The Best New Artist category is perhaps one of the GRAMMYs' most exciting. Each year honors artists from all genres who have the potential to become timeless legends in the future.

Whether the nominees have been in the game for decades or are fresh debutantes, the Best New Artist honor highlights the moment they are living now, and how they are breaking through the noise with distinctive voices, visions, and sounds.

The Best New Artist nominees for the 2024 GRAMMYs are Gracie Abrams, Fred again.., Ice Spice, Jelly Roll, Coco Jones, Noah Kahan, Victoria Monét, and The War And Treaty. Though only one of them will win the golden gramophone, their nominations speak to their excellence, and foreshadow exciting journeys ahead.

Below, get to know the nominees for Best New Artist at the 2024 GRAMMYs.

Gracie Abrams

Since her 2019 debut single "Mean It," Gracie Abrams has been making every listener feel like her closest friend. Through confessional lyrics and a soft, raspy voice, she's caught the attention of fans, media and even other singers alike.

On her list of admirers are names like Olivia Rodrigo and Taylor Swift — both of whom invited Abrams to be an opening act for their respective tours. Amid those prestigious gigs, Abrams still found the time to release her debut studio album, Good Riddance, in February.

Co-written by her and The National's Aaron Dessner (who also produced the album), Good Riddance was recorded at Dessner's famous Long Pond Studios, which added to the record's intimate atmosphere. "I think working with Aaron allowed for so much to come up that I don't think would have for me otherwise. So much of that is because of the trust that he and I share,," Abrams told GRAMMY.com earlier this year.

The 24-year-old grew up surrounded by art (she's the daughter of Hollywood director J.J Abrams and producer Katie McGrath), but that only made her talents bloom further. In a generation filled with remarkable female songwriters, Abrams' delicacy leaves a deep, gripping mark.

Fred again..

Fred Gibson, better known as the viral producer and DJ Fred again.., rose to popularity during the pandemic. When people couldn't go to clubs or even leave their homes, his mix-and-match dance tracks brought us just the right amount of nostalgia and euphoria.

His Actual Life album series started as an EP in 2020, but quickly expanded into three studio albums — the latest of which, Actual Life 3, arrived in October 2022. In each project, the trivialities of the world find a new veneer: voice notes from friends, clips from social media, and even the restlessness of public transport all become main characters, surrounded by Fred again..'s larger-than-life synths.

But before diving into his own complex creations, Gibson was already lauded as one of the UK's most prominent producers. He co-wrote and/or produced hits for a number of artists, from Ed Sheeran to Rita Ora, and was mentored by Brian Eno — who was his family's neighbor growing up. In 2020, he won Producer of the Year at the Brit Awards, becoming the youngest producer to do so at 26 years old.

Though Gibson has admitted that he's "not really fussed" by the glitz and the glamor, he's undeniably become the dance scene's hottest new star. And as the only dance act in the Best New Artist category, that may be evident at the 2024 GRAMMYs, too.

Ice Spice

Who hasn't heard of Ice Spice? The rapper's chill bars and fiery curls dominated the world this year, whether it was on TikTok's latest viral hit or the Met Gala red carpet.

Born and raised in the Bronx, New York City, the 23-year-old had a breakthrough with 2022's "Munch (Feelin' U)," followed by the equally popular "Bikini Bottom" and "In Ha Mood." The singles led up to her January debut EP, Like..?, and propelled Ice Spice — whose birth name is Isis Gaston — even higher.

In less than a year, she released collaborations with PinkPantheress ("Boy's a Liar Pt. 2"), Nicki Minaj ("Princess Diana" and "Barbie World," featuring Aqua), and Taylor Swift ("Karma"), becoming the first artist to land four top 10 singles on Billboard's Hot 100 Chart in 2023.

While Ice Spice hasn't even released a debut studio album yet, she's an undeniable phenomenon who is pushing the drill scene far and beyond. Her style and bravado have made a mark on the music industry, and will likely continue to do so.

Jelly Roll

"I want to write a conceptual album that kind of outlines my journey of religion, my journey of spirituality, my journey of redemption, my journey of wrongdoings," Jelly Roll explained to GRAMMY.com earlier this year.

That album is his first country LP, 2023's Whitsitt Chapel. It was named after Whitsitt Chapel Baptist Church in his hometown of Antioch, Tennessee, where he was baptized at 14 years old.

