Grammys 2021
Grammy winners
Megan Thai Stallion owns the stage, faltering independent venues got the much-needed spotlight and the event proved that the Pandemic Prize show doesn't have to look like a video conference.
The 63rd Annual Grammy Awards promised to be different: A new executive producer was at the helm of the company for the first time in decades; New Host and New Challenge - putting together a pandemic award show that wasn't like a videoconference. With a small audience of nominees outside Los Angeles, the show highlighted the contributions of women and the impact of the Black Lives Matter protests, providing screen time for workers in independent venues crushed by the pandemic and paying homage to the musicians we have lost during this difficult year. .
Here are the highlights and highlights of the show as we saw them.
Best M.V.P.: Megan Thee Stallion
Although she did not win the final and biggest of the night, which is the record for this year, Night Grammy was owned by Megan Thai Stallion. She won the other three nominations for her: Best New Female Artist, "Savage" remixed of Beyoncé, Best Rap Song, and Best Rap Performance. Each word was a helpful gift: lively words from an artist who tested their first batch of acclaim on a truly large scale. But her self-confident performance was the loudest statement ever. Opened up with a bit of "flesh", and switched over to her side from a "Savage" remix. But the main focus was on her "WAP" performance with Cardi B who was lively and charismatic, cute and authentic in a way the Grammys rarely made possible. That it happened on CBS, the most historically conservative broadcasting network, was a chef's kiss. John Karamanica
Best Accessory: Harry Styles’s Boa
Debut nominee Harry Styles kicked off the show with a glamorous and casually catchy performance for "Watermelon Sugar", with an excellent backing band (Dev Hynes on the bass!) And the iconic feather snake instantly. Styles often get Mick Jagger comparisons, but Styles has a more relaxed - if not less magnetic - presence on stage. "Sugar Watermelon" never looked better than it did during this performance, which made his subsequent surprise win for Best Pop Solo Performance understandable. Something tells me snake season is approaching. Lindsay Zollads
Worst Final Development: Billie Eilish scored the best win of the year
At the end of the Grammys concert who did their best to pretend that the Recording Academy had always supported and focused on black artists and women and especially black women, Billie Eilish was put into an impossible situation we've seen so many times before. She earned the record of the year for "Everything I Want," a medium rhythm between the two tracks, just one year after sweeping the top four categories with her debut album, Eilish couldn't help but outrun Megan Thay Stallion.
This is really embarrassing for me," said Eilish, a white teen - like many in her generation and beyond who worships black culture. "You are a queen, I want to cry as I think about how much you love." She continued. It was uncomfortably reminiscent of Adele's praise of Beyoncé when "25" beat "Lemonade" for Album of the Year in 2017, and also the infamous Macklemore text to Kendrick Lamar. Online some felt white onscreen guilt, while others praised Eilish's seemingly sincere popularity. But the blame can only be blamed on an old-fashioned vote body that still honors rap music when it's appropriate. Joe Coscarelli
Best Reality Test: Indoor Presenters
Neither the musicians nor the fans can forget that the pandemic has caused live music to stop. Splashed among award presenters - rather than the usual actors promoting CBS shows and stray sports figures - they were people working in long-running clubs and theaters: Station Inn in Nashville, Troubadour and Hotel Cafe in Los Angeles, and Apollo Theater in Harlem. They previously spoke from their empty concert halls and announced the winners directly. Billy Mitchell, who started working on Apollo in 1965, stated that James Brown had demanded to see his report card, insisted on improving his grades, then given the money that Mitchell put into business school and a life-long career at Apollo, where he eventually became the official historian . Music changes life outside of theater, too. John Barriles
Best Disco Fantasy: Dua Lipa
Dua Lipa's song "Nostalgia for the Future" lived her entire life in quarantine, but it is advisable to leave it at night and on dance floors around the world. At the Grammys, the British pop singer and songwriter gave us a glimpse of the other side - glamor, bright lights, vibrant bass lines, people dusting off the 70's dance moves, slight embarrassment. Her two-song collection started with "Levitating," a funky skateboard with DaBaby's glamorous feature, and ended with "Don't Start Now," the powerful track nominated for Best Recording and Song of the Year. The track didn't take the award either, but Lipa left the pop soundtrack album the privilege of convincing most viewers at home with a few minutes of lively sofa dance. Karen Janz
Best Confrontational Politics: Lil Baby and DaBaby
Lil Baby released The Bigger Picture, a protest song about his autobiography, less than three weeks after the murder of George Floyd in Minneapolis last summer, the same day that Richard Brooks was shot dead by police in the rapper's hometown. Atlanta.
