#ensamble stars edit

[camakkuma]

WTF ENSTARS JOE HILLS?!

[aftlivs]

Enstars icons

Gift for @roseatedesire

for secret Santa in the pensioner editor server

Theres a few other things I’m not adding to this post because the media I edited for is 18+ and I don’t want to be responsible for minors getting their hands on another 18+ media and using my edits^^

This was supposed to go out yesterday but I got distracted

Preferably don’t use unless the person I made the gift for but I also can’t stop you so if it’s used, just please credit me

[sleepyashin]

@cryteriaa

[venussylicious]

THESE ARE SO PRETTY AND VIBRANT AND COOL AND NICE

STARRY ☆ IDOLS !

[tima520]

Happy birthday to both Masuda Toshiki & Umehara Yuichirou !!! 

 Wish them the very best !

[caravaggiosbrushes]

Im DYING bc Im waiting to see the hamilfilm until i finish some exams i have in a couple of days and everytime i see edits and gifs and thing i feel like crying this is the hardest thing ive ever done. You know what I absolutely dont want to watch/see? Eliza's scream. I dont- I cant. Hhhhhhhhhh. What was your favourite full-HD-can-see-over-and-over-again moment? -✨✨

Hello golden star anon!!! Oh I feel you, I had the same plan- I wanted to wait until after my exam on july 9th........ Which lasted for a few hours then i caved and watched it and rewatched it and MY GOD. I still can't believe that we can??? Just??? WaTCH IT????????

I'd say...you can watch it... it's just 2h40 of your time...... [ Dark kermit meme ] watch it.

Jk do what you think it's best but my advice would be to watch it at the end of your day bc you won't be able to think about anything else after. It's- incredible. It doesn't compare to the live experience of course, they're two completely different things. But! It's incredible anyway.

I FEEL YOU ABOUT ELIZA'S SCREAM...........well. brace yourself. Pippa is BEYOND WORDS. but like all of them??? I was SHOCKED at how good LIN is at acting?? I mean I knew it, I've seen the bo*tlegs and ITH and everything but- the closeups. THE CLOSEUPS. The camera does some fucking genius movement oh my god YOU'LL SEE!!!

my favourite moment mmh that's hard. Very hard. It's not just one, I can't choose just one, there are a few of my super favourites:

-when lin enters in the opening number. Not just because it's him but because of what the camera does. I literally made some kind of noises outloud the first time.

-GROFF???? EVERYTHING??? HIS WHOLE NINE MINUTES. because he has so little time compared to everyone else and so his every facial expressions and movements are full of meaning and omg i ADORE his crazy spoiled-child version of king George. He's so good. So pretty and angelic looking yet a crazy bitch.

-pippa's LAST scene. Not the entire song, just her last last moment. You've seen it if you've seen a bo**leg, but this........god it was as if she punched me in the stomach.

-in my shot there is one guy from the ensamble (damn I don't know their names!) who does a CRAZY WONDERFUL dancing number with a book????? I think i never noticed it before but you're gonna notice it here. So good.

-yknow in non-stop when hamilton says "i was chosen for the constitutional convention", while going down from the table to the chairs? LISTEN TO LIN'S VOICE.

HONESTLY EVERYTHING ELSE JESUS LIKE CHRIS IS SO GOOD, ONE LIST TIME ENDED ME. HAMILTON AND LAURENS HAVE SO MANY WONDERFUL MOMENTS. RENEE?????? BRACE YOURSELF. I DON'T EVEN HAVE THE WORDS FOE HER. EVERYTHING- DAVEED. MARIA BEING THE ONE WHO HANDS HAMILTON THE QUILL AT THE TRANSITION OF HURRICANE/PAMPHLET. I DONT KNOW. JEFFERSON HANDING A COPY OF THE PAMPHLET TO: LACAMOIRE.

Also i love that they included the bows and the applause after the end!!!!! LAC!!!!!! I LOVE HIM

Ok I'm sorry im done now i want to rewatch it agAIN

Here's a gif of me throwing my university notes away to go watching hamilton again:

[angieschiffahoi]

do the names on the credits not appear by how much they r paid per ep?

Sometimes, I think, yes. Most of the times, the first name is the title lead, or the biggest name in production (which are usually one and the same). 

Sometimes the highest paid actor could be the “and-as” at the end or the “and-as” itself could be a device to get a big name to star, but not give them extra-pay.

Title order can also be influenced by the popularity of a certain actor and that also influences the pay-check. 

It’s all contractual. Sometimes actors ask to have single cards (especially in movies), sometimes they ask to be listed in a certain order (if they can’t be the first name); sometimes it’s just in alphabetical order (usually with the ensamble casts where no one is really that much more important than the other). Credits and credit order are most of the time contractual obligations and we can speculate, but cannot know what goes on behind closed doors. At least, I can’t. 