Jelly Roll had a turbulent journey before becoming one of country music's most exciting new artists. After breaking a cycle of felonies, he still spent almost two decades treading the waters of the music industry. Born Jason DeFord, the 38-year-old star spent a good amount of the early 2000s selling rap mixtapes out of his car. But the hard work paid off — he has since developed a unique mix of hip-hop, rock and country, which led him to a Grand Ole Opry debut in 2021, and to last year's smash hit "Son of a Sinner," off his 2021 album, Ballads of the Broken.

The success of "Son of a Sinner" inspired a full pivot to country, and his decision has proven right with the success of singles "Need a Favor" and "Save Me," the latter of which earned him a nomination for Best Country Duo/Group Performance this year for his duet version with Lainey Wilson. Along with coming full circle musically, Jelly Roll mends his past while becoming a new artist — and we're lucky to witness his becoming.

Coco Jones

You might remember Coco Jones from the 2012 Disney Channel film Let It Shine. In it, she played the prodigious teenage singer Roxie — and offered a glimpse of her dazzling talents.

Although Let It Shine was the most watched movie of the year for kids and tweens in 2012, it took a whole decade for Jones to truly gain the recognition she deserves. The South Carolina-born, Tennessee-raised star spent the majority of the past years as an independent singer and actress, dropping four EPs and scoring roles in films like 2018's Flock of Four and in the 2022 television series Bel-Air.

It was only last year, after she signed a contract with High Standardz and Def Jam Recordings, that her efforts started to pay off. She released her first major label EP, What I Didn't Tell You, featured on Babyface's GRAMMY-nominated Girls Night Out ("Simple"), and earned her first No. 1 on Billboard's Mainstream R&B/Hip-Hop Airplay chart with the sultry "ICU."

Now, she attests to her potential as R&B's next soulful diva with her first GRAMMY nomination.

Noah Kahan

When Noah Kahan named one of his songs "Stick Season" — the Vermont-specific term to describe the dreary, gray days between Halloween and the first snow — he didn't know that this period of time would be more bountiful to him than any blossoming spring.

First teased on TikTok in 2020, "Stick Season" went viral in the next two years, culminating with its official release as the lead track off Kahan's 2022 LP of the same name. The album followed suit as a smashing success, earning the top spot on five Billboard charts upon its release (including Top Rock & Alternative Albums) and prompting collaborations with Kacey Musgraves, Hozier and Post Malone.

The 26-year-old folk-pop singer is still adjusting to all the prestige, which will only grow as he starts 2024 with a stadium/arena tour that includes dates at L.A.'s Hollywood Bowl and New York's Madison Square Garden. "It's f—ing unbelievable," he told GRAMMY.com in October. "It feels so fake that it's almost like, the more time I spend thinking about it, the more abstract it becomes."

Kahan's main strength is this unflinching honesty — he talks openly about his struggles with depression and anxiety, and his lyrics resonate because of their sharp vulnerability. His openness as well as his charming wit have helped him continue to reach bigger audiences, and have now helped him earn his first GRAMMY nomination. 

Victoria Monét

While Victoria Monét has been releasing solo music since 2014 with her debut EP Nightmares & Lullabies: Act 1, she used to be best known for her work behind the scenes. Her expertise was writing hits for many of today's biggest pop stars, including Ariana Grande, Chloe x Halle, BLACKPINK, and more.

She has even been nominated for three GRAMMYs thanks to her songwriting prowess: two in 2020 for her work with Grande (Album of the Year for Thank U, Next and Record of the Year for "7 Rings") and one in 2021 for her work with Chloe x Halle (Best R&B Song for "Do It.")

Gradually, people started to notice the 34-year-old songwriter for her own singing as Monét came into her artistry more and more. Her 2020 independently released EP, Jaguar marked a breakthrough in her career and was critically acclaimed for its luxurious R&B melodies and classy undertones.

Following suit came her debut solo album, 2023's Jaguar II, through RCA Records. The album was equally acclaimed, and its supporting tour sold out minutes after being announced. Add to that  seven nominations at the 2024 GRAMMYs — including Best New Artist and Record Of The Year for "On My Mama" — it's more than clear that Monét is already a superstar to be reckoned with.

