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=> GENERAL DISCUSSION => Topic started by: Sage 703 on February 09, 2009, 11:37:36 am
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All in all, a much better show that it has been in the past, I thought. That said - I thought the actual awards themselves were still very predictable and boring in terms of who won. Plant/Krauss is a perfectly nice album, but it is also exactly the type of record that seems to always take home the trophy at the Grammys.
Highlights for me:
MIA/Kanye/TI/Jay-Z/Lil Wayne: This stole the show for me. M.I.A.'s outfit was remarkable, and having those four guys on stage in that way was pretty incredible. The music came across as a bit too loud, which made it hard to hear them on their respective verses, but all in all, I was completely impressed with the performance and its execution.
Justin Timberlake and Al Green: Great performance. Al Green was awesome, and Timberlake held his own.
Carrie Underwood: Every single time I see her perform, I like it WAY more than I expect I will. I think she's the real deal top to bottom; bonus points for her blonde bombshell lead guitarist.
Kanye and Estelle: Solid performance of a song I don't love.
Radiohead with the marching band: Yeah, the mix was muddy, Thom Yorke didn't seem completely on...but I thought the visual effect and the arrangement was pretty gripping.
Jennifer Hudson: I'm no huge fan, but great performance. She has a tremendous voice.
Lowlights:
U2: I thought U2 got totally outclassed at this show; they just did not have the live show to compete with the bands that followed them, and the new song came across as disjointed and unmemorable
Jonas Brothers w/ Stevie Wonder: self-explanatory. The Jonas Brothers didn't have any business being on that stage with Stevie Wonder, and were mediocre overall.
Paul McCartney w/ Dave Grohl: Why are they performing this song? Add in the fact that McCartney doesn't have his high range the way he used to, and I thought this came off as average and dull.
Neil Diamond: Again...why?
Katy Perry: First, what the hell was with the fruit? Second, did nobody inform the Grammy planners that Katy Perry can't sing live?
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No comments on Blink-182 announcing they're reuniting? 20 year old mall punks, unite and take over!
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Nice recap. Thanks! Now I know which YouTube videos to search for. :)
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i wanted to see the pre party where chris brown beats rihanna
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i wanted to see the pre party where chris brown beats rihanna
Was that the opening number?
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i wanted to see the pre party where chris brown beats rihanna
Was that the opening number?
he attempted to prove he was the next michael jackson at another award show once, so i guess he's shooting for bobby brown and james brown as well.
but thank god he is famous, where a felony assult is merely a payoff goodbye.
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Also worth noting:
Whitney Houston must have been stoned out of her mind. She could barely open her eyes. Maybe not the wisest of choices to have her presenting an award right at the outset of the show...
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i wanted to see the pre party where chris brown beats rihanna
Was that the opening number?
he attempted to prove he was the next michael jackson at another award show once, so i guess he's shooting for bobby brown and james brown as well.
but thank god he is famous, where a felony assult is merely a payoff goodbye.
I still have no idea who Chris Brown is.
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i wanted to see the pre party where chris brown beats rihanna
Was that the opening number?
he attempted to prove he was the next michael jackson at another award show once, so i guess he's shooting for bobby brown and james brown as well.
but thank god he is famous, where a felony assult is merely a payoff goodbye.
I still have no idea who Chris Brown is.
i heard he's got the best beats in town.
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I think this guy pretty accurately summed it up for me. What a fucking trainwreck. Calla, i'm not sure I can take anything you ever post on this board seriously after reading your generally positive review.
Pulling Names from a Hat: The 2009 Grammy Awards
[9 February 2009]
by Evan Sawdey
PopMatters Associate Interviews Editor
Mark Hoppus said it best: ?Isn?t it great to see the Jonas Brothers and Stevie Wonder back together again??
