#and she’s posting throwbacks with the music producer and writer of her album

[petrovna-zamo]

KZ2?!

[thestylesindependent]

The following is an excerpt from A Field Guide to Internet Boyfriends: Meme-Worthy Celebrity Crushes From A to Z (Running Press) by Esther Zuckerman, senior entertainment writer at Thrillist. Opinions expressed are those of the author.

It’s virtually impossible to dig into the history of celebrity crushes without discussing boy bands. Stemming back to the days of the Beatles, boy bands have been crush incubators, known as much for their music as for their ability to pose on posters that hang on teenage bedroom walls. While the modern idea of boy bands existed before the ’90s, the decade turned boy bands into an industry with the likes of Backstreet Boys and *NSYNC eliciting mobs of screaming fans. For the first decade of the 2000s—after the leftovers from the ’90s faded from relevance—it seemed like the era of the boy band was over. And then a couple of lads from England—and one from Ireland—came along.

One Direction was not born organically. Each member of the fivesome auditioned for The X Factor as a solo act. Then Simon Cowell had a genius idea: Individually, they would probably generate some amount of buzz. Together, they would be unstoppable. Cowell was right. One Direction mania jumped across the pond and initiated a new era of boy band worship. This group was different from its ’90s predecessors. They were shaggy and didn’t really dance. But their fans were also different. These were kids raised by the internet, and they expressed their love for Harry Styles, Louis Tomlinson, Zayn Malik, Liam Payne, and Niall Horan as such. Stanning for One Direction involved slash fiction and Tumblr.

But when the time came, One Direction faced an age-old boy band question: What happens when they break up? Who becomes famous? For years, the pinnacle of post–boy band success had always been Justin Timberlake, crying a river all over the radio. (He also found controversy along the way. No, we will never forgive him for throwing Janet Jackson under the bus at the Super Bowl.) But who becomes the Joey Fatone? One thing was always certain: Harry Styles was a goddamn star. Styles had always been the likeliest candidate for post-One D fame. He was the most rambunctious of the group, as at home palling around on talk shows as he was crooning on the stage.

Still, no one could have predicted what he was about to unleash. Styles, on his own, somehow surpassed the prom¬ise of his early career. The individual that emerged was like the love child of David Bowie and Stevie Nicks, all flowing blouses, wide-legged pants, and funky vibes. He occupies a space in between the masculine and the feminine and is an ally without being obnoxious about it.

When he left the womb of One Direction, his goal was to write his own material. The sound that emerged was not Timberlake’s white boy soul or the radio-ready pop of his bandmate Zayn Malik. Instead, it was a throwback hybrid of folk rock and pop—not a complete copy of an era that was not his own, but more indebted to his predecessors than his contemporaries.

The narrative around Harry Styles is that he is a Very Good Boy. It starts with his devotion to his mother, with whom he is reportedly very close. More proof of his sweet¬heart status can be found in the story about how he ended up being a polite houseguest to his friend The Late Late Show with James Corden producer Ben Winston for twenty months. As his star was rising in One Direction, he was crashing with an Orthodox Jewish family. “That period of time, he was living with us in the most mundane suburban situation,” Winston once explained. “No one ever found out, really. Even when we went out for a meal, it’s such a sweet family neighborhood, no one dreamed it was actually him. But he made our house a home. And when he moved out, we were gutted.”

It’s anecdotes like this—revealed in the singer’s first Rolling Stone cover story, written by none other than Almost Famous director Cameron Crowe—that frame Styles as a superstar who is relatively down to earth, a nice person who cares about being good to those around him. I mean, one of the songs on his recent album Fine Line is titled “Treat People with Kindness.” Styles once said: “There are others. People who are successful, and still nice. It’s when you meet the people who are successful and aren’t nice, you think: What’s yer excuse? Cos I’ve met the other sort.”

Styles gives off the impression that if you were to hang out with him you’d probably have a pretty pleasant and slightly wild time. Profiles of Styles tend to include stories about parties on beaches where nudity or clothes swapping is involved. He’s spoken about how doing mushrooms influenced his latest record, Fine Line, and once led him to bite off the tip of his tongue. But even though that detail sounds like it might belong in an outtake from a seedier history of rock ’n’ roll—think: Mötley Crüe—it’s bizarrely wholesome coming from Styles, who has gone out of his way to promote a message of inclusion.

Though he’s publicly only been linked to women, he’s never exactly declared himself straight, either, and has alluded to bisexuality in his lyrics. One time, he declared, “We’re all a little bit gay, aren’t we?” Regardless of how he himself identifies, he’s made it a mission to promote a safe-for-all environment at his shows. On one tour stop, he took note of a girl in the crowd’s sign which declared she was going to come out to her parents because of him. He asked her mom’s name, quieted the room, and shouted, “Tina, she’s gay,” triumphantly. It’s an especially welcome development for someone whose early celebrity was defined by slash fiction with which some of his bandmates were openly uncomfortable.

His style started to evolve with his own fluidity as well. He took to wearing ruffles and low-cut shirts with wide-legged trousers. The effect was circus ringmaster mixed with ’70s Laurel Canyon chic. There’s a cheekiness to the look, evidenced by photo shoots in which he affects like he just told a dirty joke. He has said he dresses this way not because he’s trying to allude to anything, just because he thinks it looks cool. And, the thing is, it does.

Harry Styles may have been made in the confines of the boy band universe, but when he struck out on his own, his message became freedom. He makes the music he wants, wears the clothes he wants, and encourages everyone around him to love who they want—even if that’s just Harry Styles.

[kingstylesdaily]

'A Field Guide to Internet Boyfriends': Read the Harry Styles Excerpt

The following is an excerpt from A Field Guide to Internet Boyfriends: Meme-Worthy Celebrity Crushes From A to Z (Running Press) by Esther Zuckerman, senior entertainment writer at Thrillist. Opinions expressed are those of the author.

It’s virtually impossible to dig into the history of celebrity crushes without discussing boy bands. Stemming back to the days of the Beatles, boy bands have been crush incubators, known as much for their music as for their ability to pose on posters that hang on teenage bedroom walls. While the modern idea of boy bands existed before the ’90s, the decade turned boy bands into an industry with the likes of Backstreet Boys and *NSYNC eliciting mobs of screaming fans. For the first decade of the 2000s—after the leftovers from the ’90s faded from relevance—it seemed like the era of the boy band was over. And then a couple of lads from England—and one from Ireland—came along.

One Direction was not born organically. Each member of the fivesome auditioned for The X Factor as a solo act. Then Simon Cowell had a genius idea: Individually, they would probably generate some amount of buzz. Together, they would be unstoppable. Cowell was right. One Direction mania jumped across the pond and initiated a new era of boy band worship. This group was different from its ’90s predecessors. They were shaggy and didn’t really dance. But their fans were also different. These were kids raised by the internet, and they expressed their love for Harry Styles, Louis Tomlinson, Zayn Malik, Liam Payne, and Niall Horan as such. Stanning for One Direction involved slash fiction and Tumblr.

But when the time came, One Direction faced an age-old boy band question: What happens when they break up? Who becomes famous? For years, the pinnacle of post–boy band success had always been Justin Timberlake, crying a river all over the radio. (He also found controversy along the way. No, we will never forgive him for throwing Janet Jackson under the bus at the Super Bowl.) But who becomes the Joey Fatone? One thing was always certain: Harry Styles was a goddamn star. Styles had always been the likeliest candidate for post-One D fame. He was the most rambunctious of the group, as at home palling around on talk shows as he was crooning on the stage.

Still, no one could have predicted what he was about to unleash. Styles, on his own, somehow surpassed the prom¬ise of his early career. The individual that emerged was like the love child of David Bowie and Stevie Nicks, all flowing blouses, wide-legged pants, and funky vibes. He occupies a space in between the masculine and the feminine and is an ally without being obnoxious about it.

When he left the womb of One Direction, his goal was to write his own material. The sound that emerged was not Timberlake’s white boy soul or the radio-ready pop of his bandmate Zayn Malik. Instead, it was a throwback hybrid of folk rock and pop—not a complete copy of an era that was not his own, but more indebted to his predecessors than his contemporaries.

The narrative around Harry Styles is that he is a Very Good Boy. It starts with his devotion to his mother, with whom he is reportedly very close. More proof of his sweet¬heart status can be found in the story about how he ended up being a polite houseguest to his friend The Late Late Show with James Corden producer Ben Winston for twenty months. As his star was rising in One Direction, he was crashing with an Orthodox Jewish family. “That period of time, he was living with us in the most mundane suburban situation,” Winston once explained. “No one ever found out, really. Even when we went out for a meal, it’s such a sweet family neighborhood, no one dreamed it was actually him. But he made our house a home. And when he moved out, we were gutted.”

It’s anecdotes like this—revealed in the singer’s first Rolling Stone cover story, written by none other than Almost Famous director Cameron Crowe—that frame Styles as a superstar who is relatively down to earth, a nice person who cares about being good to those around him. I mean, one of the songs on his recent album Fine Line is titled “Treat People with Kindness.” Styles once said: “There are others. People who are successful, and still nice. It’s when you meet the people who are successful and aren’t nice, you think: What’s yer excuse? Cos I’ve met the other sort.”

Styles gives off the impression that if you were to hang out with him you’d probably have a pretty pleasant and slightly wild time. Profiles of Styles tend to include stories about parties on beaches where nudity or clothes swapping is involved. He’s spoken about how doing mushrooms influenced his latest record, Fine Line, and once led him to bite off the tip of his tongue. But even though that detail sounds like it might belong in an outtake from a seedier history of rock ’n’ roll—think: Mötley Crüe—it’s bizarrely wholesome coming from Styles, who has gone out of his way to promote a message of inclusion.

Though he’s publicly only been linked to women, he’s never exactly declared himself straight, either, and has alluded to bisexuality in his lyrics. One time, he declared, “We’re all a little bit gay, aren’t we?” Regardless of how he himself identifies, he’s made it a mission to promote a safe-for-all environment at his shows. On one tour stop, he took note of a girl in the crowd’s sign which declared she was going to come out to her parents because of him. He asked her mom’s name, quieted the room, and shouted, “Tina, she’s gay,” triumphantly. It’s an especially welcome development for someone whose early celebrity was defined by slash fiction with which some of his bandmates were openly uncomfortable.

His style started to evolve with his own fluidity as well. He took to wearing ruffles and low-cut shirts with wide-legged trousers. The effect was circus ringmaster mixed with ’70s Laurel Canyon chic. There’s a cheekiness to the look, evidenced by photo shoots in which he affects like he just told a dirty joke. He has said he dresses this way not because he’s trying to allude to anything, just because he thinks it looks cool. And, the thing is, it does.

Harry Styles may have been made in the confines of the boy band universe, but when he struck out on his own, his message became freedom. He makes the music he wants, wears the clothes he wants, and encourages everyone around him to love who they want—even if that’s just Harry Styles.

source: Billboard.com

[tswiftdaily]

Rolling Stone: Taylor Swift Reaches For New Heights of Personal and Musical Liberation on ‘Lover’

Her epic seventh album is all about big moods, dreamy Eighties throwbacks and evolutionary freedom 

By the time “It’s Nice to Have a Friend” arrives on Lover, her seventh and most epic album, Taylor Swift has entered uncharted territory. For one thing, it’s the 17th song here, and none of her previous albums have run more than 16 tracks. (Lover actually contains 18.) More importantly, it’s not about being 16 or 22 or even her not-insignificant current age, 29. It’s about being six or seven, and walking home from school in the snow: “Lost my gloves / You give me one / Wanna hang out? / Sounds like fun.” There’s no beat, no banjo, no metaphors or coded messages. There is, instead, deconstructed steel drum, horn and cooing voices — Animal Collective as interpreted by hip-hop-savvy pop-producers-of-the-moment Louis Bell and Frank Dukes, the song’s co-writers. It’s like the end of 2001: A Space Odyssey, where a long turbulent journey through outer (and, naturally, inner) space culminates in the sudden appearance of a planet-sized fetus. For two and a half minutes, Swift regresses past all the drama and heartache she’s cataloged since her teen years to curl up in a weird little pocket of beauty. Swift has always been vulnerable, of course. And just as obviously, that vulnerability has been her strength. Female pop stars since Madonna have been expected to constantly reinvent themselves, lest it seem like they’re aging — an impossible standard that vexed Swift contemporaries like Lady Gaga and Katy Perry. In sharing her actual feelings about relationships chronicled by the tabloids — and parrying the entire internet’s judgements of those feelings — Swift helped open up a space for Ariana Grande to directly address Sean, Pete, and Malcolm on “Thank U, Next” (to name one glorious example). When Swift went pop, that wasn’t so much a transformation as an annexation of new territory. Grande might’ve picked up something here, too, with her triumphant embrace of hip-hop-style surprise drops. If Ariana, Billie, Halsey and others seem so effortlessly themselves, it’s in part because Swift worked so hard at speaking her truth and smiting her enemies. Lover is, fittingly, evolutionary rather than revolutionary. But nevertheless it feels like an epiphany: free and unhurried, governed by no one concept or outlook, it represents Swift at her most liberated, enjoying a bit of the freedom she won for her cohort. Made mainly in collaboration with Jack Antonoff, female songwriting ally nonpareil, the album’s dominant sound is sleekly updated Eighties pop-rock. In a bonus making-of track destined for a Target edition of the album, Swift tells Antonoff she wants a “dreamy guitar-y throwback, but not camp throwback” sound for the title track, and that’s pretty much the vibe. (Think recent Carly Rae Jepsen, if she made actual hits.) Swift loads “Paper Rings” up with a “1-2-3-4,” a “hey! ho!” and a key change for a jittery bit of Cars-meets-Eddie Money-meets-Go-Go’s delight. On the terrific “Cruel Summer,” written with Antonoff and Annie Clark (a.k.a. St. Vincent), she tells a simple tale of tortured love in under three minutes of pure pleasure, with what sounds like a smattering of talk box. When she sings “Out the window / I’m always waiting for you to be waiting below,” there’s no question you’re supposed to picture John Cusack in Say Anything.

