Hardly anyone is disappointed to see the annual post games of the villagers. Amidst his increasingly sinister relationship with black artists, Young is losing weight with the young, and its staunch opposition to the ways of developing pop music, the ceremony became equally powerful for its symbolic out-to-tess As much as it is commemorated for
So it would be easy to see 63rd Annual Grammy Awards, Which aired Sunday night from Los Angeles, and which was broken, was removed. Beyoncé won four trophiesHer total of 28 for her career, the most of any singer, tying her for the second time. But these wins, like almost all, came in genre categories, not the largest, all-genre categories, despite her undeniable influence across the entire spectrum of pop. After participating in the big four categories last year, Billy Eilish won the record of the year for “Everything I Wanted” – a safe choice – and repented his speech by fawning uncomfortably atop the Megan Thee Stallion.
In most years, they were fixed times – well thought out actions. and yet. This year’s villagers were scary, energetic, massively good and sometimes surprising. They often met popular music, where it has actually been over the past year, with performances by pop, hip-hop, rock and country central stars. All major categories were dominated by women – in addition to Eilish’s victory, Taylor Swift won Album of the Year for “Folklore”, “Reindeer I Can Breathe” and Megan Thee Stallion won Song of the Year for Best New Artist.
But the most important aspect of the show was this: Almost all the actors were under 40, and under 30. This may seem like an obvious step, but in Gramsys, youth and current relevance are often perceived as inconveniences. This can be done cleverly, lest the older generation – the performers and, possibly, the audience – feel left out. (This year, in view of the coronavirus virus epidemic, there was also an impetus to keep elders out of harm’s way as far as possible.)
Most obviously, meaning several largely unannounced performances by hip-hop stars, a flick on the Grammys stage despite the genre’s role at the center of pop development for decades. Megan The Stallion and Cardi B added a clever and for Great sexual performances of “WAP” It was more directly evident than any rural moment in memory. (Madonna’s “Like a Virgin” and then some more at the 1984 MTV Video Music Awards.) Lil Baby’s anthem “The Big Picture” was presented as a full-fledged social justice theater, with a square between flames -Off was. And spoken words for shield-bearing police officers and policy reforms.
When these performances beheaded the Grammy tradition of melting the old with the new – usually an act of suffocation – it was courtesy. During the performances of Megan Thee Stallion and Cardi B, there was a brief tap dance routine that acknowledged Nicholas Brothers, the leading black tap dancer. And DaBaby gave an intense and fantastically awkward performance, in which he was supported by a back of older women in church robbers who were given direction to watch as much of the comedy as possible.
At the beginning of the show, Eilish was dramatically morbid, with several acts on adjacent stages such as a Jules Holland, and Harry Styles being lit and sinful. Later, Bad Bunny and Zhay Cortez performed in Spanish, a rare acknowledgment of the power of contemporary Spanish-language music. BTS extended a raft to deliver an exciting rendition of their hit “Dynamite”, a hyperchographed taunt for any artist who was bound by, you know, a stage. And Dua Lipa advertised herself as a nu-aerobics queen with an impressive set of hight-test discos.
Through another lens, Lipa’s performance can be seen as an eyelid for Yaskier’s music – a classicist with a high-gloss veneer. Typically, those types of artists are Grammy stock-in-trade, and this year there were a few of them, such as the recently formed association of Silk Sonic, Bruno Mars and Anderson. And despite pop music being less central in general, the guitars were not in short supply. The Black Pumas elevated their usually modest rock-soul occasionally a bit. Hamm played loose, lovable, harmony-rich rock, and Taylor Swift performed a medley of songs from her quarantine albums, rejuvenating the Grammy stage as a mysterious forest haunt.
That said, consider it a victory that the Grammys were largely in favor of the young, even when the method of creation was outdated. It reflects a conscious awareness that the show – the performances, at least, if not always the rewards – have the power to be replicas, not just horror. For example, treat yourself to country music this year: none of the country’s artists were male, and seeing that almost every major star in the country is a man of radio, it was a meaningful gesture. It gave a huge performance Mikki gaitan, The first black female soloist to receive a country category nomination – “Black Like Me” was deeply invested in her singing. (Singing still lost the best country solo performance to Vince Gill, a Grammy perennial.) He was sharp, but under-performed by Miranda Lambert and Marn Morris (who was unduly sad with the John Mayer cameo).
For the spirit of the deceptively developed and continuing Grammids, the Grams find themselves inside, looking no further than this year’s Hip-Hop Awards. The Best Rap Album was won by Nas, one of the defining rappers of the 1990s. It was her first Grammy, which won for a little-heralded late-career album – the kind of year-let-dollar-short gesture that is a frequent Grammy phenomenon. But the best rap song and best rap performance went to Megan Thee Stallion (with Beyoncé), which is in almost every way other than popular acclaim, a rogue. The Grammys have honored him so well that he feels clashed with the leading rappers of decades so early in his career. Hip-hop, on the other hand, has come so far that its elders get a head-scratching victory, just as rock, country, and older generations have for generations.
The villagers live in the heart, a balancing act – a big tent aimed at satisfying everyone, not making anyone completely happy. Even the distribution of this year’s major awards, after last year’s ELISE sweep, looked very distinctive. But Swift is 31, Megan the Stallion is 26, HER is 23, Eilish is 19. No one is waiting for his praise. This is a victory of its kind.