After previous years were hindered by decrepit reality-show styled conceits (My Grammy Moment, anyone?), the producers for the Grammys decided to keep it simple for the 2009 edition of music?s most drawn-out glitz marathon: this time around, there would be no host and no games. Just three-and-a-half bloated hours of anemic performances and half-hearted, sometimes downright bizarre collaborations. If the Grammy Awards are really supposed to be ?Music?s Biggest Night? (as its numerous ads have claimed), then what does the 2009 ceremony say about the state of sonic entertainment right now?
Not much, really.
The show?s opening should have been spectacular: U2 performing their new single ?Get Your Boots On?. It should have been a rallying cry, a band for everyone to get behind and sing along with; after all, U2 singles are?by and large?anthemic and crowd-pleasing, which are words that absolutely cannot be applied towards the chugging, toothless ?Boots?. Bono tried to strike artistic poses while wearing gigantic boots, his voice barely audible, the song?s chorus instantly forgettable, and, with that, the show?s first real opportunity to strike a chord with viewers was missed.
Next thing we know, we?re already handing out awards, Dwayne ?The Rock? Johnson is giving a painfully unfunny monologue, and Justin Timberlake managed to deliver an even worse one right after. We have no thesis statement, no grand introduction to the proceedings: we just have an awards show that?s fueled by spectacle, star-power, and little else. Some of the celebrity appearances were absolutely meaningless (what was the musical significance of getting CSI cast members as presenters, pray tell?), while others simply did not make any coherent sense whatsoever (Kate Beckinsale introducing Paul McCartney? Really?).
Grammy president Neil Portnow?who has embarrassed himself in the past by using his token speech to unveil supposedly ?hip? anti-downloading campaigns (and let?s not forget that whole ?My Grammy Moment? fiasco)?continued his losing streak by asking fellow Grammy-winner Barack Obama to create a cabinet-level position of Secretary for the Arts, Portnow?s not-so-subtle intention being to have powerful government backing when it comes to backing anti-piracy laws and making sure artists are compensated for the distribution of their music. Though his intentions are noble, the irony is inescapable: Lil? Wayne?whose success can be attributed to the intimidating mass of music he releases for free, online, each year?won the Rap Album of the Year Grammy only moments later.
In fact, Lil? Wayne had one of the best moments of the night, singing his powerful New Orleans anthem ?Tie My Hands? near the close of the evening, the song soon transforming into a full-on celebration of the Big Easy with Alan Toussaint and the Dirty Dozen Brass Band in tow. It was one of the broadcast?s few moments of genuine emotion, which is more than can be said for a majority of the performances, in which artists appeared to be matched up by the studied methodology of having their names pulled out of a hat at random. Keith Urban and Al Green? Miley Cyrus overperforming her way through Taylor Swift?s sensitive ballad ?Fifteen?? The Jonas Brothers mumbling their way through ?Superstition? with Stevie Wonder himself in tow? Coldplay?s Chris Martin delivering a sensitive piano rendition of ?Lost!? only to have Jay-Z barge in half-way through in order to move more copies of the Prospekt?s March EP?
It was almost funny, even, that right in the middle of ?Chasing Pavements??the trademark song by Best New Artist winner Adele?Sugarland?s Jennifer Nettles stopped by and managed to actually outsing Adele herself. During a night in which country music was both forgettable (Kenny Chesney?s snore-inducing rendition of ?Better as a Memory") and overstimulated (Carrie Underwood lurched her way through ?Last Name? only to be upstaged by her own sultry female guitarist), leave it to Nettles to bring the best, most coherent performance of the entire night with a powerful rendition of Sugarland?s sparse ballad ?Stay?. As American Idol has proved to us over the years, bucketloads of people have stadium-filling voices?only a blessed few have the ability to actually sell a song (and Nettles, thankfully, is one of them).