The War and Treaty

Tanya and Michael Trotter Jr. found each other in 2010, when they both played at Maryland's Spirit of Love festival. The name was a good omen, as the couple soon began a lasting partnership — both in love and in music.

The War and Treaty is their way to let us peek into their rich universe. While originally formed in 2014 under the name Trotter & Blount, they changed it in 2017 after several discussions. "Michael, calm down," Tanya said one day, as retold by Michael on BobbyCast. "This is not a war, we need to come to some sort of treaty about this."

Since then, they have been stirring hearts with emotional anthems inspired by soul, country, and gospel music. However, it was only in 2022 that they signed with UMG Nashville, already carrying one EP and three studio albums under their belt. In March 2023 came the devotional Lover's Game, their first major label LP, with production credits by GRAMMY winner Dave Cobb.

"This album isn't about whether you like the music or not," Michael said in an interview with NPR. "This album is about, 'Do you understand what we're trying to say? Can you get with this? Do you feel the inclusion in our voices? Do you feel the resilience? Do you feel the overcoming? And if you feel it, do you have a heart for the War and Treaty?"

As one of only eight artists with a Best New Artist GRAMMY nomination for 2024, it seems at least their peers do..

The 2024 GRAMMYs, officially known as the 66th GRAMMY Awards, returns to Los Angeles' Crypto.com Arena on Sunday, Feb. 4, 2024, and will broadcast live on the CBS Television Network and stream live and on-demand on Paramount+ at 8-11:30 p.m. ET/5-8:30 p.m. PT.

The Recording Academy and GRAMMY.com do not endorse any particular artist, submission or nominee over another. The results of the GRAMMY Awards, including winners and nominees, are solely dependent on the Recording Academy's Voting Membership.

2024 GRAMMY Nominations: See The Full Nominees List

The inaugural GRAMMY Hall Of Fame Gala is just ahead — and now, we know which musicians will grace the stage. Andra Day, Ravyn Lenae, Shinedown, and the War and Treaty will perform at the Recording Academy and GRAMMY Museum's gala, with more performers to be announced at a later date.

The Gala will take place on May 21, 2024, at the Novo Theater in Downtown Los Angeles and will be hosted by veteran CBS broadcast journalist Anthony Mason. The annual Gala will also honor a label, with the first being Atlantic Records.

Tickets go on sale to the general public on Saturday, April 27, 2024 at 12 p.m. PT at this link. More information about the GRAMMY Hall Of Fame Gala is available here.

The inaugural Hall Of Fame Gala will honor the 2024 GRAMMY Hall Of Fame inducted recordings on its 50th Anniversary, including De La Soul's 3 Feet High And Rising, Guns N' Roses' Appetite For Destruction, Buena Vista Social Club's Buena Vista Social Club, and Lauryn Hill's The Miseducation Of Lauryn Hill, as well as recordings by Donna Summer, Charley Pride, Wanda Jackson, Kid Ory's Creole Orchestra, the Doobie Brothers, and William Bell.

The Gala will also pay tribute to iconic record label Atlantic Records, which is celebrating its 75th anniversary, and has over 38 recordings already inducted into the GRAMMY Hall Of Fame. 

"We're honored that the Recording Academy and GRAMMY Museum have chosen Atlantic to be the first label celebrated at what promises to be an exciting annual event," said Atlantic Music Group Chairman & CEO Julie Greenwald and Atlantic Records Chairman & CEO Craig Kallman. "The GRAMMY Hall Of Fame includes many of the most groundbreaking recordings in our company's 75-year history, and it will be great to hear some of our outstanding current artists bring their unique voices to these timeless songs."

"We are thrilled to be able to recognize Atlantic Records' incomparable contribution to recorded music, including numerous Hall Of Fame inducted recordings, as our first Hall Of Fame Gala label honoree. We're looking forward to celebrating them along with this year's inducted recordings during an unforgettable evening of performances by some of today's most talented artists," says Michael Sticka, President/CEO of the GRAMMY Museum.

The evening will include a red carpet and VIP reception on the Ray Charles Terrace at the GRAMMY Museum followed by a one-of-a-kind concert at the Novo Theater. This year's show will be produced by longtime Executive Producer of the GRAMMY Awards, Ken Ehrlich, along with Chantel Sausedo and Ron Basile. Musical Direction by globally renowned producer and keyboardist Greg Phillinganes. The Gala is presented by City National Bank.

