Tanya Tucker: The Teenage Teaser”). She did revel in the attention at the time, according to her memoir, and songs like “Would You Lay with Me” brought a freewheeling rebelliousness that shook up the genre.

But Tucker was a peer of legends like Tammy Wynette, Dolly Parton and Lynn (who dryly joked that the teenage Tucker was the intended audience for her song “The Pill”). Though she waxed and waned on radio — her ’86 triumph “Girls Like Me” had four top-ten country singles — her influence in recent decades was more ideological than commercial.

That could change with “While I’m Livin’,” which will return Tucker to the biggest stage in pop music after 14 nominations but no wins to date.

There’s also some recent Grammy shine beneath the LP. Tucker co-wrote the album with Brandi Carlile, who pulled down three wins and three top-category nominations in 2018 for her song “The Joke” and album “By the Way, I Forgive You.” Carlile (alongside longtime writing collaborators Phil and Tim Hanseroth) is a clear inheritor of Tucker’s mix of tenderness and tough-as-leather writing. Maybe it’s no surprise that in our current reexamining of how women are condescended to and chewed up in the entertainment industry, there’s something in Tucker’s story that would invite championing.

Alongside producer Shooter Jennings — another outlaw veteran who produced for acts ranging from Wanda Jackson to Marilyn Manson — they found the contemporary resonance in Tucker’s life story and rough-hewn, still mesmerizing vocals. The resurrection of a vintage country act with contemporary writers and producers is a favorite Grammy move, perhaps even a cliché today. But that doesn’t make Tucker’s success any less welcome.