Some performances were downright terrible (as if the world actually needed more proof that Katy Perry couldn?t sing), and the most left-field one of them all (Radiohead performing ?15 Step? with the USC Trojan Marching Band) was absolutely transcendent. The night?s saddest moment, however, was the deliberate manipulation of Jennifer Hudson?a genuinely talented performer in her own right?here singing the heartstring-pulling ballad ?You Pulled Me Through?, and, given the meaning of the song and the much-publicized losses that she?s suffered in recent months, her climax brought her own self to tears and the entire Staples Center audience to its feet. It?s a moment that, despite all good intentions, felt deliberately, coldly calculated, mining the suffering of others for mass televised catharsis. As great as it is to see Hudson performing again (and winning a few well-deserved awards), the nagging feeling looms in the background: couldn?t have there been a better way to go about it?
Then again, if this is truly ?Music?s Biggest Night?, then there could?ve been a better way to go about everything. For starters, having T.I., Jay-Z, Kanye West, and Lil? Wayne become the Sinatra-aping ?Rap Pack? wasn?t a good idea from the get-go. Having people collaborate with seemingly unrelated artists all Girl Talk-styled isn?t doing any favors for anyone either (this ?mash-up performance? craze has plagued the broadcast for the past couple of years). And finally, if the Grammys want to be daring and actually reach a younger audience (instead of facing diminishing ratings returns with each passing year), then perhaps they can stop doling out Album of the Year trophies to releases that so safely pander to soft-rock constituents (will 2008 truly be remembered as the year that Raising Sand swept our hearts away?).
Grammy Night 2009 was not a night of surprises?just disappointments. We, as viewers, show up each year expecting an unbridled celebration of music, and instead are treated to an overbudget production of ?Top of the Pops? with movie stars inserted in between songs. Are all of our classically trained musicians going to be relegated to string section work for T.I.?s latest single? Was jazz a genre not worth representing at the ceremony this year? Why did Mark Hoppus? cynical, offhand remark about the Jonas/Wonder collaboration feel like the most truthful thing said all night?
Perhaps amidst all the spectacle, we?ve forgotten that the reason we?re all here is to celebrate music in all its forms?not just to move units and discourage down loaders year after year. To reiterate: what, exactly, do the Grammy Awards say about the state of our current music industry? Simply this: at a time when our economy is in flux and people (and artists especially) are looking upwards for help, support, and encouragement, not having anything significant to say is a very bad state to be in.
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From the Boston Globe-
This year's nominees for alternative music album (which will be decided at tonight's Grammy Awards, airing at 8 on CBS) are Beck, Death Cab for Cutie, My Morning Jacket, Gnarls Barkley, and Radiohead - all respectable choices who made solid albums. But, with the exception of Radiohead, they're all on major labels.
The even more glaring problem is what's missing from the category. Independent artists such as Fleet Foxes, TV on the Radio, Vampire Weekend, and Bon Iver were completely shut out. They made albums that mattered and resonated with both critics and consumers last year, yet they're still not on Grammy voters' radars. (And if you want to get even more esoteric, what about Santogold, MGMT, or Deerhunter?)
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Well, the review you posted doesn't really conflict with anything that I had to say, apart from their review of Jennifer Hudson (which I agree with - it was a bit exploitative) and the "Rap Pack" thing...but this statement:
"Then again, if this is truly ?Music?s Biggest Night?, then there could?ve been a better way to go about everything. For starters, having T.I., Jay-Z, Kanye West, and Lil? Wayne become the Sinatra-aping ?Rap Pack? wasn?t a good idea from the get-go. Having people collaborate with seemingly unrelated artists all Girl Talk-styled isn?t doing any favors for anyone either (this ?mash-up performance? craze has plagued the broadcast for the past couple of years)."
Well, that's a stupid thing to say. "Swagger Like Us" isn't a Grammy concocted mash-up. It's a song off T.I.'s "Paper Trail," and it actually features M.I.A., Jay-Z, Kanye and Lil' Wayne. So if you don't like the song, that's one thing - but to say it is a bad idea from the get go isn't an indictment of the Grammy performance, but the song itself.
