#best rock performance nominee

[doyoulikethissong-poll]

Tenacious D - Tribute 2002

"Tribute" is a song by American comedy rock duo Tenacious D, and the second single from their self-titled debut album (2001). The song is a tribute to what Kyle Gass and Jack Black refer to as "The Greatest Song in the World" (often confused as the song's title). Upon its release, "Tribute" failed to make a commercial impact in the US, but it became a hit in Australia and New Zealand, peaking at number four on the Australian Singles Chart and number nine on the New Zealand Singles Chart. In Europe, the single reached number 25 on the Dutch Top 40, and number 84 in the UK. The single was re-released in 2021 as part of the band's "Super Power Party Pack", commemorating the twentieth anniversary of the band's debut album.

"Tribute" was the first song Black and Gass played live as Tenacious D. The song, like many other songs that were recorded on Tenacious D, was originally performed on their short-lived HBO TV series. During earlier performances of this song Kyle Gass played the opening to "Stairway to Heaven". In the 2006 film Tenacious D in The Pick of Destiny, it is implied that the climax of the movie, a rock-off challenge between Satan and Tenacious D told through the song "Beelzeboss (The Final Showdown)", is the incident chronicled in "Tribute", and that the portion of "Beelzeboss" performed by Tenacious D is the song receiving tribute.

The music video shows Black and Gass walking down the "long, lonesome road" and their encounter with the demon, played by Dave Grohl, who also plays drums and rhythm guitar on the song. Passersby include cameos from Ben Stiller and video director Liam Lynch. The policeman is played by JR Reed, who played "Lee" in the band's television series. "Tribute" was nominated for two Music Video Production Association Awards: "Alternative Video of the Year" and "Directorial Debut of the Year". In addition, it was a nominee for best video in the 2002 Kerrang! Awards.

"Tribute" received a total of 77,7% yes votes!

[lovern-9]

This is the first time I’ve written a fic before and definitely won’t be the last.

Pls tell me if this is good or bad or if u need more thanks for reading!!

Golden Girl

——————————————————————————

Pedro Pascal adjusted his bow tie in the mirror, exhaling as he heard the hum of the audience behind the curtain. Oscar night was always a big deal, but this year? This year was different.

Because this year, his wife, his brilliant, sharp-witted, utterly irreplaceable wife was nominated for Best Actress.

You had been through hell and back since you were a child, fought for every bit of success with a stubbornness he admired (and, if he was honest, found a little intimidating at times). But even after everything life had thrown at you, you still laughed. You still made him laugh-so hard, sometimes, that he’d have to clutch his chest like some old man having a heart attack.

And you still had that British charm, the quick wit, the effortless way you could take the piss out of him and somehow make him love you even more for it.

He grinned to himself, then stepped onto the stage, greeted by roaring applause.

"It is my absolute honor to present the award for Best Actress," he announced, the gold envelope cool between his fingers. "These women have delivered performances that broke our hearts, inspired us, and reminded us why we love storytelling."

The screen played clips of each nominee, and when your scene flashed across it, Pedro felt his heart swell. He had seen you in your element a million times, but watching you like this, knowing the world was seeing what he always saw. God he was proud.

Then came the moment.

He slid his thumb under the envelope’s seal, and when he saw the name inside, he let out a breathless chuckle.

It was you.

He looked up, warmth filling his voice. "My love, the spectacular Y/N L/N!”

The room exploded into cheers.

The camera caught your reaction,eyes wide, hand over your mouth whilst it hung open in shock. You turned to your table, then back to Pedro, blinking like you’d misheard him. He gave you a look, one that said, “cmon, love, before I come carry you up here myself.”

Stumbling to your feet, you made your way to the stage. When you reached him, Pedro pulled you in for a tight hug, whispering, "Told you so, mi amor."

You pecked his cheek before taking the golden statue from him.

Turning to the microphone, you let out a breathy laugh, still a bit dazed. "Fucking hell," you muttered, earning laughter from the crowd. "This is mad oh my god this is actually crazy."

Pedro stepped back, hands clasped, watching you with a grin.

"I don’t know where to start," you continued. "This film changed my life, and I have so many people to thank the..th-the cast, the crew, my incredible director. But most of all, I want to thank my husband."

Pedro’s eyebrows lifted slightly in surprise, and the audience let out an affectionate "aww."

You turned toward him, eyes glistening. "Pedro, my love, my pain in the arse",I chuckle. More laughter. "You are my rock, my safe place, my best friend. You make me laugh when I don’t want to, you put up with my mood swings and the roller coaster of emotions I put you through and you remind me every single day that I’m not alone. I love you more than words can say.I love you querido (darling)"

Pedro placed a hand over his heart, dramatically pretending to swoon. You rolled your eyes but bit back a smile.

"Alright, alright," you sighed playfully, "I’ll stop before he starts crying and makes me look bad."

The audience roared with laughter as Pedro wiped an imaginary tear.

Raising your Oscar, you grinned. "Thank you…seriously. This means the world to me.*"

The music swelled as you walked off stage, Pedro right there waiting for you.

——————————————————————————

Backstage

"You did it mi amor!" he murmured against your hair, voice thick with emotion.

You buried your face in his shoulder, gripping his tux. "That actually just happened, didn’t it?"

He pulled back, cupping your face. "Damn right, it did.”,he replies as he brings you closer for a kiss.

You pulled back and studied his face, then smirked. "You gonna cry?"

Pedro scoffed, blinking rapidly. "No."

You raised an eyebrow.

"Shut up."

You laughed, brushing your thumb across his cheek. "I love you, you big softie."

Pedro kissed you. Deep and slow, pouring everything into it. When he pulled back, his forehead rested against yours.

"I love you too, Mrs. Oscar Winner."

You groaned. "Oh, don’t start."

But he just grinned, kissing you again because tonight, you where his golden girl.

——————————————————————————

Thank you soo much for taking time out of ur day to read this it’s probably pretty crappy since it’s my first one but if you have any requests I’ll be sure to try and write them❤️❤️❤️

[arcticcmonkeys]

Best Alternative Music Album.

Best Rock Performance.

Best Alternative Performance.

Arctic Monkeys are 3x 2024 Grammy Nominees.

credit [x]

[artisticlegshake]

THE DANCE AWARDS LAS VEGAS 2024

TEEN SMALL GROUPS BEST PERFORMANCE NOMINEES:

Lay Your Ear - LARKIN

Manuscript - WOODBRUY

Redemption - THE ROCK

Short Skirt Long Jacket - CSPAS

Let’s Play Pretend - KIM MASSAY

[waratah-moon]

oh my god this sounds soo good

"What were you thinking?" "To be honest, I wasn't" (Eddie does something stupid that puts both your names on every single tabloid in the city)”

“I may be an idiot, but I'm your idiot.” Pairing: Rockstar!Eddie x Famous!Reader WC: 1.8k Warnings: set in the 90s, alcohol consumption, mentions of Pam & Tommy, lil magazine cover edit at the bottom for vibe purposes only. masterlist / send me a message 💌 / other prompt drabbles

This was not Eddie’s most sober moment. In the process of waiting for their final category to be announced at the 37th Annual Grammy Awards ceremony, he’d downed three Jack and Cokes and taken one too many shots. In his defence, they’d performed their biggest single earlier in the ceremony and he was still chasing the adrenaline high that came from a lengthy round of applause. They’d also won Best Metal Performance; not that he cared about that too much.