Swift adjusts her frame of reference as needed. She claims to be “In my feelings more than Drake” in “I Forgot That You Existed,” a pro forma, post-trop-house declaration of her “indifference” to the haters. Thankfully, that’s mainly it for the sassy, winking Swift. Instead, she mostly goes for the big moods. “False God” is as minor-key and seductive as anything by the Weeknd, with a chorus, well — I’ll just leave this here: “Religion’s on your lips / Even if it’s a false god / We’d still worship / We must just get away with it / The altar is my hips.” She zags into oblique political commentary with “Miss Americana and the Heartbreak Prince,” a high school parable where she sees “high fives between bad guys” and delivers “O! K!” interjections in her best cheerleader voice. Like Euphoria,the HBO teensploitation extravaganza, it’s dark, melodramatic and, against all odds, perfect.

There’s plenty more fodder for the Swifties, haters, and bloggers here. Leo takes a proverbial volleyball to the face on “The Man,” a usefully blunt indictment of double standards, and the dub-inflected “London Boy” counts all the ways she “fancies” her boyfriend Joe Alwyn. “Soon You’ll Get Better” was recorded with Dixie Chicks, but giving the country-radio exiles a feature isn’t the point — the song is note-perfect ballad for Swift’s mother, whose cancer returned earlier this year. Whatever there is to be read into these songs, they are for one person and one person alone: Taylor Swift. Finally.

(x)

[weregonnaneedmorewhiskey]

It’s trendy to hate

Ok, so this is kind of a follow up from a previous post from my blog post on cancel culture. Something that I have observed in the last two years on social media is that there is a trend in hyping people up to great success and then once they’ve reached that level, we then see hate start to increase. The first person I saw this happen to was Taylor Swift. After the massive success of the 1989 era, her transition into pop music, we started to see a lot of hate towards Taylor. Part of this I do believe was from the whole Kanye West/Famous situation where Kim had released a recording of Taylor and Kanye’s performance in which we hear Taylor hear the lyric “I think me and Taylor might still have sex”.

We hear Taylor respond to this lyric citing no problems with it. HOWEVER we do not hear that in that recording that Taylor know about the following lyric of making her “famous”, so I’m definitely think to this day Taylor didn’t know about that lyric until The Life of Pablo was released. After this episode of KUWTK aired, the hate for Taylor was immense. Her Instagram comments were filled with snake emoji and a hate train had arrived. Thankfully Taylor was able to take this snake narrative and turn it on it’s head in the Reputation era. Something that I love.

Another example. After Cardi’s Grammy win, she received major backlash from it to the point where she temporarily deactivated her Instagram account. Since Cardi’s Grammy win, I’ve seen a lot of people overnight start to hate Cardi and it begs to question of why do people just start to hate things that are popular. Ella Mai got a fair share of hate the other day when made reference to Jacquees singing trip at Drake’s Assassination Vacation tour where Tory Lanez brought him out as a guest (by the way, you’re in front of 20,000 + people and you sing a cover instead of your original music. That’s the perfect moment to plug your music you idiot). Once Ella, who has had little to say on the situation spoke on how she felt in that moment and yet jacquees did a whole press tour on it, people said she should “get over it” and that’s she’s jealous...a Grammy award winner with two platinum songs and probably another platinum song, a platinum album, a feature with Meek Mill and a sold out tour is jealous of Jacquees’ mediocre cover. Ok go off.

Ariana Grande is another person that received a mass amount of hate after the release of Thank U, Next accusing her of appropriating black culture when Ariana has been heavily influenced by black music from the beginning of her career. Her debut album is a throwback 90’s R&B album heavily inspired by Mariah and Whitney. I could get into the whole culture vulture argument because there is valid point to made about how people roast others for appropriation but let Bhad Bhabie become a thing (this still angers me to this day because she is a joke and a walking caricature)

It’s like it’s cool to hate what’s trendy but is this jumping on the hate train because everyone is? I strongly believe so and this is very dangerous. Kevin Hart in a recent interview spoke on this and I could not agree more on what he said. We need to all have our individual opinions, not collective ones. Why do we build people up only to want bring them down? I just don’t understand this at all. My inspiration for this post was from numerous viral hate tweets about Jennifer Lopez. Recently I keep seeing tweets undermining Jennifer’s career in music and it’s frankly quite annoying and hypocritical and shows that a lot people don’t know the ins and outs of the music industry. The claim that Jennifer has stolen songs is a narrative that has been falsely spread and a couple YouTube video which I will not share the name of because I do not want to hear this narrative at all. For those of you that don’t know, back in 2001-2 the singles I’m Real and Ain’t it Funny remix were co-written by Ashanti. Ashanti’s vocals are also featured as background. Ashanti herself had admitted that she not the so called “ghost voice” of Jennifer Lopez. Also since you lot love Ashanti, I have a crazy suggestion. SUPPORT HER MUSIC AND HER CONCERTS! If you love her so much then why is cancelling concerts because of low ticket sales and not charting. Just saying. Don’t @ me. Period. Slagging off Jennifer does nothing for either one of them when Jennifer minds her, makes money and takes care of her kids and is engaged and you’re making viral tweets like that’s gonna bother her day and brighten Ashanti’s. I’m sure Ashanti would be grateful if you supported her music instead of tweeting.

Ashanti and Jennifer are cool to this day, she’s in the Ain’t it Funny music video and Ashanti is still to this day proud of how successful the songs were. This is a very common practice, there are many examples of this in music. Joe Jonas’ See No More, Lighthouse and Justin Bieber’s Christmas Eve were all written by Chris Brown and Chris’ vocals can be clearly heard in the background and yet no one thinks that Joe and Chris are ghost singing or stole from Chris. Huh. A lot of songs originally intended for other artists get passed on and sometimes their vocals are still on the track. This is a COMMON music industry practice. Some artists write songs from other artists and aren’t even credited for their contribution. An example of this is Jason Derulo’s Want You to Want Me. Want You to Want Me was actually ghostwritten by Chris Brown for his sixth studio album X but the track was abandoned because he felt that it wasn’t cohesive with the album as a whole which I agree with. His demo can be found on YouTube which I will link but unless you go on to Wikipedia, you wouldn’t know this fact. Tracks can be stolen and that has happened but 95% of the time, it is the producer that is responsible for this or a label executive. A sample of the song Firecracker was orginally meant for Mariah Carey’s Loverboy but ended up on Jennifer Lopez’s I’m Real. It was revealed that Tommy Mottola was responsible for this happening. For those of you that don’t know who Tommy Mottola is, he was the head of Sony music all through the 1990’s and early 2000’s. Tommy Mottola is responsible for many artists careers in particular Mariah Carey and Jennifer Lopez. Tommy Mottola was also Mariah Carey’s first husband who she was with until 1997. Mariah has been candid about the mental and emotional abuse she dealt with in the marriage and how she practically a prisoner in her own home as Tommy controlled everything in her life. After their split, Tommy seemingly attempted to sabotage her career and the stealing of the sample was one of this many attempts. A lot of the time when events like this happen, the artist is unaware of this. Yeah 3x uses the melody of Calvin Harris’ I’m Not Alone, something that Chris Brown was not aware of until he met with Calvin Harris and he played I’m Not Alone to him. Calvin knew the producer DJ Frank E and he had uses his melody with Calvin knowing. Thankfully Calvin was then credited as a featured writer on the song and the situation was resolved. I believe to this day and it’s pretty damn obvious that Tommy Mottola used Jennifer as a pawn in his plan to ruin Mariah’s career as revenge. He put Jennifer out there as his new golden girl replacing Mariah and this helped the false narrative of feud between Mariah and Jennifer when neither artist has ever said anything negative about each other and Jennifer has said in interviews that she loves Mariah as an artist.

This became very long winded but I had to discuss this because I’ve had enough but I will say this. Have you notice a theme in the trendy to hate? Because I have. They’re all women. Women are trend to hate and men get all the glory huh? Below is all the songs I mentioned and chicagojlover on Twitter did a thread in regards all the ghost singing rumours that needs to go viral.

https://youtu.be/yy5nkChQ2E0

https://youtu.be/6kXIC_6wQgM

https://youtu.be/3mC2ixOAivA

https://youtu.be/JeTE5cnkhGc

https://youtu.be/g8MyX_ewXfM

https://youtu.be/lbh7RFWS4Ro

undefined

https://twitter.com/chicagojlover/status/1114197870519967749?s=21

undefined

undefined

undefined

undefined

undefined

[therappundit]

November 2018 -*PlayLi$t of the Month*

The underground sound ain’t playin’ around in 2018.

Over the last few weeks, The Alchemist has received even heavier play than usual through these headphones of mine (I just got the wireless buds from my in-laws, I think I dig them!). That’s thanks in no small part to his fantastic recent contributions to Westside Gunn, Schoolboy Q, Curren$y and Freddie Gibbs. October closed with a powerful flurry of new rap releases, both of the underground and mainstream variety, so I am here to share my favorites on this especially stuffed edition of my PlayLi$t of the Month...

1. “Echo” - Swizz Beatz feat. Nas

https://www.youtube.com/watch?v=EMINMawUzow

(Let’s get the obvious out of the way first: this song is *vastly* superior to anything on that ill fated Nasir album with Kanye West. Whatever Swizz whispered to Nas to get him to snap back into Nasty mode, it should stand as further proof that the Ruff Ryder maestro’s status as a cultivator of hits is hall of fame worthy. Hearing the Queensbridge legend spit bars about old New York City life, watching karate films at dirty Time Square movie theaters, watching flashy cars drive up and down Steinway Street in Queens - there’s just no one better than Nasty Nas when he’s off to the races on a wave of nostalgia, thanks to his high attention to detail. DJ Scratch deserves just as much recognition for this sweet soulful back-drop, one of two strong Scratch showings in heavy rotation this month. “Echo” might be one of my favorite rap songs of the year, this is classic Nas.)

2. “'The Blow” - The Alchemist, Curren$y & Freddie Gibbs

https://www.youtube.com/watch?v=qA4dPwtthZU

(Yeah we gotta talk about this FETTI project. The chemistry between Spitta, Gibbs and The Alchemist is off the charts, and that much has been clear since Covert Coup’s “Scottie Pippen” first rattled through speakers back in 2011. So needless to say, this FETTI album bangs top to bottom. My favorite cut off the album might not even be my favorite cut by this time next week, because the whole tape is staying in rotation for the foreseeable future.)

3. “Fork In The Pot” - The Alchemist feat. Conway, Westside Gunn & Schoolboy Q

https://www.youtube.com/watch?v=HPMgi0bSB0Q

(More Uncle Al, you say? What the hell, why not!? Before FETTI dropped on Halloween, this was the stand-out Alchemist leak for the month. The eagerly awaited B-Side to last month’s “94 Ghost Sh*t” A-Side that was teased on IG some time ago, “Fork In The Pot” is another incredible contribution to the growing ALC & Griselda canon, helped by a dope verse by Schoolboy Q that is sure to build hype for his upcoming album. Will it drop in 2018? All speculation at this point, but I say YES.)

4. “Saturday Night Special” - The Alchemist, Curren$y & Freddie Gibbs

https://www.youtube.com/watch?v=9sv1psKaIgU

(More than any other track on FETTI, this one feels like classic Alchemist. A smokey loop like this one does indeed paint the perfect image of slowly cruising through the neighborhood on a late Saturday night, perhaps with a Saturday night special somewhere in the vehicle...or so I imagine - I myself have never lived that life, but the music is vivid, and the mood set by The Alchemist is palpable. What a great example of how the best producers don’t just make beats, they paint audio portraits. And like the lyrics themselves, the instrumental is, well, instrumental in telling the story.)

5. “N***as In Puerto Rico” - Westside Gunn feat. Lord Flee & Benny

https://soundcloud.com/westsidegunn/niggas-in-puerto-rico-feat-lord-flee-benny?in=westsidegunn/sets/hitler-wears-hermes-6

(Folks, I really didn’t plan this, Alchemist is just that damn good! My favorite song off of Westside Gunn’s Hitler Wears Hermes 6 - wow, I can’t believe he’s up to 6 now - shows exactly what happens when these lyrical barbarians from Buffalo lock themselves down with The Alchemist in Puerto Rico for a while. Look out for the beat switch-up, as both instrumentals suit this gathering of MCs particularly well, making me that much more excited about what Al may have cooked up for Benny’s upcoming Tana Talk 3 album.)

6. “Something Dirty/Pic Got Us” - Swizz Beatz feat. Jadakiss, Styles P. & Kendrick Lamar

https://pitchfork.com/levels/swizz-beatz-something-dirty-pic-got-us-new-song-listen/

(While it might not pack the level of punch that fans hoped it would when Swizz first teased it live on stage a few months back - or even have an actual verse from Kendrick - Jadakiss & Styles P’s appearance on Mr. Beatz’ new Poison compilation remains one of the tape’s finer moments. Hearing Jada & SP pass the mic back and forth never seems to get old, plus this AraabMUZIK beat is still absolutely bonkers.)

7. “Willie Lloyd” - The Alchemist, Curren$y & Freddie Gibbs

https://www.youtube.com/watch?v=X-7h0Dkz6b0

(It has felt like too long since I have shouted out an Alchemist joint, am I right? "Willie Lloyd’s” ominous instrumental makes for the ideal palette to have Gangsta Gibbs flex over, and flex he does, making it one of many stand-out verses on FETTI.)