As for other things in that review...Keith Urban with Al Green was odd, but he also wasn't really a big part of that performance. I agree that the monologues were awful (the Rock was painful, Timberlake missed the mark right after that). And Lil' Wayne was also strong on his own...
Other than that, where do we disagree?
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But now you're changing your tune. At first you said Timberlake held his own, now you're aying he missed the mark.
Though I didn't catch her performance, I can't imagine Carrie Underwood ever doing anything that's not complete crap.
And if last nights show was "much better than past shows", I shudder to think how bad the past shows were. "Much better" to me implies that you must have had overall good feelings about the show...but perhaps what you meant was that the bar was so low it had no place to go but up?
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But now you're changing your tune. At first you said Timberlake held his own, now you're aying he missed the mark.
Though I didn't catch her performance, I can't imagine Carrie Underwood ever doing anything that's not complete crap.
And if last nights show was "much better than past shows", I shudder to think how bad the past shows were. "Much better" to me implies that you must have had overall good feelings about the show...but perhaps what you meant was that the bar was so low it had no place to go but up?
I said his missed the mark in his monologue. His performance with Al Green was excellent, and he was good with T.I. later in the show. As for Carrie Underwood, if you want to indict a performance without seeing it, your call. I wouldn't have expected it to be good either.
And yes, it was much better than past shows. Overall, I thought the show was too long and the awards uninteresting, but it was punctuated with some strong moments - and generally more than in past years. I usually don't watch the Grammy Awards at all. The fact that they pulled together any kind of lineup that I was interested in watching is a step up to begin with.
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Calla, i'm not sure I can take anything you ever post on this board seriously after reading your generally positive review.
well that's rather un-generous of you, charles: i certainly try my hardest to take your posts seriously, despite how predictable their negativity is.
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My wife saw Adele and commented, "Who's that? She looks like the girl who couldn't get a date to the prom."
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My wife saw Adele and commented, "Who's that? She looks like the girl who couldn't get a date to the prom."
nice to see you and your wife have merged into one big giant dickhead.
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You're free to choose how seriously you take my posts. It's entirely up to you.
All I'm saying is that when it comes to music posts, there's some people on this board whose opinions I take more seriously than others. Of course, those people are often the people whose tastes are aligned with mine, but not always.
That said, I'm probably not going to take anybody who lauds both Justin Timberlake and Carrie Underwood too seriously.
Calla, i'm not sure I can take anything you ever post on this board seriously after reading your generally positive review.
well that's rather un-generous of you, charles: i certainly try my hardest to take your posts seriously, despite how predictable their negativity is.
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You're free to choose how seriously you take my posts. It's entirely up to you.
All I'm saying is that when it comes to music posts, there's some people on this board whose opinions I take more seriously than others. Of course, those people are often the people whose tastes are aligned with mine, but not always.
That said, I'm probably not going to take anybody who lauds both Justin Timberlake and Carrie Underwood too seriously.
More than fair. It is worth giving them a shot, even if you don't anticipate liking it. If you go in with the verdict already in mind, I think you miss out more often than not. I'm also willing to bet we match up on music tastes more than you might think, but to each their own.
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My wife saw Adele and commented, "Who's that? She looks like the girl who couldn't get a date to the prom."
nice to see you and your wife have merged into one big giant dickhead.
Are you implying she is wrong? Come one, she's spot on with that one.
(http://img.dailymail.co.uk/i/pix/2008/04_04/AdeleBritsG_468x696.jpg)
http://www.sputnikmusic.com/album.php?reviewid=25949
Summary: Music for fat, pubescent girls to get dumped to.
Think the British sense of humour is more sophisticated and refined than its American equivalent? Think again. Earlier this year, Adele's "Chasing Pavements" became a national sensation in both pubs and playgrounds, as boy and man alike tried to work out what the hell this girl was singing on this song that had suddenly started appearing everywhere. Popular suggestions included both the silly ('Should I hiccup?') and the outright brilliant ('Would it be a waste/If I just came on your face?'). Even people who were seriously trying to figure it out thought the song was either called "Chasing Payment" or "Chasing Paper". It was a fleeting mondegreen classic.
