#Taylor and Travis supporting Jack Antonoff

[90363462]

[kcyars99]

Taylor and Travis with The Bleachers band members backstage at #Coachella2024 🥹

[seeminglyranch87]

Taylor & Travis Timeline

December 2023 - part 1

December 1 - Taylor and Travis attend Christmas Party at a pop-up bar wearing matching Christmas sweaters featuring squirrels - or should we say "squirle"? IYKYK. (x) Kansas City

Twitter April 2011 - Travis

IG Halloween Oct. 2021 - Taylor

December 2 - Travis arrives ahead of Chiefs v Packers Game, Green Bay, WI

December 3 - Chiefs v Packers, Lambeau Field, Green Bay, Wisconsin. Defeated 19 - 27

Taylor attends the game bringing Brittany Mahomes & Lyndsay Bell with her on her jet. They return to KC immediately after the game.

December 5 - Taylor seen out for dinner with Jack Antonoff in NYC

December 6 - Taylor Swift is announced as TIME Person of the Year - 2023 (x) This is a brilliant article - go check it out!

Most recently, she’s been dating the NFL star Travis Kelce, as has been well documented when she attends his games. “I don’t know how they know what suite I’m in,” she says. “There’s a camera, like, a half-mile away, and you don’t know where it is, and you have no idea when the camera is putting you in the broadcast, so I don’t know if I’m being shown 17 times or once.” She is sensitive to the attention that’s put on her when she shows up. “I’m just there to support Travis,” she says. “I have no awareness of if I’m being shown too much and pissing off a few dads, Brads, and Chads.”

I point out that it’s a net positive for the NFL to have a few Swifties watching. “Football is awesome, it turns out,” Swift says playfully. “I’ve been missing out my whole life.” (A game she attended in October was the most-watched Sunday show since the Super Bowl.)

“This all started when Travis very adorably put me on blast on his podcast, which I thought was metal as hell,” she says. “We started hanging out right after that. So we actually had a significant amount of time that no one knew, which I’m grateful for, because we got to get to know each other. By the time I went to that first game, we were a couple. I think some people think that they saw our first date at that game? We would never be psychotic enough to hard launch a first date.” The larger point, for her, is that there’s nothing to hide. “When you say a relationship is public, that means I’m going to see him do what he loves, we’re showing up for each other, other people are there and we don’t care,” she says. “The opposite of that is you have to go to an extreme amount of effort to make sure no one knows that you’re seeing someone. And we’re just proud of each other.”

Taylor attends the premiere of "Poor Things" in support of friend Emma Stone, Rockefeller Center, NYC. Taylor sat with Laura Dern, Suki Waterhouse and Robert Pattinson

December 8 - Taylor seen out with Selena Gomez, Zöe Kravitz, Cara Delevingne, Anya Taylor-Joy in NYC

Go to December 2023 part 2

Return to the timeline

[jackalsinthekitchen]

pop report #3 (1/21/23)

only some of our stars are problematic, but all of them are a little upset

It’s a new reshuffle for our rotation of shadowy, spacey hits, many of them familiar company by now.

“Anti-Hero” leads the pack as usual, followed by “Kill Bill”, “Unholy”, “I’m Good (Blue)”, “Creepin”, “Die for You”, “Rich Flex”, “As It Was”, “Bad Habit”, and “Something in the Orange” – each one a good song of some sort, each one deliberately on the downbeat side. “Orange”, by Zach Bryan, is striking. The title metaphor (the vermillion of a new-dawn sun) feels overstated as it goes on. But Bryan wrenches the lyric out of his throat with such a gritty, wounded passion that you’re wrapped up in the drama of the scenario even as the author doesn’t lay it out detail for detail. It’s the only song of the ten that doesn’t happily submit to the prefab trends of our time. America’s top-selling songs sound fake and spectacular.

The superstars lingering in our charts share an underdog edge. SZA toils in the shadow of Rihanna and Beyoncé. SOS may not be her breakout among Black women making artful statements in a vague genre often pigeonholed as “R&B”. Not unlike her labelmate Kendrick Lamar, she’s boldly inventive, but doesn’t foreground her ethereality the way Solange, Janelle Monae or Charlotte Adigéry do. Her music is more street and soulful, but its edge is tempered; lyrically, melodically and sonically it prefers a suggestive path, its strength its insouciance.

Taylor Swift could buy Luxemborg, but I think she’s underrated too, as the nitpicky response to Midnights demonstrates. No pop star resembles Hillary Clinton more – her deficiencies are her caution, and the pushy sincerity with which she undermines her best ideas. I admire aspects of Midnights others can’t agree on. I think Jack Antonoff’s production is fun, its overall tone of luminous gloom offset by cute little sonic surprises in the arrangements. It’s been accused of sounding soullessly synthetic, but in fact the technology purposefully emulates cheapness. And  her choice to curse in nearly every song, while contrived (and as such weirdly enjoyable), has the same insufficient-progress impact as, say, a president voicing support for gay marriage in 2012.