With the emergence of actor and activist Kendrick Sampson, reenacting Brooks’s murder; Organizer Tameka Mallory who addressed President Joe Biden in a speech. And Killer Mike, who added some Run the Jewels to the mix, Lil Baby's performance stirred despair and anger at that moment without feeling possessed by the institutions that were playing the host.
Earlier in the show, DaBaby did the same, adding a new home to "Rockstar", a gun-wrenching poem, and making eye contact with America as he sang in front of a chorus of elderly white dressed in judge's robes: "Now I'm performing at the Grammys / Maybe I'll get a glimpse before I leave. ”Coscarelli
Worst Queen Worship: The Grammys to Beyoncé
Did you know that Beyoncé has now won more Grammy Awards than any other artist in history (28)? Of course I did; The Grammys couldn't stop reminding you. To be clear, this is a colossal achievement, and a feat that goddess among mortals Beyoncé Giselle Knowles Carter totally deserves. But there was too much Grammy protest at the way Trevor Noah and the presenters kept reminding us of this fact over and over again, as if the Recording Academy was trying to amend Beyonce from her past transgressions on live TV. (These excesses include, but are not limited to highlighting the woman who has fundamentally redesigned the modern pop album over the past decade of winning the Big Four since 2010).
Was embarrassing. Even Beyonce's admission of "Black Parade" which is certainly a good song, but it is not among her best or most influential work - she felt oddly consensual, a responsibility for not giving "Lemonade" its due merit several years ago. The always-sweet Beyoncé definitely took advantage of this, and her acceptance speeches were among the highlights of the night - especially the cheerful energy of her older sister as "Savage" collaborator Megan Thay Stallion accepted her joint and highly deserved award for Best Rap Song. ZOLADZ
Best Use of Quarantine Time: Taylor Swift’s Album of the Year ‘Folklore’
With Grammy Night approaching, Album of the Year was his to lose Taylor Swift award. Perhaps there is no other LP that symbolizes our year of epidemic more comprehensively than "folklore," which Swift devised entirely during quarantine and decked out with warm, mystical home aesthetics. Perhaps her Grammy performance - a mix of "folklore" "Cardigan" and "August" along with Willow from her 2020 second album, "Evermore" - depended too literally on that aesthetic.
The visual freak flashing all around her and her producers Jack Antonoff and Aaron Decner (who joined her on stage, in a set made to look like a one-room hut) detracted a little from the direct power of her songs, which she was more easily appreciated in her other award shows. In support of "folklore," a beautiful interpretation of "Betty" at the Country Music Awards last year. But Swift, a one-time Grammy's sweetheart who hasn't scored a win before the night since 2016, has been out of the spotlight long enough that her win feels like a triumph. In keeping with a night defined by the artists' accomplishments, she added a gorgeous feather to her hat, making her the only female artist in Grammy history to win Album of the Year three times. ZOLADZ
Best Blasts (and Ballads) from the Past: Silk Sonic and In Memoriam
Bruno Mars is nothing if not a diligent archive writer, digging into the details of ancient styles, and Anderson joins him. Paak is on a mission of retro in their new project Silk Sonic. They have all gone on "Leave the Door Open," which is a period-cut tribute to the softening of the 1970's R&B vocal group. In mocha suits, three-piece shirts, and shirts with collars spread roughly across the shoulder, they swapped bold strings and subtle back-up harmonies, including choreography. From another time capsule, Mars and Buck returned to participate in the In Memoriam clip, they paid a loud salute to Little Richard with the Martian who shot him into an old-fashioned microphone, and Paak punched a group of drums striped with a tiger. The memorial continued with remarkable humility: Lionel Richie performed "Lady" by Kenny Rogers with an elegiac sadness, and Brandy Carlisle sang John Brian's last song, "I Remember Everything" with affectionate respect.