The reason this review starts with that story is that it's the most interesting thing about Adele. This in spite of the amount of money, hype, and transparent PR that has followed her since day one - the girl won a Brit award before she'd even released anything substantial, for Christ's sake. They invented a whole new award just so that could happen, too. Then they paid off all the radio stations to play "Chasing Pavements" even more often than they were playing "Valerie" and "Rehab", hoping that they could catch some of that Winehouse lightning before people got tired of it.
And the PR! Something about it makes me want to praise it as cynical genius, an attempt to fuse the appeal of the three most talked-about female artists in the British media right now. She was alternatively painted as a straight-talking, sassy London girl (Lily Allen), a husky-voiced appreciator of classic soul (Amy Winehouse), and really fat (Beth Ditto). Oh, and they made sure to tell everybody that 19 was both named after her weight in stones (thus making her an icon for fat women who are proud to be fat, like Ditto), and was inspired by a break-up, just the same way that Back in Black was. If you're fourteen and female, you could be forgiven for being taken in by all this rhetoric. Take her interviews and her press at face value and Adele seems strong, smart, talented, and a little bit dangerous. She doesn't care what she looks like or what anybody thinks, and doesn't think you should either; but, should you get dumped, she's there to sing a pretty song in your ear, too. It's more than a little reminiscent of the Spice Girls. If Adele had tunes as good as they did.
Both as a singer and as a songwriter, Adele is incredibly naive - so much so that, at times, you feel slightly sorry for her. She should never have been thrust into the limelight as early as this, because with a little maturity, experience, and training her voice could be a potentially devastating emotional weapon. She just has no idea how to use it yet. Adele doesn't sound like any of her contemporaries as much as she sounds like a blonde Texan in the American Idol auditions trying to sing a song by a Dusty Springfield or a Roberta Flack in the style of Mariah Carey or Christina Aguilera. Her vocal showiness, her forced huskiness, her badly judged breath control; they all detract from her songs. Nowhere is this more obvious than on her hopelessly incompetent reading of Bob Dylan's "Make You Feel My Love".
Not that her own songs suffer too much; largely, they're mediocre in the first place. "Cold Shoulder" is the best thing here, and that's entirely because of Mark Ronson's golden touch rather than Adele. "Chasing Pavements" could have been good, but the over-the-top arrangement and Adele's unabashed vocal ground it in slightly embarrassing territory, and Adele's insistence on spending a verse repeating the chorus lyrics just smacks of laziness. The arrangements, in fact, offer another problem throughout, and it's a problem that contrasts entirely with "Chasing Pavements" - they're too basic. Adele's voice isn't yet strong enough to carry a song on its own, so why so many of the songs here have so little in the way of instrumentation is baffling. The bigger arrangements are an improvement, but they lack the imagination that characterizes the finest musical moments of Winehouse and Duffy. The melodies are largely indistinct, almost certainly the result of not putting much effort into writing them. The lyrics are the cherry on top - quite simply, she's a poor writer. "Melt My Heart to Stone" follows up its poorly conceived title with the lines 'Right under my feet/There's air made of bricks'. Okay, you get what she's trying to do - write enigmatic lines that generate interest by directly subverting expectation - but it just comes across as pointless nonsense. Elsewhere she gives in to banality far too often - is 'I like to sit on chairs and you prefer the floor' meant to be a homely, cozy picture of a loving relationship? Because it's lines like that that can put your listener into a coma.
Compared to both Back in Black and Rockferry, 19 comes off so badly you actually begin to pity Adele. It can't even stack up to Gabriella Cilmi. Estelle? Leona Lewis? Yikes. Avoid.