Corroded Coffin was no stranger to Grammy awards. They’d won two Grammys the first year they were nominated. One for Best New Artist, which was a shock to everyone as it had never been awarded to a heavy metal band before, and one for Best Metal Performance for their debut album. That had been a years ago. 

Eddie didn’t care about winning awards. To him the fun part was making the music and performing it. The only opinions that mattered to Eddie were those of the fans. And maybe some of his fellow musicians. But in the end the Grammys for the rock and metal categories were ultimately voted on by people who didn’t even understand the genres, so to Eddie their award didn’t matter. But now they were nominated for one of the big categories; Record of The Year. That meant a little more.

He felt you place your hand on his knee, it must have been bouncing because he suddenly felt it still.

“Nervous?” Your voice was quiet beneath the chatter of the theatre, but he heard you loud and clear.

“Never,” he responded, his signature lopsided grin making an appearance on his face.

“You’re fidgeting.”

“I’m always fidgeting.”

“More so than usual,” you took his hand in yours, twisting the silver signet ring you’d bought him for your one year anniversary. That seemed like a lifetime ago now. “I’m so proud of you.”

“What if we don’t win?”

“I’ll break up with you.” You saw confusion pass over his face and you laughed. “If you don’t win, you don’t win. Doesn’t change anything, Eds. You already have three Grammys, I’m not sure we even have the room for another one.”

“You’re right, the space on the mantel is saved for your Oscar.”

You rolled your eyes, but your chest warmed. You went to speak but Garret hushed you as “Record of The Year” flashed on the screen behind the stage. 

Eddie couldn’t breath as he listened to the presenters read out the nominees, his heart felt like it was pounding out of his chest. He gripped your hand tightly, his toes fidgeting in his shoes. Suddenly people in the seats around him sprung up, hugging and cheering each other. 

"You did it, baby," Eddie felt you kiss him quickly before Garret blindly led him through the audience.

The band made their way to the stage for the third time that night, energy buzzing around them. Garret thanked the presenters and pushed Eddie in front of the microphone for the acceptance speech. the applause died down as the crowd listened to Eddie speak.

“Uh, wow. To be honest I don’t think any of us know what to say right now. Bands like ours never win this award so none of us were expecting it. Thank you for thinking our music is good,” he went to step away from the mic when Jeff said something to him, pushing him back to centre stage. “Oh shit, yeah. We’d like to thank our manager John, Tim and Suzy at Columbia, and Joel who worked his ass off in the studio.” Eddie’s eyes were hazy but they still managed to find you in the crowd. “Finally I need to thank my favourite girl. My muse. My beautiful wife. This is your song, baby. None of it would be possible without you,” he raised the award in the air while his band members shook his shoulders and clapped him on the back.

The rest of the night was a blur. You ended up at some after party hosted by god knows who, but you spotted some familiar faces. Pamela Anderson was in the corner watching after her brand-new husband as he did the drunken rounds pestering other guests. Eddie had told you he’d never liked Tommy, but you both loved Pam. You left Eddie’s grasp as he chatted away to some producer and headed for the blonde.

“I hear congratulations are in order,” you smile.

“I could say the same for you,” Pam pulls you into a hug which you return with a squeeze. When you pull back she takes your left hand in hers and inspects it. “No ring?”

You frown, “huh?”

“You got married and you didn’t get a ring?”

Your eyes widened. What? “Married? Who said I got married?”

“Eddie… When he… wait,” she blinked, her eyes travelling from Eddie back to you. “He called you his wife in his speech, everyone’s talking about it. Honestly I’m just upset I wasn’t invited.”

You flashed back to the ceremony, trying to remember what Eddie had said but blanking on everything past him calling you his “favourite girl.”

“We didn’t get married. We’re not even engaged,” you tell her. Your eyes wandered over to Eddie who had his arm over Garret’s shoulder and was laughing at something Jeff was saying. You’d been together for three years now with them being the happiest of your life. You had no doubt that he was the man you wanted to spend the rest of your life with. The two of you had talked about your future together before, both of you certain that you had one together, but he hadn’t popped the question. Yet. “Everyone’s talking about it?”

“Yeah, but don’t worry, I’m sure everyone will forget about it by tomorrow. Come on, let’s get some drinks, I have to tell you about my wedding.”

╰── ⋅ ⋅ ── ✩ ── ⋅ ⋅ ──╯

You woke up the next day with a headache and an answering machine full of messages. 

“Bitch you got married?!”

“Sweetie, I’ve spoken with a lawyer and we can get this annulled, please call me back when you get this message.”

“Darling, we need to talk about media strategy, the tabloids are having a field day with the shotgun wedding headline. I can get you on the Tonight Show tomorrow.”

It was past noon when Eddie sleepily entered the kitchen, oblivious to your tense state as you sat at the kitchen counter, hunched over a magazine, a half eaten muffin on the plate beside you.

He wrapped his arms around your waist and pressed a kiss to your cheek. “Did you make muffins?” His voice was muffled as his face was pressed into the crook of your neck.

“Nope. Carla dropped them off. Along with this,” you held up the cover of the magazine.

A red carpet picture of you and Eddie was splashed across the cover alongside the title: AMERICA’S SWEETHEART AND ROCK AND ROLL BAD BOY GET HITCHED.

He took the magazine from your hand, holding it closer to his face, “rock and roll? Corroded Coffin is heavy metal.”

You groaned, “that’s what you’ve taken from this? Eddie, everyone thinks we got married.”

He hummed thoughtfully, dropping the tabloid back on the counter. He broke off a piece of your muffin and tossed it in his mouth. “Not that I mind, but why do they think that?”

You spun the barstool around to face him, his hands finding purchase on your hips. “You don’t remember what you said last night, do you?”

Eddie tilted his head to the side, thinking. You could see the dark circles under his eyes, his hair mused from sleep. “No. What did I say?”

“When you won the grammy, after you thanked everyone, you thanked me.” 

“Yeah,” he nodded, his thumbs stroking the skin of your hips.

“You called me your wife.”

He squinted, trying to force his words to appear in his mind but failing. “Oh.”

“What were you thinking?”

“To be honest, I wasn’t. I was drunk, baby. It must have just slipped out.”