You probably haven’t guessed that I’m running down Billboard’s Top 10 albums, because I didn’t tell you, but Metro Boomin’s album follows at #3. I’m not that familiar with his work, but he does have friends – John Legend, the ever-resilient Chris Brown, Travis Scott, Young Thug, the late Takeoff, A$AP Rocky, and Lakeith Stanfield, who starred in the trailer, to name seven. His music emanates an indigo mood, often darkly attractive in arrangement and tune. And the uniformly macho-minded contributors explore angles of their own angst that at times yield uniquely compelling results. Still, you can imagine falling asleep to this album, and the resulting dreams wouldn’t be very much fun.

I struggle with Drake, as I’ve said, because I’m just not convinced his instincts are sharp enough for great art. He makes perfect sense when he finds a terrific hook (“Best I Ever Had”) or groove (“Passionfruit”). But as befits a performer who made his name (well, real name) on the charmingly soapy Degrassi: the Next Generation, some of his public acts have felt not just forced but unselfaware. And when he tries to catapult off his commercial primacy into playing at swagger, you simply don’t believe him – you get annoyed. That the album is reported to be quite bitchy about the artists’ ex-girlfriends has kept from me from exploring it, but at the same time it’s a valid resistance for any listener to have. Judging from its tenacity on the charts, this doesn’t seem to be too widespread a problem.

It’s conceivable that a collective American fatigue, a weariness at having been roughed by current events, explains the evidently en vogue wave of tonally sullen and slightly ominous-sounding bangers. Bad Bunny has the aura of a Casanova-rapscallion hybrid, but like Post Malone, his music is luxuriously atmospheric (at least by the evidence of his most recent album, Un Verano Sin Ti). The pulse of his beats is dependable and insistent, but his tracks are never monotonous; they’re consistently playful even when moroseness perfumes the proceedings. My girlfriend says she admires Bad Bunny’s work because “he’s fuckin’ sexy and I love his voice”; she emphasizes, though, that songs from the last record hung around in her head more than these seem to, with an air of disappointment in her inflection.

If Drake is skirting the problematic with relative impunity, who knows what you call Morgan Wallen’s 105th week on the chart. His album, conveniently titled Dangerous: the Double Album, is still selling in the long wake of Wallen’s collision with the sort of controversy that permanently stains you. Taken for what it was*, without proselytizing, his offense seems even more unthinking and less racially targeted than Elvis Costello’s 1979 barstool faux-pas, for which EC is still living off the hook. But it’s hard not to see Wallen’s persistent sales as reflecting the wokeness-contrarian impulse coursing through society.

It doesn’t help that Wallen’s general vibe is smug and shallow; he prefers to plow past deeper emotions. Most country pop works the way disco works – the way it sounds is sometimes silly, but the tone and tempo can be enough of a kick to counteract that. But it rarely feels as commanding or texturally interesting as whatever Zach Bryan is up to. The very title of his album, American Heartbreak, reflects his interest in humanity’s ragged diversity. A more civilized-sounding Tyler Childers, Bryan elevates every lyric with his plaintive, shopworn delivery. But even if he sang as insincerely as Wallen, or as weakly as, say, Kris Kristofferson, you’d still instantly sense that those lyrics are worth returning to.

Another hip-hop artist whose vibe is generically masculine, Lil Baby favors producers similar to Metro Boomin, those inclined to mine the line between dreamy and dreary. Baby has a strangely captivating flow – tuneful, viscous and casual across the consonants. And while his lyrics don’t skimp on the usual hardnosed hustler act, that flow is full of feelings unsuffocated by his swagger. That said, there’s a repetitiveness to this music that starts to feel oppressive over 23 tracks, and it makes you wonder how much fun the artist is having.

By contrast, YoungBoy Never Broke Again (good name – manifest that shit) doesn’t want you to relax. His music is chaotic, assertive, taut with tension. These boisterous collages of sound are creative enough to stay riveting, even when the cumulative effect is claustrophobic or unpleasant. YB N B A raps, through a sizzling autotune, even more loosely and woundedly than Lil Baby. There’s almost always something interesting going on, and 19 songs in 39 minutes isn’t going to try anyone’s patience. But once again it’s a seemingly-not-so-lovable-guy unloading his problems line by line without repaying your attention with hooks.

T-Swift’s ex Harry ‘Will Never Go Out of’ Styles is another multimillionaire I’ll defend as awaiting some due. Savvy beams off his every move, and he’s turned himself into a true fashion icon. But I suspect that his reserved demeanor, plus the usual indulgent hate boy bands attract like bug zappers, has compelled certain people to assume there’s less behind those bedroom eyes than the sleek intelligence Harry’s House exhibits. Truly, he should not be allowed to wax about cinema without a set of notecards, but the pop he’s bringing these days isn’t exactly lacking scope and vision. Like the best directors, Harry is an earth angel fascinated by the sweet nuance of human behavior, and the thrill of trying to evoke it.