If someone has more precise intel, feel free to send me an ask. I’m not a TV production expert. 

EDIT: I checked the title cards for MFS and they could very well be in alphabetical order: Hickson, Holm, McKinney, Sutton, Williams (with Lyne listed as a guest star). 

[eviltransfem]

ensamble stars fans will doxx people who know nothing about the game for not realizing that one of the characters who looks like all the men is a trans woman and then make cute edits of the other characters that call her the t slur

[wineanddinosaur]

Homage or Appropriation? Navigating Cultural Branding and Complicated Spirits

Never mind what your peacekeeping bartender says: Politics do have a place in the bar.

Economics, social mores, and centuries-old traditions all come together in the glass. After all, rum is inextricably tied to the Caribbean, and mezcal and tequila to Mexico. If European trade routes hadn’t existed, fortified wines probably wouldn’t, either.

As people and societies evolve, ownership of a certain style or category sometimes falls into a gray area. Tiki, for example, began as a post-war, white American fantasia of transpacific cultures. Today its themes straddle inspiration, homage, and appropriation, depending on whom you ask.

Things get especially complicated when business owners profit from the history or culture of communities to which they don’t belong. The dynamics change when brands are backed by people of privileged demographics, and their products feature the culture of marginalized people.

Here, we examine a few cases where things got sticky — and others where spirits pros absolutely got it right.

Apache Gin

Four white Belgian guys walk into an Albuquerque bar, have a few drinks with some Native American folks, and then, almost a decade later, back in Belgium, decide to launch a liquor brand inspired by that experience. They name it Apache Gin.

Zero actual Native American people were involved in Apache’s inception, and the gin does not benefit any Native American tribes or organizations. Marketing efforts have included things like a now-deleted Instagram post of themselves dressed in headdresses. (Luckily, we kept the receipt.)

Once the U.S. bar community got wind of Apache Gin and its blatant appropriation of Native American culture, numerous people attempted to call them out via various channels (Instagram comments, emails, and the like). They were met with radio silence at best; others were blocked.

It’s one thing for a brand or business to commit this kind of offense, but it’s another when they refuse to listen to the people who actually feel the effect of their actions. This sort of behavior can be deeply harmful to marginalized communities.

When I reached out to the Apache Gin team for comment on this story, I received this response:

“Our product is not actively promoted, has no sales points and you can even not ask on our webshop to have our bottle shopped [sic] to the USA. So we deem we don’t hurt anyone, as in our homemarket [sic] similar feelings about using such branding don’t exist.

“The only way our brand is going to create damage is if you and your friends continue making a [hurricane] in a glass of water. (=> if you stop speaking about Apache Gin in the USA, no Apache tribe member will get hurt)

Kind regards, Thomas Van Acker”

Does Apache Gin comprehend their wrongdoing? Unclear. Do they care? Definitely not. (Are they really good at gaslighting? Yep.).

“Indigenous culture in not just a name, a piece of jewelry, or a feather,” says Morgan Crisp, president and co-owner of Seven Clans Brewing, a majority-female indigenous-owned company in Cherokee, N.C. “What you see on the outside is just that: an exoskeleton. Beneath lies all the good stuff  — values, spirituality, stewardship, history, community –that shape the exterior symbols that many non-native people today recognize as ‘Native.’

“When used inappropriately, it simply de-values our culture and the people of that culture. Brands that appropriate culture in this fashion today seem to either lack understanding and/or compassion,” she adds.

So, how should the guys behind Apache Gin have handled this sort of situation — aside from just not launching a blatantly insensitive brand in the first place?

“The least they can do is listen,” Crisp says. “A favorable response hinges on their ability to understand why their branding has a negative impact. I don’t think it’s appropriate for a brand to profit off of a marginalized culture without the person(s) represented in that culture having ownership or being compensated.”

Copalli Rum

Rum is not exactly synonymous with Belize, but Copal Tree Lodge, a luxury eco-resort in Punta Gorda, recently partnered with a distillery to make Copalli Rum.

At first glance, someone with a culturally sensitive lens might raise an eyebrow at a five-star, primarily white-owned hospitality business operating in a small, Central American country with staggeringly high unemployment and poverty rates. This, however, is a case of a company doing its best to benefit its local community.

The Copalli Rum distillery is a zero-impact operation. Its two certified-organic, single-estate rums are made from sugarcane, canopy water, and yeast sourced from the Copal Tree’s own rainforest farm in southern Belize. The distillation process is “powered by sustainable, regenerative biomass and supports full-circle conversion of waste from production into agricultural inputs,” according to a brand representative.

Moreover, Copal Tree Lodge has a 22,000-acre rainforest conservancy that has promoted both preservation of the land as well as marine conservation programs over the past 20 years. The company as a whole has become the largest employer in southern Belize.