You covered his hands on your hips with yours, eyes wide as you watched his expression. “How does that just slip out, Eds?” He was chewing his lip now, trying to think of a way to defuse the situation. “Do you think of me as your wife?”

“Want me to be honest?”

“‘Course.”

“I love you. Our entire lives are intertwined. In all the important ways, you’re already my wife.”

Butterflies erupted in your stomach and suddenly your face felt hot. “But you haven’t asked me.”

“Do you wanna get married?” Yes, yes, yes. 

“You have to ask me properly.”

He huffed, dropping his hands from your hips and as he kissed your forehead. “Wait here.”

As Eddie disappeared from the kitchen you allowed yourself a moment to silently scream, fanning your cheeks. You were overwhelmed; too many thoughts raced through your mind as you tried to figure out what on earth was happening. It didn’t help that there was certainly alcohol still buzzing through your system. You swallowed the rest of the coffee that was sitting on the bench and pinched your wrist in an attempt to wake yourself up. Your mind still felt cloudy.

When Eddie finally returned, your eyes fell to his hands; he was fiddling with something small and velvet. “I was planning on doing this somewhere romantic. Maybe the lookout on Mullholand, but that doesn’t matter. The only thing that matters is you and me.” He knelt down on one knee, opening the small box in his hand to flash a sparkling ring. “Baby, you’re the only person I want to go to sleep with, wake up with, spend my days with. You’re my favourite person. You’re my heart, my soul, my everything. You’re it for me, sweetheart.”

“Eds,” you felt your eyes getting wet as you watched the man you loved on his knees before you.

“Will you marry me?”

You were nodding before you got the words out, “yes, of course I will.” Your hands went to his cheeks and you leant down to kiss his lips. 

“Here, put this on before I drop it,” he took your left hand from his cheek, slipping the ring on your finger. You held your hand out, watching as the light bounced off the stone, making it sparkle. It was huge.

“Jesus christ, this weighs a ton.”

“Metal makes money, baby. Do you like it?”

“I love it. It’s perfect. How long have you been hiding this?”

He pondered the question, “I bought it last year.”

“Last year? We could have been engaged since last year? You’re an idiot, Eddie Munson.”

“But now I’m your idiot.”

“You’ve always been my idiot.”

4 months later...

note: Yes, that's JLo's 2000s Ben Afleck ring bc I think it's the height of celebrity extravagant rings lol not my style but sooooo 90s/00s.

taglist: @geekyfifi @livsters @bailey1212@babyfrosty@becca-alexa @munsonology @celestialuna13 @69your-best-night-mare69 @unknowniteminthebaggingarea @micheledawn1975 @neewtmas @silky-luxe @lokis-little-fawn @starrthemushroom @eddies-puppet

[black-arcana]

Watch: HALESTORM's LZZY HALE And JOE HOTTINGER Cover SKID ROW, FLEETWOOD MAC During Surprise Acoustic Gig

Lzzy Hale and Joe Hottinger of Grammy-winning hard rock band HALESTORM played a surprise acoustic set on December 27 at The Underdog in Nashville, Tennessee as the support act for THE DEAD DEADS. Video of the performance can be seen below.

Lzzy and Joe's setlist was as follows:

01. White Dress 02. Mz. Hyde 03. I Remember You (SKID ROW cover) 04. Familiar Taste Of Poison 05. I Like It Heavy (with "She Won't Mind") 06. Gold Dust Woman (FLEETWOOD MAC cover) 07. I Am The Fire

This past October, Lzzy and Joe announced an intimate tour featuring the two of them performing acoustic, stripped down versions of HALESTORM favorites and the music that has inspired the band. Dubbed "Halestorm's Lzzy And Joe: The Living Room Sessions", the tour consists of 12 dates in January 2025.

When the trek was first announced, Lzzy said in a statement: "With this tour, we're inviting our fans to experience what it would be like hanging with Joe and me in our living room: picking up instruments, telling stories, chatting about songs that helped shaped us as a band and brought us to where we are today."

Joe added: "Back when we decided to quit our day jobs and make music our full-time endeavor, Lzzy and I would play music wherever we could, and sometimes that meant playing acoustic covers in any bar or restaurant that would have us. That time really allowed us to develop our playing skills and dig into songwriting, and it really set the groundwork for what HALESTORM is today."

In a September 2024 interview with PK of Louisville, Kentucky's ALT 105.1 radio station, Lzzy spoke about the progress of the recording sessions for HALESTORM's follow-up to 2022's "Back From The Dead" album. Lzzy said: "We've had three separate sessions in the studio with — we're making a record with [producer] Dave Cobb. And he's actually a huge closet metal fan, and so he's really excited. And so we're making this great music, but we're constantly touring. So we've had, like, three different sessions in the studio. We're probably — what? — 70, 80, maybe, percent there. We have a studio in our house and so I'm doing a lot of the finishing touches on vocals and sewing everything up, doing solos and all that. And then we get back in in December to just say, 'Okay, this is good.' And then, yeah. And then there we are. So we're excited about it. We really are."

Cobb has shared in nine Grammy wins, including four for "Best Americana Album" and three for "Best Country Album". He's also been named "Producer Of The Year" by the Country Music Awards, the Americana Music Association (twice) and the Music Row Awards, and has been a Grammy nominee in the category.

HALESTORM and I PREVAIL recently embarked on summer 2024 co-headlining tour. Produced by Live Nation, the trek kicked off on July 9 in Raleigh and ran through August 17 in Las Vegas. HOLLYWOOD UNDEAD and FIT FOR A KING served as support. The tour was also the catalyst and the creative spark for HALESTORM and I PREVAIL's collaborative track "Can U See Me In The Dark?", which was released in June.

"Back From The Dead" has tallied over 100 million streams worldwide. Rolling Stone called the title track "a biting but cathartic howler about overcoming all obstacles," and that song as well as "The Steeple" marked their fifth and sixth number ones at rock radio, respectively. Associated Press said the album "will definitely be in the running for best hard rock/metal album of the year." Their previous album, "Vicious", earned the band their second Grammy nomination, for "Best Hard Rock Performance" for the song "Uncomfortable", the band's fourth #1 at rock radio, and led Loudwire to name HALESTORM "Rock Artist Of The Decade" in 2019.

Fronted by Lzzy with Arejay, Hottinger and bass player Josh Smith, HALESTORM's music has earned multiple platinum and gold certifications from the RIAA, and the band has earned a reputation as a powerful live music force, headlining sold-out shows and topping festival bills around the world, and sharing the stage with icons including HEAVEN & HELL, Alice Cooper, Joan Jett and JUDAS PRIEST. Additionally, Lzzy was named the first female brand ambassador for Gibson and served as host of AXS TV's "A Year In Music".