I’ve long appreciated that modern pop seems to have shaken off a certain kitschy artifice. The prevailing aural trends, forged in a world of limitless technology, favor heady and challenging atmospherics. Thus the corniest hits are at least pacifying, and the best profound and genuinely transportive. But evolved as the status quo feels, I’m feeling a hunger pang for the shock of the new – for a disorienting shake of the frame. Or, as with “Running Up That Hill”’s fluke success, a resurgence of the old in service of the same surprise.

*if I have it right, an inebriated Wallen casually refers to one of his (white) friends with the n-word

[aaronmaurer]

Music I Liked in 2020

Every year I reflect on the pop culture I enjoyed and put it in some sort of order.

I can’t say I discovered a lot of new artists in 2020, but I did find a lot of solace in new records by familiar voices. During days of intense isolation and lonesomeness, music provided support, hope and the occasional semblance of peace. I’m especially grateful for the musicians who found new ways to perform live from their home studios, once the entire touring industry completely shut down. I’m sure we all found our own rabbit holes, but live-streamed sets from the likes of Ben Gibbard, Jimmy Eat World’s Jim Atkins, Better Than Ezra’s Kevin Griffin, Geographer’s Michael Deni and Ben Folds kept me sane during April, May and beyond. As did all of these albums, which I highly recommend.

15. Serpentine Prison – Matt Berninger

The National frontman’s first solo record is a slow-burn that may not reach the heights of his work with his main group (or sideproject El Vy), but still has signature moments of poetic beauty. The title track is a clear standout (and when it gets stuck in your head, you can have fun brainstorming your own alternate non-sequitur couplets; examples: “Tripping on Molly / Salvador Dalí”, “Praying to Jesus / Ramona and Beezus” / “Sell it on Etsy / Heavens to betsy” / “Patio tables / Anne of Green Gables” It’s fun! Try it out!)

14. Local Honey – Brian Fallon

Speaking of Matt Berninger (and solo projects from alt-rock frontmen), I hear a lot of his influence on the latest from Gasoline Anthem’s Brian Fallon. This largely stripped-down affair has quiet splendor to spare and provided a balm in the early days of the pandemic.

13. Gigaton – Pearl Jam

Pearl Jam’s latest record finds the band operating in a variety of different modes – head-on rockers, balladeers, experimentalists – yet doesn’t quite gel into a whole the way their very best work does. That said, it’s an energetic album with many songs I look forward to hearing live, someday…

12. George Clanton & Nick Hexum – George Clanton & Nick Hexum

A vaporwave collaboration between electronic artist George Clanton and 311’s Nick Hexum? Really? Somehow it works, and its chill vibes were a perfect backdrop for lonely summer malaise this year.

11. Petals For Armor – Hayley Williams

Paramore’s Williams branched out on her first solo record this year, allowing her to operate in a variety of styles without losing her powerful voice. Moments of slinkily seething electronica (“Simmer”) share space with pop smarts (“Dead Horse”), quietly pretty harmonies (“Roses/Lotus/Violet/Iris”) and all points in between.

10. Mordechai and Texas Sun EP (with Leon Bridges) – Khruangbin

Houston psych-rock trio Khruangbin did double duty this year, first releasing a collaborative EP with Leon Bridges then following it up with a new full-length a couple months later. Both records hang in the air like hazy, languid summer heat, in the best possible way.

  9. RTJ4 – Run the Jewels

RTJ4 is just as rollicking and propulsive as Killer Mike and El-P’s previous collabs, but with a greater sense of socially conscious urgency and righteous anger, giving it an even rawer power. Tracks like “Walking In The Snow,” “JU$T” and “a few words for the firing squad (radiation)” are just the tip of the iceberg on this incendiary record.

8. American Head – The Flaming Lips

American Head returns the Flaming Lips to the melodic soundscapes of The Soft Bulletin and Yoshimi Battles the Pink Robots, which is my preferred mode for the band, and thus is my favorite thing they’ve done in at least a decade. The record is a bit more dreamily melancholic than those earlier releases though, creating atmospheres of contemplative beauty.

7. Punisher – Phoebe Bridgers

Coming after collaborations with boygenius and Better Oblivion Community Center, it’s hard to believe this is only Bridgers’ sophomore album. Punisher takes the winning palette of Stranger In The Alps and mixes in more colors and texture. This is an album that rewards repeat listens; tunes that I had initially dismissed have ended up becoming my favorites as they get their hooks into me. The most immediate tracks like “Kyoto” and “ICU” don’t lose any impact over time, but the likes of the quietly devastating “Chinese Satellite” sneak up on you and gradually reveal their layers.

6. Imploding the Mirage – The Killers

I was done with The Killers. My interest always ran hot and cold anyway, but after 2017’s Wonderful Wonderful, no thanks. So imagine my surprise when I gave Imploding the Mirage a shot and found I LOVE it! It may be my favorite of their records yet, at least the most consistent, where they most fully realize the confluence of their Springsteen-tinged Americana fetish and electro-rock sensibilities. Bombastic 80s arena percussion and over-the-top synth flourishes combine in the best possible way. There’s not a dud on the album for me, but I’m especially fond of “My God,” “Lightning Fields” and “Dying Breed.”