It doesn’t stop there. Copal Tree Distillery president and master distiller Ed Tiedge notes that, in Belize, free public education ends at 8th grade. Those below the poverty line (approximately 43 percent of the population) are often unable to continue their education beyond that point and, for societal reasons, young girls tend to be especially affected by this.

As of 2019, Copal Tree started to “provide educational grants for these local children [particularly girls] to continue their education into high school,” Tiedge says.

It’s too early to see results from this particular program as it’s currently in its early stages of implementation, but the intention is there at the very least. We’re eager to watch this progress, and hopefully offer an example to other internationally-owned tourism and hospitality companies.

GEM & BOLT

Not all cultural appropriation is as obvious as that of Apache Gin. Others, like GEM & BOLT mezcal, are dangerously vague.

The company website is a mystery wrapped in intentionally enigmatic marketing language. It describes its two white founders, “artist-alchemist duo Adrinadrina and Elliott Coon,” as “daughters of bohemian-bootleggers” from the mountains of Virginia. Abstract tag lines include such chestnuts as “life is an altar,” “it’s all theatre,” and “energy is immortal.”

Imagery is similarly head-scratching. An image on one tab, “The Altar,” features a white woman running naked through an agave field. Various videos and photos across the site show white people in headdresses, candy skull face paint, and whole wolf skins.

What makes this extra uncomfortable is that GEM & BOLT doesn’t seem inclusive of the culture upon which it’s built a brand and revenue stream. It claims to be a “clean spirit,” which means… nothing, actually, but is disturbingly reminiscent of other culturally insensitive brands. Is the implication here that other agave spirits, distilled by people in Mexico for centuries, are dirty? This smacks of white saviorism. It spins the use of “fair-trade, organic and sustainable agave” into a better-for-your-body storyline, denigrating the culture it’s claimed in the process.

The company website also claims to employ a “fourth-generation master distiller in Oaxaca.” He is not named or pictured anywhere on the site. Why is such a key player not given representation, while its two white founders are endlessly promoted on the site and to the press? (Upon further digging elsewhere on the internet, I found his name. It’s Ignacio Martinez.)

While researching this article I emailed GEM & BOLT to request comment. I also asked about a tab I had seen on GEM & BOLT’s website, titled “Warrior Generation.” It alluded to a plan to develop programming designed to give back to the community in some way. That tab has since disappeared, and my request for comment was unanswered. What does this tell us about this company, its two white women founders, and their accountability?

Sombra Mezcal

A perfect comparison to the GEM & BOLT case is Sombra Mezcal, founded in 2006 by winemaker and Master Sommelier Richard Betts with director general John Sean Fagan. The two were determined to create an ecologically sustainable brand that benefits the local indigenous population.

The distillery’s construction was overseen by civil engineer and Oaxaca native Martha Cardoso, and the juice is distilled by José Pablo Raña Zorrilla of Mexico City. (As with GEM & BOLT, neither of these individuals are anywhere to be found on the website, but, in this case, no members of the team are featured online.)

Sombra’s production incorporates a number of sustainability-minded processes, such as collecting and repurposing rainwater, composting spent materials for local farmers, and deriving energy from solar panels. Byproducts are upcycled into adobe bricks used to build houses for families affected by earthquakes in Oaxaca’s Sierra Mixe district, and to rebuild a graveyard wall. Sombra is also a member of 1% for the Planet, through which it donates 1 percent of its sales to local environmental charities and educational initiatives in Oaxaca. According to an article by Munchies’ Dan Q. Dao, 77 percent of the company’s employees are indigenous.

Its recent, limited-edition Ensamble mezcal was made of rare agaves Tepeztate and Tobalá (the latter is particularly precious). To make up for the 673 mature Tobalá plants that Sombra harvested, the company planted 20,000 in their place; they will be replanted in the wild after two years of maturation. Sombra Mezcal is an excellent example of what it means to launch a culturally sensitive brand, and to give back significantly more than what it takes.

When the Community Speaks, The Industry Should Listen

Could companies like GEM & BOLT learn from Sombra? (Certainly, but will they?) And what will it take for the Apache Gins of the world to change?

“A brand called out for this kind of behavior has really only one choice: involve someone from the culture they’ve appropriated on an equity level, or completely rebrand,” says Jackie Summers, entrepreneur, published author, creator of Sorel Liqueur, and liquor-industry advocate. “And if they really want to honor culture, actually provide financial backing to people from a culture to lift their own brands to the forefront.”

The examples we’ve explored in this story represent a mere fraction of the bigger picture. Offenses are offenses, whether they are subtle microaggressions of the “clean spirit” variety, or blatant disregard for those who express discomfort with culturally insensitive branding. And there are myriad blueprints for brands that aim to honor and, in the best cases, actively benefit the cultures they claim.