8. “John Bena” - Westside Gunn feat. Lil Eto

https://soundcloud.com/westsidegunn/john-bena-feat-lil-eto?in=westsidegunn/sets/hitler-wears-hermes-6

(Yikes, this beat is pure menace music! And who produced it? None other than The Alchemist’s mentor, DJ Muggs, who has had quite an impressive year in his own right. Let the record show that both Westside Gunn and Eto do their thing on “John Bena”, which is no easy feat considering how overwhelming this instrumental could potentially be to weaker MCs. Furthermore, I feel like it needs to be said at this point that Westside Gunn is a VERY dope MC with his own style, traits that are not easy to come by in today’s biz. He raps his ass off on HWH6, so don’t think for a minute that WSG is carried by beats, he is not a replaceable presence on any track. So go cop that HWH6.)

9. “Location Remote” - The Alchemist, Curren$y & Freddie Gibbs

https://www.youtube.com/watch?v=lUAawyYs0uk

(A tape like FETTI warrants a cool, but eerie, intro track...and this fits the bill perfectly. I love the whole project, but I love this specific song more and more whenever I hear it. “Call the chiropractor” indeed, Mr. Gibbs - this joint is heavy.)

10. “Flipmode Squad Meets The Conglomerate” - Busta Rhymes feat. The Flipmode Squad & The Conglomerate

https://www.vibe.com/2018/10/busta-rhymes-flipmode-conglomerate-reunion-single/

(Remember when I mentioned DJ Scratch earlier? Well this massive posse cut is part of this month’s 1-2 punch of Scratch production, lucky us! Here he channels classic Busta vibes for not just one, but two of Busta’s rhyme crews to slap around for a bit. What I really like about this song is that they all sound like they’re having fun here, which is not as common as I would like it to be in today’s posse cut starved rap market. Hopefully this means DJ Scratch will make his presence felt on that upcoming Busta album!) 

*Bonus - Honorable Mention [extended edition]*

“Niagara Cafe” - Westside Gunn

https://soundcloud.com/westsidegunn/niagara-cafe?in=westsidegunn/sets/hitler-wears-hermes-6

“Tapatio” - The Alchemist, Curren$y & Freddie Gibbs

https://www.youtube.com/watch?v=JJHxFVZfAC0

“Grim Seasons - Homeboy Sandman & Edan

https://www.youtube.com/watch?v=umff7Hael9k

“Skeleton Piñata” - HAZE & SPNDA feat. Puffy

https://dutchmastered.bandcamp.com/track/skeleton-pi-ata-feat-puffy

“Militant Exercise” - Knowledge The Pirate feat. Roc Marciano

https://www.youtube.com/watch?v=MIlyUJ7Oyb8

“REDBLUE” - Rapsody feat. J.I.D

https://www.hotnewhiphop.com/jid-and-rapsody-face-the-conundrum-of-choosing-up-on-redblue-new-song.1981003.html

“Hooters” - Tee Grizzley

https://soundcloud.com/tee-grizzley/hooters

“Money” - Cardi B

https://www.youtube.com/watch?v=Zj2cK8wymIA

“Man Law” - Masta Ace feat. Styles P

https://www.youtube.com/watch?v=G5RFSInEKvE

“Say Na” - Moneybagg Yo feat. J. Cole

https://soundcloud.com/moneybagg-yo/say-na-feat-j-cole?in=moneybagg-yo/sets/reset-46

“Feels Like Summer” - Vince Staples

https://www.youtube.com/watch?v=xc6hdQEm_h4

“Lottery Games” - Styles P

https://www.youtube.com/watch?v=tVmZX5Y6-mw

“Don’t Come Out The House” - Metro Boomin feat. 21 Savage

https://www.youtube.com/watch?v=jPOzqeHynZw

“Roses” - Rapper Big Pooh feat. Ab Liva

https://www.youtube.com/watch?v=54GnYccxgHM

“Last Memory” - Takeoff

https://www.youtube.com/watch?v=hyVVOcpKpHA

“Picasso’s Ear” - Action Bronson

https://www.youtube.com/watch?v=3vFwOE4DTmA

Have a Happy & healthy Thanksgiving weekend with friends and/or family, all...🙏

[ICYMI: Last month’s list below]

https://therappundit.tumblr.com/post/179287574271/october-2018-playli-t-of-the-month

[gossipnetwork-blog]

The Problem With 'New' Taylor Swift Is That Nothing's Changed

New Post has been published on http://gossip.network/the-problem-with-new-taylor-swift-is-that-nothings-changed/

The Problem With 'New' Taylor Swift Is That Nothing's Changed

In the opening shot of the video for “Look What You Made Me Do,” the lead single of Taylor Swift’s new album, we pan in on a graveyard until we’re confronted by a tombstone for Swift’s “good girl” reputation. It’s an image that gives the album its name, Reputation, and it calls to mind Joan Jett’s 1980 solo album, indelibly called Bad Reputation after its own lead single.

Jett, a queer punk rocker, wrote that song in frustration and defiance after 23 labels refused to sign her for failing to live up to their docile-yet-sexy 1970s expectations. Now, it’s 2017 and every major label would kill to sign Swift. But what makes New Taylor’s reputation so bad? She wears snake rings and fetish gear? She wants to have sex? She tries to rap?

It all reads like a throwback to a time even before Jett’s day, when all it took to be a “bad girl” was to not be Donna Reed. New Taylor may seem like a far cry from the one who sang that a girl (not her, heavens no) who had sex at 15 “gave everything she had / to a boy who changed his mind,” but look closer and you’ll see that her ideas about what makes girls good and bad haven’t shifted an inch. She’s only changed her own location in that very old-school paradigm.

It’s an especially tone-deaf play at a moment when women—both famous and not—are risking very real things to truly rebel. Beyoncé’s Lemonade both defied genre boxes and redefined contemporary Black womanhood, and the imagery in her video for “Formation” hurt the Miami police chief’s fragile feelings enough that he called for his comrades worldwide to refuse to protect her at her shows. Kesha risked her entire career trying to free herself from having to record with Dr. Luke, her producer and alleged rapist. When that effort failed, she wrote her entire comeback album about healing from that abuse while still on his label, and then released the song in which she tells him off as the lead single. And of course, our actual political resistance is being led by women at every level, whether that’s the women who founded Black Lives Matter, the women who spoke out against Harvey Weinstein and launched a national conversation about workplace harassment, the women activists of ADAPT and Indivisible who literally put their bodies on the line to save the ACA, or the women who organized and marched on Day One of the Trump Administration.

That tangible sense of stakes is what’s missing in Swift’s new persona. Notoriously apolitical, it took Lena Dunham to get her to even utter the word feminist in relation to herself, and she famously declined to endorse a candidate in the last election. Just this week, Swift found herself in hot water with the ACLU for threatening a defamation lawsuit against a writer who criticized Swift for not publicly denouncing white supremacist fans. But while her silence may allow her acolytes to project onto her whatever they want her to be—icon of women’s empowerment! Nazi bride!—it’s not the kind of platform on which you can stage a real rebellion.

It’s especially puzzling to think about Swift’s Bad Girl Lite act in the shadow of her powerful off-stage performance this summer in a Denver courtroom. Testifying against a DJ who a jury determined assaulted her in 2013 by non-consensually grabbing her ass during a photo op, she was crisp and unequivocal: She knew what happened, because it was her body. And she knew who was at fault: the owner of the groping hand. Listicles of quotes from her testimony lit up the Internet, and for good reason. She embodied the unashamed entitlement every single woman should feel to our bodily sovereignty, but few of us do.

But if she has such a fire in her belly, why don’t we hear about it in her music? Instead, the first three singles off Reputation have delivered oblique references to celebrity feuds and fantasies about her boyfriend. These are valid topics for pop songs! Swift has no obligation to “wokeness.” But when she wraps up the calorie-free content in a Nasty Woman costume, it’s hard not to see her as trying to capitalize on the cultural power of transgressive women without having to actually transgress.

PHOTO: Hachette

She wouldn’t be the first. In 1993, a loose group of female punk musicians, already fed up with misogyny in the punk scene, were inspired to broaden their political ambitions by Anita Hill’s testimony and treatment. With lyrics like “in her hips, there’s revolutions,” Riot Grrrl confrontationally equated sexual agency with political freedom. Bikini Kill, widely considered the band at the heart of Riot Grrrl, produced a fanzine called “Girl Power,” which expanded on their lyrics, telling raw, angry first-person stories about rape and abuse, rejecting male objectification and dominance, and generally encouraging girls and women to take up all the space and make all the trouble they want in the music scene and in their lives in general, to hell with anyone who didn’t like it.

But if that slogan sounds familiar, it’s likely for another reason. In 1994, as Riot Grrrl was gaining cultural power as the soundtrack to the Third Wave of feminism, another musical revolution was brewing in a UK lab. They were called the Spice Girls. They were safe—the most they ever demanded of men was probably “if you want to be my lover, you gotta get with my friends.” They were conventionally pretty and nearly-all white, but for Scary Spice (of course). Their glitter-pink slogan was emblazoned on everything from the ubiquitous ‘90s baby tees they helped to popularize to ersatz Barbies of the band members: Girl Power. Only this version didn’t signify a call to upset patriarchy. Instead, the Spice Girls brand of Girl Power was about looking cool, feeling confident, and being loyal to your friends. Individual “empowerment,” not cultural power. By the late ‘90s, they had licensing deals with literally hundreds of brands and products, from Polaroid to Pepsi to PlayStation. Bikini Kill broke up for good in 1997. The next year, The Spice Girls earned $49 million, setting a record for the highest ever annual earnings by an all-female group.

There’s nothing, of course, wrong with liking the Spice Girls. My second book uses one of their lyrics for a title. So, too, has Taylor Swift has produced a lot of irresistible music. But I’m less concerned about the sound and more about the side effects. Perhaps this is how it has to be under capitalism: Someone will always figure out how to latch onto an insurgent political movement, strip it of any power to change the culture, and sell it back to us at a markup. Still, I can’t help feeling that, in a political moment where ordinary women are risking everything to save each others’ lives, we deserve a new standard for “girl power” in pop music, one where stars who want to transgress have to put more on the line than leather and a sneer.

Adapted from Unscrewed: Women, Sex, Power, and How to Stop Letting the System Screw Us All by Jaclyn Friedman.

Source link

[independentartistbuzz]

Sandhya Shares Innocent Monster

Sandhya (SAHN-dia), is poised to break nationally with her newest project, INNOCENT MONSTER (Asirvatham/JazzGrrl Music) out now! This art rock album contains ten original songs featuring vivid lyrics over deep-pocket grooves, all tied together by Sandhya’s charismatic voice and bold choices at the piano. It embodies a throwback, 70s-80s-90s FM radio sensibility that perfectly suits what Rolling Stone calls our new “post-genre” era.

 Fierce but philosophical, cynical but playful, these songs mirror the original Sanskrit meaning of Sandhya: the murky junction of Darkness and Light. Sandhya’s earliest successes came as an award-winning columnist for Baltimore City Paper and later as an Emmy-winning PSA producer/writer. She got serious about music when trying to escape personal crises through obsessive piano practice. (It worked.) Her first album, MEMOIR (2007), contained jazz-pop originals and a few standards. She was the visionary behind MOBTOWN MOON (2013), a massive Pink Floyd homage for which she gathered 40+ collaborators from the mid-Atlantic’s vibrant, varied music scenes.

 In 2018 she began working with producer Pete Strobl, best known for stints as Gary Puckett’s musical director and bass/voice mentor to Wolfgang van Halen, Eddie’s son. The team completed all band tracks for INNOCENT MONSTER by early 2020. When global pandemic stalled the project, Sandhya taught herself how to cut pro-level vocal tracks at home, and ended up with an even better final product than expected.

Listen in here: https://soundcloud.com/sandhyamusician/sets/innocent-monster

Sandhyamusician.com

https://www.instagram.com/sandhyamusician 

https://twitter.com/SandhyaMusician 

[topbeautifulwomens]

#Keri #Hilson #Biography #Photos #Wallpapers #celebrities #dancehall #family #inspiration #makeupvideos #portraitphotography #purse #red #universodamaquiagem #yearsold

Have you seen that gorgeous model-looking chick thatâ€s got Usher sprung in the video for ”Love In This Club?” Turns out, sheâ€s a recording artist in her own right. Keri Hilson is about to be substantial. And she’s one of those rare people who deserve to be. For Keri, music was a childhood friend she kept throughout adulthood. “In school, I would get in trouble for singing all the time. I unknowingly hummed every chance I got. It got so bad my friend’s nicknamed me ‘Keri-okey'”. She wears that name proudly on her sleeve, and in credits for every major hit she writes.

Destined for stardom since day one, the Atlanta native’s determined spirit first materialized all before she’d turn a teenager. While performing in school plays and winning talent shows all around Atlanta, she taught herself how to write songs at twelve. Impressed with Keri’s vocal ability, her piano-turned-voice teacher ushered her into a studio session where she learned the nuances of recording music. “That was when I really knew that I could take music seriously,” she says. “But at the time, I didnâ€t know if there was such a job as production or songwriting.”

“I come across a whole lot of people who are opportunists and theyâ€re like, ‘If it happens, it happens.†Iâ€m not one of those. Iâ€m a go getter.” True to her words, by 18 she was arranging songs, cutting vocals and engineering sessions. While on her journey to making a name for herself as one of the strongest songwriters out there, Keri eventually ran into producer Polow da Don working in recording studios all earlier mentioned their hometown Atlanta. One afternoon, he asked her the pivotal question—”‘What producer do you think would get you where you need to have to be as an artist? Who would musically inspire you the most?’ I said, ‘Timbaland- hands down!'” Little did she know, Polow had already been talking to the Virginia Beach producer about her potential. Polow called her one morning with the news that Tim wanted to meet her. Keri was elated. “I wasn’t freaking out,” she recalls of that morning, “I was prepared. While I had taken all this time to hone my craft as a songwriter, I always believed that I would eventually get to be an artist. Everything I experienced, everything I felt growing up, all the work…I was just like, ‘Ok. Wow. This must be it. It must be happening.'”