5. The Ascension – Sufjan Stevens

The Ascension hits with similar energy to 2010’s polarizing Age of Adz, but with more easily accessible songs. It’s a dark and introspective record about disillusionment with America and oneself, but also highly danceable – if a bit overlong. Standout tracks like “Goodbye to All That” and “Lamentations” provide transcendent moments of soaring beauty like calm in the storm. And the brilliant title track plays like a self-interrogating rejoinder to Adz’s pep talk “Vesuvius” in which, instead of cheering himself on, Stevens probes and calls into question his motivations and beliefs.

4. Song Machine, Season One: Strange Timez – Gorillaz

The latest record from Damon Albarn’s ever-evolving cartoon collective is its most engaging since Plastic Beach, with a spirit of musical exploration that reminds me much of 2001’s self-titled debut as well. The project was introduced as a series of one-off singles, so what really surprises is just how well they cohere into a full record, featuring a plethora of A-List guest artists and Albarn holding down the fort with some of his best songwriting yet.

3. 10 Songs – Travis

Travis are a band that I’ve casually enjoyed (2001’s The Invisible Band is great) but never followed all that closely. I certainly wasn’t expecting much from a latter-day record from them, but 10 Songs is one of the 2020 releases I have returned to most. The songs are the audial equivalent of a warm blanket, with a lovely wistfulness permeating through. Standouts include “The Only Thing,” “A Million Hearts” and “Kissing in the Wind,” but all ten songs are great.

2. Devastator – Phantom Planet

Phantom Planet’s first record in 12 years doesn’t miss a beat, finding a sonic middle ground between their early indie-pop leanings and their later punkier direction. The hooks are plentiful and the lyrics poignant (this is basically a breakup album about the end of frontman Alex Greenwald’s relationship with Brie Larson), with highlights including the up-tempo “Only One” and the elegiac “Time Moves On.” Return of the year.

1. folklore and evermore – Taylor Swift

Top 40 Pop Music is not really my thing and while I’ve certainly appreciated some of Taylor Swift’s work before (Red has jams!), I wouldn’t have called myself a fan. 2020’s pair of surprise release records are a different mode of songwriting for her and right in my wheelhouse, with indie-leaning production courtesy of fun./Bleachers’ Jack Antonoff and The National’s Aaron Dessner. While my impressions of Swift’s past work have been navel-gazy and self-mythologizing (not a problem, but not that interesting to me), folklore and evermore broaden her storytelling to paradoxically become more specific in its universality and/or more universal in its specificity. The moments that are autobiographical (“mad woman,” “invisible string”) have an authenticity and self-assuredness that make them all the more accessible. This is romantically nostalgic poetry with the power to reopen old wounds and maybe also start rehealing them at the same time. While I still give folklore the edge (I love “august,” “exile” and mirrorball,” to name just a few), evermore is steadily growing on me with each listen.

Here’s a playlist songs from each of these records for your sampling pleasure:

Bonus! 2 Unexpected Cover EPs:

Switchfoot – Covers EP and Death Cab For Cutie – Georgia EP

As society grappled with lockdowns and concerts were uniformly cancelled the world over, many artists kept occupied with livestreams from their home studios. Switchfoot’s Jon Foreman and Death Cab’s Ben Gibbard were among those who posted daily songs or shows during the early days and their bands would each end up releasing EPs of cover songs during the year. Switchfoot take on a range of songs from the likes of Vampire Weekend, Frank Ocean and The Verve and Death Cab honor Georgia artists like R.E.M. and Neutral Milk Hotel for a Bandcamp fundraiser for voting rights. Both efforts provide some unexpected reinterpretations that elevate them above the average covers album.

[bthenoise]

Congrats To The Grammys For Finally Getting Their Rock & Metal Category Figured Out

Following a pretty up-and-down rollercoaster ride the past few years, the Recording Academy has seemingly gotten their stuff together when it comes to their rock and metal categories.

After dealing with an embarrassing year last year where Avenged Sevenfold publically called out the prestigious institution for their lack of support to the metal community, apparently, someone at the Academy was paying attention as this year’s nominees might be one of their best in quite some time. 

For Best Metal Performance, the Grammys see a lot of new faces including Between The Buried And Me, Deafheaven, High On Fire and Trivium as well as scene staples Underoath (Underoath were previously nominated back in 2006 for Best Short Form Music Video).

As for Best Rock Performance, previous nominees like Arctic Monkeys, Cris Cornell (rest in peace) and Halestorm are accompanied by the likes of Greta Van Fleet and, surprisingly and well-deserved, FEVER 333.

Another fantastic nomination comes in the Best Rock Song category. Sandwiched between well-known household names like Ghost, Twenty One Pilots, and St. Vincent is Bring Me The Horizon and, for the second time, Greta Van Fleet. 