[rhapsodynew]

#Music from A to Z

GRAMMYS 2025 (Part 3)

Best Rock Song:

«Beautiful People (Stay High)» — The Black Keys

• «Broken Man» — St. Vincent

• «Dark Matter» — Pearl Jam

• «Dilemma» — Green Day

• «Gift Horse» — IDLES

• «Hackney Diamonds» — The Rolling Stones

• «Dark Matter» — Pearl Jam

• «No Name» — Jack White

Best Metal Performance:

• «Mea Culpa (Ah! C‌a ira!)» – Gojira, Marina Viotti and Victor Le Masne

• «Crown of Horns» – Judas Priest

• «Suffocate» – Knocked Loose featuring Poppy

• «Screaming Suicide» – Metallica

• «Cellar Door» – Spiritbox

For the ceremony! 🏆

[simslegacy5083]

Not So Berry (Straud Descendants) Gen 9

Today's (9/25/2024) Episode: One Star Among Many

Confident their babies were in safe hands, the couple arrived at Studio PBP for the awards ceremony early and feeling fantastic. 

Luigi hoped to win of course, but however it turned out, he was thrilled that his video had caught the eye of the industry leaders on the voting board.

He felt awkwardly self-conscious when he first arrived, but once security waved him past and he began to be recognized by other, more established, stars, a sense of confidence and achievement settled in. He motioning Noemi to “bring it in” for a selfie to remember the evening by.

Heading inside they grabbed seats in the front row. Luigi’s category would be up soon after the opening act, and they couldn’t wait.

He tried not to fidget in his seat as the presenter introduced the nominees and showed a short clip of each nominated video. Finally, after what seemed like a lifetime, she finished with: “and the winner of the Best Video award is… Luigi Lawbourne for “Winter in Windenburg”!”

Luigi’s face split into a huge grin as the camera panned over to capture his reaction. Noemi kissed him softly on the cheek and whispered, “it’s a great video and a well-deserved win. Congratulations my love”.

Luigi stepped up to the mic and fixed his gaze on Noemi “First of all I want to thank my lovely wife. Her perfect mix of tough love and tenderness is the magic behind all my achievements. Honey, you are the best teammate a sim could ask for and I cherish you with all my heart.”

“Of course,” he continued, turning towards the camera “I have to give a big shoutout to my brothers who were partying with me the night I filmed Winter in Windenburg.” “Growing up an only child I never expected to have siblings, and now I can’t imagine my life without you guys – you rock!”

As he finished by giving thanks to the generations before him and the fans across the nation that gave his work meaning, his rousing and ever more inclusive speech ended up maxing his charisma skill. Yet another pinnacle of achievement to celebrate!

Luigi took his seat and listened politely as the next winner was announced. Noemi did her best to stay focused, but after the fourth or fifth nearly identical acceptance speech her eyes started to glaze over. Leaning close she whispered to her husband, “I’m dying of boredom here… rescue me?”

He replied with a solemn wink. As soon as the cameras were pointed towards the other side of the room, he grabbed her hand and crept quickly away.

The couple didn’t get far before they were interrupted by a familiar voice calling: “Little Luigi Lawbourne!”

“Johnny” Luigi said with a smile, greeting the idol he’d grown up knowing as an old family friend. “I like your fashion sense” he deadpanned, gesturing at the other sims very familiar outfit “Though I’m surprised you went as far as getting a nose piercing.”

“What can I say?” Johnny replied, “Your dad was a hoot, and he raised one cool dude. I’m a big fan.” “The bling…” he winked “is fake. Shhh, don’t tell!”

Luigi laughed “Well, either way I’ve got to get a picture of this!” He turned to Noemi “Honey, can you grab us a table upstairs? It should be quiet up there with the show still going on.” With a smile and a wave she took off, while the boys headed to the photo wall to get their picture taken.

Luigi said his goodbyes to Johnny, who was due onstage to announce the Best Comedy Performance winner. Passing by the roped off front doors on his way upstairs, he noticed a large crowd clustered around the entrance and paused to take in the scene.

With so many famous folks in residence Luigi didn’t think many of the crowd would take any interest in HIM, but much to his delight as soon as they noticed him several started waving and calling out, screaming his name like meeting him would be the highlight of their night.

He couldn’t say no to that welcome, wading into the fray and happily spending the next few minutes passing out autographs, hugs, and selfies. This was by far his favorite part of fame, and if one or two of the pictures being taken got into the paper and helped his reputation… even better!

Luigi was riding high on his win and the adoration of his fans as he finally made his way upstairs to join his wife in the quiet reception area. With most everyone else still downstairs watching the awards ceremony the place was basically deserted, just the way she liked it. 

His smile widened as he observed the platter of meat and cheese and glass of juice waiting for him. It had been a long day, and he was famished.

He didn't usually allow himself the indulgence of nectar anymore due to his diabetes but when Noemi told him "I thought you deserved a little congratulatory treat" he couldn't disagree. The first sip was doubly sweet after so long denying himself the pleasure.

Luigi felt truly relaxed, as if he was still honeymooning in Batuu. Sipping his drink, he chatted with his bride about their plans to capitalize on the win to help with the final publicity push for Project Daisy. Unfortunately, as his body settled, his head unexpectedly began spinning in a terribly familiar way. 

Noemi grew alarmed as her husband's eyes glazed over. Burying his head in his arms he groaned "I know this feeling… its Bloaty Head. Not to mention I don't think I took my supplement this morning. Help please? I can't even see straight."

His shoulders hunched further as his glucose monitoring app began pinging stridently on his phone. Noemi dug through his inventory, pushing an iron pill into his hand and discreetly injecting him with a dose of insulin. "Hopefully this will make you feel better. Is there anything else I can do?"

“We need to get out of here… ideally without those paparazzi vultures descending. They'd just LOVE this after what happened at the market." 

“Just try and relax, I'll be right back." Noemi made her way downstairs, searching for an alternative way out of the club. Flagging down a security guard she led him upstairs, where he waited patiently to escort her and her ailing spouse out a discreet side door leading to a private teleporter.

Luigi managed to mumble “thank you man" to their savior, who returned a curt and sympathetic nod in reply as they slipped through the portal that would carry them away towards home and some much-needed rest for the sick, sad, star of our show.

View The Full Story of My Not So Berry Challenge Here

[oscarupsets]

Sidney Poitier led two Best Picture nominees in 1967: In the Heat of the Night and Guess Who's Coming to Dinner. Sadly, the latter is not the Upset this week, but that just means I'll have to return to it later.

Disregarding the fact that I feel like I just watched a Sidney Poitier film heavy-handed on race relations, In the Heat of the Night was a real treat to watch.

Poitier and Steiger's performances are the highlight of the whole film, even alongside some odd minor characters. The lighting and visuals are also super pleasing. There's a blip on the Wikipedia (that directs to a book I cannot access) that describes the attention to detail the crew used to light Poitier for a color film, opposed to his previous B&W.