If we as consumers know what to look out for, and call out offenders when we see them, perhaps we can collectively begin to level the playing field — and, ultimately, make the industry a better place for all.

The article Homage or Appropriation? Navigating Cultural Branding and Complicated Spirits appeared first on VinePair.

source https://vinepair.com/articles/spirits-cultural-appropriation/

[ao3feed-danganronpa]

stars on their shoulders

read it on the AO3 at http://ift.tt/2n29PjG

by samekichiis

The headmaster adjusted his suit jacket yet again, and let out a soft sigh, before finally stepping away from the window and towards the door, walking with his talentscout by his side, and meeting the enthusiastic teacher waiting for him by the gym doors. Today was the day they greeted Class 79 into Hope’s Peak Academy.

15 of Japan's teen criminals have been scouted this spring to attend the next class in Hope's Peak Academy - it's better than a conviction and years in prison, after all.

(An AU where the Hope's Peak arc and the Gifted Inmates are one and the same.)

Words: 827, Chapters: 1/1, Language: English

Fandoms: Dangan Ronpa - All Media Types, Dangan Ronpa 3: The End of 希望ヶ峰学園 | The End of Kibougamine Gakuen | End of Hope's Peak High School, New Dangan Ronpa V3: Everyone's New Semester of Killing

Rating: Not Rated

Warnings: Creator Chose Not To Use Archive Warnings

Categories: Gen

Characters: Kirigiri Jin, Kizakura Koichi, NDRv3 Ensamble

Additional Tags: charcters tbt, relationships tbt, v3 Hope's Peak Academy AU, Non Despair AU, Class 79 AU, Kiibo isn't here yet shh, Also this doesn't really have. a plot yet?? but a section of chapters will be character-centric, I'm gonna be making edits to backstories and adding my own hcs so yeah, v3 and hpa faculty-centric, with cameos from other characters somewhere i'm sure, no v3 spoilers??

read it on the AO3 at http://ift.tt/2n29PjG

[segundoenfoque1]

Esta es la lista completa de ganadores de los Grammy

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En horas de la noche de este domingo se celebró la 59 edición de los Premios Grammy desde el Staples Center de Los Ángeles, Estados Unidos, los cuales estuvieron bajo la conducción del británico James Corden, y una gala que tuvo como ganadora máxima a Adele, quien se alzó con cinco premios de las cinco nominaciones que tenía.

La cantante británica se llevó el premio al Álbum del año por “25”, estatuilla por el que también competía Beyoncé con “Lemonade”, Drake con “Views”, Justin Bieber con “Purpose” y Sturgill Simpson por “A Sailor’s Guide to Earth”.

La ceremonia fue conducida por el famoso humorista del Carpool Karaoke, James Corden, quien arrancó con un rap en el que instaba a los invitados a disfrutar de la fiesta “ya que eso es lo mejor y con Trump como presidente no sabemos qué vendrá después”. 