All in all, as much as we bash on award shows for their lack of support towards our hard rock and metal community, this year the Grammys got it right. Were there other artists that deserved a nomination? Of course there were. But considering how things have been in the past (Leonard Cohen Best Rock Performance 2018, Beyonce Best Rock Performance nominee 2017, Tenacious D Best Metal Performance 2015, etc.), we’ll take it.        

To check out the full list of nominees to prepare you for the 61st annual Grammy Awards which will take place on Sunday, February 10th, be sure to look below.

Best Rock Performance

“Four Out Of Five” —Arctic Monkeys “When Bad Does Good” — Chris Cornell “Made An America” — The Fever 333 “Highway Tune” — Greta Van Fleet “Uncomfortable” — Halestorm

Best Metal Performance

“Condemned To The Gallows “— Between The Buried And Me “Honeycomb” — Deafheaven “Electric Messiah” — High On Fire “Betrayer” — Trivium “On My Teeth” — Underoath

Best Rock Song

“Black Smoke Rising” — Jacob Thomas Kiszka, Joshua Michael Kiszka, Samuel Francis Kiszka & Daniel Robert Wagner, songwriters (Greta Van Fleet) “Jumpsuit” — Tyler Joseph, songwriter (Twenty One Pilots) “MANTRA” — Jordan Fish, Matthew Kean, Lee Malia, Matthew Nicholls & Oliver Sykes, songwriters (Bring Me The Horizon) “Masseduction” — Jack Antonoff & Annie Clark, songwriters (St. Vincent) “Rats” — Tom Dalgety & A Ghoul Writer, songwriters (Ghost)

Best Rock Album

Rainier Fog — Alice In Chains M A N I A — Fall Out Boy Prequelle — Ghost From The Fires — Greta Van Fleet Pacific Daydream — Weezer

Record Of The Year

“I Like It” — Cardi B, Bad Bunny & J Balvin “The Joke” — Brandi Carlile “This Is America” — Childish Gambino “God’s Plan” — Drake “Shallow” — Lady Gaga & Bradley Cooper “All The Stars” — Kendrick Lamar & SZA “Rockstar” — Post Malone Featuring 21 Savage “The Middle” — Zedd, Maren Morris & Grey

Album Of The Year

Invasion Of Privacy — Cardi B By The Way, I Forgive You — Brandi Carlile Scorpion — Drake H.E.R. — H.E.R. Beerbongs & Bentleys — Post Malone Dirty Computer — Janelle Monáe Golden Hour — Kacey Musgraves Black Panther: The Album, Music From And Inspired By (Various Artists)

Song Of The Year

“All The Stars” — Kendrick Duckworth, Solána Rowe, Al Shuckburgh, Mark Spears & Anthony Tiffith, songwriters (Kendrick Lamar & SZA) “Boo’d Up” — Larrance Dopson, Joelle James, Ella Mai & Dijon McFarlane, songwriters (Ella Mai) “God’s Plan” — Aubrey Graham, Daveon Jackson, Brock Korsan, Ron LaTour, Matthew Samuels & Noah Shebib, songwriters (Drake) “In My Blood” — Teddy Geiger, Scott Harris, Shawn Mendes & Geoffrey Warburton, songwriters (Shawn Mendes) “The Joke” — Brandi Carlile, Dave Cobb, Phil Hanseroth & Tim Hanseroth, songwriters (Brandi Carlile) “The Middle” — Sarah Aarons, Jordan K. Johnson, Stefan Johnson, Marcus Lomax, Kyle Trewartha, Michael Trewartha & Anton Zaslavski, songwriters (Zedd, Maren Morris & Grey) “Shallow” — Lady Gaga, Mark Ronson, Anthony Rossomando & Andrew Wyatt, songwriters (Lady Gaga & Bradley Cooper) “This Is America” — Donald Glover & Ludwig Goransson, songwriters (Childish Gambino)

Best New Artist

Chloe x Halle Luke Combs Greta Van Fleet H.E.R. Dua Lipa Margo Price Bebe Rexha Jorja Smith

Best Pop Solo Performance

“Colors” — Beck “Havana (Live)” — Camila Cabello “God Is A Woman” — Ariana Grande “Joanne (Where Do You Think You’re Goin’?)” — Lady Gaga “Better Now” — Post Malone

Best Pop Duo/Group Performance

“Fall In Line” — Christina Aguilera Featuring Demi Lovato “Don’t Go Breaking My Heart” — Backstreet Boys “‘S Wonderful” — Tony Bennett & Diana Krall “Shallow” — Lady Gaga & Bradley Cooper “Girls I Like You” — Maroon 5 Featuring Cardi B “Say Something” — Justin Timberlake Featuring Chris Stapleton “The Middle” — Zedd, Maren Morris & Grey

Best Traditional Pop Vocal Album

Love Is Here To Stay —Tony Bennett & Diana Krall My Way — Willie Nelson Nat “King” Cole & Me — Gregory Porter Standards (DELUXE) — Seal THE MUSIC…THE MEM’RIES…THE MAGIC! —Barbra Streisand