The title song is also very catchy. It sticks in my head just as much as the song from High Noon.

The Graduate was the highest grossing film of 1967, and also had very catchy songs (given it's basically the same 3 Simon & Garfunkel songs over and over again).

Just as described in the Variety review, The Graduate is great for the first hour or so. I think Dustin Hoffman as a human can go kick rocks, but his performance in this one is just so ridiculous that it's perfect. He plays "overly anxious" so well, to the point that he's often caught in complete silence making small sounds at himself.

The ended seemed weird and incomplete, but I wouldn't discount the rest of the film because of it.

The 40th Academy Awards saw a major change - below-the-line crafts with B&W and Color categories (art direction, costume design, etc.) combined back into singular categories.

In the Heat of the Night dominated on Oscar night, but The Graduate and other top-nominated films still took home plenty of awards earlier in the season.

The Graduate was highly recognized for its direction from Mike Nichols. Last year's Who's Afraid of Virginia Woolf was Nichols' directorial debut, and he will later become a competitive EGOT winner.

Surprisingly, In the Heat of the Night was not recognized by the National Board of Review in 1967, but has been recognized alongside The Graduate in all other major lists. The Graduate topped the original AFI list at #7, while In the Heat of the Night entered the updated list at #75.

Unofficial Review: This is not an upset. The Graduate was (is it still?) a classic and is fine to watch, but not even Mike Nichols can direct his way out of that unbalanced plot.

[droughtofapathy]

The Gilded Age's Broadway Divas: Aurora Fane (Kelli O'Hara)

Beloved by all, Aurora Fane enjoys a powerful position in Mrs. Astor's New York. Having suitably recovered from impending financial ruin last season, this season, Aurora has done some ill-fated matchmaking, worn some fantastic hats, and provided beautiful window dressing to scenes where she just sits there and looks pretty.

One of Broadway's (few) leading sopranos, Kelli O'Hara is a dying breed. As trends shift towards a more pop/rock sound, and classical musical theatre becomes a thing of the past, Kelli nevertheless finds her niche. A seven-time Tony nominee, Kelli has won Best Leading Actress in a Musical for the 2015 revival of The King and I. You'll recall another Gilded Age Diva who won for that same role some years prior. A proshot of the NT Live production can be found online. It is a gorgeous shoot, even if I take issue with that show as a whole.

She has also been nominated for Kiss Me, Kate (2019), The Bridges of Madison County (2014), and The Light in the Piazza (2005). Ironically, though Aurora Fane supports The Academy, Kelli is a classically trained opera singer who has appeared on the Met Opera stage three times, and will play Laura Brown in an encore run of The Hours this spring. (See my breakdown post over costumes here.)

However, prior to her opera appearance, Kelli will be starring in the new Broadway musical Days of Wine and Roses for a limited 16-week run, opening on January 28th. Kelli has been nominated for every role she has played since 2005, and this will almost certainly be no different. Booked and busy.

#1: "Shall We Dance?" The King and I (2015)

Kelli's voice is otherworldly angelic. That much we already know very well. The King and I opened in 2015 at the Vivian Beaumont Theatre at Lincoln Center, the third musical Kelli has starred in at that venue. The Beaumont is, of course, right next to The Met Opera, and the only Broadway theater outside the theatre district in Midtown.

As Anna Leonowens, Kelli travels to Siam to teach the children and wives of the king how to speak English. Orientalism aside, the show is a classic Rodgers and Hammerstein, and the score is divine in Kelli's mouth. Fun fact: Kelli's replacement was Marin Mazzie in one of her last onstage roles. Marin was the Passion co-star and dear friend to Donna Murphy, our Mrs. Astor.

This video is from the 2015 Tony performance and showcases the incredible quick change Kelli makes between singing "Getting to Know You" and "Shall We Dance?" aided by a team of unbelievable dressers. It is a marvel to witness. As is Ruthie Ann Miles, Kelli's co-star who recently performed in the Encores! production of Light in the Piazza.

#2: "What More Do I Need?" Take Me to the World: A Sondheim 90th Birthday Celebration (2020)

In 2020, despite a global pandemic, the theatre community still found a way to honor Stephen Sondheim's milestone 90th birthday with an online concert. Kelli performed a song from Saturday Night, Sondheim's first professional musical that was slated for Broadway in 1955, but was scrapped. It only got its New York premiere in 2000. This particular number is a cabaret favorite, and Kelli is an absolute delight with just a camera and digital accompaniment.

Fun fact: it wasn't until this particular performance that I truly started to appreciate the wonder that is Kelli O'Hara. I had previously seen her in concert just that March, and loved her, of course, but I have a complex relationships with sopranos. I now recognize that I love mature sopranos, but it's the ingenues I can't listen to without wincing.

#3: "They Don't Let You In the Opera" (2016)

Lest we think Kelli is limited in her range and style, this song was written especially for her to showcase her vast talent and comedic timing. Kelli, an Oklahoma farmgirl, isn't the sort of person you'd expect to be both classically trained and country literate.

Kelli, who has been typecast as refined and often repressed characters who go through harrowing emotional experiences, much like Aurora Fane, is more than capable of bringing a rollicking comedy to the mix.

This number is a favorite in Kelli's concert repertoire. There isn't much more to say, except that you need to witness its hilarity for yourself.

#4: “Heaven? Somebody else’s heaven?” The Hours (2023)

Speaking of opera, here is an excerpt from a scene in Act II where Laura Brown has fled to a hotel room to contemplate some very serious courses of action. Kelli, alongside soprano Renee Fleming and mezzo-soprano Joyce DiDonato, makes up a trio of phenomenal women in Kevin Putts' adaptation of the book and movie.

The Met Opera theatre seats nearly 4,000 people across six levels. The performers do not use body mics or amplification of any kind, but rather rely on intense vocal training to be heard across the theater. For this reason, alongside the vastly different vocal techniques and styles, musical theatre actors rarely cross over into opera, and vice versa. Notable exceptions include Renee Fleming, Kelli's Light in the Piazza co-star Victoria Clark, and Mary Beth Peil, who made her musical theatre debut in The King and I as yet another Miss Anna, hers in 1985.

#5: "So in Love," Kiss Me, Kate (2019)

Starring in yet another Golden Age musical revival, Kelli brings a different take on Lilli Vanessi, a glamorous movie star in a turbulent relationship. Kelli's vocal talent, of course, speaks for itself. For Kelli, this role was a tribute to her dear friend, the late Marin Mazzie, who had passed away some months before the show opened. Marin, who replaced Kelli in The King and I, had played this same role in the 1999 Broadway revival to great acclaim. In her first entrance of the show, Kelli wore a costume that featured the very same hat Marin wore in her show.