Lista completa de ganadores en los Grammy 2017

  Grabación del año

Adele, Hello

Álbum del año

Adele, 25

Canción del año

Adele, Hello

Mejor actuación solista pop

Adele, Hello

Mejor disco de Pop

Adele, 25

Mejor nuevo artista

Chance The Rapper

  Mejor actuación pop en dúo o grupo

Twenty One Pilots, Stressed Out

Mejor grabación dance

The Chainsmokers Featuring Daya, Don’t Let Me Down

Mejor álbum vocal pop tradicional

Willie Nelson, Summertime: Willie Nelson Sings Gershwin

    Mejor disco de Dance / Electrónica

Flume, Skin

Mejor actuación de rock

David Bowie, Blackstar

Mejor álbum instrumental contemporáneo

Snarky Puppy, Culcha Vulcha

  Mejor actuación en metal

Megadeth, Dystopia

Mejor disco de Música Alternativa

David Bowie, Blackstar

Mejor canción rock

David Bowie, Blackstar

Mejor disco de Rock

Cage the Elephant, Tell me I’m pretty

  Mejor actuación R&B

Solange, Cranes In The Sky

Mejor actuación de R&B tradicional

Lalah Hathaway, Angel

Mejor canción R&B

Maxwell, Lake By The Ocean

Mejor disco R&B

Lalah Hathaway, Lalah Hathaway Live

Mejor disco urbano contemporáneo

Beyoncé, Lemonade

  Mejor actuación rap

Chance The Rapper Featuring Lil Wayne & 2 Chainz, No Problem

Mejor actuación de Rap/Canto

Drake, Hotline Bling

Mejor canción de rap

Drake, Hotline Bling

Mejor actuación solista country

Maren Morris, My Church

Mejor disco de rap

Chance The Rapper, Coloring Book

Mejor disco country

Sturgill Simpson, A Sailor’s Guide To Earth

  Mejor actuación country en dúo o grupo

Pentatonix Featuring Dolly Parton, Jolene

Mejor canción country

Tim McGraw, Humble And Kind

  Mejor disco new age

White Sun, White Sun II

Mejor improvisación solista de jazz

John Scofield, I’m So Lonesome I Could Cry

Mejor disco instrumental de jazz

John Scofield, Country For Old Men

Mejor disco jazz vocal

Gregory Porter, Take Me To The Alley

  Mejor disco de ensamble de jazz grande

Ted Nash Big Band, Presidential Suite: Eight Variations On Freedom

Mejor actuación / canción gospel

Tamela Mann; Kirk Franklin, God Provides

Mejor disco de jazz latino

Chucho Valdés, Tribute To Irakere: Live In Marciac

  Mejor actuación / canción en música cristiana contemporánea

Hillary Scott & The Scott Family, Thy Will

Mejor disco gospel

Kirk Franklin, Losing My Religion

Mejor disco de música cristiana contemporánea

Hillary Scott & The Scott Family, Love Remains

Mejor disco de gospel roots

Joey+Rory, Hymns

Mejor disco de Pop Latino

Jesse & Joy, Un besito más

Mejor disco de música regional mexicana 

Vicente Fernández, Un Azteca En El Azteca, Vol. 1 (En Vivo)

Mejor disco latino de rock, urbano o contemporáneo

iLe, iLevitable

  Mejor disco tropical latino

Jose Lugo & Guasábara Combo, Dónde están?

Mejor actuación de american roots

Sarah Jarosz, House Of Mercy

Mejor canción american roots

The Time Jumpers, Kid Sister

Mejor disco de americana

William Bell, This Is Where I Live

Mejor disco de blues tradicional

Bobby Rush, Porcupine Meat

Mejor disco de bluegrass

O’Connor Band With Mark O’Connor, Coming Home

  Mejor disco de blues contemporáneo

Fantastic Negrito, The Last Days Of Oakland

Mejor disco folk

Sarah Jarosz, Undercurrent

Mejor disco de roots regional

Kalani Pe’a, E Walea

Mejor disco reggae

Ziggy Marley, Ziggy Marley

Mejor disco de world music

Yo-Yo Ma & The Silk Road Ensemble, Sing Me Home

Mejor disco infantil

Secret Agent 23 Skidoo, Infinity Plus One

Mejor disco de comedia

Patton Oswalt, Talking For Clapping

Mejor disco hablado

Carol Burnett, In Such Good Company: Eleven Years Of Laughter, Mayhem, And Fun In The Sandbox

  Mejor disco de musical teatral

Danielle Brooks, Cynthia Erivo & Jennifer Hudson, The Color Purple

Mejor recopilación para banda sonora de medios audiovisuales

Miles Davis & Various Artists, Miles Ahead

Mejor banda sonora para audiovisual

John Williams, Star Wars: The Force Awakens

Mejor canción original para audiovisual

Max Martin, Shellback & Justin Timberlake, Can’t Stop The Feeling!

Mejor composición instrumental

Ted Nash Big Band, Spoken At Midnight

Mejor arreglo, instrumental y vocal

Jacob Collier, Flintstones

Mejor arreglo, instrumental o a capella

Jacob Collier, You And I

  Mejor diseño de empaque

Jonathan Barnbrook (David Bowie), Blackstar

Mejor presentación en caja o edición especial limitada

Gérard Lo Monaco, Edith Piaf 1915-2015

Mejor ingeniería musical en un álbum de música no clásica

David Bowie, Blackstar

Mejores notas de un álbum

Ken Bloom & Richard Carlin, escritores (Eubie Blake & Noble Sissle), Sissle And Blake Sing Shuffle Along

Mejor disco histórico

Bob Dylan, The Cutting Edge 1965-1966: The Bootleg Series, Vol.12 (Collector’s Edition)

  Productor del año en música no clásica

Greg Kurstin

Mejor Grabación Remezclada

André Allen Anjos, remixer (Bob Moses), Tearing Me Up (RAC Remix)

Mejor disco de sonido surround

Ludovic Morlot & Seattle Symphony, Dutilleux: Sur Le Même Accord; Les Citations; Mystère De L’instant & Timbres, Espace, Mouvement

Mejor ingeniería musical en un álbum de música clásica

James Conlon, Guanqun Yu, Joshua Guerrero, Patricia Racette, Christopher Maltman, Lucy Schaufer, Lucas Meachem, LA Opera Chorus & Orchestra, Corigliano: The Ghosts Of Versailles

Productor del año en música clásica

David Frost

Mejor actuación orquestal

Boston Symphony Orchestra, Shostakovich: Under Stalin’s Shadow – Symphonies Nos. 5, 8 & 9