The GRAMMY Hall Of Fame was established by the Recording Academy's National Trustees in 1973. The inducted recordings are selected annually by a special member committee of eminent and knowledgeable professionals from all branches of the recording arts with final 

ratification by the Recording Academy's National Board of Trustees.

With 10 new titles, the Hall currently totals 1,152 inducted recordings in the GRAMMY Hall Of Fame. Recipients will receive an official certificate from the Recording Academy and GRAMMY Museum.

The full list of past inducted recordings can be viewed here. For sponsorship opportunities, reach out to halloffame@grammymuseum.org. And keep checking GRAMMY.com for more info about the GRAMMY Hall of Fame gala, and beyond!

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The Recording Academy has partnered with leading online learning platform Coursera on GRAMMY GO, a new online initiative to offer classes tailored for music creators and industry professionals.

This partnership empowers the next generation of the music community with practical, up-to-the moment digital content that provides wisdom for both emerging and established members of the industry. Continuing the Academy’s ongoing mission to serve all music people, courses cover a variety of specializations tailored to creative and professional growth. 

GRAMMY GO on Coursera includes courses taught by Recording Academy members, featuring GRAMMY winners and nominees and offers real-life lessons learners can put to work right away.

Starting today, enrollment is open for GRAMMY GO’s first Coursera specialization, "Building Your Audience for Music Professionals," taught by Joey Harris, international music/marketing executive and CEO of Joey Harris Inc. The course features Rock & Roll Hall of Fame inductee and five-time GRAMMY winner Jimmy Jam, 10-time GRAMMY nominee Janelle Monáe and three-time GRAMMY winner and the 2024 GRAMMYs Best New Artist Victoria Monét. This foundational specialization will help participants gain the skills, knowledge and confidence to build a strong brand presence and cultivate a devoted audience within the ever-changing music industry. 

The partnership’s second course, launching later this summer, aims to strengthen the technological and audio skills of a music producer. "Music Production: Crafting An Award-Worthy Song" will be taught by Carolyn Malachi, Howard University professor and GRAMMY nominee, and will include appearances by GRAMMY winner CIRKUT, three-time GRAMMY winner Hit-Boy, artist and celebrity vocal coach Stevie Mackey, five-time GRAMMY nominee and Recording Academy CEO Harvey Mason jr., and 15-time GRAMMY winner Judith Sherman. Pre-enrollment for "Music Production: Crafting An Award-Worthy Song" opens today.

"Whether it be through a GRAMMY Museum program, GRAMMY Camp or GRAMMY U, the GRAMMY organization is committed to helping music creators flourish, and the Recording Academy is proud to introduce our newest learning platform, GRAMMY GO, in partnership with Coursera," said Panos A. Panay, President of the Recording Academy. "A creator’s growth path is ongoing and these courses have been crafted to provide learners with the essential tools to grow in their professional and creative journeys."

"We are honored to welcome GRAMMY GO, our first entertainment partner, to the Coursera community," said Marni Baker Stein, Chief Content Officer at Coursera. "With these self-paced online specializations, aspiring music professionals all over the world have an incredible opportunity to learn directly from iconic artists and industry experts. Together with GRAMMY GO, we can empower tomorrow's pioneers of the music industry to explore their passion today."

GRAMMY GO also serves as the music community’s newest digital hub for career pathways and editorial content that provides industry insights for members of the industry; visit go.grammy.com for more. For information and enrollment, please visit the landing pages for "Building Your Audience for Music Professionals" and "Music Production: Crafting An Award-Worthy Song."

Meet 5 GRAMMY Nominees Who Started At GRAMMY U: From Boygenius Engineer Sarah Tudzin To Pentatonix’s Scott Hoying

From commanding stages to blasting through stereos, countless women have globally graced the music industry with their creativity. And though they've long been underrepresented, tides are changing: in just the last few years, female musicians have been smashing records left and right, conquering top song and album charts and selling sold-out massive tours.

This year, Women's History Month follows a particularly historic 66th GRAMMY Awards, which reflected the upward swing of female musicians dominating music across the board. Along with spearheading the majority of the ceremony's performances, women scored bigtime in the General Field awards — with wins including Best New Artist, Record Of The Year, Song Of The Year, and Album Of The Year.

