|
Post by Admin on Mar 16, 2021 0:36:32 GMT
Taylor Swift - cardigan / august / willow (Live From The 63rd GRAMMYs ® / 2021)
|
|
|
Post by Admin on Mar 16, 2021 3:17:56 GMT
The artist had namechecked their three children on the album, even using it to announce the name of their third daugther. “I want to thank James, Inez and Betty and their parents who are the second and third people who I play every new song that I write," she shared. Taylor had previously sampled the voice of their eldest, James, for Gorgeous, on the 2017 album Reputation. Taylor also surprised fans by thanking her boyfriend Joe Alwyn, who responded by liking her Instagram post, hours after she publicly thanked the actor. The pair have been dating since 2016 but have kept their five-year romance largely private.
|
|
|
Post by Admin on Mar 16, 2021 20:59:34 GMT
So first let’s remember the good times. As a collection of awards, on paper, the 2021 Grammys shrewdly spread the love around, further hailing various megastars (Taylor Swift’s Folklore for Album of the Year, the boring choice but also the right one) while also shrewdly cosigning a few new ones (Megan Thee Stallion for Best New Artist, the right choice but certainly not a boring one). Dua Lipa’s Future Nostalgia for Best Pop Vocal Album: yes. Miranda Lambert’s Wildcard for Best Country Album: yes. Bad Bunny’s YHLQMDLG for Best Latin Pop or Urban Album, awarded earlier Sunday afternoon but briefly replayed in prime time so we could dig his bunny ears: weird category name, but yes. (The Dumbest Category Name Grammy goes to Best Melodic Rap Performance, won by Anderson .Paak, who I’m sure was both thrilled and amused.) Also (slightly) thrilled: Beyoncé, who actually showed up (with her husband!), collected four more Grammys—including two, Best Rap Song and Best Rap Performance, for her part in Megan Thee Stallion’s “Savage” remix—and thereby became the single most Grammy-decorated female artist (28 wins total) in history. There were mild Grammys-Gonna-Grammy upsets: The throwback-R&B-minded polymath H.E.R., a genuinely striking talent almost underserved by the Recording Academy’s wanton overpraise, took Song of the Year for “I Can’t Breathe,” bypassing far better and more prominent options like Beyoncé’s “Black Parade” (which settled for Best R&B Performance) or Dua Lipa’s “Don’t Start Now.” But as a guy who recently helped write a 6,500-word treatise on the last 20 years of Grammy Album of the Year disasters, I’m here to tell you that this hallowed institution screws up way worse the vast majority of the time. These awards were doled out on an outdoor stage, to a distanced and extravagantly masked crowd of only the stars themselves; I have watched Taylor Swift deliver dozens of earnest acceptance speeches in my lifetime, but this was the first one that required her to shout over a droning jet engine. Very relatable. I’m into it. But the actual statues, for much of the night, hardly mattered: Sunday night’s broadcast averaged one televised award per hour for quite a while, preferring instead a pleasing bombardment of performances—some live, some prerecorded—that alone among recent award shows managed to turn pandemic-mandated restraints into features, not bugs. These ranged from spare immediacy (Haim bopping through “The Steps” and flaunting their superlative walking skills) to endearingly twee overindulgence (Taylor Swift kicking off her medley by crooning “Cardigan” on a moss-covered cabin roof) to sheer delightful loopiness. (DaBaby thundered through “Rockstar” with a white suit and a backing choir arrayed in judge’s robes, an electrifying midair collision of pomp and camp.)
|
|
|
Post by Admin on Mar 17, 2021 6:07:58 GMT
More people might be talking this morning about Beyoncé making history at Sunday night’s Grammy Awards, or how, just as we predicted, the changes to the show’s format made it one of the most enjoyable in years. But one of the most notable changes at this year’s Grammys signaled something a little more sinister — that the album, in the Recording Academy’s eyes at least, is dead. This year’s ceremony swapped the order of its Album of the Year and Record of the Year awards, opting to hand out the latter at the end of the show instead of Album of the Year, which has traditionally closed out the proceedings. The implication is that Record of the Year — which recognizes the performance of a single song — is now the night’s biggest award, something that was reinforced by the fact that each Record of the Year nominee got a special clip package dedicated to them throughout the night, the same way the Oscars typically highlight each Best Picture nominee. Album of the Year nominees were all but ignored; two of them didn’t even get to perform during the broadcast (three if you don’t count Coldplay’s Chris Martin playing piano behind Brittany Howard during the show’s “In Memoriam” segment). The obvious takeaway here is that the Grammys see the album as a dying art form, one that has surrendered its relevancy to the single thanks to the streaming-dominated world we now live in. And it’s true that singles tend to have more impact these days than full albums, particularly with younger listeners who grew up shuffling Spotify playlists instead of flipping a record from Side A to Side B. But the emphasis on Record of the Year over Album of the Year could also be a way for the Recording Academy to cover its own ass by shifting focus from a category where it has been notoriously out-of-touch. Much ado was made about Beyoncé winning her record-breaking 28th Grammy, but the singer — arguably the most important pop star of her generation — has never won Album of the Year. In fact, no Black artist has won in the category since 2008. Hip-hop has been largely ignored in the Album of the Year category (the most recent hip-hop record to win it was Outkast’s Speakerboxx/The Love Below in 2004). And since the award was first handed out in 1957, only 10 artists of color — from any genre — have won the category. They may try to convince us that albums are becoming increasingly irrelevant, but it could also be that the Recording Academy is trying to divert attention away from its own failings.
|
|
|
Post by Admin on Mar 18, 2021 3:11:39 GMT
Fans lip read what Harry Styles supposedly told Taylor Swift (and Joe Alwyn) in that viral video of their reunion at the Grammys. Thanks to fans’ lip reading skills, they made an educated guess about what was said during the viral conversation between Harry Styles and Taylor Swift at the 2021 Grammy Awards. In case you missed all the viral clips on Twitter, the singers — who dated for a short period of time between 2012-2013 — were filmed running in to one another at the music award show in Los Angeles on March 15. Taylor’s boyfriend Joe Alwyn was by her side, but the reunion appeared far from awkward, judging by the words that fans deciphered.
Many fans agreed that this is what Harry supposedly told his ex while visiting her table: “Well it was nice to see you Taylor!” One fan was even convinced that Harry had friendly remarks for Joe, and believed the “Adore You” singer said, “Hey Joe, great to meet you.” However, you couldn’t actually hear what Harry, 27, and Taylor, 31, were talking about, and Taylor’s face was turned away from the camera.
|
|