Mejor grabación de ópera

LA Opera Orchestra; LA Opera Chorus, Corigliano: The Ghosts Of Versailles

Mejor actuación coral

Warsaw Philharmonic Choir, Penderecki Conducts Penderecki, Volume 1

Mejor actuación de música de cámara / ensamble pequeño

Third Coast Percussion, Steve Reich

Mejor solo instrumental de música clásica

Zuill Bailey, Daugherty: Tales Of Hemingway

Mejor Solista Vocal Clásico

Ian Bostridge; Antonio Pappano, Shakespeare Songs

Dorothea Röschmann; Mitsuko Uchida, Schumann & Berg

Mejor Composición de Música Clásica Contemporánea

Michael Daugherty, Daugherty: Tales Of Hemingway

Mejor Compendio Clásico

Giancarlo Guerrero, Daugherty: Tales Of Hemingway; American Gothic; Once Upon A Castle

  Mejor video musical

Beyoncé, Formation

Mejor película musical

The Beatles: Eight Days A Week The Touring Years

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[cristinabcn]

“HOLA MUNDO”

By Cristina Barcelona

El evento más esperado del mundo de la música se dió cita ayer domingo 12 de febrero a las 8 de la noche en directo desde El Staples Center de Los Angeles en los Estados Unidos de America bajo la presentación y conducción general del Británico James Cordel quien SI llevó consigo su Carpool Karaoke.  Evento en el que fueron trece mil músicos profesionales los encargados de elegir lo mejor de la industria musical para la 59 edición de los Premios Grammy.

La inauguración del Evento a cargo de la presentación de la Británica Adelle y su tema HELLO.  Y la entrega de premios empezó con la participación de Jennifer López, quien entregó el primer galardón de la noche a Chance The Rapper, como mejor artista nuevo.  El segundo premio fue para el Twenty One Pilots, por Stressed Out, el dueto estadounidense recibió el reconocimiento al mejor dueto quienes se bajaron los pantalones para ir en ropa interior al escenario por una promesa que se hicieron y que explicaron. 

Sin embargo habia mucha expectativa en el lugar por la presentación que haria la bella Beyonce después que haya anunciado hace unos dias atrás su embarazo de gemelos en compañía de su Esposo el Productor y Cantante Jay Z.  Y no nos decepcionó, Beyoncé subió al escenario con un vestuario similar al que utilizó para la sesión de fotos.  Parecía una deidad o Virgen con su gran y bienaventurado vientre.  Con un derroche de efectos especiales y un excelente juego de luces en la que la cantante Beyoncé se lució una vez más, haciendo gala de su talento vocal mostrándonos su pancita de embarazada. Dejando claro porqué es una de las mujeres más poderosas de la industria de la música, defendiendo su derecho a ser madre, a su físico con su prominente embarazo, a no esconderse por ello.  Al término de su actuación los asistentes la ovacionaron de pie como era de esperarse,  entre ellos,  su esposo y su niña muy emocionados tanto o como ella.

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Beyoncé se llevó a casa el galardón a mejor álbum urbano contemporáneo  por su disco Lemonade (el segundo premio de la noche) porque Ya había recibido uno en la gala previa.

El último álbum de David Bowie, lanzado días después de fallecer este gran artista víctima de cáncer, recibió tres premios Grammy en la gala previa. A estos se sumó el premio a mejor canción rock, por el tema Blackstar (también nombre del disco), que se le entregó en la ceremonia oficial, triunfando en las categorías en las que fue nominado.

El cantante Bruno Mars volvió a demostrar su talento para cautivar a toda la audiencia subiendo al escenario haciendo cantar y bailar a todos con él.  Katy Perry también fue parte del menú musical 

Otro de los momentos emotivos fue cuando Adele le rindió un homenaje al cantante George Michael, quien falleció el 25 de diciembre del año pasado.  El público se emocionó con la delicada interpretación de la artista británica quien se mostró evidentemente emocionada al comenzar a cantar, y en una de esas ya que ella era fan y amiga de George Michael quien era su divo e inspiración no pudo dejar de exclamar diciendo una palabrota por el coraje que le significaba que no este, por lo que decidió detener su show y empezarlo de nuevo porque como ella misma dijo pidiendo perdón al auditorium tenia que hacerlo de nuevo y bien porque se trataba de él y para él.

Y cuando el auditorium los espectadores creían que lo habían visto todo en esta entrega de premios Grammy, aparece Lady Gaga y Metallica  para entregar una dosis de rock intenso, con el impase de problemas de sonido que casi empañan la presentación en el turno del vocalista del Grupo.