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In the words of Olivia Palermo: "What? Like we're going to have Shamu coming down the red carpet?"
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Well, I've seen Adele, and she's got a MASSIVE voice and is a charismatic performer. Regardless of how good 19 is (and it isn't very good, really, beyond "Chasing Pavements" and "Cold Shoulder"), she's enormously talented. I think she'll ultimately be around longer than Winehouse, Duffy, Estelle, or the rest of that crop, simply because her success is based on her voice rather than her celebrity or appearance.
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Well I did see the Timberlake performance, and to me he's just always going to be a musical lightweight. I'm not sure if it's him, or the genre that he works in.
I didn't see Underwood's performance, but have on other occasions. To me, she's an example of the sad travesty that country music has become. I will give the Grammy's credit, four of the five country nominees did put out listenable albums, but to me she's not one of the four.
That Lonesome Song by Jamey Johnson
Sleepless Nights by Patty Loveless
Troubadour by George Strait
Around The Bend by Randy Travis
Heaven, Heartache And The Power Of Love by Trisha Yearwood
You're free to choose how seriously you take my posts. It's entirely up to you.
All I'm saying is that when it comes to music posts, there's some people on this board whose opinions I take more seriously than others. Of course, those people are often the people whose tastes are aligned with mine, but not always.
That said, I'm probably not going to take anybody who lauds both Justin Timberlake and Carrie Underwood too seriously.
More than fair. It is worth giving them a shot, even if you don't anticipate liking it. If you go in with the verdict already in mind, I think you miss out more often than not. I'm also willing to bet we match up on music tastes more than you might think, but to each their own.
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I don't think she holds a candle to Amy Winehouse, though I'd certainly put money on her outlasting her.
Well, I've seen Adele, and she's got a MASSIVE voice and is a charismatic performer. Regardless of how good 19 is (and it isn't very good, really, beyond "Chasing Pavements" and "Cold Shoulder"), she's enormously talented. I think she'll ultimately be around longer than Winehouse, Duffy, Estelle, or the rest of that crop, simply because her success is based on her voice rather than her celebrity or appearance.
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Well I did see the Timberlake performance, and to me he's just always going to be a musical lightweight. I'm not sure if it's him, or the genre that he works in.
I didn't see Underwood's performance, but have on other occasions. To me, she's an example of the sad travesty that country music has become. I will give the Grammy's credit, four of the five country nominees did put out listenable albums, but to me she's not one of the four.
That Lonesome Song by Jamey Johnson
Sleepless Nights by Patty Loveless
Troubadour by George Strait
Around The Bend by Randy Travis
Heaven, Heartache And The Power Of Love by Trisha Yearwood
Again, fair. I'm not a country music fan, I've never heard a Carrie Underwood album, or anything she's put down in a studio for that matter. I've just seen her perform live on shows like this a couple of times - and I always walk away impressed.
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Methinks they probably picked her to perform out of those five because she's the youngest, prettiest, and least country of the bunch.
Well I did see the Timberlake performance, and to me he's just always going to be a musical lightweight. I'm not sure if it's him, or the genre that he works in.
I didn't see Underwood's performance, but have on other occasions. To me, she's an example of the sad travesty that country music has become. I will give the Grammy's credit, four of the five country nominees did put out listenable albums, but to me she's not one of the four.
That Lonesome Song by Jamey Johnson
Sleepless Nights by Patty Loveless
Troubadour by George Strait
Around The Bend by Randy Travis
Heaven, Heartache And The Power Of Love by Trisha Yearwood
Again, fair. I'm not a country music fan, I've never heard a Carrie Underwood album, or anything she's put down in a studio for that matter. I've just seen her perform live on shows like this a couple of times - and I always walk away impressed.
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If it wasn't for Barack Obama, www.I.l..LLI.LlL...aAm..M.LL.com's career would be over by now (albeit, the electoral alternative would be far worse). Then there was the cola commercial featuring him and old footage of Bob Dylan. Is there a more shameless coattail rider?