Best Pop Vocal Album

Camila — Camila Cabello Meaning Of Life — Kelly Clarkson Sweetener — Ariana Grande Shawn Mendes — Shawn Mendes Beautiful Trauma — P!nk Reputation — Taylor Swift

Best Alternative Music Album

Tranquility Base Hotel + Casino —Arctic Monkeys Colors — Beck Utopia — Björk American Utopia — David Byrne Masseduction — St. Vincent

Best Rap Performance

“Be Careful” — Cardi B “Nice For What” — Drake “King’s Dead” — Kendrick Lamar, Jay Rock, Future & James Blake “Bubblin” — Anderson .Paak “Sicko Mode” — Travis Scott, Drake, Big Hawk & Swae Lee

Best Rap/Sung Performance

“Like I Do” — Christina Aguilera Featuring Goldlink “Pretty Little Fears” — 6LACK Featuring J. Cole “This Is America” — Childish Gambino “All The Stars” — Kendrick Lamar & SZA “Rockstar” — Post Malone Featuring 21 Savage

Best Rap Song

“God’s Plan” — Aubrey Graham, Daveon Jackson, Brock Korsan, Ron LaTour, Matthew Samuels & Noah Shebib, songwriters (Drake) “King’s Dead” — Kendrick Duckworth, Samuel Gloade, James Litherland, Johnny McKinzie, Mark Spears, Travis Walton, Nayvadius Wilburn & Michael Williams II, songwriters (Kendrick Lamar, Jay Rock, Future & James Blake) “Lucky You” — R. Fraser, G. Lucas, M. Mathers, M. Samuels & J. Sweet, songwriters (Eminem Featuring Joyner Lucas) “Sicko Mode” — Khalif Brown, Rogét Chahayed, BryTavious Chambers, Mike Dean, Mirsad Dervic, Kevin Gomringer, Tim Gomringer, Aubrey Graham, John Edward Hawkins, Chauncey Hollis, Jacques Webster, Ozan Yildirim & Cydel Young, songwriters (Travis Scott, Drake, Big Hawk & Swae Lee) “Win” — K. Duckworth, A. Hernandez, J. McKinzie, M. Samuels & C. Thompson, songwriters (Jay Rock)

Best Rap Album

Invasion Of Privacy — Cardi B Swimming — Mac Miller Victory Lap — Nipsey Hussle Daytona — Pusha T Astroworld — Travis Scott

Best Music Video:

“APES***” — The Carters, Ricky Saiz, video director; Mélodie Buchris, Natan Schottenfels & Erinn Williams, video producers “This Is America” — Childish Gambino, Hiro Murai, video director; Ibra Ake, Jason Cole & Fam Rothstein, video producers “I’m Not Racist” Joyner Lucas & Ben Proulx, video directors; Joyner Lucas, video producer “Pynk” —  Janelle Monáe, Emma Westenberg, video director; Justin Benoliel & Whitney Jackson, video producers “Mumbo Jumbo” — Tierra Whack Marco Prestini, video director; Sara Nassim, video producer

Best Music Film:

“Life in 12 Bars”— Eric Clapton, Lili Fini Zanuck, video director; John Battsek, Scooter Weintraub, Larry Yelen & Lili Fini Zanuck, video producers “Whitney” — (Whitney Houston), Kevin Macdonald, video director; Jonathan Chinn, Simon Chinn & Lisa Erspamer, video producers “Quincy” — Quincy Jones Alan Hicks & Rashida Jones, video directors; Paula DuPré Pesmen, video producer “Itzhak”— Itzhak Perlman, Alison Chernick, video director; Alison Chernick, video producer “The King” — (Elvis Presley), Eugene Jarecki, video director; Christopher Frierson, Georgina Hill, David Kuhn & Christopher St. John, video producers

[tropicalfete]

New Post has been published on http://tropicalfete.com/2017/11/29/recording-academy-announces-60th-annual-grammy-awards-nominees/

RECORDING ACADEMY ANNOUNCES 60TH ANNUAL GRAMMY AWARDS NOMINEES 

JAY-Z LEADS GRAMMY® NOMINATIONS WITH EIGHT; KENDRICK LAMAR FOLLOWS WITH SEVEN, AND BRUNO MARS WITH SIX  

SANTA MONICA, CALIF. (NOV. 28, 2017)—The Recording Academy™ welcomes this year’s class of GRAMMY® nominees. Already a 21-time GRAMMY winner, JAY-Z leads with eight nominations, followed by Kendrick Lamar (7), Bruno Mars (6), Childish Gambino (5), Khalid (5), No I.D. (5), and SZA (5). Selected from more than 22,000 submissions across 84 categories, the nominations showcase some of the most gifted music makers of the past awards year (Oct. 1, 2016–Sept. 30, 2017). As the only peer-selected music award, the GRAMMY is voted on by the Recording Academy’s membership body of music makers, who represent all genres and creative disciplines, including recording artists, songwriters, producers, mixers, and engineers.