Though this video is beloved, my personal favorite rendition can be heard below. It was taken at a concert Kelli put on at the 92Y in New York last February. In it, Kelli sings for and to Marin, and the entire theatre wept.

Bonus: "Back to Before," Ragtime Reunion Concert (2023)

The role of Mother was originally workshopped by Donna Murphy in Toronto in the early 90s, but she left to do King and I, which worked out well for her. In came dear friend Marin Mazzie, who originated the role on Broadway, and established a precedent no other has been able to top. Also in that cast? Audra McDonald as Sarah, for which she won a Tony, of course.

In 2023, after years of pandemic-related delays, they staged a one-night reunion concert of this special show. And who better to take on Marin's iconic role than Kelli O'Hara? Listen to her "Back to Before" here, and then do yourself a favor and run, don't walk, to listen to Marin's.

[doyoulikethissong-poll]

Foo Fighters - The Pretender 2007

Foo Fighters is an American rockband formed in Seattle in 1994, founded initially as a one-man project by former Nirvana drummer Dave Grohl. Foo Fighters have won 15 Grammy Awards, including Best Rock Album five times, making them among the most successful rock acts in Grammy history. In 2021, the band was announced as recipients of the first-ever "Global Icon" award at the 2021 MTV Video Music Awards. They were inducted into the Rock and Roll Hall of Fame in 2021, their first year of eligibility.

"The Pretender" was the first single from their sixth album Echoes, Silence, Patience & Grace (2007). It is one of their most successful songs; peaking at number 37 on the US Billboard Hot 100 (making it their third top-40 single), only "Learn to Fly" and "Best of You" beat its position on the Billboard Hot 100.

"The Pretender" was a 2008 Grammy Award nominee for Best Rock Song and Record of the Year, and won the Grammy for Best Hard Rock Performance. The music video was nominated for a 2008 MTV Video Music Award for Best Rock Video, but lost to Linkin Park's "Shadow of the Day".

As of January 2024, the song has over 562 million views on YouTube, making it the band's most-viewed video on the platform.

"The Pretender" received a total of 76% yes votes! Dave Grohl has previously featured in the polls as a drummer on "No One Knows" at #87, as well as Nirvana's cover of "The Man Who Sold the World" at #118.

[justinspoliticalcorner]

Kaili Joy Gray at Daily Kos:

Despite calls from a handful of Democrats in Congress—as well as several editorials, columns, podcasts, and about a trillion tweets—for President Joe Biden to drop his reelection bid, he’s not going anywhere. That was his message in a letter to congressional Democrats Monday, as they return to Washington from their July 4 recess.

[Now that you have returned from the July 4th recess, I want you to know that despite all the speculation in the press and elsewhere, I am firmly committed to staying in this race, to running this race to the end, and to beating Donald Trump.  I have had extensive conversations with the leadership of the party, elected officials, rank and file members, and most importantly, Democratic voters over these past 10 days or so. I have heard the concerns that people have their good faith fears and worries about what is at stake in this election. I am not blind to them. Believe me, I know better than anyone the responsibility and the burden the nominee of our party carries. I carried it in 2020 when the fate of our nation was at stake. I also know these concerns come from a place of real respect for my lifetime of public service and my record as President, and I have been moved by the expressions of affection for me from so many who have known me well and supported me over the course of my public: life. I've been grateful for the rock-solid, steadfast support from so many elected Democrats in Congress and all across the country and taken great strength from the resolve and determination I've seen from so many voters and grassroots supporters even in the hardest weeks.  I can respond to all this by saying clearly and unequivocally: I wouldn't be running again if I did not absolutely believe I was the best person to beat Donald Trump in 2024.]

Biden went on to tout his decisive victory in this year’s Democratic primary, asserting his “deep obligation to the faith and the trust the voters of the Democratic Party have placed in me to run this year.”

[...]

The letter is a powerful response to critics who have said Biden needs to make a strong case for his candidacy and why Trump is unacceptable. It lays out many of the arguments he has been making on the campaign trail. Whether the letter will satisfy those who say Biden’s performance in the debate nearly two weeks ago indicate he’s not capable of taking on Trump—well, that’s to be determined. But it’s clear that as of now, Biden has no intention of dropping out of the race, and he’s hoping this letter is the final word on the matter, as he concludes by calling on Democrats to stop questioning his candidacy and unite to defeat Trump.

President Joe Biden (D) wrote a letter to Congressional Democrats announcing that he is staying put as the Democratic nominee, even as a portion of the Democratic Congressional electeds have called for him to step aside.

[thegeneralreturns]

IF I HAD TO RANK 'EM: The 2025 Best Picture nominees

Every year I do this, and every year I hope against hope that all ten of the Oscar nominees for Best Picture are, y'know, good? That I don't have to expend negativity and I can just blather on about movies I like.

But at least one of them inevitably has to shit the bed. Nine of this year's nominees range from "marginally good" to "fall-on-your-knees masterpiece." That tenth one, though...

10. Emilia Perez (Directed by Jacques Audiard) Emilia Perez is the single worst Best Picture nominee since The Imitation Game, and that was ten years ago. It takes a certain kind of bad to piss off Mexicans, Trans folks, and musical theatre nerds to near-identical levels of incandescence, but by God, Emilia Perez pulls it off. It attempts to be a crime drama, a gender transition fable, and a musical, and pulls them all off on the same plane of snide phoniness. It's 132 minutes of a director asking himself "How hard could this possibly be?" before every wild swing he takes, and then stepping on all the rakes and learning nothing. It's a Stanley Kramer movie. You remember Stanley Kramer, right? The guy who made movies about every social issue under the sun, but they all came off smug and condescending? Kramer couldn't have made Emilia Perez any better. He couldn't have made it any worse, either.

9. Dune: Part Two (Directed by Denis Villenueve) I am not a Villenueve fan. I think he's witless, allergic to levity, and altogether too impressed with himself (which means he and Twitter FilmBros were made for each other). So when I tell you that Dune: Part Two is good, that's like pulling teeth from me. Unlike the terminally dull first film, Dune: Part Two comes to the realization that a picture that's ninety percent giant worms and knife fights can be, like, fun and shit. The action scenes come off as blood-pumping diversions and not like prestige set-pieces that you're supposed to mourn like World War II footage. And that brief infrared jaunt to Giede Prime is cool no matter how you slice it.

8. Wicked: Part One (Directed by Jon M. Chu) I hate musicals, and I managed to see this one twice. It has the best ending of a movie in 2024 that didn't involve Sydney Sweeney smashing the Antichrist with a rock, and the best supporting performer of the year with Ariana Grande. But it has a dead zone at its center in Cynthia Erivo's Elphaba. She's not badly acted, just poorly framed and directed. They wanted her to be the only normal character in a cast full of caricatures, but she just came off as the one boring presence in a sea of dynamic scene-stealers.