Otro momento emblemático fue cuando varios artistas se unieron para rendir un merecido tributo a los Bee Gees, una de las bandas más emblemáticas de la música disco de todos los tiempos, siendo Barry el que se encontraba presente con su esposa quien se emocionó al oir las versiones de Tragedy, How deep is your love, Staying Alive en voces de las nuevas generaciones de la música 

  Adelle arraso con 5 premios en los cuales había sido nominada, relegando a Beyoncé, quien competía en nueve categorías.  Sin embargo al recibir los premios Adele se refirió a Beyonce diciendo que ella era…”La inspiración de mi vida es Beyoncé y que ella hizo una labor monumental… Algo tan bien concebido, tan hermoso”, un merecido reconocimiento que la británica hizo de nuestra Beyonce a quien se le humedecieron los ojos ante estas sorpresivas palabras que reconoció Adele al recibir la distinción máxima: Álbum del Año por 25.  

………..Y los ganadores son:

Grabación del año: Adele, ‘Hello’

Álbum del año: Adele, ‘25’

Canción del año: Adele, ‘Hello’

Mejor nuevo artista: Chance The Rapper

Mejor actuación solista pop: Adele, ‘Hello’

Mejor actuación pop en dúo o grupo: Twenty One Pilots, ‘Stressed Out’

Mejor álbum vocal pop tradicional: Willie Nelson, ‘Summertime: Willie Nelson Sings Gershwin’

Mejor disco de Pop: Adele, ‘25’

Mejor grabación dance: The Chainsmokers Featuring Daya, ‘Don’t Let Me Down’

Mejor disco de Dance / Electrónica: Flume, ‘Skin’

Mejor álbum instrumental contemporáneo: Snarky Puppy, ‘Culcha Vulcha’

Mejor actuación de rock: David Bowie, ‘Blackstar’

Mejor actuación en metal: Megadeth, ‘Dystopia’

Mejor canción rock: David Bowie, ‘Blackstar’

Mejor disco de Rock: Cage the Elephant, ‘Tell me I’m pretty’

Mejor disco de Música Alternativa: David Bowie, ‘Blackstar’

Mejor actuación R&B: Solange, ‘Cranes In The Sky’

Mejor actuación de R&B tradicional: Lalah Hathaway, ‘Angel’

Mejor canción R&B: Maxwell, ‘Lake By The Ocean’

Mejor disco urbano contemporáneo: Beyoncé, ‘Lemonade’

Mejor disco R&B: Lalah Hathaway, ‘Lalah Hathaway Live’

Mejor actuación rap: Chance The Rapper Featuring Lil Wayne & 2 Chainz, ‘No Problem’

Mejor actuación de Rap/Canto: Drake, ‘Hotline Bling’

Mejor canción de rap: Drake, ‘Hotline Bling’

Mejor disco de rap: Chance The Rapper, ‘Coloring Book’

Mejor actuación solista country: Maren Morris, ‘My Church’

Mejor actuación country en dúo o grupo: Pentatonix Featuring Dolly Parton, ‘Jolene’

Mejor canción country: Tim McGraw, ‘Humble And Kind’

Mejor disco country: Sturgill Simpson, ‘A Sailor’s Guide To Earth’

Mejor disco new age: White Sun, ‘White Sun II’

Mejor improvisación solista de jazz: John Scofield, ‘I’m So Lonesome I Could Cry’

Mejor disco jazz vocal: Gregory Porter, ‘Take Me To The Alley’

Mejor disco instrumental de jazz: John Scofield, ‘Country For Old Men’

Mejor disco de ensamble de jazz grande: Ted Nash Big Band, ‘Presidential Suite: Eight Variations On Freedom’

Mejor disco de jazz latino: Chucho Valdés, ‘Tribute To Irakere: Live In Marciac’

Mejor actuación / canción gospel: Tamela Mann; Kirk Franklin, ‘God Provides’

Mejor actuación / canción en música cristiana contemporánea: Hillary Scott & The Scott Family, ‘Thy Will’

Mejor disco gospel: Kirk Franklin, ‘Losing My Religion’

Mejor disco de música cristiana contemporánea: Hillary Scott & The Scott Family, ‘Love Remains’

Mejor disco de gospel roots: Joey+Rory, ‘Hymns’

Mejor disco de Pop Latino: Jesse & Joy, ‘Un besito más’

Mejor disco latino de rock, urbano o contemporáneo: iLe, ‘iLevitable’

Mejor disco de música regional mexicana (incluyendo tejana): Vicente Fernández, ‘Un Azteca En El Azteca, Vol. 1 (En Vivo)’

Mejor disco tropical latino: Jose Lugo & Guasábara Combo, ‘Dónde están?’