“I’m inspired by this year’s nominees and the incredible talent each possesses,” said Neil Portnow, President/CEO of the Recording Academy. “Their recordings are a true testament to how creatively alive and meaningful our music industry has become. Each nominee uses their craft to inspire, uplift, and tell stories of our world through their artistry. They provide a vibrant soundtrack that represents the highest level of excellence and continues to impact and reflect our culture.”

“The beauty of our process begins and ends with the participation of music professionals,” said Bill Freimuth, Recording Academy Senior Vice President of Awards. “Our nominations reflect the expertise and passion of Recording Academy voting members.”

The final round of GRAMMY voting is Dec. 7–21, 2017. The Recording Academy will present the GRAMMY Awards® on Sunday, Jan. 28, 2018, live from Madison Square Garden in New York and broadcast on the CBS Television Network from 7:30–11:00 p.m. ET/4:30–8:00 p.m. PT.

The following is a sampling of nominations from the GRAMMY Awards’ 30 Fields and 84 categories.

For a complete nominations list, visit  www.grammy.com.

Record Of The Year: “Redbone” — Childish Gambino “Despacito” — Luis Fonsi & Daddy Yankee Featuring Justin Bieber “The Story Of O.J.” — JAY-Z “HUMBLE.” — Kendrick Lamar “24K Magic” — Bruno Mars

Album Of The Year: “Awaken, My Love!” — Childish Gambino 4:44 — JAY-Z DAMN. — Kendrick Lamar Melodrama — Lorde 24K Magic — Bruno Mars

Song Of The Year: “Despacito” — Ramón Ayala, Justin Bieber, Jason “Poo Bear” Boyd, Erika Ender, Luis Fonsi & Marty James Garton, songwriters (Luis Fonsi & Daddy Yankee Featuring Justin Bieber) “4:44” — Shawn Carter & Dion Wilson, songwriters (JAY-Z) “Issues” — Benny Blanco, Mikkel Storleer Eriksen, Tor Erik Hermansen, Julia Michaels & Justin Drew Tranter, songwriters (Julia Michaels) “1-800-273-8255” — Alessia Caracciolo, Sir Robert Bryson Hall II, Arjun Ivatury, Khalid Robinson, songwriters (Logic Featuring Alessia Cara & Khalid) “That’s What I Like” — Christopher Brody Brown, James Fauntleroy, Philip Lawrence, Bruno Mars, Ray Charles McCullough II, Jeremy Reeves, Ray Romulus & Jonathan Yip, songwriters (Bruno Mars)

Best New Artist: Alessia Cara Khalid Lil Uzi Vert Julia Michaels SZA

Best Pop Solo Performance: “Love So Soft” — Kelly Clarkson “Praying” — Kesha “Million Reasons” — Lady Gaga “What About Us” — P!nk “Shape Of You” — Ed Sheeran

Best Pop Duo/Group Performance: “Something Just Like This” ­— The Chainsmokers & Coldplay “Despacito” — Luis Fonsi & Daddy Yankee Featuring Justin Bieber “Thunder” — Imagine Dragons “Feel It Still” — Portugal. The Man “Stay” — Zedd & Alessia Cara

Best Dance/Electronic Album: Migration — Bonobo 3-D The Catalogue — Kraftwerk Mura Masa — Mura Masa A Moment Apart — Odesza What Now — Sylvan Esso

Best Rock Performance: “You Want It Darker” — Leonard Cohen “The Promise” — Chris Cornell “Run” — Foo Fighters “No Good” — Kaleo “Go To War” — Nothing More

Best Urban Contemporary Album: Free 6lack — 6lack “Awaken, My Love!” — Childish Gambino American Teen — Khalid Ctrl — SZA Starboy — The Weeknd

Best Rap Album: 4:44 — JAY-Z DAMN. — Kendrick Lamar Culture — Migos Laila’s Wisdom — Rapsody Flower Boy — Tyler, The Creator

Best Country Album: Cosmic Hallelujah — Kenny Chesney Heart Break — Lady Antebellum The Breaker — Little Big Town Life Changes — Thomas Rhett From A Room: Volume 1 — Chris Stapleton

Best Jazz Vocal Album: The Journey — The Baylor Project A Social Call — Jazzmeia Horn Bad Ass And Blind — Raul Midón Porter Plays Porter — Randy Porter Trio With Nancy King Dreams And Daggers — Cécile McLorin Salvant

Best Gospel Album: Crossover — Travis Greene Bigger Than Me — Le’Andria Close — Marvin Sapp Sunday Song — Anita Wilson Let Them Fall In Love — Cece Winans

Best Contemporary Christian Music Album: Rise — Danny Gokey Echoes (Deluxe Edition) —  Matt Maher Lifer — MercyMe Hills And Valleys — Tauren Wells Chain Breaker — Zach Williams