7. A Complete Unknown (Directed by James Mangold) No major musician is as Rock Star Biopic-proof as Bob Dylan, but A Complete Unknown manages to give it a good go anyway, focusing equally between Dylan's struggle for artistic freedom and the effect he had on the people closest to him. Dylan needed to express himself, and it was a net-positive for the world that he did it in the way he did, but he was also a petulant asshole who took an almost unseemly glee in kicking over the sandcastles of genuinely good people like Joan Baez and Pete Seeger in order to fulfill that expression. And I applaud A Complete Unknown for holding both of those thoughts in its head at the same time.

6. I'm Still Here (Directed by Walter Salles) The thing I took away from this latest film by the great Walter Salles (Central Station and The Motorcycle Diaries) is its almost uncanny sense of time and place. Every shot of this story of one family's struggles during a brutal military dictatorship in Brazil in 1970 looks like an old Kodak photo that you'd find tucked away in the middle of an old album (NO CINEMATOGRAPHY NOMINATION? ARE YOU FUCKING SERIOUS?). And at its center is a lead performance by Fernanda Torres as the family's matriarch, and she radiates poise, strength, and grace in every frame... almost to a fault. If I have a nitpick (and we're getting to the point where nitpicks are all I have to rank one of these films over the other) is that Torres almost looks too good. The Hollywood treatment she gets kinda takes me out of the story the movie is telling. If you're still slaying after spending two weeks in prison with a bag over your head, then something's gone at least a little wrong.

5. Anora (Directed by Sean Baker) Though the number of four-letter words and bare titties may change, I honestly do think Anora is the kind of movie Billy Wilder would have made, and I don't part with that praise lightly. It's kind of a reverse-Ninotchka, isn't it? An American woman wooed and hypnotized by conspicuous Russian capitalism instead of the other way around? Sean Baker perfectly observes his lead as every last bit of her dignity is parted from her in comic fashions both high and low, leading to a spellbinding final scene where she finally realizes how much she's lost. Anora is a very, very good movie... But not a great one. A great one would have found a way to shave off about ten minutes of vibes from the front end.

4. The Substance (Directed by Coralie Fargeat) Much has been made of the howl of feminist rage at the center of Coralie Fargeat's body horror panic attack, but precious little has been made about how it comments on the career of its leading lady. Demi Moore's performance and role in The Substance is less a capstone on a decades-long career and more a critique. A lot of y'all weren't around in the nineties when Moore was on top, but those of us who were there remember that vulnerability was never asked of her. She functioned much the same way as Beyonce does now. She wasn't the plucky upstart, no, she was the overdog whose triumph was inevitable. She was never a character you had affection for. She was a fact of life you had to accept. So seeing Demi Moore in The Substance, every layer of imperviousness stripped away, reduced to physical ruin and mental insecurity, telling her younger-faster-stronger version in Margaret Qualley that "You are the only likeable part about me?" The effect was seismic. I felt the impact tremor in my feet.

3. The Brutalist (Directed by Brady Corbet) This is how you make a movie about uncompromising artistic endeavor using architecture as a metaphor, Coppola. Get that Megalopolis shit out of my house.

2. Conclave (Directed by Edward Berger) This year's slate of nominees is so weird and fucked that the non-controversial crowd-pleaser is the one about the Catholic church. Edward Berger uses every genre trope in the books, from spy movie intrigue to whodunit allure to goose his genuinely moving character study. It's just a drama about the papal line of succession on the surface (But what a surface it is!). Under all that is one man, Ralph Fiennes' Cardinal Lawrence, trying to divine the final wishes of a man for whom he cared so deeply. Two hours of crusty old men doing paperwork and bitching at each other wound up being the most pure fun of these Best Picture nominees.

But it's not the best.

No, that would be...

NICKEL BOYS (Directed by RaMell Ross) So many movies have been made about the black Civil Rights struggle in America over the decades that the only way for one to differentiate itself from another is to up the tragedy quotient. That or, I dunno, rebuild the visual language of film itself in order to get the point across. But that would be insane. Thankfully, documentarian RaMell Ross (making his fiction debut) is the crazy motherfucker the moment requires. The story of Nickel Boys, about two black kids serving time in a reformatory school in the late sixties, is told from the first person perspective of its two leads, almost literally putting you in their shoes as we see what they see, flitting from one to the other, from the past to the present, from imagination to hard, cutting reality. When used by Steven Soderbergh in 2025's Presence, it's a gimmick, though a good one. But in Ross' hands, it's a captivating visual stream-of-consciousness, in turns soothing and heartbreaking, building on the work of Terrence Malick without self-consciously copying it. Even when it ventures into well-trod territory, Ross' technique finds a way to pull the rug out from under you. On the one hand there's style, and on the other hand there's substance. But there doesn't have to be a choice between the two. RaMell Ross is the kind of guy who puts his hands together. Nickel Boys is a masterpiece, and if you care about movies, you'll find a way to see it.

[beej-machinations]

PBA Canon Character Fic Nominees

To help you choose your fave PBA '24 Best Portrayal of a Canon Character Fics, grouped by name!

I've written my own summaries, centred around the nominated character and which of their traits the story explored.

Voting Round ends April 21st (vote here x)

Card Games, Vampires, and a Very Late Letter by TheSailingRabbit Kinch enters the service while hiding a chronic illness; much later, Hogan has finally thought up a way to help him (It's very UnOrthodox). Kinch & Hogan friendship 👍👍🥲

Kinch in Mama Bear by PicassoPenguin 4+1 story of the times Kinch took care of the other bears. what's not to love? Kinch uses his skills in observation and subtlety to watch out for the crew in both direct and indirect ways.

Carter in A Brother's Bond by PicassoPenguin After the war, Little Deer misses his brothers from Barracks 14. He tells Brown Rabbit about them, how much he admires them, and about the first days when he joined the heroes ( !!! )

Carter in Exit, Pursued By A Bear by pronker Carter has questions. The extent to which the gang humors or suffers him is a delicate balance. I think the author captured his voice well :)

Hogan in Decoration Day by Abracadebra Hogan mourns, then honors, the men that have died under his command. He has to lie to Klink to do so, but that's only natural.

Hogan in Sergeant 'Don't You Sass Me, Hogan' Wilson by whatisthismandoinghere Doctors may make the worst patients, but Colonels come in at a close second.

LeBeau Hogan in Well and Truly Got by Cardinal Rose - (Hogan story, i think this was mislabelled in the poll) Hogan's luck runs out. He tries anyway, but the consequences are unavoidable.

Klink in Klink's Brother by Sam Worth Klink talks a little about his family, both real and imagined. Well captured voice and mannerisms

Klink in Yoga Session by Deepbluethinking Klink discovers that kowtowing to Burkhalter leads to kowtowing in a more literal way, to the dismay of his hamstrings.