It was definitely happening. As soon as Keri and Timbaland met there was chemistry. “A lot of nights we would just listen to other people’s music and critique it. Not for the sake of study but to listen to it and discuss it. We don’t agree all the time. Definitely not. But I think that’s what happens when you get two strong creative minds in the same room.”

Even better things happen when you get three strong, creative people in the same room. September 2008 will see the release of Keri Hilson’s first album, “In A Perfect World…” It is being issued as a joint release from Mosley Music Group (Tim’s label) and Zone 4 (Polow’s label) as an imprint of Interscope Records (Jimmy Iovine’s label). The album is about relationships, it’s emotive, human, gorgeously and deliberately imperfect. “No human is exempt from the realities of life—heartbreak, love, failure, success—I want my album to convey a sense of reality. That’s the standpoint that lent itself to the title. There will always be something youâ€d change if only you lived ‘In A Perfect World…†and Iâ€m no different.”

The highly anticipated debut features her indomitable songwriting skills, the genre-obliterating production of Polow da Don and Timbaland, and Keri Hilson’s undeniably wonderful voice. “I deliver my songs with emotion,” she enthuses, “I don’t like a lot of effects. It takes away from the emotion. Like the raspyness of my voice in ‘Slow Dance’ (written with Justin Timberlake) for example. I love the way I sound on that track—basic, throwback, and old school. I don’t want that feeling taken away. I’m so particular about those emotions. I don’t want anyone to walk away from my album just thinking, ‘that sounds nice.’ Anybody can do that. Iâ€m much more concerned that they walk away thinking, ‘that felt amazing.'”

For her humility, the album is as dizzyingly good as it should be. It truly is a watershed moment that meets both goals—it sounds and feels great. The songs are unconventional. It’s universally appealing in its pop offerings (infectious hooks are plenty) but the arrangements are challenging in how many layers there are to listen to. Heavy synth-laden basslines to the classical guitar in the tensely urgent Polow-designed “Ready to Fall,” Keri anchors it all with a pitch-perfect voice that is refreshing in its versatility. From the sweeping cinematic orchestration of Timbaland’s “Mic Check” (“I loved harnessing all that aggression in my voice.”) to the speedy cascading electro bassline of “Return the Favor.” The mutual trust between artist and producers allows them to take bold risks. Keri shouts out all the “fly girls” on her song “Get It Girl”. “A ‘Get It Girl†is focused on getting everything she wants out of life. She is strong, independent, determined, loves to have fun, always stays fresh – and no matter what, accepts no limitations.”

“In A Perfect World…” represents a world where music is music and you canâ€t put it in a box. Itâ€s a catalyst for Keri to defy categorization, “I want to be a point of reference” states Hilson. “Hip-hop has become pop; pop is hip-hop. Music is definitely changing. I want to be the crux of that. I want to be a reason, not a result.”Keri Hilson has been writing music for individual artists since 2001. She has written music for Britney Spears, Toni Braxton, Chris Brown, Mary J. Blige, Ciara, Usher, Teairra Mari, the Pussycat Dolls, Danity Kane , Avant, Ruben Studdard, B5, Diddy, Chingy, LeToya, Ludacris, Rich Boy, Jennifer Lopez, Shawn Desman, Kelly Rowland, Nicole Scherzinger, Lloyd Banks, Keke Palmer, Omarion, Tiffany Evans, and Timbaland. With many of the songs Hilson takes part in writing, she also does background vocals, such as in “Runaway Love” and “Wait a Minute”.

Hilson has also made a name for herself as an arranger and background vocalist lending her talents on many of the songs she’s written. Hilson had remained behind the scenes for the most part until 2004 when she was featured on Xzibit’s single, “Hey Now (Mean Muggin’)”, for his album, Weapons of Mass Destruction. She made her performing debut at the 2004 MTV Europe Awards in which she performed the song with Xzibit.

In 2006, Hilson reseemed on the music scene in the video for Nelly Furtado’s single “Promiscuous”. Since then Hilson has signed with Timbaland’s new label Mosley Music Group which is in association with Interscope Records. The pair are currently working on the singer’s debut album, which is expected to involve further production by Timbaland, Danja, Xzibit, Polow da Don, The Underdogs, Organized Noize, Bangladesh, Tha Cornaboyz, Tony Dixon, Eric Dawkins, Tank and guest appearances by Snoop Dogg, Ludacris, and Justin Timberlake. The same year, she was featured on “Help”, the second single from Lloyd Banks’ Rotten Apple.

In 2007, Hilson has had several appearances on Timbaland’s solo effort, Shock Value. She is featured on “The Way I Are”, “Scream”, and “Miscommunication”. On international versions, she is also featured on a track titled “Hello”. She was also featured in “Lost Girls” and “Good Things” on Rich Boy’s debut album. On Britney Spears’ 2007 album Blackout, Hilson is credited as a writer and backing vocalist. Hilson is also set to work with Spears on her upcoming follow-up to Blackout.

A promotional video of her song “Where Did He Go” has leaked recently. It is unknown if this is going to be released as a single or if it is even to appear on the Album. Hilson recently released a single entitled “Get It Girl” with Timbaland. The single was recorded for a Verizon Ringtone. It is available through iTunes.[1][2]

She also played the lead role in Usher’s music video “Love in This Club”, and was originally on the remix, which she was replaced and Beyonce was added to give the song more exposure since Beyonce is a more known name. Keri appeared on Nelly’s “Party People” music video wearing a T-Shirt which says ‘Hip Hop aint dead’.

Keri Hilson previously collaborated with Justin Timberlake on a cover of LL Cool J’s “Headsprung”. The song charted on the Bulgarian National Top 40 and so far it peaked at number 31.[3]

She also featured on the lead single, “Hero”, to Nas’ album, Untitled. The single was released on June 23, 2008.

Keri Hilson’s debut solo album In A Perfect World… will be released in the fall of 2008. The album’s first single is entitled “Energy”. The music video for “Energy” was released July 14, 2008.

Name Keri Hilson Height 5'11 Naionality American Date of Birth October 27, 1982 Place of Birth Atlanta, Georgia Famous for

The post Keri Hilson Biography Photos Wallpapers appeared first on Beautiful Women.

source http://topbeautifulwomen.com/keri-hilson-biography-photos-wallpapers/

[kurrent-news-blog]

ICYMI: Mid-July K-Music Mayhem

Writer: Huma Kazi

Swimsuits, iced drinks, and hype summer playlists are all fun-in-the-sun essentials. Our favorite idols know this, so they specifically choose the hottest months of the year to attack our weak hearts with slammin’ jams. This past week seemed especially brutal with back-to-back album drops and music video releases - who else barely survived?

Or did you happen to get lost in the stream of fresh, new tracks? Don’t worry, we’ve got you covered. Here are the hottest K-Music releases from July 13th to July 20th!

Crush ft. ZICO - “Cereal”

Crush and ZICO teamed up once again for the July 13th release of “Cereal”! If you’re not immediately caught up on the sharp contrast between Crush’s electric blue hair and the white background, then you’ll definitely fall under the spell of his mellow vocals alongside the catchy beat. Unless you’re mesmerized by the floating dresses, that’s totally understandable. A simple music video with pops of color, pizzazz, and a song that’s easy to vibe to - “Cereal” is a musical meal that can be enjoyed at any time of the day.

Louie - “Penalty”

A soul-touching song that’s perfect for a nighttime drive, Geeks’ Louie pre-released “Penalty” on July 13th. “Penalty” is said to be a part of Louie’s second EP album, “Inspiration (靈感) 2”, but with the album still in the works, we’ll need to sit tight before indulging in more of his music. Until then, head-bob along “Penalty” and become hypnotized by the captivating zooms and disorienting camera tilts of the scenic music video.

SEVENTEEN - “Oh My!”

Shifting gears to a more playful tempo, SEVENTEEN had their fans shouting “Oh My!” with their music video drop on July 16th! As a viewer, you’re invited to the ultimate sleepover of boyish youth: pillow fights, storytelling under the blankets, and a levitating entrance into a paradise dreamland. The bright colors in both the set design and on the outfits definitely scream #SummerVibes. Though this music video raises a serious question: what’s better for the eyes - fireworks, or thirteen gorgeous boys looking at fireworks?  

MAMAMOO - “Egoistic”

Also on July 16th, MAMAMOO decided to spice up the summer heat with their release of “Egoistic”! It’s hard to resist the spellbinding Latin-esque flavor in both the music video and song, so don’t even bother and just sway along to the beat. Make sure to have a cool glass of water beside you, though! Bathtubs, poles, and a leopard stare-down - you’ll need every drop of hydration to survive this fiery comeback.

Triple H - “Retro Future”

Keep a special eye out for the 15+ rating, this music video is definitely not safe for work! Triple H made their long-awaited comeback with “Retro Future” on July 18th. Both the song and music video served some major throwback vibes - starting with the 1:1 display ratio that remained for the entire video. The Purge must’ve been the inspiration for these three troublemakers, though the only ‘killer’ element they’ll probably experience is the hangover they’ll have the next day. If you have a deep appreciation for retro aesthetics, this song is your perfect summer jam.

Chung Ha - Love U

Dialing back to daytime dance breaks, Chung Ha hopped onto the comeback train with her July 18th release of “Love U”! Famous for her dance skills since her Produce 101 days, this comeback does not disappoint in the choreo department. That doesn’t mean she isn’t absolutely slaying with her vocals, her soft and melodious voice is probably more soothing than an ocean breeze. Both the pops of color in her outfits and the picturesque locations scream summer. Is this video giving anyone else inspiration for their next Instagram post?

Gfriend - “Sunny Summer”

Shoo away those rain clouds, GFriend brought us a “Sunny Summer” with their July 19th comeback! No need for pool parties in this one, the music video proves that you can have as much fun indoors as you can out-and-about. There’s nothing like the classic girl group sound to get you shimmying with excitement, so don’t worry if the blistering heat has you trapped. Grab some microphones and fairy lights, then have a girls-night-in - ‘GFriend’ style!  

Hyolyn - “See Sea”

Your summer isn’t complete without hitting the beach, so make sure you “See Sea” like Hyolyn does in her July 20th comeback! The combination between her infamous vocals and the dreamy filter used in her music video lulls you into a trance, so much so that you’re already dancing along without realizing it. Hyolyn represents all the ~goals~ we have for this summer: body goals, dancing goals, singing goals, and even outfit goals! So if you need that motivational push, don’t wait and press play!

Seungri - “1, 2, 3!”

To finish the week off, a true legend graced us mere mortals with a new summer bop. You guessed it, BIGBANG’s Seungri brought us back to the ‘70s with his July 20th release of “1, 2, 3!”. The song and music video is the short, Korean version of Grease that we never knew we needed, but became absolutely essential after seeing it. So don’t let your summer days or nights drift away. At the count of three, have the time of your life!

Think we missed a song? Let us know! Stay tuned with Kurrent News for all the fandom feels of South Korea!

[helloworlddemo1122-yahoopar-blog]

Janet Jackson Reveals How She Found 'Peace' Through Motherhood

Motherhood looks good on Janet Jackson.

The 52-year-old singer shares with Billboard magazine how she's changed since the birth of her son, Eissa, in January 2017.

"Even in his short 17 months on the planet, [my son] has showed me that love, no matter how deeply you believe you have experienced that emotion, can always go deeper. Love is limitless," she explains. "And for someone like me, raised in show business where self-concern is always a priority, how fortunate I am now to be concerned, first and foremost, with the welfare of someone else. Day after day and night after night, holding my baby in my arms, I am at peace."

Jackson adds, "I am blessed. I feel bliss. In those moments, all is right with the world."

Janet Jackson goes deep on her early challenges, upcoming music & the joy of motherhood. | 📸: @millermobley

A post shared by Billboard (@billboard) on May 17, 2018 at 5:30am PDT

Even at his young age, Eissa — who Jackson shares with ex Wissam Al Mana — already appears to have a favorite musician -- and it's not his mom.

"Bruno [Mars] was really the first music my son responded to. During and after his birth, I comforted myself with Brazilian jazz, music that always relaxes me. Then when the baby began crawling, Bruno was breaking out big and on the radio all the time," Jackson says. "That delighted both of us. Bruno is a throwback to the days when the greatest artists could do it all: write, sing, dance, produce."

In addition to opening up about her son, Jackson also shares one of her favorite memories with brother Michael Jackson, who died in June 2009.

"I was 16 and in between my first two records. Michael was recording [1982’s] Thriller. He invited me to the studio where he was about to sing 'P.Y.T.' and asked me to help out on background vocals," she recalls. "Since we had been singing together forever, I knew it’d be easy. I jumped at the chance. I loved being one of the 'P.Y.T.'’s and was especially proud -- I hope this doesn’t sound like bragging — that when the record was mixed, my single background voice was the one featured. I can’t tell you how good that made me feel."

Jackson is also candid about her issues in the past with self-doubt. "Like millions of other women, I’ve struggled with low self-esteem my whole life. I’m doing better in that regard," she confides. "My inclination toward harsh self-criticism and even self-negation has dramatically eased up. I believe in all the different methods of help -- smart psychology, vigorous exercise and sincere spirituality."

While Jackson isn't so eager to offer details about her new music, she does talk about her process — or lack thereof — that goes into planning a new album.

"The truth is that I don’t try to analyze the creative process while it’s still ongoing. I’m very intuitive about writing ... I’m glad I’m not methodical or self-conscious as a writer. It’s important that I maintain a let-it-happen-when-it-happens approach," she says. "I don’t want to strain or stress. I want to be a channel for whatever images and emotions are running through my imagination. Spontaneity is so important to me. It allows for surprise, and, for me, surprise is what breaks up the boredom of daily life. When I finally get to the music that genuinely expresses what I’m experiencing in the moment, I feel free. Music does that for me. Its healing properties are extraordinary."

