The latest: A big night for Bruno Mars.
The 60th annual Grammy Awards on Sunday gave its highest accolades to Bruno Mars, an upbeat master of danceable pop, even as the show wrestled with a range of social and political topics including immigration, race and the #MeToo movement.
Mr. Mars won all six of the awards he was nominated for, including the top prizes of album, record and song of the year. The next most rewarded artist was Kendrick Lamar, the provocative and critically admired rapper from Compton, Calif., whose five wins included a sweep of the rap categories.
Their victories came at the expense of Jay-Z, now a reigning elder of hip-hop and the music business in general, who had arrived as the most-nominated artist of the night, with eight nods, but went home empty-handed.
The show at Madison Square Garden also featured the Grammys’ much-anticipated response to the #MeToo movement. While the reckoning over harassment and gender equality has swept over Hollywood, media and politics, its effect on the music industry had been minimal, leading to scrutiny over how the show would address the issue. But a call-to-arms by Janelle Monáe, and an emotional performance by Kesha, approached it head-on.
“You see, it’s not just going on in Hollywood, it’s not just going on in Washington,” Ms. Monáe said. “It’s right here in our industry as well.”
“And just as we have the power to shape culture,” she added, “we also have the power to undo a culture that does not serve us well.”
Multiple Grammys for ‘24K Magic.’
Mr. Mars, who has earned the respect of the industry as an all-around entertainer, capable of repeatedly scaling the pop charts and entertaining the nation at the Super Bowl, won album of the year for “24K Magic,” as well as record of the year for the title track and song of the year — a songwriters’ award — for “That’s What I Like.” (His album also claimed an engineering prize.)
Song of the year went to Mr. Mars and the seven other writers of “That’s What I Like,” a slice of 1980s-throwback funk. Accepting the award, Mr. Mars was surrounded by what looked like an entourage, but they were the credited writers of the song, reflecting the new production model of pop music in which huge teams of specialized writers collaborate.
“I’ve been knowing these guys for over a decade,” Mr. Mars said. “All the music-business horror stories you’ve seen in the movies, we’ve been through all of them.”
“It’s an honor to share this with you all tonight,” he told them.
In addition to Mr. Mars, they were Christopher Brody Brown, James Fauntleroy, Philip Lawrence, and the quartet known as the Stereotypes: Ray Charles McCullough II, Jeremy Reeves, Ray Romulus and Jonathan Yip.