Mejor actuación de american roots: Sarah Jarosz, ‘House Of Mercy’

Mejor canción american roots: The Time Jumpers, ‘Kid Sister’

Mejor disco de americana: William Bell, ‘This Is Where I Live’

Mejor disco de bluegrass: O’Connor Band With Mark O’Connor, ‘Coming Home’

Mejor disco de blues tradicional: Bobby Rush, ‘Porcupine Meat’

Mejor disco de blues contemporáneo: Fantastic Negrito, ‘The Last Days Of Oakland’

Mejor disco folk: Sarah Jarosz, ‘Undercurrent’

Mejor disco de roots regional: Kalani Pe’a, ‘E Walea’

Mejor disco reggae: Ziggy Marley, ‘Ziggy Marley’

Mejor disco de world music: Yo-Yo Ma & The Silk Road Ensemble, ‘Sing Me Home’

Mejor disco infantil: Secret Agent 23 Skidoo, ‘Infinity Plus One’

Mejor disco hablado: Carol Burnett, ‘In Such Good Company: Eleven Years Of Laughter, Mayhem, And Fun In The Sandbox’

Mejor disco de comedia: Patton Oswalt, ‘Talking For Clapping’

Mejor disco de musical teatral: Danielle Brooks, Cynthia Erivo & Jennifer Hudson, ‘The Color Purple’

Mejor recopilación para banda sonora de medios audiovisuales: Miles Davis & Various Artists, ‘Miles Ahead’

Mejor banda sonora para audiovisual: John Williams, ‘Star Wars: The Force Awakens’

Mejor canción original para audiovisual: Max Martin, Shellback & Justin Timberlake, ‘Can’t Stop The Feeling!’

Mejor composición instrumental: Ted Nash Big Band, ‘Spoken At Midnight’

Mejor arreglo, instrumental o a capella: Jacob Collier, ‘You And I’

Mejor arreglo, instrumental y vocal: Jacob Collier, ‘Flintstones’

Mejor diseño de empaque: Jonathan Barnbrook (David Bowie), ‘Blackstar’

Mejor presentación en caja o edición especial limitada: Gérard Lo Monaco, ‘Edith Piaf 1915-2015’

Mejores notas de un álbum: Ken Bloom & Richard Carlin, escritores (Eubie Blake & Noble Sissle), ‘Sissle And Blake Sing Shuffle Along’

Mejor disco histórico: Bob Dylan, ‘The Cutting Edge 1965-1966: The Bootleg Series, Vol.12 (Collector’s Edition)’

Mejor ingeniería musical en un álbum de música no clásica: David Bowie, ‘Blackstar’

Productor del año en música no clásica: Greg Kurstin

Mejor Grabación Remezclada: André Allen Anjos, remixer (Bob Moses), Tearing Me Up (RAC Remix)

Mejor disco de sonido surround: Ludovic Morlot & Seattle Symphony, Dutilleux: Sur Le Même Accord; Les Citations; Mystère De L’instant & Timbres, Espace, Mouvement

Mejor ingeniería musical en un álbum de música clásica: James Conlon, Guanqun Yu, Joshua Guerrero, Patricia Racette, Christopher Maltman, Lucy Schaufer, Lucas Meachem, LA Opera Chorus & Orchestra, Corigliano: The Ghosts Of Versailles

Productor del año en música clásica: David Frost

Mejor actuación orquestal: Boston Symphony Orchestra, ‘Shostakovich: Under Stalin’s Shadow – Symphonies Nos. 5, 8 & 9’

Mejor grabación de ópera: LA Opera Orchestra; LA Opera Chorus, Corigliano: The Ghosts Of Versailles

Mejor actuación coral: Warsaw Philharmonic Choir, ‘Penderecki Conducts Penderecki, Volume 1’

Mejor actuación de música de cámara / ensamble pequeño: Third Coast Percussion, ‘Steve Reich’

Mejor solo instrumental de música clásica: Zuill Bailey, ‘Daugherty: Tales Of Hemingway’

Mejor Solista Vocal Clásico: Ian Bostridge; Antonio Pappano, ‘Shakespeare Songs’, Dorothea Röschmann; Mitsuko Uchida, Schumann & Berg

Mejor Compendio Clásico: Giancarlo Guerrero, Daugherty: Tales Of Hemingway; American Gothic; Once Upon A Castle

Mejor Composición de Música Clásica Contemporánea: Michael Daugherty, ‘Daugherty: Tales Of Hemingway’

Mejor video musical: Beyoncé, ‘Formation’

Mejor película musical: ‘The Beatles: Eight Days A Week The Touring Years’

  59 EDICIÓN DE LOS GRAMMYS AWARDS "HOLA MUNDO" By Cristina Barcelona El evento más esperado del mundo de la música se dió cita ayer domingo 12 de febrero a las 8 de la noche en directo desde El Staples Center de Los Angeles en los Estados Unidos de America bajo la presentación y conducción general del Británico James Cordel quien SI llevó consigo su…

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