While she seems to have a lot on her plate, Jackson has no plans to slow down her music career any time soon.

"The drive is in my DNA. I couldn’t lose it if I wanted to, and I don’t. Motivation is something I treasure," she muses. "Besides, for all its difficulties, this is the life I love. I’m surrounded with a team of dancers, singers and musicians I love. I’m supported by fans that have stuck by me through thick and thin. They mean the world to me. Now more than ever, performing, whether in the studio or onstage, brings me a satisfaction I find nowhere else."

Thank u so much for all the birthday love. I love you more than you know. See you Sunday 😘

A post shared by Janet Jackson (@janetjackson) on May 16, 2018 at 1:05pm PDT

The release of Jackson's Billboard cover comes just a day after the singer's 56th birthday, and she couldn't help but gush over her fans and their kind messages in a heartfelt Instagram post. "Thank u so much for all the birthday love. I love you more than you know," she wrote.

Earlier this year, ET spoke with Jackson's ex, Jermaine Dupri, and he only had nice things to say about the singer. Check out our exclusive interview: 

RELATED CONTENT: 

Janet Jackson, Mary J. Blige to Headline 2018 Essence Festival -- See Who Else!

Justin Timberlake Addresses Infamous Halftime Show Incident With Janet Jackson Ahead of Super Bowl LII

Janet Jackson Speaks From Her Heart in Edgy Jumpsuit, Accepts Music Icon Award at OUT100 Gala: Watch!

[mystlnewsonline]

New Post has been published on https://www.stl.news/latest-grammys-feature-clinton-cameo-trump-book-bit/76433/

The Latest: Grammys feature Clinton cameo in Trump book bit

NEW YORK/January 28, 2018 (AP)(STL.News) —The Latest on the 60th annual Grammy Awards being presented Sunday night in New York (all times local):

10:10 p.m.

In one of the more striking moments of a pointedly political Grammy Awards, host James Cordon gathered celebrity readers — including Hillary Clinton — to read from Michael Wolfe’s best-seller “Fire and Fury” about President Donald Trump’s White House.

In a pre-taped segment, Cordon said a shoo-in winner to next year’s Grammys would be the audio book recording to “Fire and Fury.” Snoop Dogg, John Legend and Cardi B were among those who tried reading from Wolfe’s book. Cardi B said, “He lives his life like this?!”

But the star cameo was Clinton who read a brief excerpt from the book.

Earlier in the broadcast, U2 performed in front of the Statue of Liberty. And Camila Cabello spoke passionately as “a proud Cuban-Mexican born in Havana” on behalf of immigrants. Cabello said, “This country was built by dreamers for dreamers chasing the American dream.”

— Jake Coyle (@jakecoyleAP) backstage at the Grammy Awards.

___

10 p.m.

Bruno Mars is the winner of the Grammy Award for best song of the year for his hit “That’s What I Like”

Mars beamed as he accepted the award and thanked a group of men he said helped him create the song.

It is Mars’ fourth win on Sunday. He also won for best R&B song and best R&B performance for “That’s What I Like,” and best R&B album for “24K Magic.”

___

9:50 p.m.

Kesha has performed the song “Praying” after a powerful introduction from Janelle Monae.

Monae said she is standing in solidarity with all young women in entertainment, “and to those who would dare try and silence us, we offer you two words: Time’s Up.”

She continued to say that time is up on pay inequality, discrimination, harassment and abuses of power.

Kesha was joined onstage by a chorus of women, including Bebe Rexha, Andra Day and Cyndi Lauper.

— Sandy Cohen (@YouKnowSandy)

___

9:30 p.m.

Three artists who performed at a country music festival that became the site of the deadliest mass shooting in U.S. modern history honored those music fans lost at deadly concert attacks with a tearful performance at the Grammy Awards.

Country artists Eric Church, Maren Morris and Brothers Osborne delivered a moving performance of Eric Clapton’s Grammy winning classic “Tears in Heaven.”

Church seemed to struggle to speak before the performance, and Morris’ microphone did not work during most of her remarks. Church said, “All of country music was reminded in the most tragic way then connection we share with fans and the loving power that music will always provide.”

The artists put their own spin on the mournful song in honor of the victims at the Route 91 Harvest Festival last October in Las Vegas, as well as a bombing outside an Ariana Grande concert in Manchester, England, in May.

— Kristin Hall (@kmhall)

9:25 p.m.

Chris Stapleton is the winner Grammy Award for best country album.

Stapleton won for his album “From a Room: Vol. 1.”

It is the country singer’s third Grammy win on Sunday. He also won for best country solo performance for “Either Way” and best country song for “Broken Halos.”

___

9 p.m.

Dave Chappelle has won best comedy album at the 90th Grammy Awards for his first comedy album in more than 12 years.

Chappelle was presented with the award Sunday for the double album of his two Netflix specials, “The Age of Spin” and “Deep in the Heart of Texas.” Chappelle won over Jim Gaffigan, Sarah Silverman, Jerry Seinfeld and Kevin Hart.

Chappelle also joined Kendrick Lamar, Bono and the Edge for the broadcast’s opening number. He later presented the award for best rap album to Lamar.

The comedian opened his speech by saying, “Boy. I am honored to win an award, finally.”

He closed it by telling the crowd, “See you on Monday.”

— Jake Coyle (@jakecoyleAP) backstage at the Grammy Awards.

___

8:55 p.m.

Bruno Mars and Cardi B took it back to the 90’s with their performance of their hit song “Finesse,” a throwback homage with elements of “In Living Color,” New Jack Swing and R&B all thrown in together.

Mars, who won three Grammy awards already and was nominated for three more, including album and record and song of the year, showed off his dance moves with his backing band in colorful matching outfits.

Cardi B, the flamboyant rapper behind the mega hit “Bodak Yellow” added her own flair to the performance as well with her rapping and dancing.

— Kristin Hall (@kmhall)

  ___

8:50 p.m.

Pink stood alone on the Grammy stage wearing jeans and a T-shirt to sing her new song “Wild Hearts Can’t Be Broken.”

It was a subdued performance from the entertainer who has performed on previous Grammy telecasts while swinging from the ceiling.

The three-time Grammy winner was a nominee Sunday for pop solo performance for “What About Us,” but the prize went to Ed Sheeran for “Shape of You.”

— Sandy Cohen (@YouKnowSandy)

___

8:40 p.m.

Kendrick Lamar is the winner of the Grammy Award for best rap album.

Lamar won for his album “DAMN.”

It’s been a big night for Lamar, who won five Grammy Awards, including three during a pre-telecast ceremony.

Lamar also opened the show with a blistering performance of several of his songs from the album.

8:35 p.m.

Writer-director-actor Donald Glover has performed at the Grammy Awards as his musical alter-ego, Childish Gambino.

Wearing a white suit and backed by a four-piece band, Glover as Gambino sang “Terrified” from his album “Awaken My Love.” Childish Gambino was nominated for five Grammys Sunday, including album of the year.

Glover/Gambino won a Grammy during the pre-telecast ceremony. Glover also won two Emmy awards last year, for acting and directing his TV series “Atlanta.” His Grammy win Sunday brings him halfway to EGOT status — the title given to those who’ve won an Emmy, Grammy, Oscar and Tony award.

8:30 p.m.

Luis Fonsi and Daddy Yankee are performing their hit “Despacito” at the Grammy Awards. The song has become one of the biggest global hits of all time, and its video is the world’s most popular, with five billion views.

“Despacito” is up for three Grammys Sunday, including song of the year and record of the year. The performance brought the crowd to its feet, with some audience members filming the act on their cell phones and singing along.

Host James Corden joked that he had never heard the song before and Fonsi and Daddy Yankee should get it on the radio.

— Sandy Cohen (@YouKnowSandy)

___

8:15 p.m.

Gary Clark Jr. and Jon Batiste are performing a tribute to Chuck Berry and Fats Domino on the Grammy Awards.

Batiste sat at the piano and kicked things off on vocals with Domino’s “Ain’t That a Shame.” Clark followed on the guitar with Berry’s “Maybelline.”

Clark thanked the two late entertainers “for all the music that you made possible.”

Batiste and Clark then presented the pop solo award to Ed Sheeran for “Shape of You.”

Sheeran did not attend Sunday’s ceremony.

___

8 p.m.

Alessia Cara is the winner of the Grammy Award for best new artist, and though she says she’s dreamed of the honor for her whole life, she doesn’t have a speech planned.

Cara nervously accepted the award Sunday evening and urged people to “support real music and real artists.”

Cara said at the beginning of her speech: “I’ve been like pretend winning Grammys since I was kid like in the shower, so you’d think I have the speech thing down but I absolutely don’t.”

She held up the award before leaving the stage and said, “My mind is blown.”

___

7:45 p.m.

Kendrick Lamar is the winner of the Grammy Award for best rap/sung performance.

Lamar, who opened the Grammy Awards with a blistering performance, won for his song “Loyalty,” which also features Rihanna.

Lamar accepted the award from John Legend and Tony Bennett. He said upon receiving the award, “This is love.”

Rihanna thanked Lamar for giving her the opportunity to work on the song.

It is the fourth Grammy Award that Lamar won on Sunday.

___

7:30 p.m.

Kendrick Lamar has opened the 60th Grammy Awards with a performance of “XXX” from his album “DAMN.” An image of an American flag flickered behind him and an army of dancers accompanied him onstage.

Host James Corden said on the red carpet before the show that viewers could expect “the most unique and bold opening you could ever imagine.”

U2’s Bono and The Edge joined Lamar on stage before the rapper transitioned into “DNA.”

A dramatic sequence followed, with Lamar’s dancers dressed in red, each figuratively shot down by the rapper.

Lamar also won three Grammy Awards before Sunday’s ceremony began, bringing his lifetime total to 10.

Lamar has delivered stellar performances on the Grammy stage before. He stunned in 2016 with a medley from his celebrated album “To Pimp a Butterfly.” The rapper performed “The Blacker the Berry” as he led what looked like a chain gang, his band members performing from jail cells. He finished with the rallying “Alright,” standing in front of a map of Africa emblazoned with the word “Compton.”

Lamar also shared the Grammy stage with Imagine Dragons in 2014.

___

7:05 p.m.

Tony Bennett has won 18 Grammy Awards in his career, but his son isn’t so far behind.

Dae Bennett won his eighth Grammy at Sunday’s ceremony, for producing “Tony Bennett Celebrates 90,” the companion album to his father’s NBC special celebrating Bennett’s birthday. Dae has shared in seven previous Grammy wins for his father, but the nomination Sunday — for best traditional pop album — was solely in his name.

In the Grammy Awards pre-show, Dae accepted the award with his now 91-year-old father at his side.

The elder Bennett says he’s thrilled to see his son won. He said the honor made it “a beautiful night.”

Backstage, the Bennetts said they have always been a family affair.

Tony Bennett also shooed away any talk of retirement. He says he’s “just starting out.”

He adds, “I’m going to keep going until I cut out.”

— Jake Coyle (@jakecoyleAP) backstage at the Grammy Awards.

___

6:40 p.m.

Khalid doesn’t really care if he leaves the Grammy with a statuette. No, really.

The 19-year-old hip-hop sensation says he’s pleased with being nomination. He says the fact that he’s up for five Grammys on Sunday “is ridiculous on its own.”

Khalid is enjoying life with his debut album “American Dream” — with the hit “Young Dumb & Broke” — and being featured on Logic’s song of the year nominee, “1-800-273-8255.” Khalid is also a best new artist nominee.

He says he’s living out his destiny — he wanted to be at the Grammys.

Khalid was also happy that hip-hop and rap dominated the nominations.

He wore a white rose the lapel of his white suit jacket. He says, “Standing for equality is the way to go. I love everybody.”

— John Carucci (@jacarucci) and Mark Kennedy (@KennedyTwits) on the Grammys red carpet.

___

6:30 p.m.

The former ’90s star turned children’s music maker Lisa Loeb was among those who sported a white rose in solidarity with the #MeToo movement at the Grammy Awards. But she also had one defense of the music industry.

Loeb says she’s aware that some are saying the music industry took too long to catch up to the #MeToo and Time’s Up movements, but she says that’s because there are so fewer music awards shows this time of year. She says, “In the music industry, we’re in recording studios. We’re holed up in rooms writing songs and we’re on the road and we’re on stage. We’re all over the place, like stars. We aren’t together a lot.”

She says a lot of artists try to spread their messages through their music and performances.

Loeb, who had the 1994 hit “Stay (I Missed You)” won Sunday best children’s album for “Feel What U Feel.”

— Jake Coyle (@jakecoyleAP) backstage at the Grammy Awards.

___

5:30 p.m.

Chuck Berry’s son heartily endorsed the guitarist Gary Clark Jr. honoring his late father at the Grammys.

Clark along with musician Jon Batiste will pay tribute to the late rock pioneers Berry and Fats Domino.

Charles Berry Jr. says Clark is outstanding. He says, “I’m sure he’s going to knock it out of the park. No question”

The elder Berry’s last record included “Wonderful Woman” with help from his son, his grandson, Charles III, and Clark. Berry died in March at 90.

Clark says Berry’s influence looms large in his career, from the guitars he plays to the style he employs. He says, “I don’t think there’s a guitarist on the planet who hasn’t stolen or interpreted something from Chuck Berry.”

— John Carucci (@jacarucci) and Mark Kennedy (@KennedyTwits) on the Grammys red carpet.

___

4:55 p.m.

If the phone rings during the Grammys, Lady Antebellum might have welcomed some more ladies.

Dave Haywood and bandmate Charles Kelley are at Sunday’s Grammys without their third member, Hillary Scott, who stayed home as she awaits the birth of twin girls. The guys wore white roses in her honor.

Haywood says, “Our leading lady is not here.” He says they have always considered Scott an amazing and strong woman, and they wanted to support her.

Kelley says “If the phone rings and we have to leave the show, you know what it’s about.”