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Only one word comes to mind for last night's Grammys: turgid. Not that I expected anything from it, but I tried to give it a shot. And I would venture to guess 90% of performances were lip-synched, so it's not even realistic to assume what we were seeing was raw talent.
And yeah, Whitney and Travis Barker must have been out of their minds on dope, smack, OxyContin, whatever. Everything was pretty disastrous though. I didn't think Paul McCartney was all that bad though. Watching Dave Grohl drum is always a pleasure.
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all right, back to chris brown. so this caught my ear. supposably rihanna has a tattoo of her "girl friend's" birthdate tattooed on her shoulder, loved to take long showers with her. loves to hold hands with her and were seen giggling together at that trainwreck where b. spears performed on some mtv movie awards. chris and her have been known to be arguing about something "private" for the last few weeks.
gay + hip hop / rap artist = beat down
everytime
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woman hitting party going on today i see. and who says a full moon doesn't equal interesting things.
http://msn.foxsports.com/nascar/story/9201246/Report:-WWE-wrestler-hits-female-fan-in-face?MSNHPHMA
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woman hitting party going on today i see. and who says a full moon doesn't equal interesting things.
http://msn.foxsports.com/nascar/story/9201246/Report:-WWE-wrestler-hits-female-fan-in-face?MSNHPHMA
a WWE story, housed in the Nascar section: they should just create a "redneck sports" sub-site and get it over with.
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woman hitting party going on today i see. and who says a full moon doesn't equal interesting things.
http://msn.foxsports.com/nascar/story/9201246/Report:-WWE-wrestler-hits-female-fan-in-face?MSNHPHMA
a WWE story, housed in the Nascar section: they should just create a "redneck sports" sub-site and get it over with.
(http://www.virginmedia.com/images/redneck.jpg)
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that new U2 song sucks! does it even meet the definition of 'song'?
i couldn't understand what Stevie Wonder was doing w/ the Jonas Brothers until I remembered Obama's kids love them . . .and Barack and Michelle are Stevie fans . . . and Stevie is an Obama fan . . .so it turns out to be a cross-generational mix-up tailored to the Obamas . . .
Highlight for me was Robert Plant and Allison Krauss and T-Bone Burnett . . .yeah the Grammy love was predictable, but there was just something cool about seeing Plant so at ease . . .and seeing Krauss look so good . . . and the performance was nice.
Paper Planes is awesome, of course, but that 'Swagger Like Us' annoys me. It takes a badazz song and makes it clunky and boring imo. Plus the Hoyas play it when they come out for home games and I'm convinced its a factor in their disappointing season.
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i didnt watch the Grammys (didnt even know they were on) and i only read the first pitiful page of this thread. But i just wanted to give a big manimtired "LOL!" at everyone who watched the Grammy's.
you're indie cred has been virtually stripped down to that of someone who doesnt even know Ben Gibbard is in DCFC AND the Postal Service!
and maybe even that of a Smashing Pumpkins fan!
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I've just seen her perform live on shows like this a couple of times - and I always walk away
me too!
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Radiohead with the marching band: Yeah, the mix was muddy, Thom Yorke didn't seem completely on...but I thought the visual effect and the arrangement was pretty gripping.
here's a youtube of RH's performance with almost acceptable sound: 15 steps, then a sheer drop (http://www.youtube.com/watch?v=2aVzh1LSG8Q). there is another version on youtube that has a gzillion views but sounds like complete crap. got this version from a RH msg board.
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chris brown spoiler.
associate of jay-z announced today, and i quote, "you (chris) messed with the wrong crew. he is a walking dead man."
go rap music. it's your birthday.
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chris brown spoiler.
associate of jay-z announced today, and i quote, "you (chris) messed with the wrong crew. he is a walking dead man."
go rap music. it's your birthday.
this is clearly an instance where street justice is warranted.