The closing tribute probably made more sense in the UK. With Coldplay's Chris Martin playing the piano, Brittany Howard brought "I Will Never Walk Alone" (from Rodgers and Hammerstein's "Carousel") over a country song. It was a quirky memorial to Jerry Marsden, to Jerry and the heartbeat makers, who reworked the song in 1963 and took it as an anthem for Liverpool Football Club. Even stranger still, the song reappeared moments later, with Howard singing on a better backup track, in a commercial. parallel
Best Juggling Act: Trevor Noah
Hosting an award show during pandemic season is an unprecedented job or firm rule. At this year's Grammys - a mix of live performances, pre-made slides and award presentations distributed on the rooftop of downtown Los Angeles - the job specialty was very confused. Nonetheless, Trevor Noah has proven himself mostly witty: vibrant energy, a bit of awe, some fluency in positional humor and a bit of cheek, but not much. Occasionally, he literally inserted himself at the end of a performance, or intentionally interfered with something happening elsewhere on stage, which momentarily felt embarrassed, but actually helped add adhesive to the patchwork issue. There were some lumpy points, and his awkward banter about sharing a bed with Cardi B felt like a relic of 1980s situations, but overall, Noah made something that could have looked like several competing shows like one. Karamanica
Best Self-Criticism: Harvey Mason Jr.
The Grammy's mandatory speech to the head of the Recording Academy tends to mix cliched ideas about the power of music with moderate pressure. Harvey Mason Jr., who took over as interim president and chairman after the academy fired Deborah Dogan before the Grammy Awards last year, puts forward something different: The closest Grammy award to a mistake. “We hear cries for diversity, calls for representation and demands for transparency,” he said, via an audio clip of a serious piano. "Tonight I'm here to ask the entire music community to join in, work with us, not against us, because we're building a new recording academy that we can all be proud of." He added, "This is not the vision of tomorrow, but the job of today." Promising Sentiments - Are They Enough? parallel
Best Overdue Nomination: Mickey Guyton
Trevor embarrassingly introduced Noah to Mickey Guyton as "the first black solo artist ever to be nominated in the country category" - a reflection of country music and a much more Grammy that reflects her clear merits. (She lost her Best Country Solo Performance to Vince Gill in a pre-broadcast TV concert.) But Guyton, who will co-host the Academy of Country Music Awards in April, gracefully seized this prime-time moment, sang "Black Like Me," an indictment. Frank - “If you think we live in the land of the free / you should try to be black like me” - this strives to end a hopeful message. It's a hymn-like song that welcomed a backup choir and a large crowd on the way to the climax, "One day we will all be free." And it made Guyton a very difficult business for Miranda Lambert and Marine Morris to follow. parallel
Best Mixed Emotions: Haim
Danielle Haim started the song "The Steps", which was nominated for Best Rock Performance, sitting behind the drums with a quarrelsome look on her face and a tone that matched her. She was singing about belittling and misunderstanding, and Grammy simply hung the band of three sisters - Daniel, Estee, and Alana - in the middle of the floor. But Haim switched instruments and so did the mood in the middle of the song; Danielle went from drums to guitar and back while her voice briefly changed from annoyed to bored; Hurting can be misunderstood. Ultimately, she does counterattack, but the song is no longer simple. parallel
Source:
Nytimes
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