He says Scott is due any day now, and they are excited to meet her daughters.

Lady Antebellum has won five Grammys and this year is up for two: Best country group or duo performance for “You Look Good” and best country album for “Heart Break.”

— John Carucci (@jacarucci) and Mark Kennedy (@KennedyTwits) on the Grammys red carpet.

___

4:35 p.m.

“La La Land” is still winning awards.

The film won twice at Sunday’s Grammy Awards, which, like the Oscars, honored the song craft behind Damien Chazelle’s blockbuster musical. Thankfully for “La La Land,” there were no envelope flubs nearly a year after the Academy Awards.

Composer Justin Hurwitz won for best composition soundtrack and best score soundtrack for visual media. He shared the former with Marius de Vries.

Hurwitz won two Oscars last February for the “La La Land” score and the song “City of Stars.” The Grammys run on a different calendar than the Oscars, drawing from October 2016 to September 2017 releases.

Backstage at the Grammys, Hurwitz was asked about those infamous final moments at the Oscars. He says “It was a blur. I’ve watched it on YouTube a few times.”

— Jake Coyle (@jakecoyleAP) backstage at the Grammy Awards.

___

4:15 p.m.

Jay-Z’s producer says he doesn’t want to enflame tensions between Donald Trump and Jay-Z.

No. I.D., who produced Jay-Z’s Grammy-nominated “4:44,” says he hopes the rap legend and Trump are able to talk about their differences after Jay-Z criticized the president and Trump fired back.

The producer says the back-and-forth is “a conversation that needs to occur.”

Trump tweeted Sunday that he wanted Jay-Z to know at “because of my policies,” unemployment among black Americans is at the “LOWEST RATE EVER RECORDED!” That appeared to be in response to a CNN interview in which the rapper said the president’s vulgar comments about African countries and Haiti were “disappointing” and “hurtful.”

Guitarist Robert Randolph just learned about the president’s tweet Sunday afternoon but wasn’t sure calling out Jay-Z or his wife, Beyonce, was the wisest decision. He jokes, “Now it’s a rap battle!”

— John Carucci (@jacarucci) and Mark Kennedy (@KennedyTwits) on the Grammys red carpet.

___

4:10 p.m.

The late engineer Tom Coyne has won a posthumous Grammy Award for his work on Bruno Mars’ “24K Magic.”

It’s the seventh Grammy for Coyne, who died in April from cancer. Coyne, the master engineer on the album, shared in the award for best engineered album, non-classical, with engineers Serban Ghenea, John Hanes and Charles Moniz.

Coyne worked on hit recordings for Adele, Beyonce, Metallica and Taylor Swift in his decades-long career. He won last year for Adele’s Record of the Year winner “Hello.” Coyne earned 37 nominations in total before his death.

Ghenea and Hanes, who accepted the Grammy, dedicate the award to Coyne.

“I know this would have been really special for him,” Ghenea said backstage. “He’s won many Grammys before but never the best engineered album. This would have meant a lot to him.”

— Jake Coyle (@jakecoyleAP) backstage at the Grammy Awards.

___

4:05 p.m.

Carrie Fisher has won a posthumous Grammy Award for her “The Princess Diarist.”

Fisher died in December 2016 at age 60. The Grammy is awarded for her audio recording of her memoir based on diaries she kept around the time she starred in the first “Star Wars” film in 1977.

The announcement was greeted with loud cheers in the theater where dozens of early Grammy Awards are being announced Sunday.

___

3:50 p.m.

Tom Petty is on the minds of many entering the Grammy Awards.

Singer-songwriter Lisa Loeb calls Petty’s music “the soundtrack of my life.” She says she was at his final concert at the Hollywood Bowl in late September.

Petty died in October at age 66 from an accidental drug overdose. She called his final performance an amazing concert, and says he is such a loss.

Petty is one of several high-profile artists who died over the past year, including Chris Cornell, Gregg Allman, Chester Bennington and, most recently, Dolores O’Riordan of The Cranberries.

Songwriter Diane Warren called the loss of Petty a shame, adding “There are so many great artists who didn’t have to go.”

Country superstar Reba McEntire called Petty a great mentor, a cool dude and a sweet person. She says what she loved about Petty was that “he knew what he wanted and he wasn’t going to take any route left or right.”

— John Carucci (@jacarucci) and Mark Kennedy (@KennedyTwits) on the Grammys red carpet.

___

3:30 p.m.

The 60th annual Grammy Awards are underway with the first awards being handed out in the dance and electronic music categories.

LCD Soundsystem won the first awarded handed out Sunday during the Grammys pre-telecast ceremony that hands out dozens of honors in various genres.

The festivities are being led by musician Paul Shaffer, who laid out the ground rules: including telling winners to stand up and announce themselves when they win.

LCD Soundsystem won for best dance recording for its song “Tonight.”

No one from band was on hand to accept the honor, which led Shaffer to call over a young woman who was on stage to assist winners and by calling her “darling” and handing her the Grammy.

Shaffer told the woman, “When I say darling, I mean it with the utmost, #MeToo kind of respect.”

___

2:45 p.m.

The sea of black at the Golden Globes has given way to a small forest of flowers at the Grammys.

Plenty of musicians and artists took to the red carpet Sunday sporting white roses to show their solidarity with the Time’s Up organization, which hopes to support women with legal and financial help who raise sexual misconduct complaints.

Allen Hughes is the director of the “The Defiant Ones” and wore two small roses on his lapel.  He says he believes every voice should be heard and that’s why he wore the roses. Plus, he says, “I’m a feminist.”

Most stars wore black and a Time’s Up pin in support of the movement at the Golden Globes earlier this month. Fewer wore roses at the Grammys, but some were just being rock stars.

Songwriter Diane Warren skipped the rose but wore two white gloves — one with the word “girl” and one with “power.” She’s a nominee for the 15th time.

She says, “I didn’t want to wear the rose. I’m a rebel.”

— John Carucci (@jacarucci) and Mark Kennedy (@KennedyTwits) on the Grammys red carpet.

___

10 a.m.

Though Adele’s win for album of the year at last year’s Grammys wasn’t a complete surprise, it marked another loss for Beyonce in the show’s major category.

The Recording Academy was heavily criticized for not rewarding “Lemonade,” an album that moved the needle and dominated pop culture in different ways than Adele’s colossal sales.

Critics felt the Academy failed to recognize the artistic elements of an R&B-based album, in the same ways they have passed over albums by Kanye West, Eminem and Mariah Carey for projects by rock, country and jazz artists.

But Sunday’s Grammys are almost guaranteeing this year is different. Most of the album, song and record of the year nominees are rap, R&B and Latino artists, including Jay-Z, Kendrick Lamar, Bruno Mars, Luis Fonsi and Childish Gambino.

____

by Associated Press – published on STL.News by St. Louis Media, LLC (Z.S)

____

[ismael37olson]

Jon ALi Presents: The Top 50 Albums of 2017!

My beautiful music lovers: We have (almost) reached the end of 2017!

This year has been a true test to the human psychique with the mess that is our current Presidential reality – but, luckily, in the midst of life’s many expected ups and downs this year, there was (thankfully) a ton of music to help distract, heal and lift us up.

First up, I’m counting down my Top 50 Albums of the Year! As per usual, this list is usually my favorite because its much easier to rank my love for an album based on if I can get through the whole thing from start to finish without banging my head against a wall (repeatedly). WITH THAT SAID: That doesn’t necessarily mean I find album #29 any more or less tolerable than the ones before or after it so please save your trolling for someone who actually cares. I love music. You love music. We love music!

K, without further ado, here’s the list:

50. Terror Jr – Bop City 2: TerroRising 49. Oliver – Full Circle 48. Erik Hassle – Innocence Lost 47. Nelly Furtado – The Ride 46. Hey Violet – From the Outside 45. Betty Who – The Valley 44. Loreen – Ride 43. Paloma Faith – The Architect 42. Shakira – El Dorado 41. Snoh Aalegra – Feels 40. Perfrume Genius – No Shape 39. Michelle Branch – Hopeless Romantic 38. N.E.R.D – NO ONE EVER REALLY DIES 37. Lights – Skin&Earth 36. Paramore – After Laughter 35. Miley Cyrus – Younger Now 34. Niia – I 33. Bleachers – Gone Now 32. Haim – Something to Tell You 31. Katy Perry – Witness 30. Tyler, the Creator – Flower Boy 29. Superfruit – Future Friends 28. Zara Larsson – So Good 27. Cashmere Cat – 9 26. Kelly Clarkson – Meaning of Life 25. P!nk – Beautiful Trauma 24. St. Vincent – Masseduction 23. The xx – I See You 22. Jhené Aiko – Trip 21. Halsey – hopeless fountain kingdom 20. Taylor Swift – Reputation 19. Demi Lovato – Tell Me You Love Me 18. MUNA – About U 17. Calvin Harris – Funk Wav Bounces Vol. 1 16. Majid Jordan – The Space Between 15. Kesha – Rainbow 14. Drake – More Life 13. Tove Lo – BLUE LIPS (Lady Wood Phase II) 12. Khalid – American Teen 11. Allie X – CollXtion II

10. Kehlani – SweetSexySavage: After years years of dropping mixtapes and collaborations, Kehlani finally properly broke out in 2017 with her full-length major label debut LP, SweetSexySavage – an appropriately direct nod to TLC‘s CrazySexyCool. It’s a sleek, self-assured, and polished body of work from an artist that took her time to perfect her sound and get it just right. Though she proudly wears her influences — Aaliyah, Brandy, and any number of Y2K era of R&B belters — on her sleeve she never once sounds like an imitator or cliché. Kehlani‘s many strengths as a songwriter and singer outweigh any possible charges of imitation, and her willingness to apply subtlety, make unapologetic choices, and simply have fun is what makes her a true star. For an album released at the very top of the year, it’s had undeniable longevity, both in the R&B and Pop world. The crossover queen we deserve in 2017. Highlights: “Keep On,” “Distraction,” “CRZY,” “Advice,” “Get Like,” “In My Feelings,” and “I Wanna Be.”

9. Lana Del Rey – Lust for Life: Five albums deep, Lana Del Rey is very aware of the fact that her signature sleepy sound isn’t necessarily everyone’s cup of tea, but that doesn’t mean she’s going to stop making the music her loyal fanbase has grown to love. Compared to her other albums, especially its drowsy 2015 predecessor Honeymoon, Lust for Life is positively sunny in tone, and certainly more upbeat in tempo. Lana may sing about a “Summer Bummer” and being “In My Feelings” but the songs aren’t inline with hazy unforgotten daydreams; they shimmer, offering a confident bit of seduction for chill nights in with your bae. Lana keeps this delicate balance throughout the lengthy Lust for Life (at 71 minutes, this is an album as much as it’s a playlist, designed to be played on loop as “vibe” music), never quite committing to either distress or euphoria but rather finding an effortless place somewhere in-between the two. That said, Lana does lean slightly more towards ecstasy on Lust for Life, bathing comfortably in her slow rhythms and luxurious surfaces. She manages to sustain this mood over the course of Lust for Life‘s 16 songs, every one of which is a genuine variation of her adored signature sound. Highlights: “Love,” “Lust for Life” (feat. The Weeknd), “Cherry,” “Groupie Love” (feat. A$AP Rocky), and “Get Free.”

8. Kendirck Lamar – DAMN.: On DAMN. Kendrick Lamar proved you can actually take a more “mainstream” approach while maintaining your musical excellence. Although its definitely sonically less cohesive than to his predecessors (To Pimp a Butterfly and good kid, m.A.A.d city); the lyrics are just as strong and impactful and the music is just as vibrant and exciting. In fact, Kendrick‘s reached a whole new level of self-awareness on DAMN., he’s better than ever. In my honest opinion, Kendrick‘s been on a non-stop winning streak, and his closest competitors are still miles away and this album it’s just another proof of his genius. Highlights: “HUMBLE.,” “DNA.,” “LOYALTY.” (feat. Rihanna) and “LOVE.” (feat. Zacari).

7. Miguel – War & Leisure: Every year, thre’s one artist drops an absolutely incredible album at the tail end of the year that makes music writers everywhere wish they would’ve waited on publishing their year-end lists. This year, that artist is Miguel. 2012’s Kaleidoscope Dream and 2015’s Wildheart, saw this R&B crooner master the early versatility he displayed on his debut All I Want Is You, showcasing a playful-yet-wise mix of pop, funk and soul that certified him a true star. War & Leisure is a more ambitious, bold and confident move: a non-stop joy ride that doubles as a master class in futurist hypersexual R&B. He never fails to impress and expand within himself. Highlights: “Sky Walker” (feat. Travis Scott), “Banana Clip,” “Told You So,” “Caramelo Duro” (feat. Kali Uchis), “Come Through and Chill” and “Now.”

6. Jessie Ware – Glasshouse: Like most of Jessie‘s stellar back catalog, her third studio LP Glasshouse revolves around her signature lyrical themes: Sadness, isolation, lust and most importantly, love. But Glasshouse strives as a much bigger and mature deal than anything she’s done before, catering mostly to her husband, Sam Burrows, and the arrival of their first child. Jessie‘s has always had the effortless ability to wrap powerful emotions in irresistible melodies but here she channels that skill into soaring new heights. And with additional production credits from the likes of Kid Harpoon, Starsmith, Happy Perez, Benny Blanco, Cashmere Cat, Julia Michaels and Ed Sheeran, there was already little doubt that Jessie would come through strong. But, make no mistake: It was Jessie‘s very own signature sensual stylings that made this record a win from start to finish. Forever my queen. Highlights: “Midnight,” “Stay Awake, Wait For Me,” “Alone,” “Selfish Love,” “Hearts” and “Sam.”