Female empowerment anthems, in particular, took home major GRAMMY gold. Miley Cyrus' "Flowers" took home two awards, while Victoria Monét was crowned Best New Artist thanks to the success of her album Jaguar II and its hit single "On My Mama." As those two songs alone indicate, female empowerment takes many different shapes in music — whether it's moving on from a relationship by celebrating self-love or rediscovering identity through motherhood.

The recent successes of women in music is a testament to the trailblazing artists who have made space for themselves in a male-dominated industry — from the liberating female jazz revolution of the '20s to the riot grrl movement of the '90s. Across genres and decades, the classic female empowerment anthem has strikingly metamorphosed into diverse forms of defiance, confidence and resilience.

No matter how Women's History Month is celebrated, it's about women expressing themselves, wholeheartedly and artistically, and having the arena to do so. And in the month of March and beyond, women in the music industry deserve to be recognized not only for their talent, but ambition and perseverance — whether they're working behind the stage or front-and-center behind the mic.

From Aretha Franklin's "RESPECT" to Beyoncé's "Run the World (Girls)," there's no shortage of female empowerment anthems to celebrate women's accomplishments in the music industry. Listen to GRAMMY.com's 2024 Women's History Month playlist on streaming services below.

9 Ways Women Dominated The 2024 GRAMMYs

They say to not meet your heroes. But when Freddy Wexler — a lifelong Billy Joel fan — did just that, it was as if Joel walked straight out of his record collection.

"I think the truth is none of it is that surprising," the 37-year-old songwriter and producer tells GRAMMY.com. "That's the best part. From his music, I would've thought this is a humble, brilliant everyman who probably walks around with a very grounded perspective, and that's exactly who he is."

That groundedness made possible "Turn the Lights Back On" — the hit comeback single they co-wrote, and Wexler co-produced; Joel performed a resplendent version at the 2024 GRAMMYs with Laufey. Joel hadn't released a pop album since 1993's River of Dreams; for him to return to the throne would take an awfully demonstrative song, true to his life.

"I think it's a very raw, honest, real perspective that is true to Billy," Wexler explains. "I think it's the first time we've heard him acknowledge mistakes and regret in quite this way."

Specifically, Joel's return highlights his regret over spending three decades mostly on the bench, largely absent from the pop scene. As Joel wonders aloud in the stirring, arpeggiated chorus, "Is there still time for forgiveness?"

"Forgiveness" is a curious word. Why would the five-time GRAMMY winner and 23-time nominee possibly need to seek forgiveness? Regardless — as the song goes — he's "tryin' to find the magic/ That we lost somehow." The song's message — an attempt to recapture a lost essence — transcends Joel's personal headspace, connecting with a universal longing and nostalgia.

Read on for an interview with Wexler about the impact of "Turn the Lights Back On," why he thinks Joel took such an extended sabbatical, the prospect of more new music, and much more.

This interview has been edited for clarity.

**You did a great interview with Rolling Stone ahead of the 2024 GRAMMYs. Now, we're on the other side of it; you got to see how it went down on the telecast, and resonated with the audience and world. What was that like?**

It's why I make music — to hopefully make people feel something. This song has really resonated in such a big way. More than looking at its commercial success on the charts or on radio, which has been awesome to see, the comments on Instagram and YouTube have been the most rewarding part of it.

Why do you think it resonated? Beyond the king picking up his crown again?

I don't think the song is trying to be anything it's not. I think it's a very raw, honest, real perspective that is true to Billy. I think it's the first time we've heard him acknowledge mistakes and regret in quite this way. And to hear him do it in a hopeful way where he's asking, "Is it too late for forgiveness?" is just very moving, I think.

Forgiveness? That's interesting. What would any of us need to forgive him?

He has said in other interviews, "Sometimes people say they have no regrets at the end of their life." And he said, "I don't think that's possible. If you've lived a full life, of course you have regrets." He has said that he has many things he wishes he would've done differently. This is an opportunity to express that.

I think what's interesting about the song is it has found meaning in various ways with various people and listeners. Some people imagine Billy is singing to former lovers or friends. Other people imagine Billy is singing to his fans asking, "Did I wait too long to record again?" Other people wonder if Billy is singing to the songwriting Gods and muses. Did I wait too long to write again?