Best Latin Pop Album: Lo Único Constante —  Alex Cuba Mis Planes Son Amarte — Juanes Amar Y Vivir En Vivo Desde La Cuidad De México, 2017 — La Santa Cecilia Musas (Un Homenaje Al Folclore Latinoamericano En Manos De Los Macorinos) — Natalia Lafourcade El Dorado — Shakira

Best Americana Album: Southern Blood — Gregg Allman Shine On Rainy Day — Brent Cobb Beast Epic — Iron & Wine The Nashville Sound — Jason Isbell And The 400 Unit Brand New Day — The Mavericks

Best Comedy Album: The Age Of Spin & Deep In The Heart Of Texas — Dave Chappelle Cinco — Jim Gaffigan Jerry Before Seinfeld — Jerry Seinfeld A Speck Of Dust — Sarah Silverman What Now? — Kevin Hart

Best Song Written For Visual Media: “City Of Stars” — Justin Hurwitz, Benj Pasek & Justin Paul, songwriters (Ryan Gosling & Emma Stone), Track from La La Land “How Far I’ll Go” — Lin-Manuel Miranda, songwriter (Auli’i Cravalho), Track from Moana: The Songs “I Don’t Wanna Live Forever (Fifty Shades Darker) — Jack Antonoff, Sam Dew & Taylor Swift, songwriters (ZAYN & Taylor Swift), Track from Fifty Shades Darker “Never Give Up” — Sia Furler & Gregg Kurstin, songwriters (Sia), Track from Lion “Stand Up For Something” — Common & Diane Warren, songwriters (Andra Day Featuring Common), Track from Marshall

Producer Of The Year, Non-Classical: Calvin Harris No I.D. Greg Kurstin Blake Mills The Stereotypes

ABOUT THE RECORDING ACADEMY The Recording Academy represents the voices of performers, songwriters, producers, engineers, and all music professionals. Dedicated to ensuring the recording arts remain a thriving part of our shared cultural heritage, the Academy honors music’s history while investing in its future through the GRAMMY Museum®, advocates on behalf of music creators, supports music people in times of need through MusiCares®, and celebrates artistic excellence through the GRAMMY Awards—music’s only peer-recognized accolade and highest achievement. As the world’s leading society of music professionals, we work year-round to foster a more inspiring world for creators.

[90363462]

Taylor Swift sent Loren Gray TTPD merch!

''To my fellow member of The Tortured Poets Department. Here are some tokens of my gratitude - to you, for your support from me, sincerely. I hope you'll welcome this album into your life (and vinyl collection!) with all my love, and tortured poetry… your friend, Taylor <3''

[cyarsk5230]

jackantonoff: TTPD

[kcyars99]

Taylor's reaction to The Times' review of TTPD:

''🤍These chemicals hit me like whiiiiite wiiiiine 🤍''

[cyarskj52]

[seeminglyranch87]

Taylor & Travis Timeline

October 2023 - part 3

October 27 - 1989 (Taylor's Version) drops! The album is incredible and the vault songs are her best yet!!

Taylor is seen out for dinner at 4 Charles Prime Rib, NYC, with Jack Antonoff and Margaret Qualley (x)

Travis is at Globe Life Stadium, Arlington, for Game 1 of The World Series. He is seen doing a little hand dance to Shake It Off. (x)

When leaving the game, a fan calls out "We love Taylor" and he responds "thank you" (x)

Later that night, he is seen at a bar in Texas, filming himself singing to Love Story (Taylor's Version). We choose to believe he is sending the video to Taylor 🥰 (x) (x)

Forbes and Bloomberg announce that Taylor has officially reached billionaire status.

Her total net worth is $1.1 billion, according to a Bloomberg News analysis

(x) (x) (x)

October 28 - Travis Kelce arrives in Denver, CO ahead of NFL game agaist Denver Broncos

October 29 - Chiefs v Denver Broncos, Empower Field, Mile High. The Chiefs are defeated 9-24 against the Broncos

October 30 - Taylor arrives in Kansas City. The internet goes wild anticipating pics of Taylor and Travis for Halloween.

ET publishes article (x) affirming Travis and Taylor’s relationship but asking fans to back off due to safety concerns.

"Everyone close to Travis loves that he is happy. He is on the path to finding that special person in Taylor," the source says, noting that the Kansas City Chiefs player has his family's "full support.

"There is a general concern about their safety given how high profile their relationship is and the added attention it's brought," the source adds. "They're so appreciative of their fans, but hope to keep some aspects of their relationship private going forward. This level of stardom is something new to Travis, and although he can handle it, he is still getting used to it. Safety is a major concern among everyone, especially given how passionate fans feel about their relationship."

Go to previous update -> October 2023 Part 2

Go to next update -> November 2023 Part 1

Return to timeline

[cyarsk5230]

Hip hop fans and swifties united against Drake like

Who would have thought

[cyarsk5230]

“It’s my goal to create a moment you’ll want to keep forever… it’s an honor to be able to trust you with my feelings.” - Taylor Swift’s note to fans for Record Story Day 🥹🤍 #tsTTPD