5. Mura Masa – Mura Masa: In a year when mainstream radio became increasingly defined by island-like musical trends, the first full-length by Guernsey-born DJ-producer Mura Masa (aka Alex Crossan) was refreshing for the way it leaned proudly outward, bringing slinky disco, shimmering electro-pop, garage house, Hip-hop and throwback R&B together in the name of finding musical transcendence. Mura Masa‘s unlimited playfulness and genre-bending production skills — not to mention the help from Bonzai, A$AP Rocky, Charli XCX, Desiigner, Nao, Tom Tripp and Christine and the Queens — show that there’s still uncharted territory left in the land of UK dance-pop, and that thankfully someone like the young and talented Mura Masa is more than willing to put in all his time in order to find it. Highlights: “Love$ick” (feat. A$AP Rocky), “1 Night” (feat. Charli XCX), “What If I Go?,” “Firefly” (feat. Nao) and “Second 2 None” (feat. Christine and the Queens).

4. Dua Lipa – Dua Lipa: Pop music needed some serious saving in 2017. Weighted down by tired-less, island-lite radio trends, EDM beat drops (thanks a lot, The Chainsmokers) and One Direction members going solo, the pop music landscape was missing a dose of originality. Enter Dua Lipa, aka Jesus Christ. Kicking off her rise with a slew of anthem-ready singles “Be The One,” “Hotter Than Hell” and “Blow Your Mind (Mwah),” the young and versatile beauty reminded us all that, pop at its finest, all comes down to melody. While it took a lot more time than it should’ve, Dua finally blessed us with her highly anticipated self-titled debut in 2017. And the record was worth the wait: Each song bursts with huge choruses, from the truly stunning opener “Genesis” to the unstoppable force that is “New Rules,” which is finally giving her the visibility she deserves. As with Adele, Ellie Goulding, Charli XCX, Marina And The Diamonds, and so many English queens before her, Dua‘s got the undeniable gift. Dua for President! Highlights: “Genesis,” “Lost In Your Light” (feat. Miguel), “Hotter Than Hell,” “Be The One,” “IDGAF,” “Blow Your Mind (Mwah),” “New Rules” and “Homesick.”

3. Kelela – Take Me Apart: Where 2017 mostly failed in delivering huge pop records, it made up in supplying us with stellar R&B. When Kelela arrived on the scene in 2015 with her unique brand of futuristic-yet-nostoglic-R&B-electronica, we already knew her debut record would be something special. And that it most certainly is: Take Me Apart‘s title track is R&B at its most cosmic and forward-thinking, “Better” is post-breakup relatable gold, and the nostalgic Aaliyah-sounding greatness that is “LMK” is the stuff of legend status. While she might not have made the biggest noise this year, she did deliver artistry at its finest. Kelela‘s got plenty of talent up her slick sleeve and this here is just the beginning of a long career. Take notice! Highlights: “Frontline,” “Take Me Apart,” “Better,” “LMK,” “Blue Light” and “Turn To Dust.”

2. Lorde – Melodrama: Lorde delivered one the best records of the year in 2013 with her debut Pure Heroine. In the time since, she’s become a true superstar all while going through her very first real breakup. Her long-awaited sophomore album Melodrama documents the time spent between her stardom and breakup: It is a honest, sometimes dark and extremely liberating body of work, in which Lorde delivers some of her strongest, tightest and certainly most teary-eyed music to date. In the few years since her debut, Lorde‘s improved substantially upon her melody-making, resulting in massive heartbreak and youth anthems like “Sober,” “Homemade Dynamite” “Perfect Places” and “Green Light,” which is absolutely the year’s most overlooked single. Haunting, lonely and utterly empowering the whole way through. Highlights: “Green Light,” “Sober,” “Homemade Dynamite,” “Liability,” “Supercut” and “Perfect Places.”

1. SZA – CTRL: No other album quite did it for me other than the long-delayed debut from Solána Imani Rowe. SZA‘s CTRL is a straight-up, cohesive masterpiece from beginning to end about a girl navigating life in her “20 Something”‘s (see what I did there?) — dating, falling in love, dealing with fuck boys, self-doubt, anxiety, self-acceptance, growing up and much more. Her full-bodied voice floats over each intricate production effortlessly as she spits her unapologetically honest and relatable lyrics. “The Weekend” is pure genius; “Love Galore” is just as addictive; and “Drew Barrymore,” “Prom” and “20 Something” prove that SZA is not one of those alternative R&B artists with just one or two tricks up her sleeve. To put it simply, SZA is the voice of a generation. GIVE HER ALL THE AWARDS! Highlights: ALL OF IT.

Honorable Mentions: Niall Horan – Flicker, Shania Twain – NOW, Fergie – Double Dutchess, Fifth Harmony – Fifth Harmony, Galantis – The Aviary, Kelsea Ballerini – Unapologetically, The Killers – Wonderful Wonderful, Marc E. Bassy – Gossip Columns, Maroon 5 – Red Pill Blues, Harry Styles – Harry Styles, Beth Ditto – Fake Sugar and Sam Smith – The Thrill Of It All.

from Jon ALi's Blog http://jonalisblog.com/2017/12/23/jon-ali-presents-the-top-50-albums-of-2017/

[newsever24-blog]

'Bright Star' at the Ahmanson: Bluegrass, tears and a big, vacuous smile

New Post has been published on http://newsever24.com/bright-star-at-the-ahmanson-bluegrass-tears-and-a-big-vacuous-smile/

'Bright Star' at the Ahmanson: Bluegrass, tears and a big, vacuous smile

‘Bright Star’

‘Bright Star’ at the Ahmanson: Bluegrass, tears and a big, vacuous smile. As one theatergoer’s bliss is another theatergoer’s cornball, let’s accentuate the positive before delving into the negative of a show that reveals just how thin the line is between hokey and charming.

“Bright Star,” the eager-to-please country musical by Steve Martin and Edie Brickell that had its world premiere at San Diego’s Old Globe in 2014 before landing on Broadway for a few months last year, seems perfectly at home at the Ahmanson Theatre, where the show opened on Friday.

So often Broadway musicals coming through the Ahmanson are loaded in on such a dizzying schedule that microphones are popping on opening night as sound technicians are still getting up to acoustical speed.

In the case of “Bright Star,” Center Theatre Group is producing this first stop before sending the show off on a national tour. The difference is immediately apparent. The production, directed by Walter Bobbie, seems custom-tailored to the Ahmanson’s stage.

Eugene Lee’s scenic design, which includes a movable wooden cabin that helps establish some of the musical’s North Carolina locales while conveniently housing the band, is fluid and sharp. Japhy Weideman’s gorgeous lighting converts stage pictures into dreams.

Martin first made a name for himself as an audacious comic, but he’s become something of Renaissance man, and here he gets to showcase the strides he’s taken as a composer of bluegrass. “Love Has Come for You,” the Grammy-winning album he collaborated on with Brickell, inspired the duo’s foray into musical theater, and the show’s score, seasoned generously with banjo and fiddle, will have you doing a jig in your seat.

Anchoring the musical with top-drawer panache is Carmen Cusack, reprising her Tony-nominated performance as Alice Murphy, whose tall tale the musical unfurls. Overflowing with charm, crackling with wit and containing just the right amount of vinegar, Cusack entrances as much with her vocal beauty as with her pungent smart talk.

Sounds like a musical you won’t want to miss, right? Not so fast. “Bright Star” has a few flaws that are impossible to overlook. Let’s start with the storytelling, which is so far-fetched it could make “Oklahoma!” seem like a work of documentary drama. Not to give too much away, but Alice’s romantic impetuosity in her youth has fateful consequences that only a show as sentimentally over the top as this could happily resolve.

Martin and Brickell’s book bisects the story into two time periods, one set in the 1940s at the end of World War II, the other 20 years earlier in the Jazz Age, which is still only a rumor in the rural South. The link that connects the past to the present is one that only the most old-fashioned of fictional imaginations would dare to contrive.

Billy Cane (A.J. Shively) has returned from war to discover that his mother died when he was away. An aspiring writer who wants to be part of the burgeoning Southern school, he is determined to follow his own bright star, as he earnestly sings in the show’s title number. He leaves hillbilly country for Asheville, N.C., where he marches into the office of the Asheville Southern Journal, a leading literary magazine where Cusack’s character, Alice, is the formidable editorial gatekeeper.

At the top of the show Alice sings, “If you knew my story / You’d have a hard time / Believing me.” As her cockamamie tale comes out, you might have an even harder time accepting that an important literary editor would have any tolerance for such preposterous fiction. The flashbacks that fill us in on Alice’s past are so melodramatic there were times when I wondered whether the musical might actually be set in the 1800s, when cries of “You can’t take my baby boy!” were perhaps more commonplace.

Mistaken identity, reunited families and losses restored are, of course, the stuff of Shakespearean romance. Audiences love an emotional roller coaster. But before we can make peace with a story’s many improbabilities, we must feel some degree of experiential truth in what we’re watching.

Fiction, to put it another way, can do whatever it likes. It’s not a question of what occurs but how it unfolds. As dramatists, Martin and Brickell fall readily into clichés. Plot overrules character, and change occurs by fiat. “Bright Star” insists that a disastrous moment can brighten if the lyric “sun is gonna shine” is repeated often enough.

The songs work best when the sentiment is simple. “Always Will,” the love duet between Billy and Margo (Maddie Shea Baldwin), the childhood friend he no longer sees as a child anymore, won’t win any awards for its lyrics, but it accomplishes its romantic task with mellifluous ardency.

Too often, however, the songwriting reveals Martin and Brickell’s standing as musical theater novices. The setups are clumsy and lyrical subtlety is effectively banished. And while a few numbers (such as the lively “Another Round”) serve a little narrative purpose, others (such as the stupefyingly tiresome “A Man’s Gotta Do”) are embarrassingly direct in their contribution to the story.

Shall I bother to mention Josh Rhodes’ choreography, which turns the leaping chorus of town folk into a cloud of tadpoles hatched in some Agnes de Mille fishery? Let me instead praise the performers for being such agreeable company.

If the women outshine the men, it’s partly because their characters are a good deal smarter. As Jimmy Ray, the handsome scion of well-to-do family who brings out the temptress in Alice in the flashback scenes, Patrick Cummings at least seems likes a worthy enough fellow for a bright young woman to upturn her teenage life over. Shively’s Billy matches Baldwin’s Margo in sweetness, though if you were going to place bets on who had the better chance of becoming a notable writer, the safe money would be on her.

As Daryl, one of Alice’s kooky underlings at the journal, Jeff Blumenkrantz reels off his character’s campy wisecracks with delicious sass. Kaitlyn Davidson, playing another Asheville Southern Journal employee, stalks Billy like a lioness who wants what she wants when she wants it. Bobbie directs the supporting cast to be vivid, innocuous fun.

A few theatergoers in my vicinity seemed to get misty at the end when the secrets of the characters are all sorted out. My eyes were as dry as Death Valley. “Bright Star” would be completely winning if we could unplug that part of our brain responsible for critical sentience. But the vacuous smile this throwback musical leaves with you is hardly a crime.

[mystlnewsonline]

New Post has been published on https://www.stl.news/the-latest-chris-stapleton-wins-best-country-album-award/76372/

The Latest: Chris Stapleton wins best country album award

NEW YORK /January 28, 2018 (AP)(STL.News) — The Latest on the 60th annual Grammy Awards being presented Sunday night in New York (all times local):

NEW YORK (AP) — The Latest on the 60th annual Grammy Awards being presented Sunday night in New York (all times local):

9:25 p.m.

Chris Stapleton is the winner Grammy Award for best country album.

Stapleton won for his album “From a Room: Vol. 1.”

It is the country singer’s third Grammy win on Sunday. He also won for best country solo performance for “Either Way” and best country song for “Broken Halos.”

___

9 p.m.

Dave Chappelle has won best comedy album at the 90th Grammy Awards for his first comedy album in more than 12 years.

Chappelle was presented with the award Sunday for the double album of his two Netflix specials, “The Age of Spin” and “Deep in the Heart of Texas.” Chappelle won over Jim Gaffigan, Sarah Silverman, Jerry Seinfeld and Kevin Hart.

Chappelle also joined Kendrick Lamar, Bono and the Edge for the broadcast’s opening number. He later presented the award for best rap album to Lamar.

The comedian opened his speech by saying, “Boy. I am honored to win an award, finally.”

He closed it by telling the crowd, “See you on Monday.”

— Jake Coyle (@jakecoyleAP) backstage at the Grammy Awards.

___

8:55 p.m.

Bruno Mars and Cardi B took it back to the 90’s with their performance of their hit song “Finesse,” a throwback homage with elements of “In Living Color,” New Jack Swing and R&B all thrown in together.

Mars, who won three Grammy awards already and was nominated for three more, including album and record and song of the year, showed off his dance moves with his backing band in colorful matching outfits.

Cardi B, the flamboyant rapper behind the mega hit “Bodak Yellow” added her own flair to the performance as well with her rapping and dancing.

— Kristin Hall (@kmhall)

  ___

8:50 p.m.

Pink stood alone on the Grammy stage wearing jeans and a T-shirt to sing her new song “Wild Hearts Can’t Be Broken.”

It was a subdued performance from the entertainer who has performed on previous Grammy telecasts while swinging from the ceiling.

The three-time Grammy winner was a nominee Sunday for pop solo performance for “What About Us,” but the prize went to Ed Sheeran for “Shape of You.”

— Sandy Cohen (@YouKnowSandy)

___

8:40 p.m.

Kendrick Lamar is the winner of the Grammy Award for best rap album.

Lamar won for his album “DAMN.”

It’s been a big night for Lamar, who won five Grammy Awards, including three during a pre-telecast ceremony.

Lamar also opened the show with a blistering performance of several of his songs from the album.

8:35 p.m.

Writer-director-actor Donald Glover has performed at the Grammy Awards as his musical alter-ego, Childish Gambino.

Wearing a white suit and backed by a four-piece band, Glover as Gambino sang “Terrified” from his album “Awaken My Love.” Childish Gambino was nominated for five Grammys Sunday, including album of the year.