In Israel, where the song was number one — or is number one, I haven't checked today — I think the song's taken on the meaning of just wanting things to be normal, wanting hostages to come home and turn the lights back on. So, you never know where a song is going to resonate, but I think that Billy just found his own meaning with it.

You know the discography front to back. What lines can you draw from "Turn the Lights Back On" to past works?

I think it draws on various pieces of his catalog, right? "She's Always a Woman" has a sort of piano arpeggio in the chorus. To me, it feels like a natural progression. It feels like, on the one hand, it's a new song. On the other, it could have come out right after River of Dreams. To me, it just kind of feels natural.

**Back when you spoke with Rolling Stone, you said you couldn't wait to hear "Turn the Lights Back On" at Madison Square Garden. How'd it sound?**

Amazing. Billy is a consummate live performer. I think he's one of the few artists where everything is better live, and everything is always a little bit different each time it's played live.

It's been really cool to watch Billy and the band continue to change and improve the song and the song's dynamics for the show. He told me tonight that tomorrow night in Tampa, I think they're going to try to play with the key of the song, potentially — try it a half a step higher.

Those are the sort of things I think great artists do, right? It's different from being on a certain type of tour where every single song is the same, the set list is the same, the key is the same, the arrangements are the same.

With Billy, there's a lot of feeling and, "Hey, why don't we try it this way? Let's play it a little faster. Let's play it a little slower. Let's try it in a different key." I just think that's super cool. You have to be a really good musician to just do that on the fly.

What have you learned from him that applies to your music making, writ large?

I've learned so much from him. As Olivia Rodrigo said to us at GRAMMY rehearsals, "He's the blueprint when it comes to songwriting."

He has helped raise the bar for me when it comes to melodies and lyrics, but the thing I keep coming back to is he's reminded me that even the greatest artists and songwriters ever sometimes forget how great they are. I think we need to be careful not to give that inner voice and inner critic too much power.

Can you talk about how the music video came to be?

Well, I had a dream that Billy was singing the opening two lines of the song, but it was a 25-year-old version of Billy. It was arresting.

When I woke up, I sort of had the vision for the video, which was one set, an empty venue of some kind, and four Billy Joels. The Billy Joel that really exists today, but then three Billys from three iconic eras where each Billy would seamlessly pick up the song where the other left off.

The idea behind that was to sort of accentuate the question of the song — did I wait too long to turn the lights back on?

And so, to kind of take us through time and through all these years, I teamed up with an amazing co-director, Warren Fu, who's done everything from Dua Lipa to Daft Punk, and an artificial intelligence company called Deep Voodoo to make that vision possible.

What I'm driven by is the opportunity to create conversations, cultural moments, things that make people feel something. What was cool here is as scary as AI is — and I think it is scary in many ways — we were able to give an example of how you can use it in a positive way to execute a creative artistic vision that previously would've been impossible to execute.

Yeah, so I'm pleased with it and I'm thankful that Billy did a video. He didn't have to do one, but he liked the idea of it. He felt it was different, and I think he was moved by it as well.

What do you think is the next step here?

It's been a really rewarding process. And Billy is open-minded, which is really cool for an artist of that level, who's not a new artist by any stretch. To actually be described as being in a place in his life where he's open-minded, means anything is possible. I could tell you that I would love there to be more music.

I'd love to get your honest appraisal. And I know you're not him. But his last pop album was released 31 years ago. In that long interim, what do you think was going on with him, creatively?

Look, I'm not Billy Joel, but I think there were a number of factors going on with him. Somewhere along the way, I think he stopped having fun with music, which is the reason he got into it, or which is a big part of the reason he got into it. When it stopped being fun, I don't think he really wanted to do it anymore.

Another piece to it is that Billy is a perfectionist, and that perfectionism is evident in the caliber of his songwriting. Having always written 100 percent of his songs, Billy at some point probably found that process to be painstaking, to try to hit that bar where he's probably wondering in his head, What would Beethoven think of this? What would Leonard Bernstein think of this?

I think part of what was different here was that, perhaps, there was something liberating about "Turn the Lights Back On" being a seed that was brought to Billy. In this way, he could be a little disconnected from it, where maybe he didn't have to have the self-imposed pressure that he would if it was an idea that he'd been trying to finish for a while.

Ironically, he still made it. Well, there's no "ironically," but I think that's it. There's something to that.

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