Klink in Ashes by LightShiner14 Atypically, Klink goes to church. Childhood memories rise unbidden; and Klink reflects on the irony of attending church in the bloodied present day. There's also a question pressing at him: what does he find within himself? Does he dare examine it?

LeBeau in Operation Mother Hen by Tuttle4077 Lebeau is sick. He's miserable, prideful, and Not Happy with the fuss everyone is making - to the point of driving everyone crazy: until they recruit the best nurse (very cute)

LeBeau in Spring Flowers by Tuttle4077 a poetically evocative piece on how Lebeau witnesses the changes to his beloved Rhineland. For better, for worse, for better, for worse. for better? (the imagery is vivid, and Lebeau's love really shines through)

Uneasy Company by dust on the wind Stuck between a rock, a hard place, a Hochstetter, and more troubles on the way, Newkirk is stranded without any backup. We get to see how he thinks and performs under pressure when the crew isn't there. When he needs to use his lockpicking skills, how can he explain them to the paranoid Hochstetter?

Drop Bears by dust on the wind Newkirk makes a bet with an Australian POW, and ends up taking a different gamble and performing some last-minute acrobatics.

A Deserved Gift by Cardinal Rose Newkirk dreams up the perfect plot for springtime. Most of the crew beg off taking part, because its an unnecessary risk, but regardless the victory is sweet and enjoyed by all. (in wartime, even Petty Revenge requires Pro Revenge tactics)

Cracking the Vault by Sierra Sutherwind Reminded of his younger days, Newkirk gives himself an inconveniently timed challenge - much to the dismay of Hogan and Schultz. They support him, but tbh they had their hands tied, what else could they do? (bonus: Schultz and the OCs in this fic go through some interesting developments, but they arent the focus in this category)

Once Is Enough by Abracadebra Newkirk is recruited as the reluctant accomplice in Marya's latest wild scheme. He shows off his skills at bluffing, snarking, and griping >:) i like how the more stressed he gets the funnier he gets haha

Autumn Winds by Fear-Of-The-Cold Newkirk's attitude toward human connection over the years, as it is influenced by his family and the world. we get to see a pre-Heroes POW Newkirk

The Assassin by lonewolfette9846 Newkirk is given the most important job in the war. And he has to do it alone. He does his best to keep his cover, and in the little time he has strategises his next moves. A very tense story - and that tension takes its toll on Newkirk. I like how methodical and tactical Newkirk comes across in this, despite the mission not being remotely in his experience.

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(voting link again)

[artisticlegshake]

THE DANCE AWARDS LAS VEGAS 2024

BEST BALLET PERFORMANCE

WINNER: Verde - THE ROCK

NOMINEES:

Kettentanz - CSPAS

L'inverno - PRODIGY

Giselle Waltz - PAS DE DEUX HAWAII

Between Time - BUNKER

[thisaintascenereviews]

The 67th Annual Grammys Were A Sight To Behold

For many years now, people have been groaning about the Grammys. I used to watch them about a decade ago, especially when Justin Timberlake came back, but I stopped watching after a while for no reason. Maybe it was because pop music got boring, or at least nothing came out that I was interested in. Even so, it’s been cool to whine about how they’re rigged, they don’t care about rock and metal (which they don’t, but to be fair, rock and metal aren’t popular; it’s like saying they don’t care about jazz, even though they don’t care about jazz, either, because it’s not a popular genre of music anymore), and how they’re sellouts and/or vapid, but they’ve been getting the last few years. I started watching the Grammys again last year, and it was a really good time. It wasn’t amazing, by any means, but I had a good time with it. The nominees were mostly solid, and despite a few predictable wins (including Taylor Swift winning for best album of the year, only to announce another album at that same time), it was completely fine. I was looking forward to this year’s ceremony, however, because the nominees were stacked, especially for the big four categories. The biggest four categories that they have are best song of the year, record of the year, album of the year, and best new artist. The difference between the former two are song of the year focuses on songwriters whereas the record of the year focuses on producers and performers. Best New Artist is a big deal, too, because that category is essentially a who’s who of popular music of the prior year.

The biggest reason I was looking forward to the ceremony this year were the nominees. Pop music has been in a good place over the past year, and a lot of the major nominees included Kendrick Lamar, Doechii, Sabrina Carpenter, Beyonce, Taylor Swift, Billie Eilish, Chappell Roan, and many others. Hell, I was surprised when Kendrick Lamar’s smash hit “Not Like Us” swept the Grammys this year, including winning best rap song, best rap performance, best music video, as well as best song AND record of the year. That’s the first rap song to win both categories since Childish Gambino won both for “This Is America’ in 2019, and that song was the first to ever win both categories. Beyonce won big by winning best country album, best country duo / group performance, and album of the year, but I think one of the biggest wins of the night was Chappell Roan winning best new artist. A lot of other big artists were nominated, too, such as Shaboozey (who was almost nominated for one of the big four categories), Teddy Swims, Benson Boone, Doechii (who also won best rap album), Sabrina Carpenter (who also won best pop vocal album). A lot of the nominees were really good, and I wasn’t mad with almost any of them (although I would have been mad if Benson Boone won best new artist, because I don’t like his music very much; I jest, but I didn’t like his debut album that much). I was shocked that Billie Eilish or Taylor Swift didn’t win anything, because the Grammys has loved them for the past handful of years, but that’s a good sign that they’re moving away from favoring certain artists and awarding new and up and coming artists with the awards this time around.

The awards themselves weren’t the only really cool thing about the show, but the performances were pretty cool, too. Last year was okay, but I had a blast with the performances this year. All the best new artist nominees performed, and they were great, especially Shaboozey and Teddy Swims, but Sabrina Carpenter and Chappell Roan were awesome. Billie Eilish had a performance pretty early on, and despite not being a huge fan of her music, her performance was good. Charli XCX had a performance later on in the night, and while it was a lot of fun, I can’t say I liked the music all that much. A lot of people really loved her latest album, and I liked a couple of songs from it, but it’s kind of obnoxious. A couple of cool things happened, though, whether it was a benefit for Los Angeles that featured a handful of musicians, a tribute to the late Quincy Jones, or The Weeknd making a surprise appearance. He performed a couple of songs from his newly released album, which I can’t wait to talk about, but it was an overall great night. Not everyone was happy, whether you’re one of those people that the Grammy’s doesn’t care about rock and metal (which to be fair, they don’t, because a lot of the voting body doesn’t listen to it or know it very well, and why would they), or you wanted Billie Eilish or Taylor Swift to win, but the Grammys are on the up and up. The Weeknd only came back because they started to improve on how they voted and who voted, bringing on less old white people and more young people (and people of color, no less).