Glover/Gambino won a Grammy during the pre-telecast ceremony. Glover also won two Emmy awards last year, for acting and directing his TV series “Atlanta.” His Grammy win Sunday brings him halfway to EGOT status — the title given to those who’ve won an Emmy, Grammy, Oscar and Tony award.

8:30 p.m.

Luis Fonsi and Daddy Yankee are performing their hit “Despacito” at the Grammy Awards. The song has become one of the biggest global hits of all time, and its video is the world’s most popular, with five billion views.

“Despacito” is up for three Grammys Sunday, including song of the year and record of the year. The performance brought the crowd to its feet, with some audience members filming the act on their cell phones and singing along.

Host James Corden joked that he had never heard the song before and Fonsi and Daddy Yankee should get it on the radio.

— Sandy Cohen (@YouKnowSandy)

___

8:15 p.m.

Gary Clark Jr. and Jon Batiste are performing a tribute to Chuck Berry and Fats Domino on the Grammy Awards.

Batiste sat at the piano and kicked things off on vocals with Domino’s “Ain’t That a Shame.” Clark followed on the guitar with Berry’s “Maybelline.”

Clark thanked the two late entertainers “for all the music that you made possible.”

Batiste and Clark then presented the pop solo award to Ed Sheeran for “Shape of You.”

Sheeran did not attend Sunday’s ceremony.

___

8 p.m.

Alessia Cara is the winner of the Grammy Award for best new artist, and though she says she’s dreamed of the honor for her whole life, she doesn’t have a speech planned.

Cara nervously accepted the award Sunday evening and urged people to “support real music and real artists.”

Cara said at the beginning of her speech: “I’ve been like pretend winning Grammys since I was kid like in the shower, so you’d think I have the speech thing down but I absolutely don’t.”

She held up the award before leaving the stage and said, “My mind is blown.”

___

7:45 p.m.

Kendrick Lamar is the winner of the Grammy Award for best rap/sung performance.

Lamar, who opened the Grammy Awards with a blistering performance, won for his song “Loyalty,” which also features Rihanna.

Lamar accepted the award from John Legend and Tony Bennett. He said upon receiving the award, “This is love.”

Rihanna thanked Lamar for giving her the opportunity to work on the song.

It is the fourth Grammy Award that Lamar won on Sunday.

___

7:30 p.m.

Kendrick Lamar has opened the 60th Grammy Awards with a performance of “XXX” from his album “DAMN.” An image of an American flag flickered behind him and an army of dancers accompanied him onstage.

Host James Corden said on the red carpet before the show that viewers could expect “the most unique and bold opening you could ever imagine.”

U2’s Bono and The Edge joined Lamar on stage before the rapper transitioned into “DNA.”

A dramatic sequence followed, with Lamar’s dancers dressed in red, each figuratively shot down by the rapper.

Lamar also won three Grammy Awards before Sunday’s ceremony began, bringing his lifetime total to 10.

Lamar has delivered stellar performances on the Grammy stage before. He stunned in 2016 with a medley from his celebrated album “To Pimp a Butterfly.” The rapper performed “The Blacker the Berry” as he led what looked like a chain gang, his band members performing from jail cells. He finished with the rallying “Alright,” standing in front of a map of Africa emblazoned with the word “Compton.”

Lamar also shared the Grammy stage with Imagine Dragons in 2014.

___

7:05 p.m.

Tony Bennett has won 18 Grammy Awards in his career, but his son isn’t so far behind.

Dae Bennett won his eighth Grammy at Sunday’s ceremony, for producing “Tony Bennett Celebrates 90,” the companion album to his father’s NBC special celebrating Bennett’s birthday. Dae has shared in seven previous Grammy wins for his father, but the nomination Sunday — for best traditional pop album — was solely in his name.

In the Grammy Awards pre-show, Dae accepted the award with his now 91-year-old father at his side.

The elder Bennett says he’s thrilled to see his son won. He said the honor made it “a beautiful night.”

Backstage, the Bennetts said they have always been a family affair.

Tony Bennett also shooed away any talk of retirement. He says he’s “just starting out.”

He adds, “I’m going to keep going until I cut out.”

— Jake Coyle (@jakecoyleAP) backstage at the Grammy Awards.

___

6:40 p.m.

Khalid doesn’t really care if he leaves the Grammy with a statuette. No, really.

The 19-year-old hip-hop sensation says he’s pleased with being nomination. He says the fact that he’s up for five Grammys on Sunday “is ridiculous on its own.”

Khalid is enjoying life with his debut album “American Dream” — with the hit “Young Dumb & Broke” — and being featured on Logic’s song of the year nominee, “1-800-273-8255.” Khalid is also a best new artist nominee.

He says he’s living out his destiny — he wanted to be at the Grammys.

Khalid was also happy that hip-hop and rap dominated the nominations.

He wore a white rose the lapel of his white suit jacket. He says, “Standing for equality is the way to go. I love everybody.”

— John Carucci (@jacarucci) and Mark Kennedy (@KennedyTwits) on the Grammys red carpet.

___

6:30 p.m.

The former ’90s star turned children’s music maker Lisa Loeb was among those who sported a white rose in solidarity with the #MeToo movement at the Grammy Awards. But she also had one defense of the music industry.

Loeb says she’s aware that some are saying the music industry took too long to catch up to the #MeToo and Time’s Up movements, but she says that’s because there are so fewer music awards shows this time of year. She says, “In the music industry, we’re in recording studios. We’re holed up in rooms writing songs and we’re on the road and we’re on stage. We’re all over the place, like stars. We aren’t together a lot.”

She says a lot of artists try to spread their messages through their music and performances.

Loeb, who had the 1994 hit “Stay (I Missed You)” won Sunday best children’s album for “Feel What U Feel.”

— Jake Coyle (@jakecoyleAP) backstage at the Grammy Awards.

___

5:30 p.m.

Chuck Berry’s son heartily endorsed the guitarist Gary Clark Jr. honoring his late father at the Grammys.

Clark along with musician Jon Batiste will pay tribute to the late rock pioneers Berry and Fats Domino.

Charles Berry Jr. says Clark is outstanding. He says, “I’m sure he’s going to knock it out of the park. No question”

The elder Berry’s last record included “Wonderful Woman” with help from his son, his grandson, Charles III, and Clark. Berry died in March at 90.

Clark says Berry’s influence looms large in his career, from the guitars he plays to the style he employs. He says, “I don’t think there’s a guitarist on the planet who hasn’t stolen or interpreted something from Chuck Berry.”

— John Carucci (@jacarucci) and Mark Kennedy (@KennedyTwits) on the Grammys red carpet.

___

4:55 p.m.

If the phone rings during the Grammys, Lady Antebellum might have welcomed some more ladies.

Dave Haywood and bandmate Charles Kelley are at Sunday’s Grammys without their third member, Hillary Scott, who stayed home as she awaits the birth of twin girls. The guys wore white roses in her honor.

Haywood says, “Our leading lady is not here.” He says they have always considered Scott an amazing and strong woman, and they wanted to support her.

Kelley says “If the phone rings and we have to leave the show, you know what it’s about.”

He says Scott is due any day now, and they are excited to meet her daughters.

Lady Antebellum has won five Grammys and this year is up for two: Best country group or duo performance for “You Look Good” and best country album for “Heart Break.”

— John Carucci (@jacarucci) and Mark Kennedy (@KennedyTwits) on the Grammys red carpet.

___

4:35 p.m.

“La La Land” is still winning awards.

The film won twice at Sunday’s Grammy Awards, which, like the Oscars, honored the song craft behind Damien Chazelle’s blockbuster musical. Thankfully for “La La Land,” there were no envelope flubs nearly a year after the Academy Awards.

Composer Justin Hurwitz won for best composition soundtrack and best score soundtrack for visual media. He shared the former with Marius de Vries.

Hurwitz won two Oscars last February for the “La La Land” score and the song “City of Stars.” The Grammys run on a different calendar than the Oscars, drawing from October 2016 to September 2017 releases.

Backstage at the Grammys, Hurwitz was asked about those infamous final moments at the Oscars. He says “It was a blur. I’ve watched it on YouTube a few times.”

— Jake Coyle (@jakecoyleAP) backstage at the Grammy Awards.

___

4:15 p.m.

Jay-Z’s producer says he doesn’t want to enflame tensions between Donald Trump and Jay-Z.

No. I.D., who produced Jay-Z’s Grammy-nominated “4:44,” says he hopes the rap legend and Trump are able to talk about their differences after Jay-Z criticized the president and Trump fired back.

The producer says the back-and-forth is “a conversation that needs to occur.”

Trump tweeted Sunday that he wanted Jay-Z to know at “because of my policies,” unemployment among black Americans is at the “LOWEST RATE EVER RECORDED!” That appeared to be in response to a CNN interview in which the rapper said the president’s vulgar comments about African countries and Haiti were “disappointing” and “hurtful.”

Guitarist Robert Randolph just learned about the president’s tweet Sunday afternoon but wasn’t sure calling out Jay-Z or his wife, Beyonce, was the wisest decision. He jokes, “Now it’s a rap battle!”

— John Carucci (@jacarucci) and Mark Kennedy (@KennedyTwits) on the Grammys red carpet.

___

4:10 p.m.

The late engineer Tom Coyne has won a posthumous Grammy Award for his work on Bruno Mars’ “24K Magic.”

It’s the seventh Grammy for Coyne, who died in April from cancer. Coyne, the master engineer on the album, shared in the award for best engineered album, non-classical, with engineers Serban Ghenea, John Hanes and Charles Moniz.

Coyne worked on hit recordings for Adele, Beyonce, Metallica and Taylor Swift in his decades-long career. He won last year for Adele’s Record of the Year winner “Hello.” Coyne earned 37 nominations in total before his death.

Ghenea and Hanes, who accepted the Grammy, dedicate the award to Coyne.

“I know this would have been really special for him,” Ghenea said backstage. “He’s won many Grammys before but never the best engineered album. This would have meant a lot to him.”

— Jake Coyle (@jakecoyleAP) backstage at the Grammy Awards.

___

4:05 p.m.

Carrie Fisher has won a posthumous Grammy Award for her “The Princess Diarist.”

Fisher died in December 2016 at age 60. The Grammy is awarded for her audio recording of her memoir based on diaries she kept around the time she starred in the first “Star Wars” film in 1977.

The announcement was greeted with loud cheers in the theater where dozens of early Grammy Awards are being announced Sunday.

___

3:50 p.m.

Tom Petty is on the minds of many entering the Grammy Awards.

Singer-songwriter Lisa Loeb calls Petty’s music “the soundtrack of my life.” She says she was at his final concert at the Hollywood Bowl in late September.

Petty died in October at age 66 from an accidental drug overdose. She called his final performance an amazing concert, and says he is such a loss.

Petty is one of several high-profile artists who died over the past year, including Chris Cornell, Gregg Allman, Chester Bennington and, most recently, Dolores O’Riordan of The Cranberries.

Songwriter Diane Warren called the loss of Petty a shame, adding “There are so many great artists who didn’t have to go.”

Country superstar Reba McEntire called Petty a great mentor, a cool dude and a sweet person. She says what she loved about Petty was that “he knew what he wanted and he wasn’t going to take any route left or right.”

— John Carucci (@jacarucci) and Mark Kennedy (@KennedyTwits) on the Grammys red carpet.

___

3:30 p.m.

The 60th annual Grammy Awards are underway with the first awards being handed out in the dance and electronic music categories.

LCD Soundsystem won the first awarded handed out Sunday during the Grammys pre-telecast ceremony that hands out dozens of honors in various genres.

The festivities are being led by musician Paul Shaffer, who laid out the ground rules: including telling winners to stand up and announce themselves when they win.

LCD Soundsystem won for best dance recording for its song “Tonight.”

No one from band was on hand to accept the honor, which led Shaffer to call over a young woman who was on stage to assist winners and by calling her “darling” and handing her the Grammy.

Shaffer told the woman, “When I say darling, I mean it with the utmost, #MeToo kind of respect.”

___

2:45 p.m.

The sea of black at the Golden Globes has given way to a small forest of flowers at the Grammys.

Plenty of musicians and artists took to the red carpet Sunday sporting white roses to show their solidarity with the Time’s Up organization, which hopes to support women with legal and financial help who raise sexual misconduct complaints.

Allen Hughes is the director of the “The Defiant Ones” and wore two small roses on his lapel.  He says he believes every voice should be heard and that’s why he wore the roses. Plus, he says, “I’m a feminist.”

Most stars wore black and a Time’s Up pin in support of the movement at the Golden Globes earlier this month. Fewer wore roses at the Grammys, but some were just being rock stars.

Songwriter Diane Warren skipped the rose but wore two white gloves — one with the word “girl” and one with “power.” She’s a nominee for the 15th time.

She says, “I didn’t want to wear the rose. I’m a rebel.”

— John Carucci (@jacarucci) and Mark Kennedy (@KennedyTwits) on the Grammys red carpet.

___

10 a.m.

Though Adele’s win for album of the year at last year’s Grammys wasn’t a complete surprise, it marked another loss for Beyonce in the show’s major category.

The Recording Academy was heavily criticized for not rewarding “Lemonade,” an album that moved the needle and dominated pop culture in different ways than Adele’s colossal sales.

Critics felt the Academy failed to recognize the artistic elements of an R&B-based album, in the same ways they have passed over albums by Kanye West, Eminem and Mariah Carey for projects by rock, country and jazz artists.

But Sunday’s Grammys are almost guaranteeing this year is different. Most of the album, song and record of the year nominees are rap, R&B and Latino artists, including Jay-Z, Kendrick Lamar, Bruno Mars, Luis Fonsi and Childish Gambino.

____

by Associated Press – published on STL.News by St. Louis Media, LLC (Z.S)

____